I’m Glenn Whipp, columnist for the Los Angeles Times, host of The Envelope newsletter and the guy wondering about the profit margin on a $6 churro.
In the meantime, welcome back to the newsletter as we push through to the Oscars on March 15. Have you been catching up on the nominated movies? “Sentimental Value” is a delight … though just how delightful has been the subject of some debate.
Sign up for The Envelope
Get exclusive awards season news, in-depth interviews and columnist Glenn Whipp’s must-read analysis straight to your inbox.
Its primary quartet of actors — Stellan Skarsgård as a legendary director angling for a comeback, Renate Reinsve and Inga Ibsdotter Lilleaas as his daughters and Elle Fanning as an A-list actor who becomes entangled in the family drama — all received nods. Fanning’s name was the first called when nominations were announced, signaling that Scandinavian melancholy would be notably absent that morning. Never mind the hour: Champagne glasses were raised.
The celebratory scene stood in stark contrast to the vibe just two weeks earlier when “Sentimental Value” was blanked at the Actor Awards (formerly known as the Screen Actors Guild Awards). And it wasn’t the only international film ignored. The 2,500 SAG-AFTRA nomination committee voters also shunned Wagner Moura, the lead of celebrated Brazilian drama “The Secret Agent.” Moura went on to nab an Oscar nomination, one of four noms, including best picture, that Kleber Mendonça Filho’s drama earned.
The disparity between the choices of the motion picture academy and SAG-AFTRA could be an anomaly. Or it might be the latest evidence of an Oscar trend this decade. As the academy’s membership has become more global — 24% of Oscar voters live outside the United States — the Academy Awards have become increasingly an international affair, leading to a widening divide with the Hollywood guilds.
Is this a bad thing? It depends who you ask. If you queried the actors that SAG-AFTRA nominated who ended up being Oscar also-rans, the answer would be no. Those who believe that cinema is global, particularly now that American studios have largely abandoned making movies geared toward grown-ups, would have a different response.
“The fact that not one international film got in says a lot,” says a veteran awards consultant, who, like others interviewed, requested anonymity in order to speak freely about the industry. Indeed, one journalist tabbed SAG’s Actor Awards nominations the “‘America First’ List,” which, while technically accurate, might have taken the perceived xenophobia a bit far.
“The SAG Awards or Actor Awards — whatever they’re called now — are in danger of looking like a middlebrow affair,” another awards campaigner notes. “I know this is going to sound elitist, but it’s true. There’s a big difference between an organization where you have to be invited or apply to join versus one where, if you’re a disc jockey in Kansas City, you have voting rights.”
To be fair, DJs, Kansas City-based or otherwise, probably don’t vote for the Actor Awards’ nominations — just for the final awards. In the nominations round, 2,500 randomly selected active SAG-AFTRA members make the choices. To serve on the committee, members must be categorized as an actor/performer, dancer, singer or stuntperson in the SAG-AFTRA database. Could a DJ be classified as a performer? Probably not. In the guild’s view, actor and performer are synonymous, encompassing both principal and background players.
And sure, since only 7% of SAG-AFTRA actors and performers earn $80,000 or more a year, that means there are going to be a few full-time waiters on those nomination committees. But as the speeches at the Actor Awards remind us annually, it’s a profession where you’re just one job away from making it. Think of Connor Storrie, who worked at restaurants for eight years before getting his break on “Heated Rivalry.”
There’s still the question of why, say, SAG-AFTRA dancers and singers are voting on the merits of an acting performance, however. In contrast to the Actor Awards, nominations for the Oscars are decided by the academy’s various branches. Actors vote for actors, writers for screenplays and so on, with the general membership voting for best picture.
“Peer groups are deciding what’s worthy, and that’s the way it should be,” says an academy member from the public relations branch. “I’m not voting for visual effects.”
Not initially, at least. Academy members vote for all 24 categories in the final round, provided, per a rule change that went into effect this year, they attest to watching all the nominated work in the category.
SAG-AFTRA voters have rewarded non-English-language work over the years, but usually when a particular film or TV show — Bong Joon Ho’s 2019 masterpiece “Parasite” or Netflix’s “Squid Game” — is undeniable. Voters ignored recent lead turns from Fernanda Torres (“I’m Still Here”), Yalitza Aparicio (“Roma”) and Sandra Hüller (“Anatomy of a Fall”). All three went on to earn lead actress Oscar nominations.
This year’s snubbing of “Sentimental Value” is particularly puzzling as the movie featured well-known actors like Fanning and Skarsgård, an institution from roles in blockbuster franchises like “Pirates of the Caribbean” and most recently the TV series “Andor.” It’s also a film about, among other things, the blurring of art and reality and the challenges of acting. And, in the scenes featuring Fanning, it’s in English.
What gives? Like every other contender, “Sentimental Value” screened four times for voters and was available for streaming.
“I just think people are less inclined to watch a movie with subtitles at home,” says one awards consultant, alluding to the ways that passive, multiscreen viewing has encroached upon our multitasking lives. Maybe that’s why Skarsgård, when he accepted the Golden Globe award for his work in the movie, preached that “cinema should be seen in cinemas” in his speech.
Does that sound elitist? It shouldn’t. But it does seem to be a belief from a time that’s slipping away. One certainty: With the academy nominating two international features for best picture for the third straight year, global cinema is now entrenched at the Oscars. Whether SAG-AFTRA voters decide to join the party is now a question for next year.
STRANGER Things star Maya Hawke has married her long-term boyfriend in a surprise wedding on Valentine’s Day.
The actress, 27, tied the knot with musician Christian Lee Hutson in New York City on Saturday.
Sign up for the Showbiz newsletter
Thank you!
Maya Hawke and Christian Lee Hutson tied the knot on Valentine’s DayCredit: GettyHer fellow Stranger Things co-stars were also in attendanceCredit: GettyThe actress was friends with Christian years before things turned romanticCredit: Getty
Maya’s famous Hollywood star parents, Ethan Hawke and Uma Thurman were among the famous faces in attendance.
Her Stranger Things co-stars Finn Wolfhard, Natalia Dyer, Joe Keery, Sadie Sink, Caleb McLaughlin, Gaten Matarazzo, Gaten Matarazzo and Charlie Heaton attended the big day.
Photos showed Maya looking stunning in a classic sleeveless white gown paired with a veil over her head and a long trail.
Maya wore her hair in a chic updo and completed her look with subtle makeup.
Her father appeared full of pride as he walked alongside his daughter on the streets of New York while holding her bouquet of flowers.
Other snaps showed the happy couple taking photos outside the venue, while Maya’s bridal team helped rearrange her dress.
Maya and singer Christian were first romantically linked in 2023.
The pair frequently worked together on music projects. and even collaborated on Maya’s second studio album Chaos Angel in 2024.
Most read in Entertainment
Maya also appeared on Christian’s album Paradise Pop. 10 and joined him for a few stops on tour early 2025.
“Christian has been so encouraging to me as a musician, helping me to make the transition from a being a poet in a band to sort of being a musician,” Maya told Variety in June 2024.
In 2023, Maya and Christian were first spotted sharing a kiss in New York City.
They were seen strolling through the city and stopped at a jewellery store.
The couple went on to make their relationship red carpet official on April 2025, at the opening night of Broadway’s John Proctor Is the Villain.
Maya attended the event in support of her co-star Sadie Sink, who was starring in the play.
The pair were good friends for four years before they took things to the next level.
Maya previously said she ‘cannot recommend dating a friend enough’.
“It’s the best,” she said.
“They know you, they understand that you are a person and a human being who has dated other people … not just a piece of paper for them to project their image of a perfect girlfriend onto.”
Maya previously said she ‘cannot recommend dating a friend enough’Credit: GettyMaya’s mum is Hollywood actress Uma ThurmanCredit: Getty Images – GettyHer dad is US film star Ethan HawkeCredit: Getty
DANI Dyer looked blissfully in love as she celebrated her first Valentine’s Day since marrying her footballer husband Jarrod Bowen.
The Love Island alum flashed a smile as she glammed up in a LBD for the pair’s date night at the lavish Estelle Manor, loved by celebs including Molly-Mae, Tommy Fury and Kim Kardashian.
Sign up for the Showbiz newsletter
Thank you!
Dani Dyer looked chic for an elegant Valentine’s weekend at Estelle ManorCredit: InstagramThe Love Island star and husband Jarrod Bowen headed to the lavish Oxfordshire resortCredit: InstagramDani, 29, was all smiles as she posed in her LBDCredit: Instagram
Rooms at the rural Oxfordshire venue cost a whopping £1,400 a night but meant the parents, who married last May, could spend their special February 14 in luxury.
Dani, 29, uploaded a series of images from their getaway, kicking off with a snap showing her posing in her stylish long-sleeve attire with a colourful cocktail.
She styled her brunette locks into loose waves and kept her make up natural.
Another image saw her posing in the stunning estate’s stone-arch entrance before the pair took a walk outside.
