show biz

Jane Hazlegrove, who is best known for playing Bernie Winter on Coronation Street, has launched a rant at a fellow actor and her co-stars have all clamoured to know who she was talking about

Jane Hazlegrove has issued a warning to fellow TV stars about their behaviour on set. The actress, 58, who currently plays Bernie Winter on ITV soap Coronation Street and previously starred as Kathleen ‘Dixie’ Dixon on Casualty, took to Instagram over the weekend to make a statement about professionalism within the industry.

She shared an image of a quote which read: “Booking the role isn’t the end of the interview. How you behave after you’re hired matters too.”

In the caption of her post: “This post makes total sense! WHO DO YOU THINK YOU ARE? As my Dad used to say, you are only as good as your last performance! Be nice! And if you can’t be nice… step away… cos people see!”

The actress, who joined the soap in the role of Bernie in 2019 but also appeared in the mid-1980s Sue Clayton and was involved in a storyline with Jack and Vera Duckworth, was inundated with comments from co-stars.

Jack P Shepherd, who plays David Platt in the soap and has appeared on the show since 2000, said: “This isn’t me is it?”

Sally Carman, who plays Abi Webster, quickly joined in as she replied with a string of laughing emojis, but Jane said: “Soz pal you don’t win this one!!! No it’s bloody not!!!” Sue Devaney, who plays Debbie Webster on Coronation Street, left a string of heart emojis.

Loose Women star Sunetra Sarker, who appeared alongside Jane on Casualty when she played Dr Hannah, said: “Never a truer word said ma’am.”

Emmerdale legend Lisa Riley, who first appeared as Mandy Dingle more than 30 years ago and went on to appear in Waterloo Road and compete on Strictly Come Dancing before making a comeback in 2019, left a string of clapping hands emojis in the comments section of the post. Michelle Hardwick, who plays Vanessa Woodfield on Emmerdale, said: “Oh I LOVE this”

But Jane, who has also appeared in other programmes like Heartbeat, Silent Witness and Holby City over the years, quickly pinned a comment to the top of her Instagram post, so she could clear up any confusion.

She said: “Just for clarification this post is NOT about anyone I am currently working with at Coronation Street. It’s a gentle reminder to be kind and professional at all times!”

When Bernie arrived on Coronation Street, she was introduced as the estranged mother of Gemma Winter (Dolly-Rose Campbell) and Paul Foreman (Peter Ash), who was later diagnosed with motor neurone disease and died in late 2024.

Bernie went on to enter into a relationship with local shopkeeper Dev Alahan (Jimmi Harkishin) and it was later established that she was the long-lost mother of DC Kit Green (Jacob Roberts), who later turned out to be the long-lost father of Brody Michaelis (Ryan Mulvey).

Bernie, who currently works in Roy’s Rolls, went on to marry Dev towards the end of last year but was dealt with further tragedy when events that unfolded in the programme’s crossover with Emmerdale saw a crash claimed the life of her son-in-law, Billy Mayhew.

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

When the Booker Prize longlist was recently announced, it included a book with the memorable title “May We Feed the King.” The debut novel by British author Rebecca Perry isn’t yet available in the U.S., and when it does hit shelves, it will be coming from Transit Books, a small Bay Area publisher run by the husband-and-wife team Adam Z. Levy and Ashley Nelson Levy.

Cited by the Booker committee as “a playful, stirring meditation on history and storytelling” about a curator and a king, the book “has been an early favorite with indie booksellers,” Ashley says.

“May We Feed the King” by Rebecca Perry

(Transit)

“We knew the book was special when we acquired it,” Adam adds. “Ever since, we’ve been crossing our fingers and knocking on wood and sending up flares to the Booker gods, and sent the book to the printer a little earlier than usual just in case.”

Transit, known for publishing intelligent international fiction, began about a decade ago, when Ashley and Adam were convinced that great works of literature were being passed over by New York publishers, and that those books should have a place in America.

There were, Adam says, “really great authors who might have incredible reputations elsewhere not finding publishing houses here that are able to champion them in a way that gets them to access to a broader readership.”

The two were working full-time jobs while talking about their literary dreams over the dining room table. They had met at Columbia in New York and both worked in publishing there before moving to California, where Ashley is from.

Adam Z. Levy and Ashley Nelson Levy, co-publishers of the Bay Area nonprofit publisher Transit Books.

(Jennifer Baquing)

They carefully set out to connect with the international literary community and went through the slow process of launching Transit as a nonprofit. They now have a small staff, an office in Berkeley and count a Nobel Prizewinner, Jon Fosse, among their authors.

At the same time Transit was starting out in Northern California, a pair of not-married friends in Los Angeles saw the same possibilities. Chris Heiser and Olivia Taylor Smith were convinced that they could begin a publishing house, starting with international noir.

Smith, who is now a senior editor at Simon & Schuster and lives in Germany, recalled those early days for me over Zoom. “We launched it at a time when it was almost the golden age of independent, small publishing, a lot of which was translation-focused,” she says.

They jumped right in, came up with a name, Ricochet, and a logo. Then they got a cease-and-desist letter — a small poetry press was also starting as Ricochet. “We had to change names,” Heiser says. “We were literally unnamed.” That’s how they launched Unnamed Press.

“A Certain Hunger” by Chelsea G. Summers

(Unnamed Press)

“I’m very grateful to the litigious poets who forced us to change our name,” Heiser adds. Their original crime-fiction focus rapidly expanded. Science fiction? Nonfiction? Feminist cannibal fiction? Yes, yes, yes.

That last was “A Certain Hunger” by Chelsea Summers, which Smith acquired. “I really loved that it is violent and intense and so visceral,” Smith said. “The prose is incredible and it absolutely was a cut above. Not to use a cannibalistic meat pun.” To date, the 2021 novel has been Unnamed Press’ biggest seller.

Where many literary novels from small presses sell fewer than 2,500 copies, “A Certain Hunger” has sold close to 200,000. “We’re a hits-driven business, you know — you have to have a book that does well enough to keep you going,” Heiser says.

Heiser remains with Unnamed as its publisher, and continues to guide it to unpredictable destinations. In 2022, the press opened North Figueroa Bookshop in Highland Park with fellow L.A. publisher Rare Bird Books — it stocks all publishers’ titles, not just their own.

Guests gather at the North Figueroa gallery for Unnamed Press’ launch of “Four Nose Jobs a Day,” a poetry book with an accompanying vinyl album by Devendra Banhart, center.

(Hoda Mallone)

And next door is the gallery they opened late last year. In June they held a gala launch for Devendra Banhart’s new collection of poems, “Four Nose Jobs a Day” in the North Figueroa gallery, published by Unnamed as both book and record album. The party was a little livelier than your typical book launch: Heiser says it “featured a reading backed by an excellent jazz trio, ceramic noses, a scent-maker, mimes and speed therapy, among many other things.”

Where Unnamed often makes unexpected turns, Transit has stuck close to its original mission: to translate a handful of books a year, often works of translation themselves, with a certain aesthetic.

For readers in sync with Transit’s sensibility — literary, bold and with an edge that feels fresh — they offer subscriptions. Their biggest swerve was adding children’s books. “The quality of the writing is really important, first and foremost,” Ashley said on a Zoom call with Adam and their executive editor, Lizzie Davis.

“We’re really attracted to literature that takes risks on the page,” Adam said. They began publishing acclaimed Norwegian author Jon Fosse’s work three years before he was awarded the Nobel Prize in literature. Transit is the American home of Fosse’s big and bold “Septology,” translated into English by Damion Searls.

“Septology 1-VII,” by Jon Fosse

(Transit Books)

Despite years of a cohort within the publishing community advocating for international literature, such as the National Book Awards’ translated literature prize being relaunched in 2018, translated works remain only 3% of the U.S. publishing market. Transit has remained committed to publishing works in translation, and has had genuine success.

Small publishers can be caught in a catch-22 when they have a sudden success. They have to pay to print books and get them distributed, then wait months before the profits (or unsold returns) come back. An author winning the Nobel Prize in literature is about as big a bonanza of demand as you can imagine.

When Fosse won the Nobel in 2023, that meant publishing a big run of his almost 700-page masterwork. “It was a bit of a cash crunch for us,” Adam admits, “but I think we were also lucky in a lot of ways.” The year before they had published “I Who Have Never Known Men” by Jacqueline Harpman, a Belgian novelist who died 20 years before — hardly a guaranteed success.

“Stories, Like Illnesses” by James Elkins

(Unnamed Press)

The publishers themselves can’t fully describe what happened — it was well-reviewed, it went viral, it kept selling, it went viral again. Now, the novel has sold more than 450,000 copies. “I feel like for a small press you really need to, not just catch a break, but catch a break every time,” Adam said, “if you want to last.” Those two pillars — the Fosse and Harpman — allowed the Levys to open their office in Oakland in 2024.

Transit recently released another Harpman book, “We Were Forbidden,” a trio of never-before translated novellas. In September, in addition to Perry’s book, they’ll also be publishing two novels by esteemed French writer Marie Darrieussecq.

Unnamed Press’ fall schedule includes James Elkins’ “Stories, Like Illnesses,” the third installment of a multivolume work called “Five Strange Languages.” Unnamed is publishing in five volumes over five years, “an epic publishing project for any publisher,” Heiser says. Luckily, the first volume got a boost when Jacob Elordi was photographed reading it during a marathon Frankenstein makeup session.

The Levys and Heiser all maintain that there was something about being in California that gave them the creative space to launch their publishing houses.

From their similar visions a decade ago, Transit and Unnamed were born separately, and have taken very different paths to sustainability. The Levys were deliberate and focused; Unnamed spontaneous and evolving. Both are flourishing and show what a little freedom can do.

Final voting for the 78th Emmys is now underway, which means The Envelope is bidding adieu to the TV awards season — and already gearing up for the film one.

This year, I’ll be in Venice while columnist Glenn Whipp heads to Telluride and movies editor Joshua Rothkopf leads our team at the Toronto International Film Festival. You can catch a daily roundup of our TIFF coverage, including exclusive photo and video highlights from our studio activation, right here in the Envelope Sept. 11-14.

Until then, enjoy highlights from this week’s issue below, and Glenn’s last newsletter of Emmy season on Friday.

Digital cover: Dakota Fanning

(David Urbanke / For The Times)

This week’s digital coverline is inspired by Dakota Fanning’s busy, busy schedule — with two Emmy-nominated shows, a film with sister Elle in the can, an Apple TV thriller in production and more — and, among her many credits, the one fans still bring up to her the most: “Man on Fire.”

“When people ask, ‘Do you even remember doing “Man on Fire”?’ I’m like, ‘Yeah, of course I do. What do you mean?’” she tells contributor Kara Warner of Tony Scott’s 2004 thriller, starring Denzel Washington as the bodyguard to Fanning’s 9-year-old kidnapping target. “I think about the memories with Denzel and with Tony, and getting to live in Mexico City for six months when you’re 9 years old is pretty spectacular.”

‘The Comeback’

(Christina House/Los Angeles Times)

For those of us who’ve been following the peaks and valleys of Valerie Cherish’s career since 2005, the end of “The Comeback” is bittersweet at best: While the series has achieved greatness by adhering to the old showbiz adage “always leave them wanting more,” I’d be happy to visit with the fictional actress for another two decades (or more).

There’s some solace, I suppose, in knowing creators Lisa Kudrow and Michael Patrick King feel the same way. In a moving essay for The Envelope, the pair share how the spirit of Robert Michael Morris, who played Valerie’s friend and hairdresser Mickey in Seasons 1 and 2, aided them during a crucial moment in production on Season 3. RIP, Mickey — and “The Comeback.” You are, and will be, sorely missed.

Viva Las Vegas!

Perhaps even more than Hollywood — and thanks in large part to Hollywood — Las Vegas is subject to cliched depictions in popular culture. But a new wave of Emmy-nominated series are showing a different side of Sin City,” writes contributor Whitney Friedlander.

“The Vegas we wanted to show and explore was Shyanne’s Vegas, which is so specific to her,” “Margo’s Got Money Troubles” director of photography Tari Segal tells Friedlander, referring to Michelle Pfeiffer’s character. “It would have that more aged, timeless quality of downtown Vegas, [and] it would have the income bracket of a Vegas that she would be comfortable in.”

More stories from our Aug. 20 issue

Actress Shelley Fabares, known for her television roles as Francine Webster on the 1975 sitcom “One Day at a Time,” Mary Stone on “The Donna Reed Show,” and her Billboard Hot 100 song “Johnny Angel,” died Sunday in Los Angeles surrounded by her loved ones. She was 82.

In a statement to The Times, a family friend shared the news of the star’s death.

“To her family and friends, Shelley was a source of love, strength, laughter, and comfort… whose warmth, generosity, humor, and grace made an enduring difference in the lives of everyone who knew her,” the statement read. “She had a remarkable ability to make people feel welcomed, valued, and cared for.”

The family did not disclose the cause of death.

Fabares was born in Santa Monica in 1944. She began her acting career at the age of 3 and became a household name playing teenager Mary Stone on “The Donna Reed Show” from 1958 to 1963. Fabares frequently praised her on-screen mother Donna Reed, calling her a “second mother.”

Fabares went on to star alongside Elvis Presley in three films: “Girl Happy,” “Spinout” and “Clambake.”

