show biz

Coronation Street fans are worried that actress Sydney Martin is about to leave her role as Betsy Swain on the ITV soap after two years of melodramatic twists and turns

Coronation Street fans are worried that Betsy Swain is about to leave the ITV soap. The Speed Daal waitress, who has been played by Sydney Martin since 2024, has been through an awful lot during her two years in Weatherfield.

Just over a year ago, Betsy lost boyfriend Mason in a knife attack, was then shot by her own mother DS Lisa Swain, who faced no consequences for her actions, and was landed in a freak situation when her other mother Becky came back from the dead, having faked it as part of a corrupt police coverup.

Following on from all that drama , Betsy recently discovered a dead body that turned out to be that of Theo Silverton (James Cartwright) at the end of the much-hyped Murder Week.

In scenes set to air in the coming days, Betsy confides in best friend Laure (Cait Fitton) that she’s been offered a place at the London College of Fashion but she’s worried about leaving Dylan. It’s yet to be seen just how Dylan will react and, on top of that, Betsy explains that she is yet to inform her mother.

Fans of the world’s longest-running TV soap have instantly started to speculate that Sydney, who appeared in Assassin’s Guild before joining Coronation Street, is set to make a dramatic exit from the ITV soap.

Taking to X, one fan said: “betsy off to london? [sad face emoji],” whilst another posted a picture of Carla, Lisa and Betsy and said: “Don’t spilt them up please #corrie I think Lisa will take this hard and Carla will help both Betsy and Lisa to see it from each others perspective.

Another said: “You can just imagine Carla saying something like oh you’ll be fine Betsy in London I could tell you stories about what me and Michelle got up to, and Betsy saying something like and even to this day they involve the police.”

Another wondered if this meant some sort of spin-off was on the cards. In the past, the programme has done various spin-offs such as Just Rosie, which followed Rosie Webster (Helen Flanagan) on her quest for a modelling career, whilst a string of DVD releases like A Knight’s Tale and Out Of Africa were issued in the late 2000s.

Posing the theory, the fan wrote on X: “Is there any indication that Betsy going to London could be a limited summer off-shoot series like Hollyoaks Later where all the teens shared a summer house (obviously without the serial killer). But it will be Betsy’s adventures in the big city?”

It all comes after actress Sydney Martin, 24, was revealed to have been cast in a short film titled Favourite earlier this year. Filmmaker Georgia Leigh-Taylor said: “I’m so thrilled to announce the incredible Sydney Martin and the brilliant Isabelle Smith will be playing Mel and Ashley in my upcoming short film called Favourite.

“After graduating from the same acting school, Sydney and Izzy have both been working professionally in television since 2024, building exciting careers for themselves, taking on powerful storylines, and earning well-deserved recognition.

“Favourite is a dual-timeline drama exploring the lives of best friends Mel and Ashley both as teenagers, and as adults.”

Coronation Street airs Monday to Friday at 8:30pm on ITV1 and is available to stream from 7am on ITV X.

* Follow Mirror Celebs and TV on TikTok , Snapchat , Instagram ,Twitter ,Facebook , YouTube and Threads .

Obsession is maybe too hard-edged; interest too soft. But from “Close Encounters of the Third Kind” and “E.T” to his new sci-fi thriller “Disclosure Day,” Steven Spielberg has spent nearly the entire length of his career returning to the possibility that we are not alone in the universe. Even “Firelight,” the amateur movie he made as an Arizona teenager in 1964, revolved around extraterrestrial visitors.

That recurring fascination stands out partly because Spielberg has never been a filmmaker who stays in one lane. Across 36 features as a director, he has pivoted between science fiction, war films, historical dramas, adventure movies, thrillers, comedies and even a musical while somehow retaining the same famed Spielbergian sense of emotional wonder that defined his earliest work.

Which makes “Disclosure Day” — opening Friday and built around mysterious transmissions, buried government secrets and the possibility of alien contact — feel less like a detour than a return to one of Spielberg’s oldest creative preoccupations. Speaking about the film in March at SXSW, Spielberg admitted that while he has no special knowledge about extraterrestrial life, he nevertheless has “a very strong, sneaking suspicion that we are not alone here on Earth right now. And I made a movie about that.”

So with Spielberg once again looking skyward, we decided to revisit the director’s long cinematic relationship with aliens, as figures of astonishment, terror, transcendence and, occasionally, giant crystal skulls from another dimension.

Melinda Dillon and Cary Guffey in 1977’s “Close Encounters of the Third Kind.”

(Columbia Pictures)

Josh Rottenberg: I don’t really remember a world without Spielberg’s aliens. I was 6 when “Close Encounters of the Third Kind” arrived in 1977, not much older than the little boy played by Cary Guffey who is carried off by visitors from another world after his toys mysteriously come to life. Five years later, I was exactly Elliott’s age when “E.T. the Extra-Terrestrial” landed in theaters in 1982.

“Close Encounters” made aliens feel weirdly plausible, not just creatures in a “Star Wars” cantina or rubber-suited monsters from old sci-fi movies but something that might turn up in ordinary American life through blinking kitchen appliances, strange lights in the sky and suburban middle-class dads who can’t explain why they suddenly need to drive to Wyoming.

What surprises me now is how hopeful the movie feels. It came out of the post-Watergate ’70s, when distrust of institutions was running high, but Spielberg directed most of that suspicion toward the government, not the alien visitors. Richard Dreyfuss sculpting Devils Tower out of mashed potatoes should seem completely insane — and it kind of is. But Spielberg somehow makes you understand why Dreyfuss’ Roy Neary is willing to walk away from his entire life and family over something he can’t explain.

With “E.T.,” Spielberg scaled that cosmic yearning down to a California cul-de-sac. I recently watched the movie again at Hollywood Forever Cemetery with my wife and younger daughter, who’s in college now. I’d seen it several times since 1982 but not on a big screen, and I was startled by how much of it I still knew by heart: E.T. shuffling through the kitchen drinking cans of Coors, Elliott freeing the frogs in science class, Drew Barrymore introducing the alien to her dolls like he’s a new kid who just moved in next door. Somewhere along the way, “E.T.” became less a movie to me than part of the background texture of childhood itself.

Spielberg turned one of science fiction’s grandest ideas — first contact with alien life — into the story of a boy and his weird little space-faring goblin best friend. Mark, we’re of the same Gen X vintage. Did Spielberg permanently convince you that aliens were basically on our side?

A scene from the 1982 movie “E.T. the Extra-Terrestrial.”

(Universal Pictures / Photofest)

Mark Olsen: I didn’t see “Close Encounters” when it was first in theaters, but I remember any kid with a piano learning those five notes of John Williams’ alien theme music and then the movie becoming a staple rental of the early VHS era.

When I revisited the film for its 2017 re-release — an overwhelming experience in the sorely missed Cinerama Dome, where the movie also played when it first opened — I was struck by how homespun and handmade it felt, grounded in a naturalistic sense of realism. For as much as Spielberg may be fascinated by aliens and whatever could be out there, he always uses them as a way to reconsider what is going on down here: to reconnect with the elemental aspects of humanity and our common bonds.

I’ll be honest and say that “E.T.” is a movie I have always struggled with. I clearly remember seeing the movie when I was young and being very disturbed by the scene when the government arrives and drapes the family’s house in plastic sheets and tubing. I distinctly recall recognizing that the film itself wanted me to feel bad — I didn’t like that. (Perhaps thus was a young critic born.) Spielberg is often so proud of his mechanics, he lets them show, which is why even then I was resistant to moments when he wants the relationship between Elliott and his new friend to truly take flight.

Tom Cruise in Steven Spielberg’s 2005 sci-fi thriller “War of the Worlds.”

(Paramount Pictures)

Rottenberg: By 2005 and “War of the Worlds,” the wonderment was gone. Spielberg took H.G. Wells’ downbeat vision of extraterrestrials as exterminators and updated it for post-9/11 America: nightmarish scenes of alien tripods clawing their way up through the pavement, blaring air-raid horns, entire crowds vaporized into clouds of dust.

This time, nobody is trying to communicate through music or empathy. Tom Cruise spends the movie running through New Jersey with two terrified kids while ash drifts through the streets and giant alien war machines scoop humans into dangling metal cages. “E.T.” had turned aliens into plush toys and breakfast cereal. “War of the Worlds” turned them back into the menacing aggressors of 1950s sci-fi films like “Earth vs. the Flying Saucers” and “Invaders From Mars.”

Which made it all the more jarring when, three years later, Spielberg suddenly swerved back toward old-school flying-saucer mythology with 2008’s “Indiana Jones and the Kingdom of the Crystal Skull,” shoehorning an extraterrestrial plot into one of his most beloved series. Seeing Cate Blanchett march into a glowing alien chamber to commune with giant crystal skeletons from another dimension, I could understand why some fans reacted like they’d just watched someone spray-paint a UFO on the Ark of the Covenant.

But looking back, the inclusion seems almost inevitable. Spielberg keeps circling back to aliens no matter what genre or franchise he’s working in. Even 2001’s “A.I. Artificial Intelligence” eventually reveals itself as a kind of inverted first-contact story, with humanity becoming the vanished civilization studied by synthetic descendants of the machines.

Mark, were you able to roll with Indy suddenly colliding with Area 51 mythology, or did Spielberg lose you at that point?

Harrison Ford and Shia LaBeouf in the 2008 movie “Indiana Jones and the Kingdom of the Crystal Skull.”

(David James / Paramount Pictures / Lucasfilm)

Olsen: There was something so eye-rollingly whatever about the finale of “Kingdom of the Crystal Skull” that you couldn’t even really be mad about it. On a storytelling scale of Spielbergian preposterousness, the moment lands somewhere between the Wrath of God sequence in “Raiders of the Lost Ark” (totally legit) and the time traveling of “Dial of Destiny” (throws hands in the air).

“War of the Worlds” remains a fascinating film within the director’s space alien canon because it has an anxiety and uncertainty that isn’t often found elsewhere. Even his core interest in creatures, so often a well of amazement and positivity, couldn’t pull him up. Much has been made of the film as a response to the aftermath of 9/11 and Spielberg followed it up with the existential thriller “Munich,” a further exploration of the darker aspects of the national mood, before the year was even up.

This seemed to be a moment of malaise for Spielberg, one he worked his way out of with an unpredictably wide-ranging series of films including “Lincoln,” “Bridge of Spies” and “The Post.” It was as if he were left reeling from cynicism and was trying to reclaim some youthful confidence that he would eventually rediscover with the autobiographical “The Fabelmans.” Josh, do you feel that “Disclosure Day” serves as the final word on Spielberg’s alien interests?

Emily Blunt and Josh O’Connor in the movie “Disclosure Day.”