She said theHammers captain, 28, is a fan of luxury bath soak from beauty brand Neom.
Asked how she cheers Jarrod up, she said: “He loves a bath.
“He loves a Neom bubble bath so I always make sure I run that for when he gets home.”
Speaking to The Sun on Sunday on the Elf the Musical red carpet at London’s Aldwych Theatre, Dani added: “But he’s very chill.
“He’s very good at leaving his work when he gets home.
“He loves his family so when he gets home it’s really nice.”
The pair tucked into a lavish breakfastCredit: InstagramDani was seen walking up to the beautiful venueCredit: InstagramJarod was seen heading on a walkCredit: Instagram
Carl Webster, Megan Walsh, Theo Silverton, Maggie Driscoll and Jodie Ramsey are in a killer’s firing line and tonight’s flashforward episode will keep fans guessing
The five Coronation Street characters at risk of a grisly death have been revealed. One of the ITV soap’s stars will meet their end the identities of the possible murder victims have been confirmed as viewers prepare to be taken back to the future in the show’s much anticipated flashforward episode. But will it be a villian on a much-loved character getting the boot?
Groomer Megan Walsh, manipulative Theo Silverton and twisted Carl Webster could be getting their comeuppance in April. But quirky landlady Maggie Driscoll is also in the firing like, as is strange newcomer Jodie Ramsey, who appears to have a whole load of family bagage to unload.
The groundbreaking episode begins with a police interview taking place on April 23rd 2026. As the drama unfolds a shocked and Betsy Swain is seen telling the detectives about finding the dead body of someone she knows.
Dressed in wedding clothes, the cop’s daughter explains that she had been at the marriage of her mum Lisa Swain to Carla Connor, but was heading into town when she made the shocking discovery. As the episode returns to the present day we begin to see how the behaviour of the five characters could lead to their possible death two months later.
Evil teacher Megan is caught up in a web of lies as she continues to groom impressionable teen Will Driscoll. Doing anything to protect her family, Maggie gives a fake alibi for Will to stop him being charged with the Christmas Day attack on Daniel Osbourne.
Carl has burnt all his bridges when he let Debbie take the blame for the Corriedale accident which saw Billy Mayhew perish. Since finding out Debbie is actually his mum and not his sister, Carl has pressed the self-destruct button and as he continues to goad both family and neighbours – he would have no shortage of people looking to settle a score.
Theo’s coercive control over Todd has reached new lows and with their wedding looming, will Todd finally confide in his friends about what has been going on before it is too late?
Despite initial reservations, the Platts have welcomed Shona’s estranged sister Jodie Ramsey into their home. But Jodie has been keeping secrets from them, and it seems she has got mixed up with some pretty shady characters in her past. Will trouble follow Jodie to Weatherfield, or could she upset people closer to home with her behaviour?
As the episode comes to a close we flash forward again to April 23 and the five characters are on the cobbles as Lisa and Carla’s wedding fireworks light up the night sky.
As the lights flicker a battered and bruised Carl, frantic Jodie, a menacing Maggie, a bloody-nosed Megan and a furtive Theo stare into the darkness. In the final moments the terrified scream of Betsy Swain fills the air – but which Weatherfield resident will be the murder victim?
In a smoothly run show peppered with sharp humor but, for the most part, a dearth of pointed political commentary — save for one unscripted expression of anti-ICE sentiment from “The White Lotus” star Natasha Rothwell — the 2026 Film Independent Spirit Awards celebrated its 41st edition on Sunday in Hollywood.
The ceremony has long served as a counterpoint to the Oscars: looser, more unpredictable, typically mounted in a beach tent by the Santa Monica Pier. For over three decades, it was held the Saturday afternoon right before the Academy Awards.
But this year, due to coastal planning for the 2028 Los Angeles Olympics, the Spirit Awards relocated to the Hollywood Palladium (where they were last held in 1994), a venue decked out in the show’s signature blue and pink signage and decor — a pivot that proved effective.
“We don’t have a permit,” cracked host Ego Nwodim, riffing on scrappy independent tactics in her monologue. Her athletic hosting duties had her doing everything from cornering attending celebs such as Kirsten Dunst and Jesse Plemons via a “sexual tension cam” to picking up her falafel order at the main entrance on Sunset Boulevard.
Last year’s event played more like a coronation for a widely favored front-runner, Sean Baker‘s “Anora.” That film would go on to sweep at the Oscars a little over a week later. The mood today was more tenuous, the industry crowd mulling in the lobby with cocktails, discussing the tail end of awards season and the controversy coming out of the Berlin Film Festival concerning politically cautious juror statements.
The movies that would be honored here, by contrast, were bolder than the Spirits usually go, resulting in a truly independent raft of winners. Rose Byrne won the lead actor prize (the Spirits have gone gender-neutral since 2022) for her commanding, ruinous turn in “If I Legs I’d Kick You.” Accepting the award, Byrne half-joked, “This character of Linda really could only exist in an independent film — she’s fierce and she’s gracious and she’s a middle-aged woman.”
Other awardees included the subtly wrought academia drama “Sorry, Baby,” honored for director Eva Victor‘s screenplay and its supporting actor Naomi Ackie; the star-stalking thriller “Lurker,” which took both the first feature and first screenplay awards; and Brazil’s “The Secret Agent,” claiming the prize for international film.
The afternoon’s big winner was “Train Dreams,” the little movie that could, one that emerged 13 months ago at Sundance 2025 and is now proving itself to be one of Netflix’s sturdiest Oscar contenders. It took prizes for best feature, director and cinematography, the kind of haul that suggests real momentum.
A complete list of today’s Spirit winners
FILM CATEGORIES
Best Feature “Train Dreams” (Netflix) Producers: Michael Heimler, Will Janowitz, Marissa McMahon, Ashley Schlaifer, Teddy Schwarzman
Director Clint Bentley, “Train Dreams” (Netflix)
Screenplay Eva Victor, “Sorry, Baby” (A24)
First Feature “Lurker” (Mubi) Director: Alex Russell Producers: Galen Core, Archie Madekwe, Marc Marrie, Charlie McDowell, Francesco Melzi D’Eril, Duncan Montgomery, Alex Orlovsky, Olmo Schnabel, Jack Selby
First Screenplay Alex Russell, “Lurker” (Mubi)
John Cassavetes Award For the best feature made under $1,000,000 “Esta Isla (This Island)” Writers/Directors/Producers: Cristian Carretero, Lorraine Jones Molina Writer: Kisha Tikina Burgos
Breakthrough Performance Kayo Martin, “The Plague” (Independent Film Company)
Lead Performance Rose Byrne, “If I Had Legs I’d Kick You” (A24)
Robert Altman Award For a film’s director, casting director and ensemble cast “The Long Walk” (Lionsgate) Director: Francis Lawrence Casting Director: Rich Delia Ensemble Cast: Judy Greer, Mark Hamill, Cooper Hoffman, David Jonsson, Tut Nyuot, Joshua Odjick, Charlie Plummer, Ben Wang, Garrett Wareing
Editing Sofía Subercaseaux, “The Testament of Ann Lee” (Searchlight Pictures)
International Film “The Secret Agent” (Neon) Director: Kleber Mendonça Filho
Documentary “The Perfect Neighbor” (Netflix) Director/Producer: Geeta Gandbhir Producers: Sam Bisbee, Nikon Kwantu, Alisa Payne
Someone to Watch Given to a talented filmmaker not yet widely recognized Tatti Ribeiro, “Valentina”
Truer Than Fiction Given to an emerging director of nonfiction features Rajee Samarasinghe, “Your Touch Makes Others Invisible”
Producers Award For an emerging producer of quality independent films with limited resources Tony Yang
TELEVISION CATEGORIES
New Scripted Series “Adolescence” (Netflix) Creators/Executive Producers: Jack Thorne, Stephen Graham Executive Producers: Philip Barantini, Brad Pitt, Dede Gardner, Jeremy Kleiner, Nina Wolarsky, Hannah Walters, Mark Herbert, Emily Feller Co-Executive Producers: Carina Sposato, Niall Shamma, Peter Balm
New Non-Scripted or Documentary Series “Pee-wee as Himself” (HBO Max) Executive Producers: Matt Wolf, Emma Tillinger Koskoff, Ronald Bronstein, Eli Bush, Benny Safdie, Josh Safdie, Paul Reubens, Candace Tomarken, Kyle Martin, Nancy Abraham, Lisa Heller, Sara Rodriguez
Breakthrough Performance in a New Scripted Series Owen Cooper, “Adolescence” (Netflix)
Supporting Performance in a New Scripted Series Erin Doherty, “Adolescence” (Netflix)
Lead Performance in a New Scripted Series Stephen Graham, “Adolescence” (Netflix)
Ensemble Cast in a New Scripted Series “Chief of War” (Apple TV) Ensemble Cast: Charlie Brumbly, Luciane Buchanan, Cliff Curtis, Brandon Finn, Moses Goods, Te Ao o Hinepehinga, Benjamin Hoetjes, Siua Ikale’o, Keala Kahuanui-Paleka, Mainei Kinimaka, Kaina Makua, Jason Momoa, Temuera Morrison, Te Kohe Tuhaka, James Udom
With yesterday’s Oscar nominees luncheon in the books, the marathon that is awards season is now entering the home stretch. But that doesn’t mean there’s no grist left for the mill, especially when it comes to those — like this week’s cover subject, 73-year-old first-time nominee Delroy Lindo — whose names weren’t necessarily on pundits’ nominations predictions lists.