By the 1970s, Fabares transitioned back to television, starring in the 1971 TV drama “Brian’s Song” and appearing in “The Little People” and “The Practice.” She ended the decade on Norman Lear’s “One Day at a Time,” starring as Francine Webster opposite Bonnie Franklin.

Fabares later starred as Christine Armstrong on the ABC sitcom “Coach,” earning two Primetime Emmy nominations during the show’s nine-season run.

After her 1980 divorce from music producer Lou Adler, Fabares remarried “MASH” actor Mike Farrell in 1984. The pair eventually sold their Sherman Oaks honeymoon home they bought in 1985. They moved to Studio City to better accommodate Fabares’ mother, who was suffering from Alzheimer’s disease.

Fabares spent her final years taking care of her mother and advocating for more funding for research into the crippling disease.

She is survived by her husband and daughter, Erin.

Rugby star Joe Marler will soon be seen on screen, and in Lycra, as one of the formidable athletes taking on the challengers of the BBC gameshow Gladiators – where he will be known as Mauler

Rugby star Joe Marler has revealed his one request following his surprise casting as one of the resident champions on the BBC gameshow Gladiators. The 36-year-old rugby ace has seen his star power rise since appearing as a contestant on the first season of The Celebrity Traitors which aired on the Beeb last year.

And now Joe is to become a more permanent prime time star as one of the intimidating athletes on Gladiators – taking on the mantle of Mauler; a pun on his last name. Gladiators originally ran from 1992 until 2000 on ITV and was revived by the BBC in 2024 with Bradley Walsh and his son Barney as hosts.

The show is due to return for a fourth season in early 2027 – with cameras expected to start rolling before the end of this year. While Joe’s involvement was revealed last month and now he has explained that he feels he needs a bit more time to get fighting fit before squeezing into his Lycra outfit – and asked for a less revealing look.

He told The Sunday People’s Love Sunday magazine: “My kids love it, particularly my youngest boy. [I was at Soccer Aid with my family.] We walked past Nitro and he says, ‘Daddy, it’s Nitro!’

“He walked over like, ‘Hi, Nitro.’ And I’m like, ‘What? Who is this? You barely say hello to family members, but you’ve gone straight up to Nitro.’ So when the call came in to say, ‘We’d like you to be a Gladiator if you fancy it,’ it was a definite yes.”

The Rugby legend revealed he requested to be the first Gladiator to wear baggy clothes- which will contradict with the tight outfits Gladiators are known to wear and the show creators quickly shut him down.

He then added: “I’m going to need a little bit of time to get as close to Gladiator-ready as possible.”

His involvement was announced by the BBC earlier this month as they prepare to begin filming the 2027 season. A statement declared: “Trading the rugby pitch for the iconic Gladiators arena, Marler will join the epic Gladiators in battle, introducing fans and audiences alike to his new identity – Mauler.

“Mauler, the Gladiator, will make his debut across series 4, where he’ll go head-to-head with some of the Contenders in special appearances packed with power, personality and plenty of surprises.”

And the bulletin added: “Known for his uncompromising style of play and larger-than-life sense of humour, Joe has built a reputation as one of the UK’s most entertaining sporting personalities. Now, he’s taking on an entirely new challenge as he joins the ranks of the Gladiators, bringing his trademark physicality and competitive spirit to one of television’s toughest arenas.”

As well as being a star of rugby, Celebrity Traitors, and now Gladiators, Joe is also the host of a popular podcast titled Joe Marler Will See You Now. A recent guest was Prince Harry – which drew chuckles as the host and Prince discussed their daily grooming routines.

Joe, however, later revealed he suffered a backlash for inviting the Prince onto his podcast – which he co-hosts with comedian Jake Bhardwaj. He told The Mirror+: “We put some prep in but it crept up on us and I was nervous, thinking about the whole thing and also the polarising public opinion of it.

“Jake just said, ‘Calm down and think about what we want to achieve from having him as a guest.’ I knew I liked him. I was Team Harry, if there were teams or whatever.”

He added: “I knew that there would be some level of backlash to whatever question or whatever answer he gave.

“But I didn’t want that to stop me and Jake from being genuine and in the moment. I wanted him and us to be present and to have the experience. I didn’t want to overthink things or not ask a particular question because of how it might be received. But the level of vitriol that comes with him, the social media backlash… What is the matter with some people?”

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

Dogs Behaving (Very) Badly expert Graeme Hall is one of the 2026 Strictly Come Dancing contestants – who was a keen dancer away from his job on-screen until a stroke derailed his hopes

Strictly Come Dancing contestant Graeme Hall has revealed he was previously forced to quit dancing after doctors discovered a hole in his heart. The 59-year-old TV star received his shock diagnosis after initially suffering a stroke – with doctors making the diagnosis after he was rushed to hospital.

Graeme – who is a dog trainer on the hit Channel 5 series Dogs Behaving (Very) Badly – feared he would never be able to dance again, but is now thrilled to be taking part in the 2026 season of the long-running BBC reality contest. While he is not a fully trained dancer, Graeme got a taste for the art form after taking part in an amateur competition over a decade ago.

He went on to compete regionally before his health emergency forced him to give up his dancing shoes. Fans will soon be able to see him take to the dancefloor on Strictly when the show returns for its twenty-fourth series with a launch show set to broadcast in September 2026.

Speaking about his past health issues ahead of the new season, Graeme told The Sun: I’d done a local competition called Strictly Northampton in 2012 and loved it so much that I carried it on as a hobby. I started taking part in regional events in church halls and community centres but I had to give up because I had a stroke in 2019.”

He revealed that doctors then found a hole in his heart, which was quickly operated on and the Channel 5 star began his road to recovery. He added: “I was out of action for quite a while and I thought it had brought an end to my dancing.

“I’m fine now but I had to put my dance bag away — now I’ve got it out of the loft and there’s all my kit and practice trousers so I will be using those soon. But if you’d told me in 2019 that I was going to be taking part in the show I would have dismissed you as a fantasist.”

Graeme’s involvement in the 2026 season of Strictly was announced earlier this month – and he shared his excitement over being included when his casting was revealed.

He declared: “I can’t believe I am joining the cast of Strictly for 2026. I have always loved dancing, so to have the opportunity to learn from the best in the business is a dream come true.”

He added: “I have watched the show for years, so to be a part of it feels like a very exciting challenge, albeit more than a bit nerve-wracking! I can’t wait to get started. Bring it on.”

He joins a varied cast of co-stars for the 2026 season which ranges to include Australian pop sensation Delta Goodrem to social media hairdresser Chris Appleton.

EastEnders icon Lacey Turner – known to millions as Stacey slater – and House of the Dragon actress Bethany Antonia – known to even more millions the world over as Lady Baela Targaryen – will also be taking part. While Big Brother presenter Will Best, Emmerdale actor Lawrence Robb, and footballer Shaun Wright-Phillips are also among the contestants.

Fans of Strictly will find a revamped show when it returns next week as long-running hosts Claudia Winkleman and Tess Daly have been replaced by a trio of new hosts. Presenting Emma Willis, comedian Josh Widdicombe, and former dancefloor professional Johannes Radebe will be co-hosting the show.

As news of the new presenting line-up emerged earlier this year, Emma declared: “To be stepping into the Strictly ballroom is something I can’t quite comprehend.” While Josh added he was: “giddy with excitement, honoured and a little overawed to be given the chance to step into the biggest shoes in television”.

And Strictly pro Johannes – who danced professionally on the series from 2018 through 2025 – said returning to the series as a new presenter was “beyond anything I ever imagined”. The 2026 season of Strictly is expected to begin airing in September.

As for the judges – Shirley Ballas, Anton Du Beke, Motsi Mabuse and Craig Revel Horwood have all been confirmed as returning as their seats to preside over all the toe tapping action which will receive marks out of 10 from each expert. The 2026 season of Strictly is expected to begin airing in September.

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

In this week’s episode of The Envelope podcast, the Welsh actor joins The Envelope for a conversation about his Emmy-nominated roles in “Widow’s Bay” and “The Beast in Me.”

Kelvin Washington: Hello, and welcome to this week’s episode of The Envelope. Kelvin Washington, Yvonne Villarreal and Mark Olsen here. We’ve been talking about it now for the last couple of weeks, but we’re less than a month away from the Emmys. Mariska Hargitay is gonna be the host. I’m looking forward to that because who’s living a better life than her? She’s nominated, of course. She’s hosting. And her Knicks won the NBA championship — she’s at this point an honorary Knick. I mean, it’s like she’s on the team.

Yvonne Villarreal: And she went to the Taylor Swift wedding.

Washington: That’s a good point.

Villarreal: Don’t forget that. And starring on Broadway.

Washington: So she is living her best life, yeah.

Villarreal: She’s living a better life than I am.

Washington: So I’m going to answer the question first. I’m gonna ask you, what are you looking forward to [at the Emmys]? Maybe some things you’re excited for. For me, it’s just seeing this culmination of all these things for her and just having a big moment there. I think she’s gonna own that space and I think everybody’s gonna enjoy it as well. What are you looking forward to?

Villarreal: I’m really, really excited to see my beloved Philip and Elizabeth Jennings as nominees — Matthew Rhys and Keri Russell. Not to be parasocial, but I just love that they’re both nominated. I just want a magical night for them both.

Mark Olsen: I don’t want to be a bring-down bummer here, but, you know, I find that the Emmys in particular, even more than the Oscars, kind of play favorites, and the same winners can happen again and again. It’s not as bad as it may once have been, but I’m always rooting for new blood, first-time nominees, people that it’s exciting to see them kind of get this platform. So nothing against your beloved, but I would be excited to see an underdog or somebody kind of an outsider. Say, for example, the rest of the cast of “Widow’s Bay,” which as you’ve said before, really came out of nowhere, [and] it’s become a bit of a favorite this season. And there’s some other performers there, Dale Dickey, Stephen Root, Kate O’Flynn, and I think any of them winning would be really exciting.

Villarreal: I won’t argue with that.

Washington: I was waiting on an argument.

Villarreal: We fight off camera.

Washington: And by the way, Mark, I mean, can good be good? Or great be great? If I’m great 10 years in a row, can I just be great 10 years in a row and win? You’re putting limitations on my victories.

Olsen: Yeah, but at some point, your shelf is full.

Washington: That’s true. Don’t worry about what’s going on in my mantle, all right?

That being said, we got Matthew Rhys, who you had a chance to speak to. Double nominee here, “Widow’s Bay” and “The Beast in Me.” Tell me a little bit more about your conversation.

Olsen: Just a rare double nominee, lead actor in a comedy series with “Widow’s Bay,” and then lead actor in a limited or anthology series or movie with “The Beast in Me.” And I think what’s exciting here is that these are just two very different performances. He’s this manipulative, maybe psychopathic real estate developer in “The Beast in Me,” and then this kind of harried, put-upon single dad and mayor of a small, cursed New England island in “Widow’s Bay,” and I think both of these roles show new sides of Matthew to audiences. But then when you take them together, it just feels like something else entirely.

Washington: All right, well let’s take a look. It’s M&M — Matthew and Mark — here now.

Matthew Rhys.

(Ebru Yildiz / For The Times)

Mark Olsen: For the Los Angeles Times and The Envelope, I’m Mark Olsen. I’m here today with Matthew Rhys, who is nominated for an Emmy for lead actor in a comedy series for “Widow’s Bay” [and] lead actor in a limited or anthology series [or movie] for “The Beast in Me,” and another nomination as executive producer on “Widow’s Bay.”

Matthew Rhys: I forgot about the executive producer part. It’s an exciting time.

Olsen: And now being nominated for these two performances, which are very different performances —

Rhys: [whispers] They’re not really.

Olsen: Now tell me about that. You don’t think they are?

Rhys: Look, I think I was about to speak for a number of actors and I shouldn’t. I can only speak for myself. Sometimes there’s seemingly or feels like there’s very little difference in them. I’m not, I don’t pretend to be an enormously transformative actor, hunting for the “chameleon” praise.

Olsen: But do you consider yourself versatile? It’s so interesting to me to hear you say you don’t see these roles as that different.

Rhys: I wouldn’t say I’m versatile in that chameleon-like way or transformative way, I just try to work from a place… We’re already into it.

Olsen: That’s what we’re here for.

Rhys: I know. It always makes me nauseous. I do try to live in a place that feels real to me and that what we talk about, working from your center. So when I move away from that, things start to feel insincere, so I tend not to.

Olsen: With “Widow’s Bay,” a lot of the coverage around it has been talking about how it’s been a real surprise hit. And I’m just wondering, what is it that you think that audiences are responding to?

Rhys: You know, timing is everything. I do think there was a place that was ready for “Widow’s Bay,” whereby nothing of the sort had been around for a while. You hadn’t had “Twin Peaks,” although we were kind of slightly “The Office,” “Twin Peaks,” sprinkling of “Northern Exposure” maybe, but nothing I think of that sort had been for a while. So I think people were just ready for something different, and then we’re certainly different.

Olsen: Betty Gilpin, your co-star on the show, she is also a nominee, in a recent interview said that she feels like it’s as if audiences are rejecting this idea of a really sort of safe, algorithm-approved show. And do you feel the same?

Rhys: Absolutely, and it’s wildly refreshing to know that people are going, “No, we want something different. And we are intelligent enough to deal with it. So give it to us.” And that I found very, very inspiring, very encouraging — that television and film should be pushing itself continually for that original material and not relying on remakes.