(Niko Tavernise / Universal Pictures)

Rottenberg: What makes “Disclosure Day” interesting to me — even though I wasn’t fully sold on it — is that Spielberg is returning to these ideas at a moment when UFO culture has already evolved far beyond him.

Screenwriter David Koepp has cited “Three Days of the Condor” as a touchstone, and for long and often gripping stretches, the movie really does play like a paranoid 1970s conspiracy thriller: cryptic transmissions, shadowy government programs, Josh O’Connor racing to expose buried secrets, Colin Firth strapped into a chair using alien technology to manipulate people from afar.

But while “Close Encounters” arrived at a time when UFOs still occupied this hazy space between science fiction, Cold War anxiety and New Age mysticism, “Disclosure Day” lands in a world where self-described UFO abductees have their own support groups and Congress has held multiple hearings about “unidentified anomalous phenomena.” Meanwhile, earlier this spring, the U.S. government declassified another batch of UFO files and the response was roughly equivalent to a collective shrug.

In recent interviews, Spielberg has said he now considers the circumstantial evidence for UFOs “overwhelming” and no longer views “Disclosure Day” as science fiction at all. In his earlier alien films, extraterrestrials represented mystery and escape. Here they feel more like vaguely benevolent interstellar therapists trying to help humanity get its act together. The film’s climax reaches for the same sense of civilizational awe as the mothership landing in “Close Encounters.” For me it didn’t quite get there.

But maybe that’s partly because it’s harder now to experience these ideas with the same innocence they carried in 1977 or 1982. Rewatching “E.T.” at the Hollywood Forever Cemetery, I still wanted to believe that an encounter with an alien intelligence could elevate us. But we’re a long way from Reese’s Pieces and flying bicycles. Mark, did “Disclosure Day” manage to pull you back into Spielberg’s orbit this time?

Olsen: I have to just get it out of the way that as someone from Kansas City, I will be eternally annoyed that Emily Blunt plays a TV weatherperson in KC and Spielberg did not actually shoot there. Having said that, for me the movie is at its best as a chase thriller — a sequence in which O’Connor escapes a remote farmhouse is particularly well-executed.

“Disclosure Day” is first and foremost just a lot of fun, a showcase for Spielberg’s gifts as a filmmaker and his longstanding collaborations with cinematographer Janusz Kaminski and composer John Williams. The film is deeply interested in who knows what. There are longtime tightly held secrets being kept from the rest of us for whatever reason. Though the film is framed as a conspiracy thriller, Spielberg’s essential goodheartedness continually peeks out, as if he can only play at being hard-bitten for so long.

Where the film becomes less sure-footed is when it grabs for its bigger meaning, attempting to render something deeper from Spielberg’s longstanding fascination with aliens and what they might have to teach us.

The real disclosure of “Disclosure Day” turns out to be our own inability to listen: how everyone gets so wrapped up in themselves they often miss the larger picture. But the idea that the entire world could latch onto something together feels too far-fetched in our own current fractured news environment. That is likely less the fault of Spielberg and more one of ourselves. His career-spanning interest in aliens always brings him back to trying to better understand us.

Shrek’s abs are more defined than some might expect. Or is it that the shade of his green skin makes them appear more chiseled under bright lights? Maybe it’s just disorienting because no one anticipated gawking at his torso inside the historic downtown Los Angeles venue founded by Hollywood legends Charlie Chaplin, Mary Pickford, Douglas Fairbanks and D.W. Griffith.

These are thoughts that swirl in one’s head while attending this year’s Las Culturistas Culture Awards ceremony, held on a recent Saturday night at the United Theater. An offshoot of the popular podcast that actor-comedians Matt Rogers and Bowen Yang have hosted since 2016, the award show aims to celebrate the year’s biggest pop culture moments and plays like a fever dream more dazzling and deliciously random than a late-night scroll session on TikTok.

After launching in 2022 as a live event outdoors at Lincoln Center, the guerrilla awards show reached TV screens for the first time last year. This year’s ceremony, which will air June 17 on Bravo and stream on Peacock, coincides with the podcast’s 10th anniversary and features a kaleidoscopic array of attendees, including screen veterans like Lisa Kudrow and Will Ferrell, reality TV favorites like “Summer House’s” Ciara Miller and “The Real Housewives of Dubai’s” Chanel Ayan, and anthropomorphic icons like Miss Piggy and a certain green ogre. And the prizes? It’s the only place you can find categories like “Real Housewives Award for Best Way to Start a Confrontation,” “Pornhub Category We Would Never Click On” and “Hilary Duff Award for Millennial Excellence.”

Over lunch at the NBCUniversal lot in Universal City, Rogers and Yang discussed the show’s evolution. These are edited excerpts from the conversation.

Matt Rogers, left foreground, and Bowen Yang perform a musical number inspired by “Heated Rivalry” during this year’s Las Culturistas Culture Awards.

(Monty Brinton / Bravo)

I will probably regret starting our conversation this way, but we all have our blind spots and, to thoroughly prepare for this interview, I watched “Shrek” for the first time last night.

Yang: Oh great! The first one?

Rogers: How’d you feel?

I get it now.

Rogers: Get what, that he is attractive or …?

I’m not quite there yet. You guys reference the film a lot on your podcast and Shrek has also been a figure on the awards show, including this year. I was hoping you’d explain Shrek as a heartthrob to me as if we’re in a pop culture class. When did this idea really take shape?

Yang: Over at least a couple years, to my knowledge, there’s been this online meme culture around Shrek, where it’s like, “Oh my God, Shrek is like a sex king,” but now it’s even spilled over into like dating life. I don’t know if you’ve heard of this, but there’s a verb called Shreking in dating, where it has to do with women dating a guy that’s below their league because he will be nice to them; he will be a Shrek to their Fiona. That’s an interesting thing — you date someone slightly in another zone than you, so that you can be like, “Well, that’s my Shrek,” but meanwhile, there’s the tension between that and Shrek being someone that people are actually attracted to. This just speaks to the enduring power of Shrek as a pop culture icon.

Rogers: I think what it is, is he has an amazing accent. It’s a very powerful thing. He’s independent, he’s self-sufficient, he’s a movie star.

Yang: He said it at the awards. I mean, he’s a rich celebrity.

Rogers: We saw the real Shrek at the awards and he looks pretty f—ing good to me.

Yang: He looked good to me. I don’t know what these Gen Zers are talking about with this Shrek being below your league.

What are the calls with publicists like now to get their clients to participate?

Yang: Last year was a communication puzzle to solve. We were like, “OK, we have to really convey this the right way.” We thought, perhaps naively, now that we’ve done it, now that there’s a proof of concept, it’s going to be much clearer. I think it was clearer, but there was still that degree of, “oh, this is …” — not to like give ourselves too much credit, but this is a concentric circle outside of what is very established in the form of an award show. You’ve got publicists who are like, “Well, we would love for our client to win an award.” And you’re like, “No, that’s not really the point.”

Rogers: Presenting is just as good as winning, just as good as performing. But I think it’s weird that we have been so late to stumble on what the show really is, which is it’s a variety show. And, so, in wrapping your head around it that way, it’s actually pretty easy to get across. It just has the drag of an award show, and that’s our way in.

But I do understand the publicist hesitation because I will say, in a world where it’s your job to protect your client, you’re putting them in a situation that is like, “OK, they’re going to an award show — that’s something this town takes very seriously.” So, it’s an ask to be like, “Hey, can you come take the piss out of this concept that you’re then probably gonna spend eight months of the year trying to actually achieve?” I would be lying if I said that we didn’t want one day to win one of those awards. It’s an acknowledgment of your work, but in that, Bowen and I think the No. 1 thing that’s the funniest thing in the world is people who take themselves that seriously. It’s a healthy mix of appreciation for this thing that was actually a big element of the culture that made us say culture was for us, which was watching award shows when we were kids, and also the reality that we now know as people that are in the industry of what they really are, which is they’re just shows. We’re not condemning them, we’re having fun with it.

1

2

1. Scenes from the 2025 Las Culturistas Culture Awards: Jeff Goldblum, left, accepting the award for Most Amazing Impact in Film for his appearance in “Jurassic Park,” alongside presenter Patti Harrison. (Griffin Nagel / Bravo) 2. Allison Janney was a guest of honor, receiving the Lifetime of Culture award. (Jordan Strauss / Bravo)

Have you been asked to tweak the name of a category or punch it up even more?

Yang: Last week was the window when our producers could be very honest with us and say if something may not be working. Back to the Shrek [bit in this year’s show], actually, that ended up being much dirtier and bluer than it was on stage.

Really? I already knew I wouldn’t be able to include the award category because of Times standards. So the actual bit was raunchier?

Yang: It was even raunchier. It went for it.

Rogers: But it’s also a testament to how much freedom they give us to make our show. If they were concerned at all about us desecrating the image of Shrek, we certainly did not feel that way. I am really shocked and grateful that we get to do something that it feels like we’re getting away with something.

Take me back in time with young Bowen and young Matt. What do you remember about your enthusiasm for award shows growing up?

Yang: It was watching Billy Crystal at the Oscars do song and dance numbers, zing these things in for a laugh that we’re referencing the year, being in these video packages where he was in the movies. That it was live television and just this pageantry of people congratulating themselves, congratulating each other. I would tune in live every single year to all the award shows and I would follow the host changes. I remember Whoopi’s first year [hosting the Oscars]; I remember Ellen’s first year. I was really obsessive. It opened the door for all these things that I currently love, and that I’ve somehow had a fortunate experience in, which is live television, song and dance numbers — everything that Billy Crystal was doing. It keyed me in on how show business works, down to production elements and how filmmaking comes together.

Rogers: I just remember, I looked at the screen and I was like, “Oh, that’s where I belong. I belong with them. I don’t belong out here.” I was one of those Gold Derby kids — I would be on the forums; I still sometimes look at the odds and rankings and stuff. It was like gay sports, particularly with the best actress and best supporting actress races. And then obviously the Grammys, and all of that. One year I was watching, I think it was the People’s Choice Awards or the American Music Awards or something, and Shania Twain lost to LeAnn Rimes, and I cried for a day. I took it so seriously and my mother turned to me and said, “You need to stop.” But you couldn’t tell me it didn’t matter at the time. [Reporter’s note: Twain lost the favorite country new artist award to Rimes at the 1997 American Music Awards.]

As the profile of Bowen Yang and Matt Rogers’ variety-style award show has risen, getting stars on board is an interesting puzzle: “You’ve got publicists who are like, ‘Well, we would love for our client to win an award,’” Yang says. “And you’re like, ‘No, that’s not really the point.’”

(Jason Armond / Los Angeles Times)

What do you remember about your first experience at a major awards show?