Through Feb. 26 we’ll be more sharing stories like his, and many others, before Oscar voters cast their final ballots for the March 15 awards. I’ll let my friend Glenn Whipp regale you with tales from his interview with “Sinners” star Lindo when he sends his next newsletter on Friday. In the meantime, read on for more highlights from this week’s issue.
Digital cover story: Wagner Moura
(Jason Armond / Los Angeles Times)
Basking in the sun outside The Times newsroom ahead of his digital cover shoot last month, Wagner Moura seemed exceptionally relaxed about spending his Tuesday afternoon in El Segundo with a bunch of journalists. But don’t let “The Secret Agent” star’s easygoing personality fool you into thinking he’s aloof in any way.
As contributor Lisa Rosen writes in her profile of the actor, he’s unafraid to draw pointed comparison’s between Kleber Mendonça Filho’s acclaimed political thriller — nominated for four Oscars, including lead actor — and contemporary politics, from disgraced Brazilian President Jair Bolsonaro to federal agents in American streets.
“This is also a film about infamy, because he’s being persecuted so unfairly,” he tells Rosen, comparing his character’s fate to that of Minneapolis residents Renee Good and Alex Pretti. After their deaths, he continues, “lies were spread about them online. It’s so cruel, and so it’s killing the person twice.”
But I don’t think you need to be intimately acquainted with Hawke, who also appeared on an Envelope digital cover last fall, to find him and Kaplow high-caliber raconteurs of the joys, and occasional indignities, of making independent films. “Sometimes you get to set and it’s easy to shape the text to make it more your own. The process here was for me to get rid of Ethan,” says Hawke. “It was to try and match the screenplay. I don’t ever remember working as hard — or [director] Rick [Linklater] being as mean to me.”
As far as hooking the listener to a story goes, Lorenz Hart, the loquacious lyricist that Hawke and Kaplow pay homage to in “Blue Moon,” would be proud.
Inside the race for best editing
(Illustration by Vartika Sharma / For The Times)
Oscar voters have occasionally been accused of making this award about the most editing instead of the best editing, but from the descriptions of this year’s five nominees, I think we can safely say that whomever the winner ends up being, their achievement will have been genuinely outstanding.
As contributor Bill Desowitz discovered from his outreach to the editors of “F1,” “One Battle After Another,” “Marty Supreme,” “Sentimental Value” and “Sinners,” coping with trauma is the surprising through line among the disparate scenes the nominees themselves chose as most pivotal to their films. (Given the volume of the footage some of them waded through, they might be suffering it too.)
Ahead of episode 5 of the Game of Thrones spin-off, showrunner Ira Parker has admitted they decided to cut one scene that fans have argued is key to understanding the heart of the story.
It comes after one fan pointed out that the HBO and Sky Atlantic show hadn’t included a notable exchange between Ser Duncan the Tall (Peter Claffey) and Steely Pate (Youssef Kerkour) in the build-up to the fateful Trial by Seven from George RR Martin’s Tales of Dunk and Egg novellas.
In the books, Dunk passes the Smallfolk on the way to the joust when he asks Pete “Why? Who am I to them?” before Pete replies: “A knight who remembers his vows.”
Posting in a Reddit AMA, the fan noted that many readers view this to be “the soul and the moral of the entire novella”, with showrunner Parker admitting he had some regret over cutting the scene from the original script.
“Honestly it was a mistake on my part,” he responded. “Not my first, not my last on this show. That scene was in the script at one point, then fell out.
“I agree that ‘a knight who remembers his vows’ is the soul of this story, but I think that is still very much at the core of the show, even if I stupidly left out this scene… it may not be said explicitly, but Dunk’s actions remain the same.”
Fans respected Parker’s refreshingly candid answer, with one observing: “It’s been so long since the last time i saw showrunner being able to admit they made a mistake.”
Get Sky’s new TV and Netflix bundle
This article contains affiliate links, we will receive a commission on any sales we generate from it. Learn more
This delivers live and on-demand TV without a satellite dish or aerial and includes hit shows like A Knight of the Seven Kingdoms
The Trial by Seven requires Dunk to find six other knights to battle the cruel Prince Aerion Targaryen (Finn Bennett) after the hedge knight attacked the royal in order to save young actress Tanselle (Tanzyn Crawford) from his wrath.
HBO’s synopsis for episode 5 suggests we will get some insight into Dunk’s origins, as it reads: “Before Ser Duncan the Tall can learn the fate of his future, he must relive his past.”
The accompanying teaser also shows flashbacks to Dunk’s childhood and his friendship with a young girl, who tells him not to lose his nerve in following the path that lies ahead of them.
A Knight of the Seven Kingdoms episode 5 airs on Monday, February 16 on Sky Atlantic and streaming platform NOW at 3am GMT.
**For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website**.
Brooklyn Beckham has promised to “forever protect” his wife Nicola Peltz in a gushing post amid the ongoing family feudCredit: InstagramBrooklyn made a bombshell statement where he accused his parents trying endlessly to ruin his relationship with NicolaCredit: Getty
Brooklyn took to Instagram and posted a black and white image which showed the couple sharing a tender kiss.
Brooklyn was seen shirtless which showed off his tattoos and Nicola was dressed in a crop top and jeans.
He captioned the sweet snap: “Happy Valentine’s Day baby, I am the luckiest person in the world to be able to call you my Valentine’s every year.
“I love you more than you know and I will forever protect and love you.”
In anexclusive interview with The Sunthis week, Gordon revealed that, despite being close mates with David Beckham, he had maintained contact with Brooklyn after his family fallout alongside wife, Nicola Peltz.
Gordon praised his “incredible heart” but warned that his eagerness to “forge his own path” had him in danger of forgetting “where he came from”.
However, within hours of the interview being published, Brooklyn added his former mentor to the list of people he’s now unfollowed on Instagram.
At the time of writing, Gordon is still following Brooklyn, meaning that he’s not been blocked by the 26-year-old.
“It’s a very difficult situation,” he explained. “Victoria is upset, and I know 24/7, seven days a week, just how much David loves Brooklyn.
“Brooklyn and I have messaged a little bit, our relationship is solid. I love him – his heart is incredible – but it’s hard, isn’t it, when you’re infatuated?
“Love is blind. It’s easy to get up on that rollercoaster, and get carried away. But it will come back.”
The Beckham family have continued to make small gestures in a bid to reach out to Brooklyn – despite his public six-page statement cutting all ties from the family.
His little sister Harper made a post sending a “Happy Valentines to the best big brothers in the world”, sharing a throwback snap of her as a young child with Brooklyn, as well as brothers Romeo and Cruz.
Brooklyn claimed his mum danced “inappropriately” on him at his lavish wedding in 2022Credit: AFPBrooklyn said he was the luckiest person in the world to be able to call Nicola his Valentine’s every yearCredit: GettyThe Beckham family have continued to make small gestures in a bid to reach out to BrooklynCredit: Getty – ContributorGordon Ramsay has insisted his friend David Beckham will end the ongoing feud with his sonCredit: Getty
Michael Silverblatt, the longtime host of the KCRW radio show “Bookworm” — known for interviews of authors so in depth that they sometimes left his subjects astounded at his breadth of knowledge of their work — has died. He was 73.
Silverblatt died Saturday at home after a protracted illness, a close friend confirmed.
Although Silverblatt’s 30-minute show, which ran from 1989 to 2022 and was nationally syndicated, included interviews with celebrated authors including Gore Vidal, Kazuo Ishiguro, David Foster Wallace, Susan Orlean, Joan Didion and Zadie Smith, the real star of the show was the host himself, the nasal-voiced radio personality who more than once in life was told he did not have a voice for his medium.
His show represents one of the most significant archives of conversations with major literary powerhouses from the late 20th and early 21st centuries.
But Silverblatt knew that he was as much a character as the people he interviewed.
“I’m as fantastical a creature as anything in Oz or in Wonderland,” he said during a talk in front of the Cornell University English department in 2010. “I like it if people can say, ‘I never met anyone like him,’ and by that they should mean that it wasn’t an unpleasant experience.”
Born in 1952, the Brooklyn native learned to love reading as a child when he was introduced to “Alice’s Adventures in Wonderland.” Neighbors would see him walking the streets of Brooklyn with his head in a book and would sometimes call his parents out of fear he might get hurt.
But until he left home for the University at Buffalo, State University of New York, at the age of 16, Silverblatt has said, he had never met an author.