Olsen: When did you realize that the show was connecting in the way that it is? I’ve seen in some other interviews you say that even when you were shooting it, you weren’t totally sure, didn’t totally think that it would connect with people.

Rhys: No, none of us — a lot of us were like, “Are we getting the tone right? Is this right? Is this going to work?” It was a swing. It was an absolute swing. A kind of beautiful one, nonetheless. But we were all concerned — not concerned, maybe just intrigued — as to how it would be received. And it was a little bit more word of mouth. Friends were saying, “Oh, I’ve seen your show.” And then throughout my career, it’s probably the job I’ve been stopped most for. And I’m not saying that happens often. But at least twice I’ve been stopped for it. So that’s been refreshing.

Olsen: And people are really talking a lot about this mix of tones. It’s a horror-comedy that’s both very much funny and scary. What was the challenge of getting that mix right?

Rhys: Making both real, ultimately. I know that sounds very obvious and stupid, but it’s true. And also Katie Dippold spoke to this, the creator and writer, where she said she kind of thought one can almost relieve the other. When there’s incredible tension from horror, when the laugh comes in, it’s almost a big laugh because it’s the relief of being allowed to laugh. So she says sometimes that can pay off in a way. It’s much harder the other way around, but it also works the other way around where you catch an audience off guard because they’re laughing and then you hit them with horror. So I think both bizarrely can help each other.

Olsen: I’m thinking about something like the episode that’s mostly on a boat, that gets very sort of slapstick-y at moments, but then there’s still something very terrifying about what’s happening there.

Rhys: Yes, we’ve hit the nail on the head. That kind of tone I found very hard. There are these borderline farcical moments of wrestling with a man who’s 400 years old and it becoming kind of very comedic physically and yet it has to remain that there’s this element of danger or threat that’s very real and palpable. And so those are the moments you try and ground in a way so that the extreme elements can also live in a real place.

Olsen: Because you mentioned a man who’s 400 years old, the mythology of the show gets more complicated as it goes along, right up until the very last episode. Were there moments where you had to sort of step aside and ask people to explain it to you?

Rhys: No, because I think the chronology is laid out beautifully throughout the series and you’re kind of led in a way where it unfolds very organically. So I was very relieved that to be the case that there’s no kind of, “Wait, where are we? What’s, who’s this?” So that I thought was kind of beautifully executed. And because of that, because of the detail in the backstory, then the story I think pays off far greater.

Olsen: The final episode really lands it so well as far as being both funny and scary and also the way that it sets up a next season, which happily is happening. The finale promises even more murder and mayhem for Season 2. I know the writers room is already hard at work. Do you have any insights on what at least you would like to see happen?

Rhys: No, I’m desperately intrigued as to what she has in mind because I wouldn’t have the first clue as to where to start Season 2. I’m very assured that the warped mind of Katie Dippold will helm us into a giddy storm.

Olsen: One thing I have to ask about “Widow’s Bay” is simply, in preparing to play this small-town mayor who’s very concerned about tourist season, did you refer at all to maybe the most famous other small-town mayor played by Murray Hamilton in “Jaws”?

Rhys: Well, I would like to say yes because “Jaws” is an enormous favorite of mine, but he’s a very different mayor, if you look at his mayor. He’s very assured. He gets a little frustrated with Brody, but he’s not that kind of cortisol-burning, wild-eyed panic that Tom Loftis is. He is far more assured of what he should be doing for the municipality than Tom is. I even said at one point, I said, “Can we get away with the jacket, you know, the anchor jacket?” And they were like, no, because that would be too obvious.

Olsen: I like that you had the impulse.

Rhys: A lot of my performances have some reference to “Jaws,” regardless of the piece, because I’m usually Quint. So I was very upset in the boat scene you referenced when obviously myself, Stephen Root and Hamish Linklater sat around and said, OK, Stephen Root, you are obviously Quint, what does that make Hamish and myself? Who’s [Richard] Dreyfuss and who’s Roy Scheider in this? And Hamish went, “Well, I’m Dreyfuss.” I was like, “I am not Brody.” They’re like, “You’re wearing the life jacket. Of course you’re Brody!” This is the kind of thing actors talk about.

Olsen: But you weren’t happy with that?

Rhys: I’ve always wanted to be Quint. I love Brody, but my heart lies with Quint

Olsen: Now, I came to realize that “Brothers and Sisters,” it goes back 20 years now that you were on that show. And I’m just so curious, working steadily in TV for 20 years now, how has the job of being an actor on TV changed in that time?

Rhys: I don’t think it’s changed, per se. From a personal point of view, it’s been incredible to play the wide variety that I’ve been allowed to. I think the scope of television has changed wildly in 20 years and the length and breadth of the variety there is kind of remarkable at times. And sometimes you wonder if it’s sustainable. If anything, it’s offered more opportunities, I think, for actors, but the kind of core fundamentals I think are still the same.

Olsen: Do you yourself watch a lot of TV?

Rhys: Yes, yes. I never watch myself, but yes. I tend to lean towards more documentaries than anything else. Fiction, I’m always like, “Oh, that’s the day job.”

Olsen: Because I know you’ve talked a lot about your interest in boats, and is there a lot of boats-and-restoration content out there?

Rhys: What, fiction or documentary-wise?

Olsen: I wonder what your algorithm is like.

Rhys: I don’t do much with Instagram but my algorithm is generally older men showing you how to kind of spile a garboard plank next to a keel, things like that.

Olsen: And are there a lot of documentaries about boats and restoration?

Rhys: There’s a lot on YouTube, none of which really hold your attention. What I think is like, where is the kind of “Chef’s Table” of boat restoration? That’s what I’m waiting for.

Olsen: I think you maybe have to be the one to make that show.

Rhys: I might have to, but I worry about the breadth of audience we’d have there. Or how to make boat restoration interesting to the masses. Therein lies the challenge.

Olsen: Well, they say niche markets sometimes …

Rhys: You can capture a zeitgeist moment.

Olsen: With your work on television, you have a really strong track record between “Brothers and Sisters,” “The Americans,” “Perry Mason,” now with “Widow’s Bay,” and also with “The Beast in Me.” For you, what goes into choosing a role?

Rhys: This is the real luxury of having a degree of choice. It’s not always choice, but more often than not, a project comes along that I’ll read and there’ll be a number of things. I’ll be like, “Ooh, I’ve never done it.” Like “Widow’s Bay,” I read it and I went, “The scripts are fantastic and I have never done anything like this in my life.” “Beast in Me,” the same, the writing’s so strong, but also that role is something I’d never done before. And the same, obviously, for “The Americans” and “Brothers and Sisters.” So if there’s an opportunity to try something very new, to me, it’s the ultimate luxury. And so that’s been a real driving force. And strong stories, the want of knowing how it ends, just simple storytelling.

Olsen: Do you find that your instincts have changed over the years? Are you looking for the same things that you feel like you were when you were starting in television 20 years ago?

Rhys: No, not necessarily. I always wanted, if I was fortunate enough, to do something that would challenge me, that would push me, that I hadn’t done, that’d scare me, that’d make me nervous every day on set, which a lot of these projects have done. I thought that would be all that I’d want.

Olsen: Because your character in “The Beast in Me,” again, I have to come back to this idea that you think these two roles are kind of similar, because your character on “The Beast in Me” seems so self-assured, like he has a confidence that Loftis does not have.

Rhys: Yes, that is very true and it was the observation of the wealthy that kind of led me there and especially uber-wealth, where there’s a real assurance of not having to try almost because there’s no need and this innate feeling that you will absolutely get your own way and people will bend to your will purely because of wealth.

Olsen: And now playing that role, getting a little taste of that, like, is that a nice place?

Rhys: What, self-assured?

Olsen: Is that a good position to be in, that people do what you want.

Rhys: Oh, I’m sure it’s great. I’ve never tasted it. It’s something I aspire to by the hour. And being riddled with all the cliched insecurities that every other actor, when you’re playing it, you go, “God, this feels great. To not even have to try with people must be so wonderful.” I’ve no desire to kind of glean the kind of affirmation from the person I’m talking to. Almost quite the opposite.

Olsen: “Widow’s Bay” has such a big ensemble, and then in “The Beast in Me,” really most of your scenes are just you and Claire Danes in this series of escalating conversations. Did you like that distinction? For “The Beast in Me,” did you like the pared-back intimacy of those scenes that the two of you have?

Rhys: Absolutely. I think that was the big draw of the piece, these two people who are kind of, they’re like two magnets in a way, they’re so drawn, they are so repulsed, they’re kind of images of each other’s shadow self, they see so much of each other while [being] polarizingly different. That to me was part of the great draw of that piece, with these two people and how they connected or seemingly didn’t.

Olsen: I don’t think you’ve worked with Claire Danes before?

Rhys: Prior to that, no.

Olsen: Because just in a practical sense, what is it like for two actors when you have so many of your scenes together? Like you sort of have to feel out not only how the characters are, but also how you as performers, as work colleagues, get through the day. What is that process like?

Rhys: I mean, look, with Claire, having known and watched her body of work, [I knew] she’s like a powerhouse and kind of brings that to set. And from day one of rehearsals, I kind of sat up and went, “Oh God, right, come on, let’s focus here,” because she has that laser that is on a switch. And when it’s switched, it’s on. And woe betide you if you haven’t prepared as well as she has. So that was very quick. The ascent of going, “Right, yes, A-game at all times, please.” Which is fantastic. It’s everything you want in a scene partner. It’s someone who kind of scares you and kind of raises your game and demands, you know, a kind of a better tennis game, although I’ve never played tennis. I’m sure it’s great.

Olsen: Do you feel like you’re that kind of actor too?

Rhys: No. I’m the one making fart jokes and then kind of going, “Will you concentrate?” I don’t think I have that kind of prowess, that kind of switch [that] is so alarmingly kind of night and day. I creak into it.

Olsen: Because there’s an intensity to your performance here. I mean, it goes big at times, there’s the “Psycho Killer” dance —

Rhys: The Achilles’ heel. I begged them to remove that scene because anywhere I see the scene direction “He dances” or “[Character] dances,” I can taste the vomit in my own mouth.

Olsen: And now did you choreograph that ahead of time?

Rhys: Nope, I just went for it. In fact a very charming woman came up to me on the street and she goes, “I love ‘The Beast in Me’ and I loved how camp your dancing was.” And I went, “Oh, it wasn’t meant to be necessarily camp.” Well, clearly it was to her. And also playing drunk, drunk and dancing, I was like, “Oh, some vicious planets are aligning.”

Olsen: And do you have a trick to drunk acting?

Rhys: Yes, I get drunk. It’s a very simple trick that most actors overlook. You just drink and then you’re drunk. The only time I venture into Method acting.

Olsen: But then about how many takes do you have in you?

Rhys: Two. No, no, I didn’t get drunk. I got tipsy. No, no it’s very different. It’s hard, it’s hard. That’s always a hard one because also we shot that over the entire day. So it started at like 8 a.m.And to be perfectly honest, sometimes you’ll do a take and it’s like, the drunk acting is too apparent. Let’s bring it back. Claire Danes nailed drunk acting from take one. And I was like, god— it! I mean, she’s done it again.

Olsen: And then also the chicken scene, how many chickens did you have to eat?

Rhys: I come into my own. Eating on screen is not and never has been a problem for me. I will take down any amount of food and I will not ask for a spit bucket. They were like, “Oh, we have a spit bucket.” I think, “No, I’m not spitting up perfectly good chicken” — and it was really good chicken. I think I went through about three chickens. What I loved about that scene, and this is what I love about all good writing, is when a brief element, usually it’s wordless, can say so much about a character or what the character is trying to do to the person in the room through a very simple action. So I loved that from what it did in that moment. He’s doing it overtly to try and intimidate her. It’s something which says so much about him and the way he does it, I thought it was an incredibly beautiful and shrewd piece of writing.

Olsen: Over the course of the series, how did you modulate how crazy to seem?

Rhys: Because it’s kind of present from the get-go. And that was a heavy reliance on the directors. We had some incredible directors on that. Antonio Campos, who kind of began and ended us, we had a little bit of a dial, and he was like, “Bring it back a bit” or “I think it needs a little more.” He was very good at truly kind of conducting in that moment. And we had the luxury of being able to do a few takes where he’s like, “Bring it up a bit” or, “OK, that’s good, let’s take it down a bit.”

Olsen: Were you happy with how that ended up?

Rhys: I don’t watch it. I haven’t watched myself in about 10 years. I get stuck on the wrong things. I become too concerned about the way I use my hands or how strange my walk is or the weird kind of idiosyncrasy of my mouth. So then when I’m doing it next, I’m like, “I am not going to do anything with my hands and I’m going to change my walk.” And then the director is like, “What is wrong with your walk and why are you sitting on your hands?” So I tend not to watch myself.

Olsen: You said 10 years ago. Did something really make you be like, “I’m not doing that anymore?”

Rhys: In fairness, it was more than 10 years ago. It was “Brothers and Sisters.” I started watching that and I was like, “Oh my God. Why has no one said anything? Look at my posture.” And then you become obsessed with sitting with better posture. And then everyone’s like, “Why are you sitting weirdly?” I was never clever enough to take from it a kind of positive critical foundation. I was taking the wrong things, usually physically attributed, that would get in my head when I was acting. And then that’s all I could think about while I was doing it, and I was on a road to ruin.