Rogers: He was nominated as writer for “SNL” and took me as his date. We were sitting there — the “Queer Eye” guys were sitting like three rows behind us.

Yang: We watched Phoebe Waller-Bridge sweep with “Fleabag.”

Rogers: We watched Michelle Williams win for “Fosse/Verdon.” It was funny because we had gone to the bar and were double-fisting drinks back to the seats and I said to Bowen, “Oh my God, I’m like the Busy Philipps to your Michelle Williams.”

Yang: And who shows up behind us?

Rogers: Busy Philipps taps on our shoulders and goes, “You guys are killing it with those drinks.” And I’m like, she doesn’t even know I’m her. Cut to minutes later, Michelle walking up and giving a banger of a speech.

Yang: That was like our first brush with it. Even now we go to these, and we’re like, this is really something; it’s incredible. We were at the Oscars last year, front row, witnessing all of it go down, witnessing the moment where upsets would happen, feeling the vibe in the room shift. The benefit of our show is that the vibe is pretty high throughout; it does not decline as soon as there are losers in the room.

Las Culturistas Culture Awards took place in late May and is being telecast roughly two weeks later. Do you see it ever going the live route?

Yang: We don’t know. That is my not so secret dream, is to do it live one day. There’s just something about doing it live — and it occurs to me now that I’ve been very lucky and fortunate to have have my reps in. There’s just something so wonderful about it being this event where everyone is tuning in, enjoying it the same time you are. That is really something special.

Rogers: If he’s down, I’m down.

I’m sure this changes each year, but who’s your dream person to snag for an appearance?

Rogers: I would say the people that make it very apparent that they have sketch comedy and impression skills, and maybe you wouldn’t necessarily know that they do until they show that.

Yang: Ariana Grande.

Rogers: Our dream was for Ariana to come do an original character. We actually floated to her the idea — there was going to be like a Banksy reveal of MsMojo, and it was going to be revealed that it was Ariana Grande was MsMojo. But she actually was in rehearsals for the Eternal Sunshine World Tour. Little did we know she also was recording “Petal.” She was a bit too busy to play MsMojo, I guess, this time.

Yang: These two are forever paired in my head, but it’s because she’s another sketch performer: Cher. And sometimes the dream guests are not big names, it’s the people that we came up with in comedy. And actually one of the consumer research reports that we got back before we started writing this year’s show was that the thing that people loved about the Culture Awards was this crossover of reality talent, A-listers and Oscar winners, and comedy people — that mix, those three [types of] people mingling together is what the viewers want.

Rogers: I’m just so proud in every single way of the diverse array of talent that we were able to bring together. I looked out in the audience and it was just a party of so many friends and people we’ve met in the business — people that I didn’t even get to meet that night, but I was just gagged they’re there, especially in the edit, which you’ll see. This is Bowen’s first year in the edit, he had to miss it last year, but that’s what’s so cool about going through the footage, is you’re like, “Oh my God, there’s someone I’ve loved my entire life next to my cousin.” We were saying to each other that it ended up being like a weird love letter to our younger selves, having Mandy Moore and singing “Only Hope” with her and doing the “Pokémon” theme song and getting to hang out with Pikachu.

Do you worry about it ever getting too big?

Rogers: If it ever gets to a point where it couldn’t be funny, that wouldn’t work. We want it to always stay true to what it is, which is it’s our comedy special together. As long as it doesn’t feel like it’s selling out — and I can understand people watching it and being like, “Oh, they obviously had to have Nintendo characters because it’s NBCUniversal or obviously they had to include “Summer House” — none of that is true.

Yang: There’s no mandate.

Rogers: This is genuinely what we would want the show to be, and so as long as it’s that, we’re good.

So what’s your “I don’t think so, honey” on awards shows?

Rogers: I don’t think so, honey — 10 nominees for best picture at the Oscars. Why?

Yang: Totally. Tea.

Rogers: I actually think it helps things that are weirder win because it’s too many. And the way that they ranked choices. I’m a popular-vote person anyway.

Yang: I need us to really get on the same page about play-off music. Sometimes people are encouraged to go on, sometimes we turn against that. Let’s stop innovating, let’s stop trying to break the mold on them. Let’s just respect that as much as we can, unless it’s egregious.

And it’s always a bit within the show.

Yang: This is what I was about to get to. The hosts now are always trying to bitify that; it’s more of a practical thing to keep the show moving. Don’t try to put a hat on top of a hat by making it a comedic moment too. We’ve never really played with that trope, even though we could, and maybe should. For now, my attitude towards play-off music is, these people might not ever be on this stage again.

How soon do you start planning the next one?

Rogers: Hopefully, they give us the green light.

Ana Gasteyer, left, Jamie Lee Curtis and Patti Harrison at the 2025 Las Culturistas Culture Awards.

(Jordan Strauss / Bravo)

How did you go about deciding which categories would return this year and which you invent along the way?

Yang: We did an audit this year of all the categories from the last few years of doing this.

Rogers: Less made it back last year.

Yang: I think maybe about 30 max previous categories [returned] — that’s a decent ratio, 70-30 is nice. From there, we just kind of molded the clay on the table a little bit. We have the benefit of making this a recursive reinvented show every year; the categories itself are the premise, it’s the micro-premise within the segment or the element. The jokes are the nominees. Why not create new opportunities at every turn.

“Las Culturistas” expanded into a video podcast last year. How do you feel about this evolution we’re seeing to the format?

Rogers: It’s not that when I’m on camera with Bowen doing the podcast, like, “Oh, I wish I could be more relaxed,” I just wish the whole industry hadn’t gone this way because I feel like when you’re on camera, you can’t help but be a little bit more self-conscious, and that is going to come through in the podcast product. If I had my druthers, none of them would be on film. I can understand that it helps a lot and I can note a marked difference in the amount of times I get recognized now that we are on social media. It absolutely “helped” our podcast get bigger. That being said, I don’t think it was a good thing for podcasting that they all became TV shows.

Yang: It changes the register and the tone by nature. You cannot help but be motivated by different things, by the appearance of it, by the presentation of it, beyond what it was, which is just radio, which is a really important American form.

As two people who grew up being connoisseurs of pop culture, what is it like to be on the other side of it, to feel the intensity of it — I’m talking about what happened with the Jasmine Crockett comments — to become part of the conversation? What lesson came from that?

Yang: We are experiencing something in an acute way that I think everyone is experiencing, which is we are seeing ourselves in the third person. Everyone is kind of modulating their behavior based on how they are appearing out of body. It’s the way we all move through the world now, which can be snapshot and projected very widely out into the world for whatever reason.

Rogers: When you’re talking candidly, you can never know what piece of what you’re saying is going to be the piece that gets scrutinized again and again and again and again by what feels like the entire internet. And if you did, you would, of course, be more specific, and you would be able to really clearly say why you are saying what you are saying. We have had learning experiences with that, and so what we can do going forward is be more clear about the things that we do believe and stand by. That is something that even 10 years in the game we are learning how to do.

Yang: And I think on a very large scale, what is going to happen is that we are all going to adjust for the fact that we have behaviorally changed because of this idea that we’re seeing ourselves in the third person constantly. For me, personally, I’ve had to wrestle with this idea after being on “SNL” for seven years and having to evaluate myself and having an audience evaluate me every week. I’ve changed behaviorally; I need to get over this fear of being seen. I need to get better about listening to my own voice.

Rogers: The internet is a very weird place and the thing is, it deliberately ignores nuance. It willfully tries to make something seem lowest common denominator, so that there can be a community based around that thing. And that is not good for the world. It’s not good for discourse. It’s not good for our politics. It’s really bad for our politics. Until we can all get on the same page about the ways in which we are willfully misunderstanding each other and calling it discourse, it won’t get better.

Yang: The misunderstandings are about people’s tones, and not necessarily about the things that people are pointing toward.

VENEZUELA Fury has furiously hit back at critics who claim she is too young to be married.

The eldest Fury offspring, who wed partner Noah Price last month, had so far remained silent on the controversy – but has now issued a defiant response.

In a defiant new social media post shared on Instagram, the 16-year-old shared a loved-up snap from her wedding day, with a clear message to trolls in her caption.

“For everyone who said I was too young,” she wrote, looking to silence the subject once and for all.

The photo shared showed Venezuela and Noah grinning from ear to ear on their wedding day as they posed together following the lavish ceremony.

Venezuela’s marriage raised eyebrows among some critics, who argue that 16 is too young to fully understand the lifelong commitment of marriage.

BUFF BRIDE

Venezuela Fury’s starts post-wedding health kick with Noah in matching gym sets

GYPSY QUEEN

Venezuela Fury, 16, in talks for new TV series about her ‘chaotic’ life

The debate intensified after England and Wales raised the minimum legal age for marriage to 18 in 2022 as part of efforts to tackle child marriage.

The couple tied the knot on the Isle of Man, where 16 and 17-year-olds can still legally marry with the written consent of a parent or legal guardian.

When the wedding was discussed on Loose Women, the panel were generally positive, while viewers commented on social media: “Are we really celebrating child marriage?”

Parents Tyson and Paris Fury have publicly backed the marriage, with Tyson proudly walking his daughter down the aisle on her big day.

Paris has also defended the decision, pointing out that she was engaged at 17 after meeting Tyson when she was just 15.

Venezuela left formal schooling at 11 as part of Traveller tradition and has since moved from family life into married life.

With 1.3 million TikTok followers, the eldest daughter of Tyson and Paris is reportedly being lined up to star in her own reality show alongside husband Noah, 19.

It is believed Netflix would be the frontrunner to produce the series following the success of the family’s hit show, At Home With The Furys.

In less than a month, Riverside’s Mission Inn has gained a new owner, lost two prized pieces of art and sparked a heated debate over the line between private property and community history.

The stage for this controversy was set in early May, when hotel owner Kelly Roberts decided to sell the Mission Inn to the Yuhaaviatam of San Manuel Nation, the tribe that owns the Yaamava’ Resort & Casino in Highland and the Palms Casino Resort in Las Vegas.

But it wasn’t the sale (for an undisclosed amount) that started arguments. It was Roberts’ removal of two beloved paintings from the hotel before the sale closed.

A painting at the Mission Inn in Riverside titled “Charge Up San Juan Hill” is taken down on March 20, shortly before the hotel’s change in ownership.

(James Ranger)

One is an alpine landscape called “California Alps” (1874) by William Keith, which measures roughly 6 feet by 8 feet and was displayed in the lobby near the front desk. The other painting, “Charge Up San Juan Hill” (about 1900) by Vasily Vereshchagin, was displayed on a wall of the steakhouse near the lobby. Both paintings had been a part of the hotel for more than a century.