His college, however, was filled with such famous authors as Michel Foucault, John Barth, Donald Barthelme and J.M. Coetzee, who were all working as professors.
Silverblatt was shy and too embarrassed to speak during class because of his inability to clearly pronounce the letter “L,” which appears three times in his own name. Yet he considered the authors to be his friends, even if they did not know it yet, he said during the Cornell talk.
He would approach them after class to speak about their work.
Despite his interest in literature, Silverblatt’s parents wanted him to become a mail carrier, he said. The summer after his freshman year, Silverblatt worked a New York City mail route, delivering letters to the mayor’s mansion on an Upper East Side route that took him past numerous old bookstores and used-books shops. During that job, he said in the Cornell talk, he purchased the complete works of Charles Dickens.
Silverblatt moved to Los Angeles after college in the mid-1970s and worked in Hollywood in public relations and script development.
Like many young writers in Los Angeles, he wrote a script that never got made.
It was in Los Angeles that Silverblatt met Ruth Seymour, the longtime head of KCRW.
Seymour had just returned to the United States from Russia and was at a dinner party where everyone was discussing Hollywood. There, she and Silverblatt became immersed in a one-on-one discussion of Russian poetry.
“He’s a great raconteur and so the rest of the world just vanished,” Seymour told Times columnist Lynell George in 1997. “Afterward I just turned and asked him: ‘Have you ever thought about doing radio?’”
For the next 33 years, that’s exactly what he thought about.
“Michael was a genius. He could be mesmerizing and always, always, always brilliant,” said Alan Howard, who edited “Bookworm” for 31 years.
“It’s an extraordinary archive that exists, and I don’t think anyone else has ever created such an archive of intelligent, interesting people being asked about their work,” Howard said. “Michael was very proud of the show. He devoted his life to the show.”
Silverblatt once dreamed of being on the other side of the microphone, as a writer in his own right, Howard said. But he faced bouts of writer’s block through his 20s and gave up writing.
“Eventually, he came to find peace with the reality of that,” Howard said.
Instead of writing, he became an accumulator of a vast amount of other writers’ work — in his library as well as the repository in his head. He had an incredible memory for the books he read.
Silverblatt converted the apartment next to his Fairfax apartment into a library where he kept thousands of books, Howard said.
“It was heaven,” he said. “It was a fabulous library.”
“He was such a singular person,” said Jennifer Ferro, now the president of KCRW. “He had a voice you would never expect would be on radio.”
Alan Felsenthal, a poet who considered Silverblatt a mentor, called Silverblatt’s voice “sensitive and tender.”
Felsenthal said the show was about creating a space of “infinite compassion,” where writers could share things they might not share in everyday conversation.
“Michael was one of a kind, truly singular. And his voice is too,” Felsenthal said.
One of the most important tenets of Silverblatt’s approach was that he not only read the book he was discussing on his show that day, but also read the entire oeuvre of the authors he interviewed.
“A significant writer would come in and be bowled over by Michael’s depth of vision of the work at hand,” Howard said.
David Foster Wallace, in one interview, said he wanted Silverblatt to adopt him.
Silverblatt said he strove to read an author’s entire body of work, but he never claimed to have read it all if he hadn’t.
“In general I try to read the author’s complete work. … That’s not always true, and I never say it if it isn’t true. But more often than not, I have, at least, read the majority of the work. And sometimes it’s a superhuman challenge,” he said in the 1997 Times column.
The voracious reader said that the best books, those that brought him happiness, were not the ones that ease our way in this strange and difficult world.
“The books I love the most made it harder for me to live,” he said.
Silverblatt is survived by his sister, Joan Bykofsky.
The Fantastic Beasts actor has previously shared the story of their first meeting.
Describing his superstar fiancée as “the most beautiful woman in the world”, he revealed they met at a mutual friend’s birthday party in LA in 2024.
The pair bonded after discovering they were reading the same book.
“We sat next to each other and realized we were reading the same book, which is crazy,” Callum told The Sunday Times in October.
“It’s called ‘Trust’ and I had just finished the first chapter and I told her and she looked at me and said ‘I just finished the first chapter too’. I said, ‘So we’re on the same page.’”
The book Trust is a 2022 Pulitzer Prize-winning novel by Hernán Díaz exploring themes of money and ambition.
Since going public, the couple have been spotted together at awards ceremonies and film premieres on both sides of the Atlantic.
They are expected to marry later this year.
Dua and Callum confirmed their engagement in June 2025Credit: Getty
Alesha Dixon and Simon Cowell both returned to the judging panel of Britain’s Got Talent, alongside Amanda Holden and YouTuber KSI, while Ant and Dec returned as the show’s hosts
BGT’s Alesha Dixon shares horror injury after fighting against Simon Cowell(Image: WireImage)
Britain’s Got Talent is back, and the nation is ready to watch along as the search for the next big thing gets underway. But for Alesha Dixon, filming the show resulted in a horror injury.
Speaking to the press at a launch event for the show, which kicks off its 19th series on Saturday, 21 February, Alesha revealed how a fight against Simon Cowell left her physically hurt. “I injured myself trying to stop Simon pressing the Golden Buzzer,” she said.
During the audition phase of the series, the judges – Alesha, Simon, Amanda Holden and KSI – can press the Golden Buzzer to send an act straight through to the live semi-finals. Simon shared that he and the other judges were “fighting over the Golden Buzzer a lot” this year.
In one case, this meant Alesha hurt herself. “There was an act where we were quite competitive for the Golden Buzzer. And I could sense Simon getting up, so I literally dived across the desk.
“I’ve never done that before, I dived onto the desk. And then they wanted me to recreate this dive. So how can I recreate this? Because I injured myself just to stop him getting his way.”
Alesha has been a judge on Britain’s Got Talent since 2012. Two of her fellow judges, Amanda and Simon, have been on the show since it began in 2007, but YouTuber KSI is a newcomer. Having made a few guest judging appearances last year, he took over for Bruno Tonioli this year.
Speaking on the series as a whole, Alesha said: “It was so funny. For me, overall, this season felt like we were back to the chaos that we love on our show. More than ever, it just felt bonkers.”
This comes just weeks after the Mirror reported that Alesha’s band Mis-Teeq were in talks to reunite for their 25th anniversary and were eying up a potential Britain’s Got Talent performance.
A reunion had previously seemed unlikely, as Sabrina Washington had launched legal proceedings against Alesha and their prior label, Universal, for royalties six years ago, but she and the BGT judge now seem to be on talking terms again.
Sabrina had claimed that Alesha had “wrongfully claimed” credits for writing their first two singles. At the time, a spokesperson for Ms Dixon said: “Alesha wrote the raps on both Why? and All I Want and that is why she gets a split. The rest of the song was written by a production team. Sabrina has no reason to sue Alesha.”
This now appears to be water under the bridge for the stars, though. Speaking to the Mirror, a source said: “There’s always talk of a reunion and projects on the table, but it’s a matter of trying to get everyone together. Alesha and Su both have children; Su’s in Australia permanently, and Sabrina has been doing a lot of solo gigs across the UK and Europe.
“Sabrina and Su participated in the Girlbands documentary, albeit separately, but it raised more questions than answers, with Sabrina being visibly upset when asked about how the group split, following their UK label’s collapse. Su mentioned there was a potential new record deal for the group at the time, which then became an Alesha solo deal. Nobody’s sure if Sabrina was aware of that, or if the first time she found out was watching the documentary. “
Our source added: “They will want to do something that’s meaningful, but they haven’t been in a room as a trio, together, since their split in 2005. They’ve seen each other individually and speak to each other, but some are most closer than others. They haven’t physically been together yet, and it seems there’s a lot to discuss before they’re in a place to do a reunion.”
A source also told The Sun : “One thing that has come up is the idea of a one-off show. It could be an intimate gig for their die-hard fans or a performance on a big TV programme such as Britain’s Got Talent.”
The film has landed on streaming, with fans comparing the sci-fi thriller to E.T. and The Sixth Sense.
21:51, 15 Feb 2026Updated 21:52, 15 Feb 2026
The thriller is being compared to The Sixth Sense(Image: Signature Entertainment/Paramount Plus)
An epic science fiction thriller has arrived on streaming platforms, and enthusiasts are already drawing comparisons between the film and classics such as E. T. and M. Night Shyamalan’s The Sixth Sense.
The “suspenseful” film brimming with nail-biting action and “insane” twists dropped on Paramount Plus today, February 15.
The film, helmed by Jess Varley, features Kate Mara, Laurence Fishburne and Gabriel Luna.
“This movie kept me on the edge of my seat- it’s thrilling and tense but also heartwarming at the same time” one fan posted on Rotten Tomatoes.
Another concurred: “I found the suspense of the story gripping from start to finish. It truly kept me on the edge of my seat the whole time. The twist at the end was both surprising and a fresh take on the sci-fi genre.”
The Astronaut was released last year in 2025 and, despite securing just a 42% critics score and 59% audience score, has been passionately championed by supporters on the review aggregator site, reports the Express.