Olsen: So often you’re doing an American accent or a voice that is not your own and I know for myself I feel like I wouldn’t be able to think about anything but that, that’s all I would be able think about while I was performing.

Rhys: The accent is strange because I think in one way such an enormous part of my head is always working on the next sound to come out of my mouth. I think it stops you in a way from kind of acting, if that makes sense. It takes the self-conscious element out of you because you’re so busy working on something else. My acting teacher from drama school would always say, “Give yourself something to do to stop yourself acting.” It’s like you’re spending so much time thinking about the way you sound, it can relax you in a different way because you’re not thinking about acting.

Olsen: And then is it also a big challenge for you to try to make different American accents? How hard is it for you to do those different American sounds?

Rhys: It depends on the accent. I mean, sometimes the more extreme sounds are easier to hook into, like, you know, the Southern states or Boston or New York. Then you get, you know, California’s kind of softer, so it’s harder. It doesn’t have that extreme hook to find. And then there are just simply words in the American dialect that can take me down, like “murderer” or “world,” sometimes “girl” is tricky. But “murderer.” Which is unfortunate, because I played lawyers, spies who kill people. I’ve had to say it a lot. So I always go, “Can I say ‘killer’?” I just sound like I run out of battery.

Olsen: Do you find that living in America, has it helped you?

Rhys: Oh, without question, because going into a job, a couple of weeks before, I’ll be doing it — not at home, because it drives the kids crazy. They’re like, “He sounds so fake.” And then they’re like “Oh, here he is, he’s doing that again.” I’m like, “I’m not Dick Van Dyke, so I don’t know who you’re impersonating.” So yeah, you can go into the bodega and pretend to be American.

Olsen: On the day that Emmy nominations were announced, you did an interview with my colleague, Yvonne Villarreal, and you told her that you were meeting your partner, Keri Russell, also an Emmy nominee, at a mystery location. Would you mind completing that story? Where did you go?

Rhys: We went to the U.N. No, we didn’t, but I wish I could say that. We went to the Armory in New York with, oh God, I can’t remember the name of the exhibition. It was an incredible exhibition where three enormous tanks of water were filled with water and ceramic bowls and a current was introduced and then these ceramic bowls would clank into each other to make different noises in this incredible space. It was wondrous. Now, if the artist, for some unknown reason, watches this and goes, “I can’t believe he didn’t remember my name or the name of the exhibition,” I apologize profusely. But it was incredible.

Olsen: That sounds like a great way to spend the day.

Rhys: Yeah, it was. It was fantastic. And then we had a great dinner and celebrated and said, you know, “This is the high point, it’s downhill from here on out.”

Olsen: Well, the two of you were recently referred to as television’s first couple.

Rhys: I said that.

Olsen: And I’m wondering, I can only imagine you don’t walk around thinking of yourself —

Rhys: Oh, no, I do. I have a badge and a T-shirt, but no one believes me.

Olsen: But what does that make you think of when you hear yourselves referred to in that way?

Rhys: It kind of makes me laugh. You go, “Oh, God.” And also — and I hate to sound like I’m some bitter old fool, but I am — we’ve done it a long time. We’re of a certain age. You kind of know tomorrow there’s another first couple. So you go, “We’re today’s first couple, and it’s great. And we’ll take it and we’ll enjoy it.”

Olsen: Do you find, especially in the way that your personal and professional lives are intertwined, is it good that you have each other to keep yourselves in check?

Rhys: Yes, it also helps that you have a partner that fully understands what you do, because it’s a mad circus life and sometimes, you know, it’s hard, I think, for partners who don’t quite understand how crazy it is. So it is great in that respect that you fully understand what the other one is doing.

Olsen: And is that also part of where your interest in boats comes from? Is it something that’s totally separate?

Rhys: So she could kick me out of the house is why she bought me the boat.

Olsen: There’s something just totally separate from your work life.

Rhys: Absolutely, absolutely. And it’s something so other. … Opinions can vary so wildly, you know, critics can contradict each other in certain criticisms. The kind of more simple aspect, especially when I was restoring the boat, was that it felt a lot purer and simpler. That you can, at the end of the day, you look back at this piece of wood you’d be working on and go, “There we are, I did that.” And there’s no one saying, “Well, you could have done it this way.” You know what I mean? I always enjoyed the satisfaction it gave me in that sense.

Olsen: Wait, how many boats do you have?

Rhys: I only have one. She’s for sale, if anyone’s interested.

Olsen: Do you want to now find another boat to do this all over again?

Rhys: I don’t, because my wrists have given up. It was much harder than I thought it was going to be. It was an incredible journey, and it was kind of inspired by Hemingway, in a way, it was the same class of boat that he had. So I had all these giddy, kind of rose-tinted romantic notions of what I was doing until I was knee-deep in fiberglass, going, “Why did I think this was a good idea?”

The group exhibition “To Share a Stomach” is a bit like the children’s game Telephone, in which a phrase, whispered from person to person, inevitably comes out a bit garbled. Urgently conceived by curator Aram Moshayedi in March, on the heels of the latest U.S.-Israeli attacks on Iran, it features works envisioned by 25 Iranian artists that were fabricated with varying degrees of collaboration by 24 counterparts here in the U.S.

Hampered by significant internet blackouts, displacements and the loss of studios and artwork in Iran, as well as an extremely compressed timeline (just five months), the results are understandably rangy and uneven. Yet the show, now on view at the Brick through Sept. 19, is an achingly beautiful meditation on the difficulty of communication and the shared goodwill that intermittently, imperfectly, surmounts it.

Sina Ghadaksaz and John Ziqiang Wu, “What the Clouds Remember and the Mountains Forget,” 2026; Carmen Argote, “Aram’s sneakers: Mount Eynali,” August 6, 8–1030p.m., 2026; Mohammadreza Jahanshir, “Glory / 50904020,” 2026; Maryam Lashkari, Hodjat Salimi, and Oscar Tuazon, “Can You S…?,” 2026; Kelly Akashi and Mimi Amini with David Gutierrez, Matt Rademacher and Kazuki Takizawa, “The Anatomy of a Postponed Intent: The Glass Blade,” 2026; Fatemeh Kazemi and Olivia Mole, “The Conference of the Birds,” 2026, can be seen in the exhibition “To Share a Stomach,” at the Brick in Los Angeles.

(Ruben Diaz 2026)

None of the works address the recent bombardments directly, although the precarious context of ongoing threat, instability and struggle can be felt in almost all of them. Ducking into Maryam Lashkari, Hodjat Salimi and Oscar Tuazon’s interactive sculpture — an enormous cardboard tube lying on its side — feels like entering a culvert or a bomb shelter. Inside, one lies on a crude bed of felt blankets and dons a set of headphones; the sounds of jet planes, a party, conversations and emergency sirens are interspersed with an imperious voice reading a guided meditation on how to be present in one’s body during a bombing. The harsh realities of war are woven into the textures of everyday life, warping and fraying into something absurd. Viewers may scan a QR code for their own copy of the audio track, which deteriorates in sound quality with every download.

Slow disintegration also appears in a triptych of videos by Ismail Ghanbari (facilitated by Tala Madani but not credited as a collaboration). In the largest central one, we see Ghanbari holding two nearly destroyed boxing gloves as he explains how he trained so intensely for a performance in which he boxed for five hours that the gloves began to fall apart. Their tattered remnants, barely held together with patches and stitching, are poignant metaphors for a battered will that keeps fighting even as protections wear thin.

Vulnerability and violence also co-exist in Mimi Amini and Kelly Akashi’s collaboration: a sword made of clear glass. Hanging from the rafters, the tip of its blade points down ominously over viewers’ heads, emphasizing both the danger of the weapon and its fragility. If it fell, would it pierce one’s skull or shatter into bits? It exists suspended between latent violence and the risk of its own annihilation.

Fatemeh Kazemi and Olivia Mole, “The Conference of the Birds,” 2026; Fatemeh Kazemi, “What the Birds Did Not Tell Upon Their Return,” 2026, in the exhibit, “To Share a Stomach,” at the Brick in Los Angeles.

(Ruben Diaz 2026)

These impressions are responses to the works as they exist in the gallery, but the show has another layer, revealed in an accompanying booklet that reproduces the initial emails or texts from the Iranian artists to the curator. Interwoven with stories of life during wartime are proposals or instructions, allowing viewers to assess for themselves how much the works in the gallery reflect the artists’ original ideas. For example, the tube-bunker was initially envisioned as a “completely dark space” twinkling with a variety of malfunctioning countdown clocks. Ghanbari’s video appears in lieu of the gloves themselves, and Amini’s original digital rendering of the glass sword is much more detailed and intricate than the comparatively “low-res” version on view.

If we think of an artwork as an intentional, carefully wrought creation that comes directly from an artist, what are we to make of these incomplete, unfaithful interpretations? I was reminded of the reality TV show “Nailed It!,” in which amateur bakers fail spectacularly to reproduce complex cakes. I cackle at the distance between perfection and utter collapse, but I also feel a pang of tenderness: I am moved by their effort.

Artists, of course, are no strangers to things not going to plan. While the exhibit is enabled by the entwined ubiquity of the English language and the internet, the artists know these technologies aren’t transparent. Most of the Iranian artists left their instructions generously open-ended, inviting the interpretations and transmutations of their U.S. peers. In some cases, it seems the partners did not continue the conversation; whether due to disagreement, bombardment or government-imposed internet blackouts (described to chilling effect in an essay by Negar Karimkhani) is unclear. The U.S. artists were constrained by a very compressed timeline (and presumably budget and space) to fabricate and display the works. Even without these limitations, to hand over one’s vision to someone else, and conversely, to shoulder the responsibility for realizing it are both touching acts of trust.

Ali Ansari and Renée Petropoulos, “Between Entries”, 2026; Salman Khoshroo and Daid Roy, “Defensive Wall,” 2026; Ismail Ghanbari, “Proxy (Neyabati) 1,” “Proxy (Neyabati) 2,” “Proxy (Neyabati) 3,” 2026, on view as part of the exhibition, “To Share a Stomach,” at the Brick in Los Angeles.

(Ruben Diaz 2026)

Viewers must exert themselves a little too. Understanding who is responsible for what work and to what degree requires consulting a floor plan, a checklist and the booklet: an awkward juggling act that would have been eased by some wall labels. Still, as I shuffled papers, I became part of the buffering, incomplete chain of communication. As Amini wrote of the glass blade, “the perfection of this form is preserved only with the mental space shared between the conceptualizing artist and the interpreting artist.” I venture to add the viewer to that space, thinking of Yoko Ono’s instruction artworks (across town at the Broad) which short-circuit any physical acts of making to take shape only in our minds.

This kind of intimacy — thinking, envisioning, constructing together — is rare when it comes to American intersections with Iran. I was previously unfamiliar with the Iranian artists in the show, and I’m sure I missed many cultural and linguistic references in their works. My focus on pieces evoking violence predictably reflects my limited knowledge of Iran as other than a locus of U.S. antagonism (the result of a different information blackout).

Yet, “To Share a Stomach” lays down — gingerly, gently — an alternate connective thread, spun from a mutual recognition of fallibility. In his introductory essay, curator Moshayedi reveals that the show’s title is his mistranslation of the Farsi word for “empathy.” (The correct translation is “to share a heart.”) He goes on to confess that after many years’ study, he finally gave up on learning the language. We will never understand each other perfectly; I am still moved by the effort.

Some, ahem, “congratulations” are in order for Post Malone and his sweetheart Christy Lee.

The “Sunflower” rapper-turned-country singer is engaged to stylist Lee more than a year after sparking a romance. Lee’s close friend Marina Hollyer announced the engagement news Wednesday on her Instagram stories, captioning a photo of the newly betrothed pair with the caption: “My best friend in the world just got engaged.” Hollyer also shared photos of the couple and friends posing in front of a flower arch and at dinner, seemingly moments after the proposal. Per Hollyer’s Instagram page, Posty popped the question in Utah, where he currently resides.

A representative for the Grammy-nominated “Circles” musician did not immediately respond Thursday to The Times’ request for more information.

Post Malone, 31, reportedly began dating Lee at the beginning of 2025 after calling off an engagement with his then-longtime girlfriend, with whom he shares a 4-year-old daughter. The exes settled their custody battle in November but details about their agreement were sealed, People reported at the time.

This year has been an exciting one for the singer. In April he headlined the final night of the Stagecoach festival in Indio, and this summer he headlined the FIFA World Cup 2026 closing ceremony in New Jersey, debuting new music and performing the fan favorite hit “Sunflower” with Swae Lee on the global stage.

While he is still yet to wed, Malone is already celebrating a milestone anniversary. His popular 2016 mixtape “August 26” is celebrating its 10th year and will finally be available to stream on — surprise — Aug. 26, he announced last week.

Phoebe Dynevor has enjoyed a lavish hen with her family and friends at a £1,500-per-night London hotel.

The Bridgerton star, 31, was joined by her sister Hattie, 22, and Coronation Street star mum Sally, 63, ahead of her wedding to American actor Cameron Fuller.

Hattie shared a series of stunning photos to Instagram and captioned them: “Fuller love for Phoebe.”

In the snaps Phoebe looked stunning in a silver metallic mini-dress which she paired with strappy heels.

Waterloo Road actress Hattie also looked gorgeous in a pale pink mini dress and white vanity bag by Saint Laurent.