“It was like a slow-motion version of the Louvre Museum heist, pulled off on a sunny day in Riverside in view of guests, staff and visitors,” wrote David Allen of the Riverside Press-Enterprise.

“There’s an outrage among members of this community,” said Mike Marlatt, a Riverside attorney and former board member of the Mission Inn Foundation.

The issue appears to be what agreements Roberts’ late husband made when he bought the building more than 30 years ago.

Former Riverside redevelopment official Ralph Megna, who facilitated the 1992 sale to Duane Roberts’ Historic Mission Inn Corp., wrote on Facebook that “What Kelly is apparently doing at this point is just pillaging the place in violation of those agreements.” But on a phone call, he was less absolute. He said the original pact included an agreement intended to protect about 180 movable pieces of art and artifacts from removal, but that “there’s shades of gray here.” Megna added, “We trusted people. Good faith turned out to be not so good.”

Duane and Kelly Roberts, photographed in 1998 at their home in Laguna Beach. Duane, who reopened the Mission Inn in the early 1990s, died in 2025.

(Glenn Koenig / Los Angeles Times)

Roberts’ family attorney Alan Jackson, however, said “Kelly is not pillaging anything.” He maintained that when Duane Roberts bought the hotel, “he bought every single item. Every single item was the Roberts family’s personal property.” When Kelly Roberts sold the hotel last month, Jackson said, she was free to keep or sell any of its contents.

In that deal, Jackson said, “the buyers would not close” until the paintings and a sculpture of Duane and Kelly Roberts were removed, because “they’re expensive.” Also, Jackson said that Duane Roberts, “before his passing, made it very clear to Kelly and the family that those are two of his favorite paintings ever.”

Jackson declined to say where the artworks are but said “they are in her possession” and “she has no intention of ever getting rid of those ever.”

The iconic spiral staircase in the rotunda of the historic Mission Inn.

(Gina Ferazzi / Los Angeles Times)

The hotel’s new owner, the San Manuel Investment Authority, declined to address questions about the sale agreement. But in a statement, it said it is “committed to collaborating with the Mission Inn Foundation and the City to respectfully steward and preserve this historic landmark, recognizing its deep history and significance to the Riverside community.”

Despite accolades from groups including Historic Hotels of America, tensions between the Roberts family and Riverside preservationists have risen in recent years. In late 2024, after more than 30 years renting space within the hotel, the nonprofit Mission Inn Foundation and Museum was unable to agree on a lease extension with hotel management and moved to a building on Main Street. Foundation leaders did not respond to messages seeking comment.

“The Mission Inn is so foundational to Riverside that any significant change brings real concern to me and makes me uneasy,” said City Council member Philip Falcone, 28, who has been leading tours of the inn since he was in high school.

The Keith painting is “quintessential California, a romanticized view of the Sierra Nevada range. William Keith, the painter, was friends with John Muir,” Falcone said. As for the San Juan Hill painting, it connects neatly with the history of Theodore Roosevelt, one of nine presidents who have visited the inn.

A guest takes in the view from the Spanish patio at the Mission Inn.

(Gina Ferazzi/Los Angeles Times)

The hotel is largely the creation of Frank Miller, who bought Glenwood Cottage, a modest boarding house, from his father in 1880. Then Miller enlisted investment help from his friend, railroad magnate Henry Huntington, transformed the boarding house into a hotel and renamed it. Over time, Miller built it into an architectural wonderland filled with art and antiques gathered in the U.S. and Europe. By 1931, the enterprise filled a city block.

“It’s a unique property,” said David Stolte, president of the Old Riverside Foundation. “It’s a National Historic Landmark. It kind of sits at the intersection of private commerce and public benefit. The original owner, Frank Miller, intended it as a public space, essentially a cultural museum, in addition to his business of running a hotel.”

After Miller’s death in 1935, the hotel’s reputation spread even further, attracting dignitaries of the day — and the future. It served as the site of Richard and Pat Nixon’s wedding in 1940 and Ronald and Nancy Reagan’s honeymoon in 1952. But by the 1960s, it was much diminished, and a later owner, Benjamin Swig, had sold close to 1,000 antiques and artworks to help pay bills.

By the mid-1980s, the hotel had passed through a period of city ownership and was closed. By 1992, more than $50 million had been spent in restoration and renovation, but the project was scuttled by a bankruptcy. That’s when Duane Roberts, who grew up in Riverside and made his fortune selling flash-frozen burritos, bought the property and reopened it.

Duane and Kelly Roberts, residents of Laguna Beach, also established the hotel’s annual Festival of Lights, an Inland Empire holiday tradition. The hotel today includes 238 guest rooms, four restaurants, two lounges, two chapels, a spa, pool and candy shop.

Besides their stewardship of the hotel, Duane and Kelly Roberts became known as major donors to the Republican party. In 2017, Politico reported that Kelly Roberts was in line to be named the Trump administration’s ambassador to Slovenia, but turned down the post.

After Duane Roberts died at 88 in November, Riverside buzzed with questions over the fate of the hotel, prompting another Roberts family lawyer to offer public assurances.

“Nobody’s buying this hotel. Mrs. Roberts is keeping this hotel,” attorney Patrick O’Brien told a TV news crew in late November. But on May 4, Kelly Roberts and the San Manuel Investment Authority announced the pending sale.

Festival of Lights, Mission Inn’s popular holiday tradition, was created by Kelly and Duane Roberts after they reopened the hotel.

(Allen J. Schaben/Los Angeles Times)

Then on May 20, guests spotted workers removing the two paintings from the lobby area. Longtime hotel-watchers said other items had disappeared in recent years, including an 1876 Steinway piano; a statue of the goddess Pomona; William Wendt’s painting “Houses at Arch Beach”; Ilya Repin’s 1884 painting “Portrait of Madame K.”; and the hotel’s Taft Chair, a sturdy oak armchair commissioned by Frank Miller in 1909 to hold 335-pound President Taft. But the midday, presale removal of the Keith and Vereshchagin paintings prompted immediate outcry.

It was “traumatizing, seeing that stuff on display for so long and then seeing it come down,” said James Ranger, a veteran hotel tour guide and Mission Inn Foundation docent. After all the time and money the Roberts family invested in the property, “leaving on this note puts a sour taste out there,” he said.

The sale closed May 29. Though the Roberts family’s attorneys have insisted that the buyers and sellers are in accord, preservation advocates in Riverside have called for a review of documents associated with Roberts’ purchase of the property.

Meanwhile, the hotel’s new era as a tribal holding begins. Besides the two casino-hotels, the Yuhaaviatam of San Manuel Nation owns several other hotels, including the Waldorf Astoria Monarch Beach Resort & Club in Dana Point. As for the Mission Inn, the tribe has signed on Boston-based Pyramid Global Hospitality to take over management, and several changes are already evident.

Notably, the Roberts’ names have been dropped from the signage. Kelly’s Spa has become simply the spa, Duane’s Steakhouse is now just the steakhouse, and Casey’s Cupcakes, a hotel shop founded by Kelly’s daughter Casey Beau Brown, has closed. The Festival of Lights will continue, a spokesperson said.

Stolte said the Old Riverside Foundation believes the tribe will be “great stewards” for the Mission Inn.

“I wish that their welcome to Riverside was a little smoother,” he said.

Staff writer Alex Wigglesworth also contributed to this story.

Emmerdale’s Dr Todd, played by Caroline Harker, has been causing chaos in the village but the actress comes from a famous acting family

Dr Todd has caused nothing but chaos since her arrival on Emmerdale.

After bullying young trainee doctor Jacob Sugden (Joe-Warren Plant) at the hospital, Dr Todd, played by Caroline Harker, turned her attentions to Charity Dingle (Emma Atkins).

On Sunday night, Dr Todd sexually assaulted Charity after weeks of blackmailing her over the true parentage of baby Leyla.

Charity served as a surrogate for granddaughter Sarah Sugden and Sarah’s husband Jacob, giving birth to baby Leyla. However, Charity has failed to tell the new parents that she and Ross Barton are actually Leyla’s biological parents following a short fling together.

After Dr Todd discovered this secret, she demanded £100,000 from Charity, and things took a horrifying turn when Dr Todd sexually assaulted Charity on Sunday’s episode.

With Dr Todd currently dominating storylines on the ITV soap viewers may be interested to learn that actress Caroline, 60, hails from quite a distinguished acting family.

Who is Dr Todd star Caroline Harker’s family?

Away from the soap, it transpires that Dr Todd actress Caroline comes from quite a celebrated family. Her mother, Polly Adams, is an accomplished actress who has worked extensively across both the UK and the US.

She is perhaps best known for playing Mrs Brown in the 1990s television series Just William, with further TV credits including Kingdom and The Cinder Path.

In 1975, Polly made her Broadway debut in the award-nominated role of Grace Harkaway in a revival of London Assurance. However, Polly isn’t the only celebrated family member Caroline has.

Her sister is Susannah Harker, who has featured in hit BBC 1995 series Pride and Prejudice as Jane Bennet, alongside Jennifer Ehle, who played Elizabeth Bennet, and Colin Firth, who played Mr Darcy.

Other roles include Midsomer Murders and Grantchester. She also received a BAFTA TV Award nomination in 1990 for her portrayal of Mattie Storin in House of Cards.

Who is Dr Todd star Caroline Harker’s husband?

Caroline is wed to actor Anthony Calf, and together the couple have three daughters: Louise Emma Calf, Cecilia Ann L Calf, and Anemone Georgiana Calf.

The 66-year-old boasts an extensive acting career and is best known for his roles in The Madness of King George, Beau Geste, and I Came By, alongside his appearances in Lewis.

Between 2023 and 2025, Anthony portrayed Lord Brightlingsea in the costume drama The Buccaneers, and has also featured in the film A Teacher’s Gift (2025) and the series Insomnia (2024).

From 2005, Anthony spent a decade playing DAC Robert Strickland in New Tricks, having previously taken on the role of Michael Beauchamp in Holby City (2005 – 2006).

In 2019, Anthony stepped into the role of William Wickham in the hugely popular series Poldark, and also appeared in Doctor Who as Godsacre (2017) as well as Death in Paradise in 2021 as Phillip Carlton. His former brother-in-law is Game of Thrones star Iain Glen.

What else has Dr Todd star Caroline Harker been in?

Away from her work in the Dales, Caroline has cropped up in a host of productions, including Harry Enfield and Chums, Holding On, The Man Who Lost His Head with Martin Clunes, Auf Wiedersehen, Pet, Midsomer Murders, and Doctors.

In 2012, Caroline took on the role of Alicia Davenport for a brief stint in Coronation Street. She is also widely recognised for her portrayal of PC Hazel Wallace in A Touch of Frost, starring opposite Sir David Jason.