Numerous viewers lauded the film for its ‘thrilling’ and ‘captivating’ narrative, with one posting: “Great storyline that kept me engaged. Awesome cinematography. Very well written and directed!”
“Genuinely one of the most captivating movies I’ve seen in years,” a second concurred, whilst a third posted: “Am I missing something? This was hands down my favorite movie of the year. Thrilling and unexpectedly heartfelt.”
The synopsis states: “After returning from her first space mission, astronaut Sam Walker is placed under NASA’s care at a high security house for rehabilitation and medical testing.
“However, when disturbing occurrences begin happening around the property, she fears that something extraterrestrial has followed her back to Earth.”
Viewers claim they were “hooked almost immediately” by the film, with many specifically lauding the unexpected plot twists. One fan shared: “I was impressed and surprised by the twist and turns of the movie, especially the ending.”
“Sixth Sense level twist that I did not see coming at all,” another viewer confessed, whilst someone else penned: “One of the most original twists of the past decade with a slightly short run time but packed with crazy visuals and strong performances.”
Get Paramount+ free for a week
This article contains affiliate links, we will receive a commission on any sales we generate from it. Learn more
Telly fans can get seven days of free access to Paramount+ shows like Tulsa King and Dexter: Original Sin by signing up for a free trial via Amazon Prime’s Paramount+ channel.
Some viewers also remarked that the film had left them “sobbing”, with one admitting: “I was not prepared to cry my eyes out at the end! ! ! This made me feel all the feels.”
Another enthused: “I LOVED THIS MOVIE! ! ! ! ! ! I don’t like horror movies but this wasn’t really one in a lot of ways. It was scary at times, but the family drama pulled on my heart strings. I actually cried at the end!”
However, not everyone was enamoured, with one critic stating: “It had potential, but ultimately ended up really flat and very rushed towards a conclusion. A lil more effort would have actually made it watchable.”
“After what was a promising start, unfortunately this film descends into utter nonsense, climaxing into comedy,” one viewer wrote, whilst another remarked: “This movie went from being really boring in the first two acts to really stupid in the last act. I was expecting it to be better.”
However, the feedback from fans was predominantly positive, with some even likening The Astronaut to iconic sci-fi films such as E. T. and Close Encounters of the Third Kind.
“E.T. vibes for sure,” one simply put it, whilst another observed: “Suspenseful from beginning to end! Reminiscent of the classic SciFi series, Close Encounters, but with a unique twist at the end that I did not expect! Fantastic cinematography and a soundtrack that magnifies the suspense.”
Another person added: “I liked this a lot more than I expected to! It reminded me of old movies like Signs and ET and thankfully wasn’t 2.5 hrs long. Felt like maybe it got trimmed down a touch too much but it was short enough that it kept me engaged the whole time. The twist was insane and in a world of spoilers I’m glad I didn’t know what was coming.”
The Astronaut is available to stream now on Paramount Plus.
**For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website**.
SHE’S got her showbiz career nailed, but will it be boom or bust for Sydney Sweeney as she takes on Kim Kardashian in the lingerie business?
It is the big question in Hollywood following Syd’s very ambitious move to rival Kim’s Skims brand with her own label, Syrn.
Sign up for the Showbiz newsletter
Thank you!
Sydney Sweeney has launched her own lingerie label SyrnCredit: SYRN.comSydney is rivalling Kim Kardashian’s Skims labelCredit: Instagram/Skims
Last month, Sydney finally launched her highly anticipated range of undies with $1billion of support from a fund backed by Amazon billionaire Jeff Bezos.
And this week, she upped the ante with a cheeky promo video, which sees her raiding a local store with a gang of pals flashing their bras.
It is a ballsy scheme for a relative rookie who, despite cementing herself as a leading lady in the acting world, has yet to prove she has the business acumen to “do a Kim” and turn her sex symbol status into a corporate, billion-dollar brand.
Since co-launching her shapewear company Skims in 2019, Kim, 45, has defied the odds, making it a global lifestyle behemoth worth $5billion.
But evidently, Sydney, 28, isn’t one to be deterred — and why should she be when she’s got the world’s fourth-richest man on her side, injecting big bucks into her new venture?
Syrn, pronounced “siren”, is a lingerie line that promises to offer inclusive sizing, up to a 42DDD.
So far, the inventory is limited, with a handful of sexy bras, corsets, thongs and knickers offered on its online store, mostly priced at around $100 (£73) or under.
But sales have already been sky- high, with the “Seductress” collection going out of stock almost immediately.
Like Kim, Sydney has chosen a platform to stand on.
While Skims’ remit focuses on inclusivity — with shapewear sold in nine skin colours and in a large range of sizes — Syrn includes bigger-breasted women, who might not otherwise be catered for by traditional retailers.
It is a clever move, positioning the actress and her own famously ample chest front and centre, with the underlying message that she has something innovative to offer.
According to sources close to Sydney, the Euphoria star’s new business isn’t a half-baked move.It is a calculated plot to elevate her to the big leagues and prove she can more than keep up with the Kardashians.
Sydney wants to dethrone Kim — she knows she has the potential to make enormous money and turn Syrn into a multi- billion-dollar company, like Skims
Sweeney insider
“Sydney is extremely competitive and knows she has the potential to reach the very top of the fashion industry,” an insider exclusively tells The Sun.
“That’s exactly why she launched her lingerie brand.
“Syrn is one of her biggest dreams, and she is fully committed to doing whatever it takes to turn it into a major success and compete with top brands like Skims.
“She isn’t afraid of anything.
“She’s aware that Kim Kardashian and her team aren’t happy about her entering the lingerie space, and she was warned by several people not to do it, including friends close to Kim.
“But she never cared about Kim’s opinion, and she never lets others influence her business ideas.”
The insider adds: “Sydney wants to dethrone Kim — she knows she has the potential to make enormous money and turn Syrn into a multi- billion-dollar company, like Skims.
Sydney’s ‘Seductress’ sold out almost immediatelyCredit: SYRN.comSince launching Skims in 2019, Kim has made it a global lifestyle behemoth worth $5billionCredit: Instagram/ Kim Kardashian
“She sees this as a competition and she loves that challenge.”
Sydney showed her rebellious streak — and got her brand some extra publicity — with a video in which she and her production crew scaled the Hollywood sign in Los Angeles, before hanging Syrn bras across the famous letters.
Some hailed her a cheeky rabble-rouser.
Others dismissed it as a PR stunt.
Either way, it got Sydney noticed and made her brand a talking point — especially after the Hollywood Chamber of Commerce, which owns and licenses the sign, slammed the actress, saying she did not have prior authority.
So could Sydney go to jail thanks to her zest and zeal for selling big-sized bras to the world?
No. But for an actress who knows the power of a good performance, she put on one hell of a show.
According to brand and culture expert Nick Ede, the stunt was in keeping with Sydney’s bold approach, which hinges on her unapologetically selling her biggest asset: herself.
She is not afraid to stick two fingers up to propriety to make her mark — and money.
‘STUNT MAVERICK’
Nick says: “While Kim is all about being wanted and admired, and always making sure everyone loves her, Sydney doesn’t care.
“She knows that people want to buy into the brand, and she is being maverick with her stunts.
“We didn’t know much about the lingerie line until a few weeks ago, but she’s stepped it up in a strategic way to cut through other celebs with huge brands and endorsement deals.
“Look at Meghan Markle — she had so much around her when she launched her brand.
“She had her TV show and her status, but Sydney has cut through all that in a punky way.
“In Euphoria, she’s a little bit messy as her character Cassie, and she’s a little bit messy as an actual celebrity.
“She’s sticking with her persona, which works well as a brand.”
Fans and critics will remember the chaos last year over Sydney‘s American Eagle ads, which boasted that she “has great jeans”.
Sydney has curves that match her confidenceCredit: Getty
But Sydney proved that sex plus controversy sells.
The clothing brand duly reported a massive spike in sales, plus a stock surge of 25 per cent.
Initially, Sydney refused to discuss the controversy.
However, in December, she said: “I’m against hate and divisiveness.
“In the past, my stance has been to never respond to negative or positive press, but I have come to realise that my silence regarding this issue has only widened the divide, not closed it.”
That said, she didn’t regret the ads, nor the impact they made.
And she’s not about to moderate her behaviour . . . not when she’s got her own brand to promote.
As Nick explains, the actress knows what her assets are, with curves that match her confidence, and she’s putting both on display.
“Sydney’s selling and creating a fantasy,” he explains.
‘SULTRY SELFIE’
It’s very ‘old Hollywood’ in many ways, but it’s gritty, too, and that’s why there is such huge appeal.
“She will become a mega-brand in the future.”
As for Kim, it is no surprise her nose has apparently been put out of joint over the Sydney uprising.
While she often gets models and celeb brand ambassadors to model her Skims wear, the week of the Syrn launch in January saw Kim post her own sultry selfie to Instagram, posing in her brand’s lacy lingerie.