Their mother Sally, who has played Sally Metcalfe on Corrie since 1986, posed alongside her daughters in a stylish black dress.

bitter rift

How huge fallout with best pal risked Love Island star Harry Cooksley’s career

STRICTLY SLAM

‘He’s a monster’ – what Amanda Abbington really thinks of ‘sad’ Giovanni

The hen party stayed at five-star Broadwick Soho and her room was decorated with gold balloons and giant letters spelling out “Bride to Be.”

Personalised pink and cream wash bags were also laid out on beds for members of the party.

The ladies sat for dinner at Italian restaurant Nina in Marylebone and enjoyed a personalised menu for their special night.

It featured the restaurant’s £76-per-head set menu and was titled “Fuller love for Phoebe!!!”

The sharing menu included house focaccia with parmesan butter, taleggio arancini, bluefin tuna, yellowtail crudo, duck ragu bianco and cacio e pepe.

Also on offer was whole grilled seabass, chicken milanese and parmesan and truffle fries.

While, boozy tiramisu and stracciatella burnt cheesecake were the choices for dessert.

Phoebe has said the wedding will be this year but she has kept details of the nuptials largely private.

Cameron — the son of A Quiet Place and The Purge producer Bradley Fuller — is no stranger to the spotlight, yet he and Phoebe have been extremely private about their relationship.

And Phoebe’s mum is clearly a fan of Cameron as appearing on Loose Women in 2024, Sally told the panellist that she was “thrilled” about her daughter’s engagement and said Cameron was a “lovely man”.

The soap icon told the panel: “My daughter has just got engaged…

“He’s gorgeous, he’s such a lovely man. I’m so, so happy. I’m thrilled, it’s actually made my year.”

Phil McGraw’s longtime publicist has filed a lawsuit against the celebrity therapist, better known as Dr. Phil, on claims of wrongful termination and discrimination.

In a lawsuit filed Thursday in Los Angeles County Superior Court, Jerry Sharell said McGraw recruited him to continue working for him after he left CBS in 2023 and relocated to Dallas, where he planned to start his own television network, Merit Street Media.

But Sharell alleges in his complaint that he was “intentionally excluded” from the group of 20 employees who migrated to Texas because he is openly “homosexual,” and was later singled out before being put on hiatus.

The suit is the latest legal fight for McGraw. Last year his new network Merit Street filed for bankruptcy protection, a little more than a year after he launched the media startup, and then sued its distribution partner, Trinity Broadcasting Network.

Last fall, a federal bankruptcy judge ordered the network liquidated, finding evidence that McGraw deleted text messages to conceal plans favoring certain creditors over others.

At the time, a spokesperson for McGraw’s production company vigorously denied the accusation that he destroyed evidence and said he was appealing the ruling.

McGraw later launched Envoy Media, prompting accusations the bankruptcy was filed in bad faith specifically to escape creditors and fund his new venture, which he denied.

Chip Babcock, a lawyer representing Envoy Media, disputed Sharell’s allegations, calling the lawsuit “an effort to avoid a pending arbitration to which Sharell contractually agreed which he has now violated in a number of ways. The company and Dr. Phil will vigorously defend these claims,” in a statement to The Times.

“Jerry Sharell was put on hiatus over the summer as is common in this industry, especially with a media start up. He was not fired for any reason and certainly not because of his sexual orientation. These allegations against Envoy and Dr. Phil are made up out of whole cloth as he has a 25 year history of treating the LGBTQ+ communities with dignity and respect, including standing up for his guests who were attacked because of their sexual preferences.”

In his complaint, Sharell states that McGraw told him he would remain in California, saying, “you’re Hollywood.” However, the publicist said he came to the realization that “McGraw did not want him present in the building or attending meetings with TBN executives.”

Merit Street was a joint venture with the Trinity Broadcasting Network (TBN), the largest Christian-based network. Sharell said that he was given a copy of the Employee Handbook, and employees “were asked to sign a ‘Statement of Faith’ declaring their devotion to Jesus.”

Although he remained in L.A., starting in spring 2024 Sharell began traveling monthly to the Dallas headquarters of Merit Street, where he said many TBN employees now worked. During his first visit he alleged that a man known as “Pastor D” came weekly to pray with employees, leaving prayer cards on the desks of those who did not participate including that of Sharell’s.

Pastor D also led prayer services at an open house event for advertisers, prospective investors and media, that Sharell found “both disturbing and shocking, given he had never known Defendant McGraw to be overly religious,” according to the complaint.

During another visit, Sharell alleges that an IT employee noticed a photograph of Sharell while working on a staffer’s computer and said, “There’s too many of THEM around here. And it’s evil.”

While traveling on a private plane with McGraw, wife Robin McGraw and other individuals, Sharell claims he was answering emails and did not hear McGraw, who said, “Jeez, he’s gayer than a fruit basket and not listening.”

The publicist said that he worked for McGraw for 10 years until March 2026, “advancing, protecting, publicizing, protecting, and supporting” McGraw and his enterprises.

According to the suit, Sharell worked through the Merit Street bankruptcy and the subsequent establishment of Envoy Media, “receiving assignments and direction” from McGraw, dealing with executives and securing media placements among other duties.

After the company transitioned to Envoy Media, Sharell states in his lawsuit he went from being treated as an employee with benefits to being characterized as an independent contractor, losing his benefits, including health coverage and his compensation was reduced by 30%.

Sharell alleges that although his job remained the same, that he felt “compelled” to accept the new arrangement while under “a great deal of duress and stress,” during which he said he was “reminded” by Envoy Media Chief Executive Ken Solomon that McGraw valued “loyalty.”

Then, in March, Sharell received a call from Solomon informing him that his position was being put on “hiatus” due to “financial considerations,” even though no other employees were put in hiatus or had their salaries reduced.

He said he told Solomon that he felt he was “being singled out or targeted,” according to the lawsuit.

TWO huge British actors were seen singing and dancing along in a festival crowd this weekend as they cheered on a musical act on-stage.

The stars attempted to go incognito in baseball caps and shades at All Points East festival, with one of them there to support his pop-star wife.

Rose Gray belted out songs I Don’t Speak French and Club To Your Arms on the East Stage at the festival held in London’s Victoria Park.

And cheering her on from the crowd was none other than actor husband Harris Dickinson, joined by Irish heartthrob Paul Mescal.

The pair – who are both starring in the upcoming Beatles biopics – were unsuspectingly captured on camera by a fan, dancing and jumping up and down to the music.

Mescal, sported a white and green Gaelic football shirt with a black cap, while Harris donned a black t-shirt and a maroon hat.

GET BACK (HOME TO IRELAND)

Beatles film star Barry Keoghan’s brother booted from set

ABBEY RD RETURN

The Beatles’ famous Abbey Road crossing recreated for new biopic

The two appear to have formed a bond since filming on the four Beatles movies and enjoyed some downtime together in East London during the sunny weather.

Paul Mescal plays Paul McCartney in the Sam Mendes-directed films, with Harris Dickinson portraying John Lennon.

They’re joined by Oscar-nominated Barry Keoghan who plays drummer Ringo Starr, with Stranger Things star Joseph Quinn rounding out the quartet as George Harrison.

Harris and Rose quietly tied the knot this May, after the BabyGirl actor popped the question last spring.

The two, who are childhood sweethearts and met at school, wed at Islington Town Hall in London.

A source told The Sun at the time: “Harris and Rose’s ceremony was very Harris and Rose: cool, calm, low-key and full of love.

“They’re not at all showy despite being one of the hottest couples in town who get invited to all the best parties in town. This was for them and no-one else.”

MYLEENE Klass stuns as steps out in London showing off her toned legs in a figure-hugging mini dress.

The TV star, 48, was all smiles as she was snapped on her way to Smooth Radio following her glam appearance at a movie premiere this week.

The Hear’Say star wowed as she strutted down the sunny streets of London in a grey mini dress. 

The figure-hugging ensemble showed off the stars incredibly toned legs and natural curves. 

She styled the look with a pair of matching sandals, chic pair of sunglasses and Chanel handbag with a leopard print scarf attached. 

Myleene was all smiles opting to wear her blonde locks down and a bright red lip as she was snapped completing her coffee run and entering the Smooth Radio building.

READ MORE ON MYLEENE KLASS

THAT’S KLASS

Myleene Klass stuns in sheer dress with lookalike daughters Hero and Ava

cancer fright

Myleene Klass reveals ‘terrifying’ breast cancer scare after undergoing tests

The presenter put on an equally fierce display at The Dog Stars premiere this week alongside two lookalike daughters. 

The singer was spotted posing with her girls – Ava, 19, and 15-year-old Hero. 

Myleene opted for a sleeveless white dress that flashed her legs and bum.

Meanwhile, her daughters went for polar opposite vibes with Hero donning a full length black gown and Ava in a backless cream number.

They cuddled up to their famous mum on the carpet and were seen smiling for the cameras.

Myleene shares the girls with her ex-husband Graham Quinn, whom she split from back in 2012.

The 48-year-old later went on to have son Apollo, three, with her now fiancée Simon Motson.

Myleene met Simon in 2015 after being set up on a blind date by her pal.

They got engaged six years ago but are still yet to tie the knot.

Her daughter Ava is currently studying at University after winning a place at the Royal Academy of Music.

Myleene previously said: “She [Ava] has done the piano for eight hours a day, she went to the Royal Academy of Music, she had to audition, they didn’t just say ‘Myleene Klass‘s daughter is showing up, give her a place’, she had to audition, and that’s the point.

“You could call my children nepo babies all day long but they can play Rachmaninoff concertos like the best of them.”

Myleene confessed last year that both her daughter have weekend jobs as she was keen to instill in them the importance of earning their own money.

The former popstar added that she knows her kids are now equipped with the necessary skills to make their own way as adults.

For more than a decade, Los Angeles’ premier sports teams — the Lakers and the Dodgers — have relied on big-ticket TV rights deals to boost their operations and player payrolls.

But major changes are looming.

The prospective new Lakers owners — investor Joshua Kushner and former Walt Disney Co. chief executive Bob Iger — will inherit an uncertain long-term television picture for the team when they assume control of the storied franchise.

Charter Communications’ Spectrum service broadcasts Lakers games on its SportsNet cable channel. The Lakers are set this fall to enter the 15th year of their long-term, $3-billion agreement with the cable company to bring regular season action to local viewers.

But Charter executives have discussed exiting that relationship, which guarantees the team about $200 million a year in revenue, according to people familiar with the company’s plans who were not authorized to comment.

Charter months ago retained investment bankers to find a buyer for El Segundo-based Spectrum SportsNet, which the company runs in tandem with the Dodgers-owned channel, SportsNet LA.

Charter’s interest in jettisoning the channel as fewer consumers watch cable TV has sparked fears within the Lakers organization about the stability of the critical revenue stream, according to a person familiar with the situation who was not authorized to speak publicly.

The Lakers and Kushner’s investment firm, Thrive Capital, declined to comment.

Stamford, Conn.-based Charter on Thursday finalized its $34.5-billion purchase of Cox Communications, making Spectrum the dominant internet and television provider in Southern California, covering Santa Barbara to the Mexican border.

In response to questions from The Times, Charter Chief Executive Chris Winfrey acknowledged the turmoil surrounding sports channels.

“The regional sports network business is significantly challenged,” Winfrey said during a Thursday conference call with reporters to highlight the Cox merger. “Most of the regional sports networks have gone bankrupt [but] Spectrum has so far remained committed.”

The company is seeking a new arrangement, but Winfrey declined to discuss ongoing conversations with the Lakers or the team’s potential proprietors after Lakers owner Mark Walter, who is facing a federal criminal investigation, abruptly decided to sell the team in a deal valued at $12.5 billion. A spokesperson for Walter and his holding company has stated that they are cooperating with authorities and expect the matter to be resolved “favorably.”

Spectrum, Winfrey said, “would love to find solutions” to make its relationship with the Dodgers and Lakers more acceptable. Over the years, the company has bled hundreds of millions of dollars providing the L.A. sports channels.

“We believe in the local teams, the Lakers and the Dodgers,” Winfrey said. “It’s very important to us. It’s very important to our customers — but that doesn’t mean that it’s a great economic agreement with us.”

The Lakers’ TV contract runs through 2032. The Dodgers’ arrangement with Spectrum extends to 2038, but clouds have been gathering for years as consumers find new ways to watch sports.

Millions of consumers over the last decade have migrated from pricey packages offered by Spectrum and other cable companies to lower-cost streaming options. Spiraling monthly cable bills — largely driven by increases in sports rights fees — have made cable TV less attractive to ordinary subscribers.

A pedestrian walks past Spectrum SportsNet in El Segundo on Aug. 13.

(Genaro Molina / Los Angeles Times)

Cable TV audiences are shrinking and major sports leagues, including the NBA, recognize the younger viewers they desperately want to reach primarily get their entertainment on apps. Broken TV economics have prompted the NBA to begin making plans to build a centralized streaming platform for fans to watch basketball.

“It’s mostly the result of cord-cutting and just fewer homes receiving these networks,” said Scott Robson, a principal analyst with S&P Global Market Intelligence. “The league [would like] to create a centralized streaming hub and bring all 29 domestic clubs under one umbrella, whether that be through YouTube or some other streaming partner.”

But such plans could mean sharing revenue among the various teams, which could mean less money for large-market clubs such as the Lakers and world-champion New York Knicks, which benefit from their lucrative local TV contracts.