Her most recent roles include Julia in the Apple TV series Hijack, Bethany Hastings in The Stolen Girl, and Mrs. Taylor-Brown. Back in 2011, she made a one-off appearance in New Tricks, sharing the screen with her husband, portraying the character Tabitha Hall-Chalmers.

Emmerdale airs Monday to Friday at 8:00pm on ITV1 and ITVX

While the smoke has begun to clear at “60 Minutes” after three correspondents were fired, CBS News leadership now faces the challenge of finding journalists who can fill their shoes just three months before a new season starts.

The venerable news magazine was plunged into crisis last week as longtime correspondent Scott Pelley confronted management about the May 28 firings of his colleagues Sharyn Alfonsi and Cecilia Vega along with the program’s executive producer Tanya Simon and her second-in-command Draggan Mihailovich.

Pelley, who also accused CBS News Editor-in-Chief Bari Weiss of “murdering” the program, was terminated June 2 after a 37-year career at the network. He later gave an interview to The New York Times, accusing Weiss of “putting her thumb on the scale” for the Trump administration when guiding the editorial direction of stories.

(CBS News denied Pelley’s accusations. But Paramount Chief Executive David Ellison, who has given Weiss a free hand in disrupting the CBS News hierarchy, found the turbulent situation concerning enough to personally reach out to veteran “60 Minutes” correspondent Lesley Stahl, according to The New York Times. He assured Stahl the program would not be subject to political interference, a message she passed along to the staff.)

Lesley Stahl in the 2022 film “Marcel the Shell With Shoes On.”

(A24)

The recent personnel bloodbath followed the already announced departure of Anderson Cooper, and leaves CBS News with four correspondent roles to fill and a far less experienced executive producer — former tech journalist Nick Bilton in place to keep the program on track.

Remaining staffers were encouraged that Maria Gavrilovic, a 19-year veteran of CBS News who worked closely with Pelley, was promoted to senior producer under Bilton. They are also relieved that correspondents Stahl, Jon Wertheim and Bill Whitaker chose to remain with the program rather than leave in solidarity with Pelley.

Norah O’Donnell’s interview with Crown Prince Mohammad bin Salman in 2021.

But “60 Minutes” is under pressure to get a new team in place as newcomers will have little time to learn the program’s formula that gives it the comforting consistency its viewers seek. The 13-minute pieces on “60 Minutes” are filmed, written and voice-tracked in a distinctive narrative style that takes time to master, according to people who have gone through the process.

Weiss has told people internally that “60 Minutes” is the most important platform within the news division and if a major story comes from outside its corps of correspondents, it will find a place on the program.

Here are the leading contenders for full-time roles based on interviews with several sources at CBS News who were not authorized to discuss the matter publicly. A CBS News representative declined comment.

Holly Williams: Williams has been a foreign correspondent working out of Istanbul since 2012. The Australian journalist has reported extensively from war zones in Iraq, Afghanistan, Libya, Gaza and Ukraine. When covering Syria’s civil war from inside the country, she and her team gained access to a prison where alleged ISIS terrorists were being held.

Williams has contributed reports to “60 Minutes” over the years. Before joining CBS, she was a Beijing-based correspondent for Sky News.

CBS News foreign correspondent Holly Williams,

(Michele Crowe / CBS News)

Tony Dokoupil: The anchor of “CBS Evening News” is expected to be added as a contributor to “60 Minutes,” a role also given to his predecessors at the newscast including Dan Rather, Katie Couric, Scott Pelley and Norah O’Donnell.

Dokoupil has done longer interviews and segments for “CBS Sunday Morning” over his 11 years at the network. The additional exposure to a Sunday night audience of more than 9 million who tune into “60 Minutes” could also help boost his nightly newscast. The program has struggled in the ratings since he took over in January when, during his inaugural week, he awkwardly saluted Secretary of State Marco Rubio at the close of one episode.

“CBS Evening News” anchor Tony Dokoupil and the network’s chief national correspondent Matt Gutman.

(CBS News)

Matt Gutman: The network’s national correspondent was Weiss’ first significant on-air talent hire when he joined from ABC News in December. Gutman has been a frequent presence on big stories and breaking coverage for “CBS Evening News” since he arrived.

Mariana van Zeller at the Ultimate Disney Fan Event at the Anaheim Convention Center in September 2022.

(Image Group LA / Walt Disney Co.)

Mariana van Zeller: The multilingual journalist is best known for her documentary series “Trafficked,” which airs on the National Geographic Channel. Van Zeller, 50, has won dozens of awards for the program that has taken her around the world to report on black market activities and human trafficking.

Norah O’Donnell: Currently a contributor to “60 Minutes” who already appears on the program’s trademark open, O’Donnell’s role is expected to expand. After CBS settled a $16-million lawsuit filed by President Trump against the program for what he claimed was deceptive editing of an interview, O’Donnell helped the program by stepping up to interview the president twice, subjecting him to tough questions. Her recent joint interview with three U.S. cardinals about Pope Leo XIV and his church’s opposition to the Iran war and Trump’s aggressive immigration crackdown became a major story in April.

Major Garrett: The network’s chief Washington correspondent recently appeared on “60 Minutes” to interview Israeli Prime Minister Benjamin Netanyahu. The assignment caused internal tension as Stahl was pursuing a sit-down with the leader. But Weiss handled the booking and gave Netanyahu the option to select Garrett.

While the decision faced some criticism, the program regularly agreed to former President Obama’s preference for now-retired “60 Minutes” correspondent Steve Kroft to interview him even though other journalists on the team wanted a chance.

KATIE Price has admitted son Harvey is happiest at home and tells her he “hates” living anywhere else.

The former glamour model revealed that while Harvey previously moved into his own flat, he is now back living with her and dreads the prospect of being away from his mum again.

Speaking on The Katie Price Show podcast, Katie opened up about how much Harvey struggles when he’s not at home.

She said: “I think people are noticing I’ve got Harvey here more than I normally do. Normally he’s in Cheltenham.”

Harvey, 24, who has Prader-Willi Syndrome, attended a specialist further education college for young people with complex disabilities.

He enrolled at the residential college in Cheltenham in 2021 before his funding was cut in 2024.

HARV’S ORDEAL

Katie Price reveals son Harvey’s nasty injury after early morning accident

HOOK, LINE & CLINK-ER

Lee Andrews accused of using ACCOMPLICE in scam plot from behind bars

Harvey then moved into supported independent living, with Southampton serving as a temporary base.

Katie explained: “We’re still waiting for his next placement. They’re saying next month and that’s up the road from me.

“But where he is in Southampton, he just doesn’t like being there.

“When he’s there, he texts me, ‘I hate it here, Mum. I just need you. I want your cuddles, hold my hand.’

“And it pulls on your heart. So I’ve got him here and it’s hard because I’m working and his carer at the same time.”

Harvey and Katie’s daily challenges have previously been documented in the BBC documentary Harvey and Me.

Meanwhile, Katie recently returned from Dubai, where she tried to find out more about husband Lee Andrews’ detention in Al Awir prison.

Lee, 43, claims he was arrested and detained on suspicion of espionage, but it is understood he is actually being held over a private civil matter.

After decades spent shaping modern movies without ever taking home a competitive Oscar, actor Glenn Close and director Ridley Scott will finally receive statuettes from the Academy of Motion Picture Arts and Sciences this fall.

The academy announced Wednesday that Close and Scott will receive honorary Oscars at this year’s Governors Awards alongside pioneering animator Floyd Norman, while producers Christine Vachon and Pamela Koffler, co-founders of Killer Films, will receive the Irving G. Thalberg Memorial Award.

The annual Governors Awards, launched in 2009, recognize lifetime achievement and significant contributions to filmmaking and the motion picture industry. The Thalberg Award honors producers whose bodies of work reflect consistently high-quality motion picture production.

Unlike the competitive Oscars handed out during the telecast, the honorary prizes are presented at a separate ceremony attended by film industry figures, academy members and awards season contenders.

Close, 79, one of the most acclaimed actors of her generation, has received eight Oscar nominations over her career, including for “Fatal Attraction,” “Dangerous Liaisons,” “Albert Nobbs” and “The Wife.”

Scott, 88, the architect of “Alien” and “Blade Runner,” whose striking visual style helped define modern blockbuster filmmaking, has scored nominations for directing “Thelma & Louise,” “Gladiator” and “Black Hawk Down,” while also earning a best picture nomination for “The Martian.”

Despite their long influence on Hollywood, both have frequently appeared on lists of prominent Oscar nominees never to win a competitive Academy Award.

The 90-year-old Norman, who began working at Disney in the 1950s, became the studio’s first Black animator, contributing to films including “Sleeping Beauty,” “The Jungle Book” and “Robin Hood.” His career has spanned more than six decades.

Vachon and Koffler have been central figures in American independent cinema for decades, backing such films as “Boys Don’t Cry,” “Far From Heaven,” “Carol,” “First Reformed” and “Past Lives,” the last of which earned them their first best picture nomination in 2024.

The honors will be presented Nov. 15 at the Ray Dolby Ballroom at Ovation Hollywood during the academy’s 17th Governors Awards ceremony.

“Doctor Who” is going through another major regeneration.

The BBC announced Wednesday that it is not moving forward with a previously announced “Doctor Who” Christmas special. Last year, the broadcaster teased a “spectacular” special episode written by showrunner Russell T Davies for the 2026 holiday.

“After careful consideration, the BBC, Russell T Davies and Bad Wolf have collectively decided not to go ahead with the previously announced Doctor Who Christmas episode,” the BBC wrote in its latest update. “This decision was not taken lightly, and we know it will be disappointing for fans, but in order to set the show up for future series, it was decided that rather than bridge the gap with a one off special, we are choosing to push forward to invest in the long-term future of the show which ensures that when the TARDIS lands once more, it does so in all its glory.”

Whovians know that the Christmas Day specials are a longstanding tradition for the sci-fi series. Previous holiday episodes have marked the first full appearance of David Tennant’s Tenth Doctor in 2005 as well as Ncuti Gatwa’s Fifteenth Doctor in 2023.

BBC’s plan now is to “put Doctor Who out to competitive tender” in order to “[secure] the next phase of the show for future generations” — meaning they are inviting potential producers to pitch their ideas for the next era of the long-running series. This also means Davies and producer Bad Wolf are parting ways with the franchise.

“And so GOODBYE from me to Doctor Who but HELLO to a big new future for the show,” Davies wrote in a Wednesday Instagram post, confirming his exit. “You’ll have to wait a bit longer for new Doctor Who… but you’ll be waiting for MORE Doctor Who than a one-off. So it’s worth it!”