Fans could not help but notice the timing of her decision to model a sexy Skims set, hot on the heels of Sydney’s own saucy campaign, also on social media.
As one follower said: “Kim said, not today, Sydney Sweeney,” while another weighed in: “Is this the Sweeney fight back?”
Ramping it up, Kim this week called in little sister Kylie Jenner to model a bra and knicker set from her “Everyday Cotton” Skims range in a bid to reel in younger fans.
Obviously, when it comes to the Hollywood pool of superficial friendships, Kim and Sydney are on decent terms, having rubbed shoulders last year at Jeff Bezos and Lauren Sanchez’s wedding.
Needless to say, having a mutual pal like Jeff will keep them civil — on the surface at least — as they have too much to lose if they fall out and put him in the middle.
Kim has also spoken about expanding into the beauty space with SkimsCredit: Getty
But, according to insiders, Kim feels particularly irked by Sydney’s apparent bid to claim some of her global spotlight.
The Kardashian beauty is used to being the most talked-about woman in any room, but — since Sydney became a pop culture phenomenon — she’s been pulling eyes away.
The fact that she is now launching this lingerie line feels a little too close to home for Kim, especially since it has been reported that Sydney has also filed to trademark the Syrn name for cosmetics and beauty care products.
Coincidentally — or maybe not so — Kim has also spoken about expanding into the beauty space with Skims.
Now, she has reportedly been complaining to friends that Sydney is nothing more than a “copycat”.
Still, as Nick tells us, the pair actually have more to gain from this rivalry than meets the eye, as “it’s all about the amount of column inches and publicity they can get”.
‘REBELLIOUS STREAK’
Kim is hardly naive when it comes to the art of publicity.
This is the woman who “broke the internet” in 2014 after exposing her very famous bum to the world on the cover of Paper magazine.
She is hardly going to blush at the thought of engaging now in some performative bra wars with Sydney, as she knows full well that the oxygen for any successful brand is attention and visibility.
So who will ultimately triumph?
Well, Kim’s obviously got a tremendous head start.
She steered her brand to global domination, proving that — despite her internet-breaking derriere — she does nothing half-arsed.
But, like Kim, Sydney understands the power of harnessing one’s sex symbol status to achieve fame and fortune, combining that with business-minded savvy and sizeable investments to create a brand with real selling power.
Add to that her rebellious streak and she could be on to a winner with Syrn.
Whether she overshadows Kim remains to be seen, but one thing remains clear.
In the big, bad world of bra- selling celebs, this storm in a D cup will run and run.
SYD’S GEAR
The Show Off plunge bra: £65Credit: SYRNString You Along low-rise thong: £14Credit: SYRNThe Showpiece basque: £72Credit: SYRN
SYDNEY SWEENEY
AGE: 28.
WEALTH: £30million.
FAMOUS FOR: Starring in The White Lotus, Euphoria and 2025 film The Housemaid.
CONTROVERSIAL MOMENTS: Her American Eagle clothing ad, with the tagline “Sydney Sweeney has great jeans”, which saw her accused of promoting genetic supremacy.
Plus having her bath water used to make a soap range in 2025.
RELATIONSHIPS: Dated businessman Jonathan Davino from 2018 to 2025.
Began dating controversial music executive Scooter Braun in 2025.
BRANDS: As well as Syrn, Sydney has her own production company, Fifty-Fifty Films.
She has also collaborated with Armani Beauty, Kerastase haircare, Laneige skincare, Ford motors and Miu Miu fashion.
FAMOUS FOR: Reality shows including Keeping Up With The Kardashians.
CONTROVERSIAL MOMENTS: Leaking of a sex tape starring Kim and Ray J in 2007, “breaking the internet” with her 2014 cover of Paper magazine, and a 72-day marriage to Kris Humphries.
RELATIONSHIPS: Married music producer Damon Thomas at 19 and split after three years; Kris Humphries, married and split after 72 days, 2011; Kanye West, married 2014, split 2021.
She is now dating Lewis Hamilton.
BRANDS: KKW Beauty (2017-2021), SKKN By Kim – skincare brand from 2022, Kardashian Kloset – resale site for TV family’s clothes.
Skims has also launched collaborations with Nike, Dolce & Gabbana and Fendi.
It looks as though BBC viewers will be saying farewell to one beloved character on Call the Midwife.
Sister Monica Joan has been diagnosed with chronic kidney failure(Image: BBC)
Emotions were at an all-time high on Sunday night as BBC viewers learnt the fate of Sister Monica Joan (Judy Parfitt).
Recently, Call the Midwife viewers learnt that the beloved character had kidney failure, as Dr. Patrick Turner (Stephen McGann) noted that additional tests would provide further information.
Tragically, those results were revealed during the latest instalment of the show.
As Dr Turner, Sister Julienne (Jenny Agutter) and Nurse Phyllis Crane (Linda Bassett) sat down to go over the results, Dr Turner said: “I was hoping it was something that could be treated, but chronic kidney disease is just-“
Cutting in, Sister Julienne commented: “Something that takes old people gently, but kindly.”
As Dr Turner emphasised that regardless of the matter, the disease still ‘takes’ people, Nurse Phyllis questioned how long Sister Monica Joan had been ill with the disease.
He replied: “I suspect not long.”
When asked how long she has left to live, he confessed: “The same, unless we can persuade her to accept what treatment there is, she’ll progress to end-stage renal failure fairly quickly.”
Although all seemed heartbroken by the severity of her illness, nurse Phyllis replied: “Till that day comes, we’ll just have to love her as we always have, but a bit more carefully.”
It wasn’t long before people took to X to share their thoughts on the imminent death of Sister Monica Joan as one person said: “Are they actually going to kill of sister Monica Joan? Just end Call The Midwife there!”
Someone else commented: “No, Sister Monica Joan is immortal…she can’t die.” While another added: “SISTER MONICA JOAN. Sobbing.”
Another viewer wrote: “Absolutely devastated hearing the news that Sister Monica Joan has kidney failure and may not have long left, if we lose her, it will be like losing a much-loved family member. I’d be completely heartbroken.”
For the latest showbiz, TV, movie and streaming news, go to the newEverything Gossipwebsite‘.
One person shared: “Don’t you dare let anything happen to Sister Monica Joan.” While another said: “#callthemidwife Oh no, surely it can’t be the demise,of Sister Monica Joan? On the other hand could it be the end on Nonnatus? What a fantastic drama this is @CallTheMidwife1 #SundayMood.”
Sister Monica Joan has been part of the beloved period drama since it began back in 2012. However, as the show marks its 15th series, it’s been reported that the final will see birth, a wedding and a funeral.
Call the Midwife continues Sundays on BBC One from 8pm
Disney has struck a multiyear deal with the United Kingdom’s leading entertainment aggregator, Sky.
The agreement announced Wednesday will fully incorporate Disney+ streaming content into Sky’s platform. Disney+ Standard with Ads will be included in eligible Sky TV packages starting next month. The deal also introduces a new linear movie channel for Sky’s paid-TV network called Disney Cinema.
It’s the first time U.K. subscribers will have access to Disney+, HBO Max, Netflix and Hayu (a reality TV streaming service) all in one subscription under the Sky brand. The subscription costs around £24 a month (roughly $33).
“We’ve grown Disney+ in the U.K. into our largest market across Europe over the past six years, and Sky is the perfect partner for our next wave of growth in the U.K. and Ireland,” said Karl Holmes, Disney+ general manager. “This agreement gives millions of Sky customers a simple, seamless way to enjoy all the great stories that Disney+ offers, and opens up a substantial new audience for content creators and advertisers.”
As part of Disney’s move to expand its reach in the U.K., Sky customers will be able to access the studio’s classic films like “Lilo & Stitch,” Marvel movies and well-loved TV shows like “Grey’s Anatomy” and “The Simpsons.”
The partnership is the latest in Disney’s effort to further globalize its streaming service. The company previously reached deals with Germany’s ZDF, Spain’s Atresmedia and Saudi media conglomerate MBC Group and UAE firm Anghami, so its content will be available in countries across the Middle East.
Disney+ isn’t the only streamer attempting to expand its global reach. In recent months, Netflix inked a deal with French broadcaster TF1, which will launch this summer. HBO Max also planted a flag in Germany and Italy — a move previously blocked by Sky.
In this episode of The Envelope video podcast, Teyana Taylor describes the “slingshot” of success that’s come with “One Battle After Another” and shares her insights as to why fictional revolutionary Perfidia Beverly Hills does what she does in the film.
Kelvin Washington: Hello, everyone, and welcome back to The Envelope. Kelvin Washington, Yvonne Villarreal, we have Mark Olsen as well. Hopefully you all have been great since the last time I saw you. Everybody been good?
Mark Olsen: Of course.
Washington: Well, I tell you what, there’s a list of folks who’ve been very good because they’ve been nominated for an Oscar. And obviously, you kind of get the usual suspects, if you will. And then you get some surprises out there. Some folks you go, “Whoa!” So I want to start with you. Either of you can jump in on this. Is there someone that maybe surprised you, a film or something that you were just excited about or maybe someone said, “Them again?” or “That film again?”