Earlier this year, Main Street Sports Group alerted the NBA, National Hockey League and Major League Baseball that it would cease operations, leaving teams scrambling to cobble together TV coverage for their games.

The group operated FanDuel-branded channels (previously Bally Sports) following the 2023 Chapter 11 bankruptcy reorganization of Diamond Sports Group. Those channels have long featured Clippers and Kings games.

Pressure was lifted off the NBA when the league struck its latest round of national TV contracts — $77 billion worth of deals that, beginning last fall, spread basketball games across ESPN, ABC, Amazon Prime Video, NBC and NBCUniversal’s Peacock streaming service.

The current NBA contracts “provided more money than the previous deal, and as a result, the teams rely less on the local rights payments than they have in the past,” Robson said.

Headwinds for the local sports channels, including those operated by Spectrum, pose the latest rocky chapter for Los Angeles sports fans.

It’s a reversal of fortune from a quarter-century ago, when media giants, including Rupert Murdoch’s Fox, recognized there were huge profits to be made by launching regional sports networks.

Murdoch even owned the Dodgers for a stretch to corner the market on what was then a Wild West shoot-out among TV programmers to launch cable channels.

Charter’s predecessor, Time Warner Cable, wanted in on the action. In 2011, former Time Warner Cable executives hammered out the 20-year agreement with the Lakers, then owned by the late Jerry Buss. Two years later, Time Warner doled out an even richer $8.3-billion deal to the Dodgers, which at the time were under new ownership — Walter and his partners with Guggenheim Baseball Management.

The fees were so steep that other pay-TV providers, including Cox, Dish Network and, for many years, DirecTV, refused to carry the Dodgers channel — leading to one of the longest blackouts in sports TV.

Charter took over the two channels in 2016, when the company absorbed Time Warner Cable. Winfrey, on Thursday, made it clear he was not a fan of those deals, calling them “something that we inherited … not something we did on our own.”

Over the years, the company has lost hundreds of millions of dollars. Last year, Spectrum began offering a streaming-only option to expand the audience for Dodgers’ games. Spectrum subscribers can also watch Lakers’ games on a streaming app.

Last fall, Charter retained boutique bank the Raine Group to find a buyer for the Lakers channel. It’s not clear whether Charter would like to shed its deal with the Dodgers organization, which owns SportsNet LA.

Iger is well familiar with the fragmented sports landscape and economics after years overseeing ESPN and ABC.

Spectrum is seeking “innovative ways … to find a better long-term solution,” Winfrey said. “We’re trying to be constructive and respectful on all fronts.”

DANIELLE Lloyd has opened up to fans after her son Ronnie was unexpectedly rushed to hospital.

The model, 42, revealed the news on social media following a ‘heavy night’ but reassured that he was now on the mend.

The mum-of-five took to her Instagram Stories to share a photo of her eight-year-old son laying asleep in a hospital bed. 

Danielle captioned the post: “Well that was a heavy night!

“Thanks for all your messages Ronnie is out and feeling a lot better (heart emoji)”

After reassuring fans of Ronnie’s recovery, a later snap uploaded by Danielle showed the model all smiles as she posed alongside her daughter and nephew. 

READ MORE ON DANIELLE LLOYD

HOME HORROR

Moment crooks smash down Danielle Lloyd’s door in raid after ‘stalking’ family

PRICEY MISTAKE

I fell for Dubai millionaire’s scam says Danielle Lloyd in warning to Katie

She penned: “Tired but… love my kids & Nephew.”

Danielle shares sons Archie, George, and Harry with ex-husband Jamie O’Hara, while she and Michael O’Neill are parents to Ronnie and Autumn Rose.  

The star had previously gone through her own health scare after being diagnosed with a melanoma last year.

Danielle, who is now cancer free, had admitted to The Sun at the time: “Being a mum, I was trying to put a brave face on for everyone, but inside I’ve been crumbling. 

“I was worried every single day that I was going to die.”

Danielle has been very candid about her cancer journey and shared photos alongside health updates to raise awareness of skin cancer.

She had an operation to remove a cancerous patch from just above her collarbone, after spotting a change in a small freckle.

She said the freckle was “smaller than a five pence coin” but had started to raise alarm bells after she saw how much it had evolved over time.

She responded to a fan in her comments: “Mine was melanoma which was sun damage x”.

Danielle admitted she believed her tanned skin tone gave her some protection from cancer.

She revealed she rarely wore sunscreen with a high SPF, saying: “Honestly, if I did, it was very low factor as I go so brown very quickly. I never thought my skin tone could get skin cancer and if I did anyone can”.

The mum also said she had ditched sunbeds for the first time in her life.

Posting the update to her fans, Danielle urged others to be vigilant about any skin changes, especially those that may seem minor at first glance.

She said in the comments: “I used to be a total sun worshiper, never really thinking about the risk of skin cancer.

“Sunbeds before holidays? Absolutely! But now, I’ve decided it’s better to fake the glow because my health and being there for my kids are what truly matter.”

SHE’S been an integral part of the Kardashian family’s success for the last decade. 

But recently it seems things between businesswoman and Dragon’s Den star Emma Grede and the KarJenners – especially Khloe, 42 – have cooled off dramatically. 

Emma, 43, and KoKo partnered to launch denim brand Good American back in October 2016, which made a staggering $1million in its first day.

But fast forward ten years, and while Khloe remains an owner of the fashion line today, she’s since expressed she no longer feels the need to be as involved.

“Good American is doing so well, and Good American is strong enough and stable enough to sustain on its own,” she explained during a recent episode of her podcast Khloe in Wonderland.

With Khloe and Emma now spending less time working together their friendship has essentially dissolved, The Sun understands.

RACING KAR

Kim Kardashian shares intimate new pics with Lewis Hamilton as fans gush

DASHING THEIR HOPES

New Kardashian reality show ‘flops’ before even starts

A well-placed insider tells us: “Over time, Khloe just wasn’t as involved – she started cancelling events and not promoting the brand.

“She has a lot on in her personal life, as fans know, but Emma is a businesswoman first and foremost and that just didn’t wash with her. 

“Khloe has so much going on and it just wasn’t a priority in her life. In theory, Khloe is still the founder of Good American but it’s Emma who does the hard work behind the scenes. I don’t think Khloe & Emma are on speaking terms now.”

Earlier this year, Khloe dropped the biggest hint yet she was ‘consciously uncoupling’ from her friendship with Emma when she unfollowed her on Instagram. 

Our source adds: “They are both smart women who realised it was time to part ways professionally, and they had to navigate it carefully so the brand wasn’t damaged as they are both heavily involved.”

After setting up Good American with Khloe, Emma later teamed up with Kim, 45, to work on her shapewear line SKIMS which debuted in 2019. 

And she also joined forces with Kylie Jenner, 29, in 2023 to launch her fashion brand KHY.

But in recent years Emma’s own star has been on the rise. She joined Dragon’s Den in 2024 and she’s been a recurring guest investor on the American version Shark Tank since 2021. 

She launched her podcast Aspire in 2025 and earlier this year released her book Start With Yourself: A New Vision for Work & Life. 

The Sun understands that, while she was initially happy to fade into the background on projects with the Kardashians, Emma is keen for her hard work to be seen these days. 

“As her profile has grown over the last few years, Emma wants her own hard work recognised,” an insider said. “Good American was Emma’s brain child, but it was Khloe’s investment and her profile that made it happen.

“The fall out with Khloe didn’t affect Emma’s relationship with Kim or the rest of the family, they’ve compartmentalised that off, but it’s very much a business-only relationship. 

“Emma is still very involved with Skims, and despite Kim being a mum of four, she’s still extremely hands on and promotes the brand all the time.”

Fans were left convinced that Emma was taking a swipe at Khloe during an interview with Cardi B on her podcast earlier this year. 

Rapper Cardi, 33, said: “Oh my God, please y’all – if you ever want to build something, please choose good partners.

“Not everybody with money [is a] good partner. I’m telling you.”

Sparking speculation that she was taking aim at Khloe, Emma was quick to quip loudly: “Oh yeah, say that again…”

Our source added: “Going their separate ways professionally has not been easy and it has affected Emma and Khloe’s friendship, because it’s hard to move past ending a working partnership and there are grievances on both sides.”

The Sun has reached out to representatives for Khloe and Emma for comment. 

EXCLUSIVE: Vanessa Feltz has a career spanning over four decades but the talk show legend has confirmed she will not be heading into the I’m A Celebrity… Get Me Out of Here! camp whatever the fee

ITV bosses have reportedly been asking one talk show legend to sign up for I’m A Celebrity for years.

Despite the gruelling ITV reality show being one of the biggest shows of television, Vanessa Feltz has revealed that she won’t be heading Down Under anytime soon.

With a career spanning over four decades, it’s no wonder producers are keen to sign up the 64-year-old presenter but she won’t be swapping her life of luxury like Caitlyn Jenner, Coleen Rooney and Noel Edmonds – no matter how much they offer her.

When asked if ITV have been knocking on her door this year, Vanessa confirmed: “Not yet, but they usually are in touch but I have not changed my mind. I would be so appalling at it.”

“Every single thing they would ask me to do, I would be terrible. I think I’d be so terrible, it wouldn’t even be funny. I don’t think people would like it.

“I’d be bored, I’d be fed up, I wouldn’t like being hungry, I wouldn’t like being eaten by mosquitoes, I wouldn’t like the rats, the snakes and I wouldn’t like some horrible rat scuttling over my face.”

Vanessa continued on behalf of BetWright Casino: “I don’t care about seeing Australia or the jungle, I couldn’t care less and I like being where my family are in North West London or in East Cork. So, no, I’m not going to say yes but the funny thing is, every time I say no, they think I’m doing it for the money.

“Every time I say no, they offer me more money but I really mean no. I’m not bargaining. I do not want to go and that’s it. I think it would be absolutely terrible. I think I’d just look like an absolute cretinous idiot.”

Vanessa may not be tempted to take on the dreadful Bushtucker Trials but she is keen to face the roundtables on Celebrity Traitors but she says there’s one problem.

“I wouldn’t mind having a bash at The Traitors but I’m not sure I’d be any good at that because I think I’m so fluent and so many words come tumbling out of my mouth at all times, she explained.

“I never seem to stop for breath and I’m never fishing around for the next word. The vocabulary just runs and runs and I think people never believe a word I say.

“Years ago I did a show called Call My Bluff, where they had to guess are you lying or are you telling the truth?. They kept thinking I was lying when I wasn’t at all.

“So I think if I was on Traitors, people would just think I was a Traitor straight away and I’d be the first person, like Paloma Faith, on the bus going home within ten and a half seconds.

I’m A Celebrity… Get Me Out of Here! is due to return to ITV1 and ITVX later this year

The Emmys’ writing and directing categories sometimes offer a window into the eventual winners, as when “The Studio” swept through the ceremony last year. Other times, voters decide to go their own way. “Slow Horses” has never won the drama series Emmy, but it has won awards for writing and directing the past two years. Noodles for everyone!

The episode submissions this year are a little baffling, often not reflecting the series’ best work. But what do I know? Maybe those “Pitt” submissions primed the waterworks. Perhaps it’s politics.

What I do know are my own personal preferences. So here are my rankings of the writing and directing nominees for drama, comedy and limited series, ordered from least to best.

Comedy series directing

6. “The Ms. Pat Show,” “Give It Arrest”
Directed by Mary Lou Belli

If you haven’t watched Patricia “Ms. Pat” Williams’ unfiltered show, it’s been on BET+ for five seasons and this is Belli’s third nomination for directing. The fan base is nothing if not loyal.

5. “The Chair Company,” “Life Goes By Too F— Fast, It Really Does”
Directed by Andrew DeYoung

Cathartic cringe comedy for people who thought “Severance” was too lighthearted.

4. “Abbott Elementary,” “Ballgame”
Directed by Randall Einhorn

No small feat to shoot during a live baseball game, and the episode is so good (Kyle Schwarber blasts four home runs!) that, even as a Dodgers fan, I can’t say boo about the Philly-ness of it.

3. “Widow’s Bay,” “Welcome to Widow’s Bay!”
Directed by Hiro Murai

As the episode title suggests, it’s the table-setter. There were better episodes, but the last three aired past the eligibility deadline, so this will do.

2. “The Bear,” “Bears”
Directed by Christopher Storer

Tiff and Frank’s wedding, proof that Season 4 of “The Bear” had more than its share of high points. Another showcase for Ebon Moss-Bachrach’s acting and contains a powerful scene between Carmy (Jeremy Allen White) and Uncle Lee (Bob Odenkirk) that sets the stage for the show’s final season.

1. “Hacks,” “Hacks (Finale)”
Directed by Lucia Aniello

Who doesn’t like a fairy-tale ending?

Drama series directing

6. “The Gilded Age,” “My Mind Is Made Up”
Directed by Salli Richardson–Whitfield

Soapy, opulently costumed piffle with a beating heart.

5. “Paradise,” “Exodus”
Directed by Hanelle M. Culpepper

In which the show either jumps the shark or executes an intriguing reset.

4. “The Pitt,” “12 P.M.”
Directed by Noah Wyle

RIP Louie.

3. “Task,” “Out Beyond Ideas of Wrongdoing and Rightdoing, There Is a River”
Directed by Salli Richardson–Whitfield

Shootouts don’t come more chaotic — or devastating — than the 20-minute melee that opens this hour.