Davies, who led the “Doctor Who” revival from its 2005 launch to 2010 before returning for his second stint in 2023, also said that he had not written a script for the previously planned Christmas special and “no actor was ever approached to play the next Doctor.”

“I’m as excited as anyone to see what comes next!” Davies added. “Will they keep the theme tune? Will they lose the blue box? Will they bring back the Drahvin?! It’s all up for grabs, which is so Doctor Who, exciting and unpredictable and new!”

Bad Wolf, which worked on the two seasons starring Gatwa as the Time Lord, also on Wednesday confirmed its exit on Instagram in a post thanking fans and those that joined them on this “incredible journey through Space and Time.”

“It has been a joy and a privilege to have been at the helm of the TARDIS alongside the brilliant Russell T Davies,” read the production company’s statement. “Doctor Who is – and always will be – a show that shines light into the darkness and it has been an absolute honour to have been its torch bearer for 26 episodes with the BBC and Disney+.”

The BBC in its announcement reiterated its commitment to “Doctor Who” and its future. It also shared that a previously announced animated “Doctor Who” series for CBeebies is currently in production.

This latest “Doctor Who” update comes during a tenuous time for the franchise. The series has faced low viewership, Disney+ exiting as the show’s co-producers and Gatwa ending his run as the Doctor. The most recent season concluded with a cliffhanger, with the Fifteenth Doctor regenerating into a form resembling Rose Tyler, the companion portrayed by Billie Piper.

Anticipation. Rumors. Anxiously scanning the horizon, hoping that a brilliant force will leave the masses forever changed. Yes, a new Steven Spielberg movie about close encounters with extraterrestrials is landing — and misses the mark.

“Disclosure Day” is a story of truth and feared consequences. A personality-free cybersecurity expert, Daniel (Josh O’Connor), is on the run with evidence of little gray men arriving on our planet to a rude reception. The aliens are kind. Our species is barbaric. Wittily bruising us with that fact, Spielberg opens with a POV of a wrestler kicking the audience in the face. Welcome to Earth.

Elsewhere in America, a weathergirl named Margaret (Emily Blunt) breezes into her Kansas City studio, babbling up until the minute the news camera turns on, a bravura sequence that channels her restlessness, the station’s tempo and the film’s alarm that this ditz has just this morning been stricken with preternatural powers. (The cinematography and editing are by Janusz Kaminski and Sarah Broshar.) Locally, Margaret is known for announcing hailstorms with a sexy shimmy. Suddenly, she’s fluent in Russian, Korean and telepathy. Although she and her boyfriend, Jackson (Wyatt Russell), are a bad match, she’s giving everyone else life advice like an intergalactic Dear Abby.

When Margaret starts spouting alien-ese — spasms of gutteral clicks — on live TV, she and Jackson rush to the hospital for a brain scan followed by several suspicious men who claim to be with the FBI. Russell’s befuddled Jackson is as useless as a traffic cone but Blunt’s Margaret is a gas before the movie makes her go all glassy-eyed and solemn. Yet, the movie is less inspired by why she was chosen or how she feels about it than in dragging us back in time to the moment when it happened, which isn’t that interesting except for its resemblance to a Disney princess having a psychotic break. The CG animals and aliens look stiff, other than a nifty close-up of an eyeball. (Later, I did like how one alien appears to be wearing sportswear.)

Chasing both Daniel and Margaret around the Midwest is a deep-state company called Wardex that wants to steal back the proof in Daniel’s backpack, a heap of hard drives with footage of 70-plus years of extraterrestrial visitations. It’s a treat to see Spielberg enjoying staging this conspiratorial gossip in different film stocks, from the black-and-white noir of 1947 Roswell to the clinical security-camera look of today. Whatever Wardex does on a day-to-day basis is unclear (we just see video screens and lab equipment). But it acts all-powerful, seeming to know more about outer-space tech than its overseers at the Department of Defense.

The script is by David Koepp of the paranoid thriller “Black Bag” and Spielberg’s 2005 version of “War of the Worlds,” yet, this plot strand about private enterprise isn’t science fiction. Last year, in the unrelated UFO documentary “The Age of Disclosure,” current Secretary of State Marco Rubio admitted that companies have a stronger institutional memory of “exotic materials” than any presidential administration: “The people in government who know where it came from originally — they’re long gone and their successors have no idea that it was there at all.” To add nationalistic insult to injury, the head of Wardex isn’t even American. He’s a Brit played by Colin Firth.

If anything, “Disclosure Day” isn’t paranoid enough. Clutching a mysterious tool the shape of a mouse coffin, Firth’s villain tracks Daniel’s location by mentally transplanting himself into another person’s body, changing the color of their pupils to his own icy blue. His gadget also makes his targets super sweaty. This laborious alien tactic leads to a few fun scenes but frankly feels old-fashioned when the omnipresent surveillance that Spielberg himself warned about nearly 25 years ago in “Minority Report” is now here with recording devices constantly tracking our faces, voices and movements just so we don’t have to dial phones, fetch sandwiches or talk to human drivers. Although his movie urged us against this 24/7 spyware future, we have since embraced the convenience.

I bring this up because “Disclosure Day’s” driving question is how humanity will react to life-altering information. (Not that the plot has much momentum — too many scenes end with the belief that ducking 10 feet out of view makes you invisible, with an antagonist simply giving up.) Daniel insists on total honesty: “People have a right to know the truth,” he says. His girlfriend Jane (Eve Hewson) doubts 8 billion people can handle his alien revelations. A Catholic, she’s alarmed that extraterrestrial intelligence could replace the concept of God, naively claiming that “religion holds society together.” Since when?

There’s some wan comedy in an early scene where these new-ish lovers debate the ethics of secrecy while revealing the skeletons they’ve been hiding from each other. Both have pasts you wouldn’t put on a Tinder profile. The script is glancingly empathetic to Jane’s moral turmoil but like Daniel, the film has made up its mind before the movie started. Narratively and logistically, Daniel’s whistleblowing escape limps along with a lack of suspense. Wardex doesn’t even bother to preemptively discredit Daniel in the public’s eye, which, given the two sentences of backstory we know about his character, would be easy.

Nattering in the background are broadcasts about the impending threat of global war at the hands of the United States, Russia and North Korea. Given that scary possibility, the risk that Daniel’s reveal could tip over the world order doesn’t seem that bad. Honestly, I’m dubious of the film’s certainty that folks even have the bandwidth to care about such news, let alone agree on what they’re seeing. The serious journalism Margaret aspires to do is splintering under our distrust of who controls the megaphones. Last month’s infodump of an Armed Forces report listing 209 sightings of unidentified objects was announced with a presidential tweet that “the people can decide for themselves.” I didn’t bother to click. Did you?

Getting information about these space invaders out leaves no time for taking the marvel of their existence in. Decades after Spielberg unveiled his signature shot — a face amazed at wonders we can’t see — he seems wearied by his awareness that today’s moment of revelation would look like a person staring down at their phone. When lens flares continually beam right at the screen, the whole movie feels like enlightenment under duress.

Where are the aliens from and why are they here? Who knows. “Disclosure Day” speeds around frantically, talking constantly and explaining little. Back in 1977, Spielberg’s “Close Encounters of the Third Kind” was a popcorn masterpiece of withheld information. Its quiet assurance that experts had a handle on flying saucers and a plan to meet them felt comforting. Here, Colman Domingo’s renegade intelligence operative also refuses to tell anyone anything, but all the unspoken beats just feel like plot holes. Mostly, his character builds what looks like a Hollywood set to reveal a truth he already suspects. That’s what Spielberg is doing too, but a film needs a sense of curiosity.

Instead, the wows come from good stagings of ordinary action: a car crash, a gripped crucifix, a hideout crowded with jostling, thrumming musical instruments. There’s a great train-track crossing sequence that’s also a vicious callback to Richard Dreyfuss’ epiphany in “Close Encounters.” Yet, I wanted to see more of the old Spielberg, the one who expressed awe in moments of silence rather than relentless motion.

That Spielberg has come full circle to his lifelong obsession with the sky had me convinced that this might be a secret sequel to “Close Encounters” beyond the droll joke that both Dreyfuss’ Roy and Blunt’s Margaret are shacked up with unsupportive blonds. They do share a universe; you’ll see a glimpse of what could pass for an outtake from Devils Tower, a.k.a. Mashed Potato Mountain, on one of Daniel’s hard drives. Still, I left underwhelmed. I didn’t need Dreyfuss to step off a spaceship gangplank and say, “I’m back.” I just needed “Disclosure Day” to have the same spark of intelligent life.

Bill Cody, the Grand Ole Opry and longtime WSM Radio host who woke up listeners with his velvet voice and country music lore, has died. He was 67.

The Tennessee radio station confirmed Cody’s death on social media on Tuesday, writing, “It is with heavy hearts that we share the passing of our dear friend and beloved WSM voice, Bill Cody.

“A singular presence on WSM-AM Nashville for more than three decades, Bill welcomed listeners each morning on Coffee, Country & Cody with a broad smile, a conversational ease, and an unerring ability to make both artists and audiences feel at home. He joined WSM in 1994 and had Charlie Daniels as his first in-studio guest. He built more than a morning show; he created a gathering place rooted in his deep love for country music and the people behind it.”

In late May, Cody’s daughter Hannah Davis shared that the radio host had been admitted to the intensive care unit with heart and kidney failure. “After weeks of being on a roller coaster of emotions, tests, dialysis, medications, steps forwards and steps backwards, it was determined earlier this week that his only option for survival would be a double transplant, heart and kidney,” she wrote on Facebook. “We need a miracle and we know God is able.”

On Tuesday, she wrote that Cody had died peacefully surrounded by family and “was welcomed into heaven as thunder bellowed outside, and we laughed because we knew it was a band of angels rejoicing.”

With nearly 50 years on the airwaves across syndicated radio, television and film, Cody was honored with a star on the Music City Walk of Fame in the fall of 2024. His credits included the film “American Saturday Night: Live From the Grand Ole Opry,” the television show “Tennessee’s Wild Side” on PBS, “Ray Stevens’ Nashville” on RFD-TV, and GAC TV’s “Master Series.”

In 2008, the beloved Nashville host was inducted into the Country Radio Hall of Fame, and across his career, he earned multiple nominations from the Country Music Assn., the Academy of Country Music and Billboard for his contributions to broadcasting.

Born Trent Clutts on Dec. 16, 1958, in Huntsville, Ala., Cody was inspired to pursue a career in broadcasting during visits to a Kentucky radio station with his dad. His father was a Southern Baptist minister, and his Sunday morning sermons were broadcast on the radio in the afternoons. Cody couldn’t get enough of the goings-on at the station when the two would stop by to drop off cassettes.