Olsen: I think it was very exciting that “Sinners” got the most nominations of any film ever with 16 nominations. It was nominated in every category that it was eligible for. To see a movie that has had commercial success and felt like a cultural moment now being recognized somewhere like the Academy Awards, it’s just exciting to see that all coming together and rolling along for that film, regardless of how it turns out at the show.
Villarreal: I was very excited to see Rose Byrne get acknowledged for “If I Had Legs I’d Kick You.” Because I was worried about that movie losing steam after all the raves it got at Sundance [in 2025] and it’s a smaller movie. I wasn’t sure, “Are people going to remember it?” But I just think she’s so great in that film.
I was sort of surprised that Chase Infiniti didn’t get nominated.
Olsen: Because of the nature of the movie, the whole lead/supporting business was tough, and also it being her first movie, it’s a little harder to get that nomination — especially in lead actress, faced with, say, Kate Hudson, someone who’s been in the business for a long time, is much beloved in the industry, has obviously family historical ties to Hollywood. It’s interesting to see even in the nominations this sort of alchemy of like, “a little of this, a little bit of that” as far as who the academy was choosing to recognize.
Washington: You know, I go back to something you said, Mark, when you go to “Sinners.” You mentioned the blockbuster feel of it, getting people’s butts to the theaters, spending money. And also kind of original. We’ve had vampire movies before, but, you know, you get the “Transformer 12’s” and “Expendable 32’s.” I think a lot of folks were excited to see something original that also had commercial success as well.
Another film that had a bunch of success is “One Battle After Another.” You had a chance to speak with a star from that film, who’s been a star in her own right musically, but now into the film world, with Teyana Taylor.
Olsen: That’s right. It’s so exciting. She’s nominated for best supporting actress. This is a long movie, it’s over two and a half hours long. She more or less exits the picture about 30 minutes in. So I think it says something about the strength of her performance that her character kind of hovers over the rest of that movie. You feel her in the movie, even though she’s actually not onscreen. So at the Oscar nominees luncheon recently, we had a chance to sit down with Teyana and she was just so vibrant, so full of energy, really has a great attitude about this moment for herself. I mean, she just recently won a Golden Globe, she hosted “Saturday Night Live.” So much is like happening for her, seemingly right now and she’s just got this real like, taking it all in, very open to it [attitude]. It was really an exciting conversation.
Washington: A culmination of all her hard work. Here is Mark’s conversation with Teyana Taylor.
Teyana Taylor.
(Ian Spanier / For The Times)
Mark Olsen: You were just at the Super Bowl. About a week before that, you were a nominee at the Grammys. About a week before that you hosted “Saturday Night Live.” About a week before that you won a Golden Globe. And you’re here today as an Academy Award nominee. I’m sure I’m leaving some things out. I would say what’s the last year been like for you, but I feel like, what’s the last month or two been like for you? It feels like the rocket ship has really taken off.
Teyana Taylor: Yeah, it’s really taken off. I’m so blessed and I’m so honored and I’m filled with so much gratitude to just see so many prayers get answered all at once, where I’m also OK with one at a time. But it’s all happening, you know? And I’m just beyond blessed. And like we were talking about earlier, just how much fun I’m having with it. I’m really having a good time and I’m taking it all in because life is short and life is so fragile. So I just try and take time to enjoy life and enjoy my blessings and enjoy just being alive and well.
Olsen: Has there been a moment that felt the most surreal, like a “What is happening to me right now” moment?
Taylor: Honestly, all of it, because it reminds me of a slingshot, you know what I’m saying? It’s just like, here’s the way, here’s the way, here’s the way, here’s the way, here’s the work, here’s the prayers, here’s the tears, just here, here, here, here, here. And then whoosh — whatever the ball hit, it knocked down everything at once. And that’s what this feels like. It feels really good because literally everything is happening at the same time. So it’s not like only one moment or only two moments that’s making me feel this way. It’s everything. The small wins, the big wins, the medium wins. Every single win and every single blessing is a big deal to me. You know what I’m saying? Even my Ls. I’m not gonna win everything and I’m not gonna get everything, and some things are not even meant for me. But even those are blessings. It’s preparation for something that is in store for me and something that is meant for me, because all of this is already written. What’s for you is for you and will be for you, because that’s just what’s written. So I have that mindset.
Olsen: You’ve been doing this since you were a teenager, at first as a choreographer and a dancer, a singer, an actor, you’re going to direct your first feature soon. What keeps you moving through all of this, through these different disciplines and pursuits?
Taylor: My babies. My support system. My village. My community. I love to make my people proud. I love to make my peers proud, my family. I just love to make everybody proud and that’s what keeps me going. Even right now, I’m also in culinary school. So it’s just juggling that, but taking out the little moments to just be quiet and cook and feed my people. So it’s a push. It’s understanding it’s a marathon and that it’s not a sprint. It’s a part of the faith walk. And I think that’s what keeps me going, to wake up and feel so blessed, how could I ever complain? How could I ever be like, “Oh, this is too much”? It is everything I’ve ever asked for. I’m never going to complain about answered prayers. What pushes me is just the reassurance from my support system, the reassurance from Father God himself, the reassurance for my babies. They keep me going. That’s who I do it for. I want to create generational wealth. So them babies are my reason. They are my why.
Olsen: To start asking you about “One Battle After Another,” your character, Perfidia Beverly Hills, she’s inspired a lot of conversation and some controversy. For you, was there something about that character that you felt you hadn’t seen on screen before?
Taylor: Yes. Perfidia is complex and she is also misunderstood. This is a woman who has been in survival mode, who has been fetishized, who has been ignored, not seen. We’re seeing this woman deal with that, where in movies we’re used to seeing us women have to be in capes all day and you see this woman rip this cape away and it’s just unapologetically herself — even in her weakness. And even like you said, with the controversy of her sexuality, I think her sexuality is her armor. It is also her power. She’ll give somebody what they want to get what she wants. And literally in the movie, she’s made selfish decisions. But if you think about her spirit and mentally and emotionally as a woman, it felt good to see a woman actually be selfish and put her[self] first, which we never really get to do because we have to be super this, super this, super this. Super mom, super wife, super woman, super chef; everything is always with a super in front of it. And you see this woman not really caring about what people think. Nobody can quiet her. And in this space of, “OK, you’re too loud, quiet down; you stand too tall, have a seat,” Perfidia is all of the things that they can’t make her do. She’s like, “I’m gonna stand tall, I’m gonna use my voice, I’m gonna use whatever I need to use to get what I want.” And she makes decisions that we don’t agree with, but I think one thing we all can agree on is that she’s a badass. And I can always respect anybody that’s unapologetically themselves.
Another thing that I feel like the controversy is proof of is how much of a nonfactor postpartum depression is. Half of the mistakes we see Perfidia make is her dealing with postpartum depression. You see the moment where they say, “Perfida, she’s a runner. She comes from a long line of revolutionaries.” That in itself is a pressure on her to feel like she gotta keep that going. The revolution is instilled in her. It’s a part of her identity. So imagine getting pregnant and you’re feeling like, “Oh, my God, does this slow down the revolution? Am I gonna play house with a person that’s ignoring me?” Nobody is really taking the time to think about what’s happening in her mind. We can’t control how a person handles postpartum depression. We hear her, through the door, cry, and then we see Bob put his ear to the door — and instead of him walking in, he walked away. And then what was the result of that? Her walking away. Even if it had to be walking away from Baby Willa, it’s something that she felt like she needed to do, and that’s what postpartum make you do sometime. And every mother handles postpartrum depression differently. But I think that’s what I love about her character, because you get to see a harsh reality that I know is hard to take in. But when you watch it a few times you understand exactly what’s happening. … I think that’s what makes the letter at the end so important. Because you hear the pain, you hear the hurt, you hear the regret, you hear the accountability, “Do you have love? Are you happy? Will you try and change the world like we did? We failed, but maybe you will not.”
And that’s another thing. This is a story that Paul Thomas Anderson wanted to tell. It was Perfidia’s job to go and anchor this boat and stay there and create the path for Willa to take on these battles, because her past haunted Willa and Bob. That’s a part of Perfidia being supporting — supporting the next steps of what is for Willa. It’s for Willa to go on and to rise. So you see Perfidia in the beginning of the movie, you see her drive this boat, you see her get to the middle of the sea and you see her anchor herself. And from there, we have to continue the story. So I’m happy that the controversy around her can create dialogue like this, can create healthy dialogue or even uncomfortable dialogue. As long as it’s dialogue and we’re conversing and we are speaking and people are speaking from their point of views, I can absolutely respect that.
Olsen: Is that a conversation you expected to have? When you were making the film, were you and Paul, or you and your co-stars talking about the depiction of Black women in the movie? Or have you been surprised that’s been such a talking point now that the movie’s out in the world?