2. “Slow Horses,” “Scars”
Directed by Saul Metzstein

Could repeat the Emmy in this category just for that last shot of Lamb’s feet.

1. “Pluribus,” “We Is Us”
Directed by Vince Gilligan

The strange, unsettling series premiere was the best hour of television this year.

Limited series directing

4. “Black Rabbit,” “The Black Rabbits”
Directed by Jason Bateman

Do you even remember what happened in this series?

3. “Beef,” “It Will Stay This Way and You Will Obey”
Directed by Jake Schreier

Is it OK to become our parents if it’s the only way to pay the mortgage?

2. “Beef,” “Oh, the Comfort, the Inexpressible Comfort”
Directed by Lee Sung Jin

Basically “The Pitt,” but with an ethical dilemma involving Gatorade.

1. “DTF St. Louis”
Directed by Steven Conrad

Immaculately composed wide shots and an imaginative use of shallow depth of field are used to highlight the suburban weirdness hiding in plain sight.

Comedy series writing

6. “Jury Duty Presents Company Retreat,” “Mergers and Acquisitions”
Written by Anthony King

In which Anthony (Norman, not King, the episode’s writer) becomes the hero of the television season.

5. “The Chair Company,” “Life Goes By Too F— Fast, It Really Does”
Written by Tim Robinson and Zach Kanin

Season premiere goes straight into goblin mode.

4. “Abbott Elementary,” “Team Building”
Written by Quinta Brunson

The only instance where the words “team building” don’t make me shudder.

3. “Hacks,” “Hacks (Finale)”
Written by Lucia Aniello, Paul W. Downs and Jen Statsky

Too melodramatic with the whole Deborah death scare? Have you been watching “Hacks” for the last five seasons?

2. “Widow’s Bay,” “Welcome to Widow’s Bay!”
Written by Katie Dippold

A fine introduction to the cursed New England island as well as the show’s juxtaposition of comedy and horror.

1. “The Comeback,” “Valerie Does It All”
Written by Michael Patrick King and Lisa Kudrow

Can we laugh about AI being the death of us? For one brilliant episode, yes!

Drama series writing

6. “The Diplomat,” “Amagansett”
Written by Peter Ackerman and Debora Cahn

Come for the “West Wing” vibes, stay for the blindside reveal.

5. “The Pitt,” 12 P.M.”
Written by Valerie Chu

You can’t fault a show that hauls in 25 nominations, including two for writing. These are solid episodes, but they pale in comparison with the last four of the season, which offered an intense, emotionally charged run that culminated hours of careful, patient storytelling.

4. “Task,” “A Still Small Voice”
Written by Brad Ingelsby

Forgiveness brings relief.

3. “The Pitt,” “1 P.M.”
Written by Kirsten Pierre-Geyfman and R. Scott Gemmill

See earlier comment about “12 P.M.”

2. “Slow Horses,” “Scars”
Written by Will Smith

The best moment didn’t come from the book.

1. “Pluribus,” “We Is Us”
Written by Vince Gilligan

“Hello, Carol.”

Limited series writing

5. “All Her Fault,” “Episode 8”
Written by Megan Gallagher

If you like deaths in a series finale, this is the show for you!

4. “The Beast in Me,” “Sick Puppy”
Story by Gabe Rotter; teleplay by Gabe Rotter and Daniel Pearle

I was worried for the schnoodle more than any of the characters in the series.

3. “Beef,” “All the Things We’re Never Going to Have”
Written by Lee Sung Jin

Like healthcare, a home, peace of mind, bees that live when you try to save them …

2. “Death by Lightning,”
Written by Mike Makowsky

We could really use a James Garfield right about now.

1. “DTF St. Louis,”
Written by Steven Conrad

“No one’s normal. It just looks that way from across the street.”

I’d like to pen an ode to the once-L.A.-based artist Mel Kadel on the occasion of the release of her first coloring book for women and girls, published by Secret Headquarters in Atwater Village. Titled “Dream Drops,” the detailed hand drawings allow blossoming artists to participate in Kadel’s elaborate, imaginative world of fragile, brave, timid, hopeful, brash, adventurous women — characters she’s drawn for decades now.

I first met Kadel more than 25 years ago when I moved to L.A. from Boston with my then-up-and-coming indie rock band called the Movies. The band moved into a two-bedroom triplex in Silver Lake that cost $845 per month and immediately fell in with a ragtag group of iconoclastic and wildly talented artists including Kadel, photographer Alex Prager, painter America Martin, artist Mercedes Helnwein and bands and musicians such as the Silversun Pickups, Jimmy Tamborello, the Jealous Sound, Earlimart, Radar Bros. and Irving.

Kadel and her then-partner Travis Millard — another prolific and accomplished artist — lived in a cabin near the wild mountainy edges of Echo Park, and friends would gather there to draw, drink and make music. Kadel always had her head bent over her work, page after page of detailed line drawings that later appeared on friends’ bedroom and living room walls and sometimes on fliers for shows at Spaceland or the Silverlake Lounge.

It was Kadel who encouraged many of us to try our hand at creating art, and she once staged a group show at an Echo Park record shop called Sea Level that was owned by a friend of ours. I painted a self-portrait on a piece of wood for the show that still hangs on my wall today.

Kadel created the album cover for the Silversun Pickups’ debut EP, “Pikul,” which was released on Dangerbird Records in 2005, and later, after the band and the label soared to new heights, she covered Dangerbird headquarters near Sunset Junction in Silver Lake with a building-sized mural featuring her otherworldly woman clad in blue stripes with forever flowing flowered hair.

In many ways it is Kadel whom I credit with opening a young me up to the magical world of art and the ideas that flow from it — Kadel and those early L.A. friends, many of whom I no longer see regularly, but whose accomplishments I relish in when they come to my attention. Which is just what I did when I saw that Kadel had released her coloring book — a project that she has worked on (no doubt in the same intentional, intense way that she always has) for the past year.

I’m arts editor Jessica Gelt, glad for what was and looking forward to what will be. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Eleanora Owen in “Being Piaf.”

(Doug Engalla )

Being Piaf
Written and performed by Eleanora Owen, this solo theatrical piece explores the life and songs of French singer and lyricist Edith Piaf. Directed by Tim Byron Owen.
8 p.m. Fridays and Saturdays; 4 p.m. Sundays; through Aug. 30. Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com

Green Corridors
The West Coast premiere of Natalka Vorozhbyt’s darkly humorous drama about the plight of four Ukrainian women — refugees from the full-scale Russian invasion in 2022. Translated by John Freedman with Natalia Bratus. Directed by Frédérique Michel and produced by Charles A. Duncombe.
8 p.m. Fridays and Saturdays; 4 p.m. Sundays; through Sept. 27. City Garage Theater, Bergamot Station Arts Center, 2525 Michigan Ave T1, Santa Monica. citygarage.org

Tercera Raíz
The contributions of the African diaspora to Mexican culture are celebrated with dance and mariachi music. Produced in partnership with Grandeza Mexicana Folk Ballet Company.
8 p.m. The Ford, 2580 Cahuenga Blvd. East. theford.com

SATURDAY

New–Music Game Night!
Brightwork Ensemble and People Inside Electronics present an evening of game-inspired works by Cristina Lord, Isaac Schankler, Siobhán Dougall and Richard An, and audience participation.
8 p.m. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org

SUNDAY

Eileen Cowin: Between Panic and Paradise
The Los Angeles–based photographer and artist’s 50-year career has produced visual narratives that incorporate cinema, literature, poetry and painting, erasing the boundaries between fiction and nonfiction.
Through Jan 3, 2027. Los Angeles County Museum of Art, 5905 Wilshire Blvd. lacma.org

Jamar Gilbert and Amber Liekhus in “Ma Rainey’s Black Bottom” at a Noise Within.

(Daniel Reichert)

Ma Rainey’s Black Bottom
A Noise Within opens its season with the seventh of the 10 plays in August Wilson’s Century Cycle to be produced by the company. Amber Liekhus stars as an iconic blues singer during a tempestuous recording session in 1927 Chicago. Directed by Gregg T. Daniel.
Previews, 2 p.m. Sunday; 7:30 p.m. Wednesday-Aug. 28; Aug. 29-Sept. 20. A Noise Within, 3352 E. Foothill Blvd., Pasadena. https://www.anoisewithin.org/play/ma-raineys-black-bottom/

TUESDAY

Beethoven’s Fifth with Anna Handler

Da-da-da-DUM. The Los Angeles Philharmonic’s incoming conductor-in-residence leads the orchestra in one of classical music’s most iconic pieces, along with the composer’s rarely heard Triple Concerto and the U.S. premiere of Grace-Evangeline Mason’s “Ablaze the Moon.”
8 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

Jeff Goldblum and the Mildred Snitzer Orchestra will play Blue Note LA on Tuesday and Wednesday.

(Blue Note LA)

Jeff Goldblum & the Mildred Snitzer Orchestra
As they’ve been doing for three decades, the actor-musician and his band perform contemporary arrangements of classic jazz and American Songbook standards.
7 and 9:30 p.m. Tuesday and Wednesday. Blue Note Los Angeles, 6372 Sunset Blvd. bluenotejazz.com

Looking West: How the Myth of the Western Frontier Got Its Start
Muse/ique takes a deep dive into the legends and reality of the American West through classic Hollywood film scores, folk songs and contemporary compositions that reclaim the era’s diversity. Led by artistic and music director Rachael Worby with Damon Daunno, Raye Zaragoza, Glynn Turman and Muse/ique Orchestra.
7:30 p.m. Tuesday and Wednesday. The Huntington, 1151 Oxford Road, San Marino; 3 pm. (premium RSVPs only) and 7:30 p.m. Aug. 30. Skirball Cultural Center, 2701 N. Sepulveda Blvd. muse-ique.com

WEDNESDAY

California African American Museum
The museum augments two of its ongoing shows with special events. On Wednesday, Justen LeRoy of Art + Practice offers a curatorial walkthrough of “The Sound of Gordon Parks,” an immersive exhibition highlighting the sonic dimension of the photographer, composer, author, poet and filmmaker’s work. Thursday night, poets Pam Ward, Luis Rodriguez and Lynne Thompson share original work inspired by “A New Song: Langston Hughes in the West.”
Gordon Parks, 2 p.m. Wednesday; Langston Hughes, 7 p.m. Thursday. CAAM, 600 State Drive, Exposition Park. caamuseum.org

“Conscience” by playwright Joe DiPietro will have its L.A. premiere at International City Theatre in Long Beach.

(Justin Patterson)

Conscience
The Los Angeles premiere of Tony Award-winning playwright Joe DiPietro’s drama about pioneering politician Margaret Chase Smith, who famously challenged Joseph McCarthy’s tactics and was the first woman to serve in both houses of the U.S. Congress. Directed by Caryn Desai.
Previews, 7:30 p.m. Wednesday and Thursday; 7:30 p.m. Thursdays-Saturdays; 2 p.m. Sundays; through Sept. 13. International City Theatre the Beverly O’Neill Theater, 330 E. Seaside Way, Long Beach. ictlongbeach.org

THURSDAY

Rachmaninoff & Adams
Gemma New conducts John Adams’ “Short Ride in a Fast Machine,” ahead of Sergei Rachmaninoff’s Second Piano Concerto (with Jeneba Kanneh-Mason in her L.A. Phil debut) and Symphonic Dances.
8 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

— Kevin Crust

Retrospective

L.A. Times arts coverage from the past …

Eisa Davis, playwright and actor, who appeared in Melissa Jane Gibson’s play “This” at the Kirk Douglas Theater in Culver City in 2011.

(Mel Melcon / Los Angeles Times)

A double life as actor, playwright

Aug. 14, 2011

“I’m in a play called ‘This.’ ”

“OK, what is it called?”

“No, no, it’s called ‘This.’ ”

“Yes? What? It’s called what?”

With a lighthearted laugh, Eisa Davis says she often encounters this response when revealing that she is in a new production of “This,” which recently opened at the Kirk Douglas Theatre. The perplexity may be fitting for the universe playwright Melissa James Gibson has created: a world of confusion in which close friends enter a vulnerable time of unforeseen circumstances testing their expectations — a time also known as middle age.

Davis’ work as an actor and a playwright has contributed to a textured career. She was a finalist for the Pulitzer Prize in drama in 2007 for her play “Bulrusher,” about a biracial orphan infant found in a basket and raised by a quiet schoolteacher. She went on to write and star in the autobiographical “Angela’s Mixtape,” which was among the New Yorker’s best plays of 2009. Other plays she has written include “Ramp,” as well as “The History of Light,” which is returning to the stage this fall in New Jersey. READ MORE

– Jasmine Elist

Culture news and the SoCal scene

Conservators examine “Portrait of Mai” by Joshua Reynolds at the Getty museum.

(Genaro Molina / Los Angeles Times)

A 250-year-old portrait by painter Joshua Reynolds recently arrived at the Getty and is being examined by conservators before going on view in its West Coast debut later next month. “The Portrait of Mai” was acquired by the Getty for $61 million in a rare joint purchase with the National Portrait Gallery in London and depicts a young, regal-looking Tahitian man who arrived in London with Capt. James Cook in 1774.

If you’ve seen the recent national tour of Disney’s “Beauty and the Beast” at the Hollywood Pantages Theatre, you may have wondered how on earth the actor playing the living chandelier Lumiere sings and dances for more than two hours while wearing lighted candles on both of his hands. The answer has arrived via this fun story written by Times contributor Jenelle Riley, who headed backstage during a recent performance to trail Danny Gardner as he donned the 7-pound props and went about the business of performing in the rigorous show.