In 1971, when the radio host was 17, he was hired as a night deejay at WVLK in Lexington, Ky., but the program director didn’t think “Trent Clutts” had the right ring for radio. Cody named himself after “Buffalo Bill,” one of the most famous showmen of the American Old West, and used the moniker for the rest of his career.

As a teenager, Cody noticed a girl named Rebecca during study hall and, according to Davis, winked at her from across the room. The wink sealed the deal and the two spent more than 50 years as a couple, welcomed three children — Luke, Hannah, and Levi, who died in 2025 — and eventually grandchildren, who called him PoPo. The family lived in Cross Plains, Tenn.

“Like so many of us at the Opry, Bill Cody lived out his dreams on the Opry stage. More times than I could count he and I would look at each other as if to say, ‘Can you believe we get to do this?’” Dan Rogers, executive producer at the Grand Ole Opry, wrote on social media.

“Even better, he made Opry audiences tuned in from around the world feel like they were here too, themselves a part of country music’s most famous show. Then, he’d get up early the next morning and — with that signature smile in his voice — tell everybody about it on his show.

“He was the best of friends to country music and to everyone who was a part of it. We’re sure going to miss him.”

A model suing Kanye West is speaking out about the alleged assault that lawyers for the rapper argue was his 1st Amendment right.

Jennifer An, an actor and model who competed on the 13th season of “America’s Next Top Model” in 2009, detailed the alleged assault — that she says happened in 2010 — in a new interview with the BBC’s “Fame Under Fire” podcast that was released Wednesday. In 2024, An filed a lawsuit against the “Heartless” rapper alleging he choked her and used his fingers to simulate oral sex during a music video shoot for La Roux’s “In for the Kill.”

“He had me sit in the chair in front of the camera, and I didn’t know what was going to happen. I was given no direction,” An told the BBC. “I was just told to sit in this chair, and then playback started, and then all of a sudden he just reaches a hand out and starts choking me, and I’m just not sure what’s happening, and then he pulled his other hand out and starts choking me with both hands and then starts smearing my makeup all over my face and sticking his hands inside of my mouth, which simulated oral sex.

“I remember feeling so suffocated, unsure, scared,” she said. An said she was 24 years old at the time of the alleged incident, her first foray into the industry. She told the outlet that, as it was happening, she hoped someone on the production side would call a halt to it.

“I remember him looking at me, like really intensely, and licking his lips a lot, my face was like so close to his,” she continued. “He reached a point that — I assume — he was very happy with himself, and he yelled something like, ‘This is art! I’m Picasso.’”

La Roux said she insisted the alleged assault be left on the cutting room floor, and in a 2024 Instagram exchange with An, the artist said, “I could never forget that, it was horrific,” according to court documents.

During the podcast episode, the BBC correspondent Anoushka Mutanda Dougherty asks if she can see the direct-message exchange between An and La Roux. She then reads aloud a message in which La Roux said, “I was in the room behind the monitor, begging the directors and everyone else to do something, but everyone was scared of him and did nothing.”

La Roux told An that West whispered to her, “I bet you think I just put women back about 10 years.” She said that she responded, “You just put women back about 500 years.”

Representatives for La Roux did not immediately respond to The Times’ request for comment.

The case has not yet gone to trial. In a motion to dismiss the civil suit — which was filed under New York City’s Gender-Motivated Violence Act and remains pending — attorneys for West didn’t deny the incident took place but, rather, argued that it was an artistic performance and therefore protected by the 1st Amendment.

Attorneys representing An in the case, Melissa Berouty and Christine Hintze, told The Times in an emailed statement: “While we respect the importance of artistic expression and the protections afforded by the First Amendment, dismissing this case on that basis would set a dangerous precedent. It would effectively grant immunity to perpetrators of unlawful abuse so long as their conduct occurred under the guise of artistic expression or within an artistic setting.”

They further said that An’s claims are supported by affidavits and written communications from multiple eyewitnesses, including La Roux.

BBC expert Steve Fletcher was given the task of restoring a sentimental item on the latest episode of The Repair Shop.

Emotions were at an all-time high during The Repair Shop as BBC’s Steve Fletcher and Dominic Chinea welcomed Robin into the workshop.

The guest had a large globe with him, which he explained was a ‘world clock’ and was built by his great-grandfather.

He commented: “It’s based on a grandfather clock mechanism. The idea is that the clock makes the globe rotate once every 24 hours. Then, using the numbers on the ring around the equator, you can see what the time is anywhere in the world.”

The BBC stars were blown away as they both called it ‘amazing’ before Robin confessed that he’s never known it to work in his lifetime.

Curious, horologist Steve asked if his great-grandfather was a clock-maker, as the guest explained that he wasn’t, he had been a mechanical engineer, but made the item in his spare time in the 1930s after retirement.

He added: “There’s a little newspaper cutting in here, according to the newspaper it’s supposed to chime every half hour. It took him five years to perfect.”

Sadly, Robin shared that his great-grandfather died when he was one year old, but he has memories of the item in his grandad’s dining room.

When asked what he wanted them to do with the unusual clock, Robin stated the idea would be to get it working, which is something his own father had wanted to do but never was able to.

He added: “If he’d have seen it working, I think it would have really been special to him if I could get it working now, in his memory, but also, grandfather and great-grandfather before that. Just to keep the family legacy going, as it were.

In the end, after the item was worked on by both Steve and Jonathan Wright, it was time for Robin to return to see the final restoration.

When the globe was revealed, which the experts managed to get working once again, Robin was blown away. He commented: “Wow! Well, it looks gorgeous, it really does look gorgeous. I’m… I am stunned, I really am stunned. Thank you. That’s a lovely sound, isn’t it?”

When Steve turned the clock strike on, Robin laughed as he struggled to hold back his emotions. He added: “Wow, that is so sweet. Sorry. I’d have loved my dad to have seen it and heard it. He’d have been thrilled. It’s really, it is emotional.

“Extremely emotional, but it’s magical, fabulous. We shall treasure it until it’s time to hand it on to the next generation.”

Steve added: “It’s been a real great challenge, so thank you very much for bringing it in.

The Repair Shop is available to watch on BBC iPlayer.

KERRY Katona has stripped completely NUDE to pose with her fitness instructor boyfriend Paolo Margaglione.

The pair who met on Celebs Go Dating in early 2025 can be seen posing for a naked selfie in a bathroom mirror in his recent Instagram post.

Paolo held his iPhone as he snapped the racy photo with one arm around his stunning girlfriend.

Kerry posed and threw her arms around Paolo as he nuzzled into her neck.

In the caption of the post, Paolo penned: “Can we just take a minute to appreciate how lucky I am.

“I’ll shout it from the roof tops with pride, my woman is a certified BADDIE.”

HEALTH UPDATE

Kerry Katona reveals she’s seeing medics for tests after stroke scare

HARSH JAB

Brian McFadden takes savage swipe at Kerry Katona with cutting Father’s Day joke

Kerry commented on the photo dump, which included several other sweet photos, as well as the very racy one.

She penned: “Baby, you’ve made me cry.

“I truly love you and I too am eternally grateful for you.”

Kerry went on to say how Paolo is an amazing father and partner, gushing over how proud she is of him.

Last month, one year on from finding love on Celebs Go Dating, Kerry returned to the E4 show.

As Anna Williamson asked what the public support has been like for Kerry and Paolo since they got together, the mum-of-five admitted: “I found it really overwhelming.

“I think since I joined the agency people see me for who I really am rather than just reading a headline.

“People actually watched me fall in love, and the support I’ve had from people – it’s been so overwhelming – for people to be so invested in somebody who I’ve chosen to love.

“It’s been really overwhelming, I’m not sure how to deal with it.”

Wiping away tears with a tissue, Kerry continued after a pause: “Life is so good, it’s so unbelievable that it scares me.”

Kerry met Paolo whilst filming for the show last year, with the TV stint coming after she split from fiancé Ryan Mahoney.

She was with Personal Trainer Ryan for six years after meeting on a dating app.

Prior to this, Kerry was married three times, first to singer Brian McFadden, then to taxi driver Mark Croft, and then to the late George Kay.

She shares eldest daughters Molly and Lilly with Brian, middle two Heidi and Max with Mark, and youngest daughter DJ with George, who passed in 2019.

Paolo is also a dad to two daughters from his previous relationship.

AMC’s plan to launch a new interactive live concert series in theaters is on ice, for now. With a booming box office full of films like “Obsession,” “Backrooms” and “Scary Movie,” the theater chain has postponed the concert project until later this year.

In a statement, AMC said due to the “robust lineup of upcoming films and strong advance ticket sales in the weeks ahead,” it needed to make some programming adjustments. Some of the major upcoming releases for June include Disney’s “Toy Story 5” and Steven Spielberg’s “Disclosure Day.”

Acts like Bebe Rexha, Paris Hilton, Kim Petras and Marren Morris were lined up to test out the new format next week, as a part of the Girls Night Live concert series.

The chain is partnering with live entertainment company Arena One to bring new technology to theaters. This tech would allow artists on a remote stage to see, hear and respond to the theater audience, in effect turning your local cinema into a stadium, the companies said. Fans who already purchased tickets have received refunds.

The series was initially marketed as a new draw to get customers to the theaters, but given the strong box office numbers so far this year, it’s clear the demand for theaters is already growing

Focus Features’ “Obsession” is now nearing $230 million in global box office revenue, according to Box Office Mojo, and is the studio’s highest-grossing movie at the domestic box office.

Similarly, A24’s “Backrooms” is the indie studio’s highest-grossing movie at the domestic box office, with nearly $140 million. It pulled in $100 million at the box office only six days after its initial release.

Most recently, “Scary Movie” topped the box office last weekend with a $105.5-million worldwide debut, ranking among the top five biggest R-rated comedy openings of all time.

AMC said it would announce new dates and additional artists for the interactive concert series in the coming months.

KATIE Price revealed her son Harvey suffered a painful fall at home this morning.

The 24-year-old, who has Prader-Willi Syndrome, took a tumble after waking up early and heading into the kitchen when it was still a bit dark.

Katie, 48, could be heard saying Harvey was left limping and in pain.

In a video uploaded to Facebook, Harvey was seen enjoying a sensory session with smellies and took a particular liking to lemongrass.

The post was captioned: “Harvey took a little tumble this morning! So lots of TLC for my baby bear! 

“Smelling is amazing for his sensory Needs & Taking his mind off the situation!”

HOOK, LINE & CLINK-ER

Lee Andrews accused of using ACCOMPLICE in scam plot from behind bars

PRESSURE COOKER

Moment Katie Price is grilled over Lee Andrew’s lies in The Sun’s mini doc

Katie recently returned from Dubai where she tried to find out more about husband Lee Andrew’s detention in Al Awir prison.