The group show “To Share a Stomach” recently opened at the Brick in East Hollywood. Times contributor Sharon Mizota wrote a review that included her take on the unique and difficult-to-execute concept. The show was made manifest when 25 Iranian artists, working under challenging wartime conditions, sent instructions to artists counterparts in L.A. for how to create artworks using various levels of collaboration. Mizota found the results understandably uneven, but deeply touching and impactful.

The Kennedy Center’s National Symphony Orchestra performs at the Hollywood Bowl under musical director Gianandrea Noseda on Aug. 18.

(Carlin Stiehl / For The Times)

The newly homeless National Symphony Orchestra, whose fate has become uncertain as a court battle wages over whether or not the Kennedy Center will close down for two years, performed at the Hollywood Bowl earlier this week. Times classical music critic Mark Swed was there to watch, along with many effusive supporters of music director Gianandrea Noseda’s now wandering orchestra. Swed found the program lacking in imagination, but noted, “with its smooth strings, creamy brass, pungent winds and friendly percussion, Noseda’s NSO came across as a gracious orchestra meant to please, and, consequently, a seemingly marvelous anomaly in an otherwise divisive present-day D.C.”

Speaking of the Kennedy Center, last week proved a pivotal one for its fate. The Kennedy Center Board of Trustees voted late in the week to move forward with President Trump’s plan to close the building for renovations for two years. According to multiple news reports, the board also voted to inscribe Trump’s name on the building using the language “Restored and Renovated by President Donald J. Trump.”

Brett Littman has been named the new director and chief executive of the the Museum of Contemporary Art San Diego.

(Don Stahl)

The Museum of Contemporary Art San Diego announced earlier this week that it has appointed Brett Littman as its new director and chief executive. Littman is replacing Kathryn Kanjo, who left to become the new director of the UC Irvine Langson Orange County Museum of Art. Littman has previously served in a variety of leadership roles in the arts in New York City, including as director of the Isamu Noguchi Foundation and Garden Museum; executive director of the Drawing Center; and deputy director of MoMA PS1. He was also co-director of Dieu Donné Papermill and associate director of UrbanGlass. He will start at MCASD in early October as the fifth director and chief executive in the museum’s history.

The Perenchio Foundation has awarded a $2,040,000 grant to the Los Angeles Children’s Chorus, representing the largest grant in the Grammy-winning organization’s history. The 2026 General Operating Support grant, which aids many aspects of the organization’s programming and community offerings, will be distributed over three years, and arrives at LACC celebrates its 40th anniversary.

— Jessica Gelt

And last but not least

Here are 16 burger and drink deals for when you need an “adult happy meal,” from The Times food section. Who doesn’t?

It would be great if “The Hangover” screenwriters-turned-directors Jon Lucas and Scott Moore would leave moms well enough alone. After the one-two punch of 2016’s “Bad Moms” and 2017’s “A Bad Moms Christmas” (both bad comedies), they’ve returned with “Spa Weekend,” which isn’t about bad moms but good moms who could stand to be a little bad.

If you’re not sure how much misbehavior a few friends can get up to at a luxury resort spa, you haven’t met Isla Fisher’s Mel. Yes, “Spa Weekend” is a plate of reheated “Wedding Crashers” nachos, because no one stirs up cheerful chaos like the spirited Fisher. Her Mel brings a delightfully vulgar joie de vivre into the over-scheduled lives of her lifelong friends: workaholic lawyer Jane (Leslie Mann), bitter divorceé Coco (Michelle Buteau) and people-pleasing pushover Sophie (Anna Faris).

“Spa Weekend” is built around the same fearsome foursome ethos as shows like “Sex and the City” and “Girls,” with several different character types and lots of available friction between them. More recently, golden-years comedies like “Book Club,” “80 for Brady” and way too many movies starring the late Diane Keaton have sent friend groups on journeys that have them reevaluating relationships and life goals. Romantic, criminal and naughty hijinks ensue and bonds are tested — and ultimately reinforced. Roll the blooper reel.

Mel might be a disaster with her loud mouth and impolite antics, but her over-the-top meddling does her buddies some good. She helps uptight Jane hook up with a hunky yoga instructor (Adam Demos), gets Sophie fired from her toxic job and lures Coco’s ex-husband Roger (Dominic Ona-Ariki) to the resort for a little reconciliation. Her friends are furious, but while they might not get what they want (relaxation), they get what they need (liberation). All it took was some coke and strippers (Lucas and Moore have a bizarre fixation on moms and male strippers).

You know what? Fine. It’s true that working moms often put themselves last and “Spa Weekend” is an argument for them to come first. It’s a film about embracing the craziest friends because they bring excitement to an otherwise boring and overscheduled life. All of these things are true. They’re just executed here with all the subtlety of a sledgehammer. In case we didn’t get it, these themes and lessons are spoken out loud by Jane in big declarative speeches.

One of the most distracting things about “Spa Weekend” is its uncanny geography. It’s set in Los Angeles but the cafés and shops are obviously not local and the worst, most dated stock L.A. traffic footage can’t cover that up.

They drive what seems to be about 45 minutes to the resort, through wooded forests on windy roads, and arrive in a tropical location overlooking miles of white sandy beach. At one point, Jane claims they’re 100 miles away from home. Ain’t no way this is Encinitas. Nothing about it makes sense until the credits roll and you learn the film was shot entirely in Queensland, Australia. But if one’s thinking about the geography that much, it means the story isn’t all that compelling.

Call it nitpicking but it’s indicative of how much care and craft — or how little — goes into a movie like this, aimed at female audiences. Much like the “Bad Moms” movies, “Spa Weekend” isn’t insightful, isn’t interesting and isn’t funny. It’s condescending and hacky and the humor always aims for the lowest common denominator. Please don’t expect me to laugh at the goats from goat yoga rampaging through a hotel lobby or a high-speed golf cart chase. Guess what? Mel has brought a suitcase full of dildos.

Worse than tired gags, we don’t get a sense of who these women really are in relationship to themselves or other women. We only know them through the prism of men: Jane lusts after Yoga Dude, Coco rages at Roger, Sophie is bullied by her boss. We know nothing about them outside of their superficial signifiers.

That’s why Fisher’s Mel feels so radical. She might be a grifter and a liar (a vastly underexplored subplot) but she has fully decentered men — so hard that no rule of polite society can hold her. If that’s a disaster, sign me up. But please don’t let Lucas and Moore make more comedies for women. They can stick to the frat houses and bachelor parties they’re used to.

Most documentaries urge you to not turn away from the horrors they chronicle, but few make that request as explicitly as “American Doctor.”

Near the start of her despondent film, director Poh Si Teng spends time with Mark Perlmutter, a North Carolina surgeon who, like Teng’s other subjects, volunteers in Gaza, treating the many who have been severely injured in the ongoing Israeli-Palestinian conflict. Furious at the attacks on innocent Palestinian children, Perlmutter shows Teng photos of dead bodies. She says she may need to blur them for the movie. Perlmutter becomes indignant: “You’re not doing them a service by not showing them,” he says. “You have the responsibility, as I do, to tell the truth.”

Teng does reveal those stark faces and much more — not just the terrible human toll of Israel’s shelling of the Palestinian territories but also the strain on the doctors fighting to save lives while spreading the word about the atrocities they’ve witnessed.

Perlmutter, who is Jewish, is one of three American physicians at the center of Teng’s documentary. The other two are Thaer Ahmad, a Palestinian, and Feroze Sidhwa, who is Zoroastrian. Each of them resides in the U.S. but is drawn to lending a hand at Gazan hospitals — that is, when they’re actually allowed entry into the region. (Because of Ahmad’s Palestinian heritage, he’s been barred by the Israeli government.) As part of their humanitarian efforts, Perlmutter and his colleagues go on Western media, such as CNN, to decry the conditions of the Palestinian people. They are often met with resistance, if not outright hostility. The casualties keep piling up, and nobody outside the walls of the hospital seems to care.

Teng, who produced the 2019 Oscar-nominated documentary short “St. Louis Superman,” a portrait of a local Black activist, once again ponders how much any one person can do to bring about change. She gracefully balances between a three-pronged character study and a larger examination of the unending war. We come to admire Ahmad, Perlmutter and Sidhwa, but Teng provides just enough shading so that subtle cultural tensions between the men start to emerge.

That strain is particularly evident during the bighearted but strident Perlmutter’s impolitic media appearances, in which he brandishes impassioned criticism of Zionism that angers the Palestinian Ahmad. “We’ll be guilty by association and we’ll just get crushed for it,” he worries. It’s a documentary with a paucity of inspirational moments. Teng and her subjects are embedded in a world of tough choices and grim conditions.

With Ahmad largely sidelined in the U.S., though still advocating for the Palestinian people, Sidhwa ultimately becomes “American Doctor’s” most striking figure. Armed with an eloquent, righteous fury, he speaks to journalists with a stirring moral authority. Teng mostly avoids on-camera interviews with her subjects, preferring to watch them interacting with patients or in the operating room. In the process, we come to know Sidhwa, who projects a calm confidence, even when he’s nearly killed by a missile.

But his self-assurance is intriguingly undercut during an unguarded exchange in which he acknowledges that no prospective romantic partner has been comfortable with his desire to keep returning to Gaza. “I think I’m just probably a hard person to get along with,” he admits, laughing. “I wish I could blame the fact that no woman can put up with me on the Israel-Palestine conflict, but I don’t think that’s the issue.”

There are myriad ways to document the violence in Gaza, and it’s telling that Teng includes only a very brief news clip of President Trump and Israeli Prime Minister Benjamin Netanyahu, the phantom figures hovering far above the film’s unfolding tragedy, even though they are among its chief architects. Instead, “American Doctor” focuses on the micro, giving voice to the doctors and caregivers who traditionally have been spared during armed conflicts, as laid out by the Geneva Conventions. In defiance of such norms, though, Israel’s government seems to be targeting hospitals, creating psychic wounds alongside mass casualties.

A closing text card indicates that more than 1,700 healthcare workers have died in Gaza, laying culpability at the feet of Israel and the United States. But it’s a testament to the physicians featured in “American Doctor” that none of them would suggest that this is the greatest crime occurring in the region. We observe them lamenting how powerless they feel: Their medical skills can do some good, but not nearly enough. And when they reluctantly return to America, they agonize over their guilt at not being able to do more — and what of Gaza will remain when they eventually get back.

Strictly Come Dancing is set to go through another huge shake up before it even begins, as 15 new celebs head to the dancefloor to compete for the Glitterball trophy

Strictly Come Dancing is about to undergo a huge shake-up as it returns to previously ditched format. The show, which has already faced several changes this year, is set to scrap the introductory video tapes it that it had been using to reveal the whom had been coupled with whom.

In recent years, the launch show had seen the Strictly celebs head to locations across the country to meet the pro dancer they would be partnered with for the rest of the competition. But the show has now decided to return to its pre-Covid format in which the partnerships would be announced live in the studio, with the dancers and celebs finding out at the same time as the audience.

The news was revealed on Radio Northampton when Graeme Hall, one of this year’s contestants, said: “This year, they’re doing it slightly differently. We don’t find out until the launch show. You have no say in it, the pros have no say in it.”

The launch show is set to air on 19 September. It is pre-recorded, so those watching at home will be finding out slightly later than the contestants, and it will air the week before the live shows begin.

This year’s contestants were announced over several weeks, starting in June. Over the summer, the names were slowly released to the public. The crop of celebs taking part this year are: Lacey Turner, Dani Dyer, Delta Goodrem, Chris Appleton, Cach Mercer, Jaime Winstone, Will Best, Sean Wright-Phillips, Bethany Antonia, Graeme Hall, Lawrence Robb, John Nellis, Tabby Stoecker, Dame Sarah Storey and Melanie Walters.

Fans have previously expressed disappointment in the line-up, with some saying they were unimpressed with the calibre of celebrity taking part. Most critics took complaint with Kim Kardashian’s hairdresser Chris Appleton taking part, and dog trainer Graeme Hall, as they felt they were not famous enough.

Following Graeme’s announcement on 5 August, many asked who he was and one said the BBC were “scraping the bottom of the barrel”.

Another slammed the line-up as “boring”, saying: “Genuinely who even are half the people doing strictly this year, apart from like three people this is the most boring lineup ever”

A third said: “This has got to be one of weakest line ups”. Similar was said at the time of Chris Appleton’s announcement a fan joked: “Looking forward to Katie Price ’s cleaner joining the line up”.

Many pros from previous years are returning, but the show has also welcomed several new pro dancers, as Strictly said goodbye to Gorka Marquez, Karen Hauer, Michelle Tsiakkas, Luba Mushtuk and Nadiya Bychkova earlier this year. Former pro Johannes Radebe also won’t compete this year, as he is one of the new hosts.

In the middle of last year’s season, long time hosts Claudia Winkleman and Tess Daly announced they were quitting the show. As such, new hosts had to be found for this year, and the BBC decided to appoint three people to the role – Johannes, comedian Josh Widdicombe and presenter Emma Willis.

The change didn’t stop there, as former pro dancer turned It Takes Two host Janette Manrara and her co-presenter Fleur East have left the spin off show. They were replaced by Ellie Taylor, who has taken part in Strictly as a contestant.

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