Lee, 43, claims he was arrested and detained on suspicion of espionage, but the reality is he is in for a private civil matter.

He needs to raise £140,000 to be released and asked Katie to set up a GoFundMe to help out, but she declined, stating there wouldn’t be enough public support.

The Sun’s Showbiz Editor Clemmie Moodie sat down with Katie during her Dubai trip and grilled her about Lee and the many untruths he has told over recent months.

Among them are the claims he bid to buy a majority stake in Chelsea Football Club and visited Katie’s children in person on secret trips to the UK, despite the fact he has a travel ban and can’t leave Dubai.

The full 56 minute sit down interview is available to watch here.

The Fortune has come to an end on Channel 5, with Eleanor Tomlinson and Matthew Lewis starring in the gripping four-part thriller

Channel 5 thriller The Fortune has wrapped up, with a new programme set to take over its timeslot from next week.

Poldark star Eleanor Tomlinson led the cast alongside Harry Potter alumnus Matthew Lewis in the nail-biting drama.

The series centred on her character Amanda, a woman whose seemingly flawless life begins to unravel after she inherits a mysterious fortune.

The four-part series reached its conclusion on Wednesday, June 10, with Amanda uncovering the secrets behind the enigma as the truth finally emerged, reports Wales Online.

The Fortune ending explained

Amanda was concerned with the disappearance of her mother Linda from her care home, while also dealing with her husband Jimmy disappearing.

Initially, she feared the worst, and confronted Sandy about secret meetings with Jimmy, only to find out that he only wanted Sandy to pressure Amanda to keep the money.

As she struggles to know what to do, and is warned not to contact the police, Amanda tries to find clues from the box of photographs she was sent.

She also gets a call from Fiona, who wants to take 50% of the money from Amanda, and cut out Anthony from the deal.

Amanda eventually manages to track down Jimmy’s last known location but while hoping to find him, is threatened by Anthony, who wants more of the money’s share.

Secrets continue to disrupt Anthony and Fiona’s relationship, as at their home, she finds a shirt full of blood, though he offers no explanation.

Amanda, on her way to find Jimmy, locates her mum in an old fishing hut that was pictured in one of the photos, but Linda isn’t alone.

She finds a stranger there, later confirmed to be Barry, with Linda revealing that Barry is actually Amanda’s dad, who she thought was dead for decades.

All along, Barry had wanted Amanda to keep the money for herself, explaining that the money had originally been his, but Martin had taken it for himself.

Martin had also asked Boots to kill Barry, but Barry had set up a trap and escaped, leaving Amanda thinking he was dead.

Barry also reveals he had asked Jimmy to help him, who returns, apologising to Amanda for keeping secrets.

Going to meet Anthony and Fiona at their estate, Amanda gets a call from their lawyer, who informs them that Anthony isn’t really Martin’s son.

Confronting them, Amanda tells the truth about the Worrall’s money, that it actually came from her dad.

Though Fiona had no idea of the truth, Anthony tries to hide behind lies and denies killing Boots, but Barry walks in, a ghost from the past.

In a moment of despair, Anthony threatens to shoot Fiona and Barry, before pointing the gun at himself.

The final scenes, after Linda’s heartbreaking death in the fishing hut, see Amanda return to Sandy’s to ask for her job back, and revealing she accepted the money, but let Fiona keep the house.

The Fortune’s replacement confirmed

The Fortune has been airing on Channel 5 for two weeks, on Tuesdays and Wednesdays.

Next week on Tuesday, June 16, after Reuben Owens: Life in the Dales slots at 8pm, Little Disasters airs at 9pm on Channel 5.

Its synopsis reads: “As the investigation continues, shocking discoveries are made. Cracks form in the Carrisford family as their friends become increasingly involved, and hidden secrets come to light.”

Then on Wednesday, at the same time, a repeat episode of Surgeons: A Matter of Life or Death will air, as per Freeview.

The Fortune is available to watch on My5.

HAILEY Bieber has critics floored as she fronts Victoria’s Secret Summer It Girl Dressing campaign.

Sprawling herself on the carpet, the model and businesswoman, 29, shows off her trim frame in a black strapless two piece.

Looking effortlessly chic, Hailey, who is married to superstar Justin Bieber, added a matching leather coat and heels.

Hailey is currently focusing on her ever-popular beauty brand Rhode – launching a summer skin collection last month.

Last year the brand was valued at a billion dollars.

Hailey launched the brand in 2022 and last year it turned over £150million in sales.

She recently posed in a chic yellow bikini for another fashion shoot.

And she was also pictured out in New York in a white mini dress for the Met Gala after-party.

Just last November the model posed up a storm for GQ magazine in another set of sizzling swimwear snaps.

Justin and Hailey have been married since 2018, with the pair welcoming their son Jack Blues in 2024.

Longtime on-air anchor Glen Walker is making his way back to broadcast news in Los Angeles.

After being laid off from KTLA in February, alongside other veteran broadcasters like Lu Parker and Mark Kriski, Walker is starting a new chapter with KTTV, L.A.’s local Fox affiliate. He began his new role as a per-diem anchor this week, where he’s set to have an on-air introduction on Wednesday and begin anchoring shows on Thursday evening.

“I didn’t feel like I was done,” said Walker of his career, in a phone interview Wednesday morning. “I’m still healthy. I’m not ready to retire.”

As Fox’s new rotating anchor, he won’t have a regular broadcast time, but will instead float between the KTTV and KCOP channels to fill in as needed.

Over the last few months, Walker has been eager to get back on air, especially with the local primary elections this month and the coming midterms in November. He said he plans to take the new gig “one day at a time,” but he’s most interested in covering politics and the current state of affairs in Los Angeles.

“With the elections and how it’s all related to the fires and the homeless problem, this city — maybe the whole state — has reached a point where [we ask], which direction are we going from here?” Walker said.

The broadcast news industry has been experiencing upheaval and consolidation — most recently with layoffs and firings at “60 Minutes,” and the pending merger of news giants Tegna and Nexstar. With the ongoing domination of streaming services, many local stations are struggling to compete and maintain viewership.

“[The stations] will get it figured out because there’s an adjustment period. It used to be just newspapers and radio, then you had television,” Walker said. “Now we’ve got the internet. Technology advances, and you just have to adjust to it.”

When he and several of his colleagues received the news of the layoffs at KTLA, the group was met with an outpouring of support from many loyal viewers and fans of the station. Walker, who had been with the station since 2010, was surprised by how many messages he received.

“You make a bigger impact than you think,” said Walker, who’s hopeful the same viewers will start to tune in to the local Fox station. “You just go to do your job every day, and you don’t think about it day to day, but then when something like that happens, that’s when you really see where people appreciate you.”

In between jobs, Walker said he spent his time golfing and trying to keep busy around the house and focused on landing a job. As soon as he stepped into Fox’s studio for a practice run, he said he felt an immediate sense of familiarity.

“I was sitting behind the anchor desk, and there was the teleprompter, the camera and that’s it,” Walker said. “It’s all the same at every TV station. It’s just a little bit of a different environment.”

PREGNANT Daisy Lowe showed off her baby bump as she joined Lily Allen and Vick Hope at a Royal Academy event.

The model and former Strictly star revealed she was pregnant with her second child in February.

Her pregnancy came just seven months after she tied the knot with husband Jordan Saul.

The couple already have daughter Ivy together, and as Daisy showed off her burgeoning bump on the red carpet, it looks like it won’t be too much longer until the family of three becomes four.

Daisy, 37, was attending the Royal Academy Summer Exhibition preview party at Burlington House, and wore a cream, lace dress which featured a large slit up the back, allowing her to show off her legs as she walked.

Daisy was joined at the event by Lily Allen, who wore a striking gown which featured a black mesh overlay and a cream feather drape detail running from her neck down her back to the floor.

HOT MAMA

Daisy Lowe shows off baby bump in sheer dress after announcing 2nd pregnancy

LOWE & BEHOLD

Daisy Lowe reveals she’s pregnant with second baby 7 months after wedding

Meanwhile Vick Hope wore a striking orange and pink tiered summer dress and accessorised with a gold clutch.

Also in attendance was Claudia Winkleman, who wore her trademark black alongside husband Kris Thykier, and Jenna Coleman.

When announcing her pregnancy,  Daisy shared pictures from her family holiday with Jordan and Ivy.

She wrote: “Heading home from our honeymoon with an extra stowaway.

“Little bump is growing FAST & Ivy is so excited to meet *her* baby.”

Daisy and property developer Jordan, 31 married in a “wild and romantic” ceremony last June.

The model, whose dad is Bush rocker Gavin Rossdale, wore a Vivienne Westwood couture gown and completed her stunning look with a gorgeous tennis bracelet by The Vault London, a Lulu Guinness shell bag and crystal-dotted Jimmy Choos.

Actor Anthony Head died last week at the age of 72 after complications due to pneumonia.

Last week, the world was shocked and saddened to hear the news that actor Anthony Head had died.

The star was best known for his roles as Giles in Buffy the Vampire Slayer and Rupert Mannion in the comedy series Ted Lasso.

On Wednesday’s episode of The One Show (June 10), BBC presenters Angellica Bell and JB Gill spoke about his death to actor Colin Morgan.

The 40-year-old starred alongside Anthony during his time on the children’s fantasy show Merlin, which ran from 2008 to 2012.

Anthony played King Uther Pendragon in the series, while Colin played the title character in the beloved show

Addressing the news of his death last week, host Angellica said to Colin: “Your big break was in the BBC series Merlin alongside the late Anthony Head, and you must have some fond memories of working with him?”

He said: “Yeah, I was so shocked and heartbroken to hear about his loss last week. He was such a pinnacle of a role model to me and all the young cast of Merlin.

“I have such incredible memories of working with him. Right now, my thoughts go out to his daughters, Daisy and Emily.”

JB added: “Yeah, condolences to his family as well.”

The news of his death was confirmed by his daughter in a statement which was released on Friday, June 5.

The said: “It is with heavy hearts that we announce the death of our extraordinary father, Anthony Head.

“He passed away peacefully of complications due to pneumonia, surrounded by his family. It has been, and forever will be, an honour and a privilege to be his daughters, and to have witnessed first-hand the impact both he and his work have had on so many.”

Since the announcement of his death, tributes have been flooding in from his former co-stars, including Matt Lucas, Charisma Carpenter and Sarah Michelle Gellar.

Alongside a photo of them all years ago, the actress wrote on Instagram: “Tell Giles I figured it out and I’m ok” Well I don’t have it figured out and I’m not ok. But I know I’m the lucky one because I knew you. Thank you to Daisy and Emily who not only shared their dad with me, but with the world.

The One Show is available to watch weeknights on BBC One from 7pm