Taylor: Honestly, I’m not surprised of any of the talking. I think one thing that I said before the movie even dropped and we were doing our press junkets, I was always very boisterous about the fact that this movie, period, not just the character, would definitely shake the table, and it would definitely spark, whether it was great debates or — I love conversation and I like when we can converse. Get it off your chest, tell me how you feel. And I’m open to receive that. So I knew that it would shake the table. I also knew that it needed to be done. Postpartum depression is a big thing for me that I feel like it needs more light. It needs light around it. We need more solutions for it. And like I said, you see this person, this woman in survival mode. You see this woman be ignored. You see this woman be fetishized. And is that not the truth? Is that not what happens, especially in this place of a Black woman feeling the least protected? So I’m really happy that Paul put wings on that to be able to spread and fly with that. And like I said, I know it’s probably tough to take in, but that’s what we got to see because everybody is not wearing capes. Everybody is not handling things the way you may handle things, I may handle the things, the way that person or this person may handle things. So we all just got to give grace and take in the film. It’s a story that’s being told.
Olsen: To me, one of the biggest surprises about the movie is considering how cohesive and complete it feels, to learn how improvisatory and collaborative the process of making the movie was. Were you surprised by that? What was it like for you entering into the process of making this movie with Paul?
Taylor: I was shocked at how collaborative it was. And I loved every bit of it because one thing about it is, again, when you are telling a story that someone wrote — he’s been working on this project for 20 years. This is something that I consider to be his baby. And when you’re trusting me to take on a job like this, I don’t ever wanna walk into any set and feel like I’m doing what I want to do. I just want to be of good support. If you tell me, “Hey, let’s find this together,” I’m gonna find it together. If you say, “This is my vision of what that is and this is how I want it to be,” it’s my job to give you that vision of what you want it be, and then add my little sauce on top of it. But to be fully collaborative, I thought it was really dope. We found Perfidia’s layers and we color-coordinated those layers. And I’m really happy that he let me be a part of that.
Olsen: What do you feel you brought to Perfidia or you were able to add to the character?
Taylor: I was able to add a lot. Paul was very, very collaborative. And again, we found her layers, which was the most important, especially with such a complex character. And you know, I just came from “A Thousand and One.” So I came from being another complex character, but this one was complex to a whole other level, where we almost didn’t understand why we never see Perfidia cry. But you see these little moments, like little details, in her face that’s just like, it’s this strength, but the strength — because I also don’t really love the term “strong Black woman” — it’s this strength that you feel like she has to have because the strength is really survival mode. And again, like I said, you hear her crack down and you hear her vulnerable, and nobody stepped through that door. So when you see a strong Black woman, there is no grace, it’s, “Oh, she’s OK, she fine, she got it all figured out.” And then you hear her vulnerable and you still feel like even at her most vulnerable, she got this, she’s strong. And it’s just like, “Step through the door. Step in early. Step in the first time. Hear me the first time, see me [this] time, wipe the first tear away. Would she have walked out that door on Baby Willa and Bob, had he walked through that door when he heard her cry?
Olsen: I’ve heard you a number of times when you’re talking about Paul, you always call him Paul “Let Him Cook” Thomas Anderson. What does that mean?
Taylor: Let him cook! Listen, because he to me is a master chef. And honestly, I’m very, very big on leadership. I respect the person that is a leader. What makes it so dope is because, with being in culinary school, I originally signed up for culinary school, of course, to learn the art of culinary, but to just cook, I love to cook and I wanted to learn the art of that. With being enrolled in culinary school, it’s a lot of writing work and a lot of discussion forums and a lot of quizzes and stuff like that. So you’re not only learning to cook, but you’re learning how to run a business. You’re learning how to navigate your staff, front of house, back of house, in the kitchen. You have to understand it’s a whole system in how you handle people in general. In the kitchen they call it like a “servant leader,” where your leader is in the kitchen with you, they’re cooking with you. They’re your mentor, they are your guidance, but they’re cooking with you. They’re not just pointing, “Do this, do that, boom, boom, boom.” And it’s just, like, his gentle servant leadership is something that I respect so much and something that inspires me as an upcoming movie director on how to handle and navigate my staff.
So it’s like the best of both worlds because I have PTA and then I have culinary school who’s teaching me how to be the best leader. Even in how we handle people, it’s bigger than just the people that work for us or with us. It’s also the people that come into this restaurant. It’s your customers. It’s just the hospitality of it all and the hospitality that he gives, it’s really amazing to see. I’m also a big sports girl. So even in regards to him being our quarterback, you know, he’s not on the side, pointing at what to do. He’s on the field with you. But he has an even bigger job because now he’s trusting that he’s going to throw this ball to you and you’re going to receive that ball. So we’re his receivers, we’re his wide receivers to take it to the touchdown. It’s all about being present. And that’s what I learned in culinary, it’s what I learned in sports, it’s just everything about being a leader as I prepare to lead my village and lead my community. That’s just so important to me. So I always respect people that are in the field with you. I become a warrior for you. You see Paul, you’re running in the battlefield, you look to your left, he’s with you. He’s not on a horse, he’s not on his high horse. He’s in the field with you. Let’s go, we got this! And it just makes you want to you want to go so hard for him. And that’s how I look at it. So I am a student. I am a teammate. I am a soldier. I am a warrior. That’s what I am with people that are great leaders.
Olsen: When you won the Golden Globe, your speech was so moving and you specifically spoke to your “brown sisters and little brown girls” and said that their light does not need permission to shine. Can you talk more about that? What was it that made you want to say that in that moment, specifically talking about this movie?
Taylor: I thought it was a very important moment on a very important stage. I wanted to use my voice and I wanted to use my platform. And in that moment, I had the voice and the platform to say just that. It’s nothing less than that. There’s nothing beyond that. Exactly what I said. We deserve space. What that night showed was that here’s the space. And I appreciated that. I was filled with so much gratitude. That moment hit hard for me because I was that little girl that sat on the floor on a TV watching the other queens onstage accept their awards. Like, “You can do it too, you can do it too.” And I knew that one day when it was my turn, I would tell my little queens, “You can do it too — all the little queens that look like me, you can do it too, you deserve space.” To know that also my daughters were watching as well, it’s everything to me. It’s everything for me to know that they embrace that as well. It’s so important. I’ve gotten so many women come up to me like, “Wow, that speech was just everything.” And that’s what it’s all about. That’s what is all about: to inspire, uplift and remind us that there is space.
Olsen: Before I let you go, you just bring it on red carpets time and time again. And the one thing I like is that you wear these really bold outfits, and it never looks like the clothes are wearing you. Do you have tips for people? What do you do for confident personal style?
Taylor: Honestly, follow your heart. Follow your heart. If you see it and you like it, put it together. You might put it together and be like, “That didn’t work the way I [intended].” Practice. Play in clothes. I love to play in clothes — but also will walk in the store and redress a whole mannequin. I’ll also be like, “I like that tie, I think it should be a little bit tighter.” I dream about certain outfits. I dream of certain moments where I’m like, “Oooh. I already know what I feel like I want my Oscar dress to look like. I already know what I want my Golden Globes dress to look like.” It’s always a vision. Or sometimes you might have a base. You might see something and be like, “I like this, but I feel it could use this.” Add it. If you feel like something can use something, add it. Because before you know it, now you done created your own thing. So don’t hesitate. When I was younger, I used to hesitate and be like, “This looked pretty cool, but now I’m not gonna do it.” And then later on, I see somebody try it, and I’m like, “Oh, I should have just…” Always follow your gut and always follow you heart.
Pasadena Playhouse’s take on Peter Shaffer’s “Amadeus” may be the Tony Award-winning regional theater’s most lavish production to date.
The show, which opens Sunday, features a scrim that has been hand-painted with the notes of Mozart’s “Phantasie für eine Orgelwalze.” The entire process, done by a team of three, took eight days from start to finish. When the scrim is illuminated, the golden notes appear to be suspended like stars in the sky.
Mozart’s sister, Maria Anna “Nannerl,” handwrote many of the genius composer’s compositions, and Playhouse head painter Johnny LeBlanc said the group worked to create an exact replica of her strokes. That attention to detail at every level is emblematic of this elaborate show.
Director Darko Tresnjak (center) during “Amadeus” rehearsal at Pasadena Playhouse. Tresnjak is known for exploring the intellectual and emotional foibles of each character in a play.
(Ariana Drehsler / For The Times)
The play is as rich in talent as it is in design. It stars Broadway veteran and Tony winner Jefferson Mays as Salieri, Sam Clemmett as Mozart and Lauren Worsham as Constanze, and is directed by Darko Tresnjak, who won a Tony in 2014 for “A Gentleman’s Guide to Love and Murder.”
The red-and-gold, Baroque and Rococo aesthetics of the show, including the forced perspective of scenic designer Alexander Dodge’s set, which makes a royal room seem to disappear into the distance, were meticulously constructed to reflect the twisted interiority of Salieri as he grapples with his seething hatred for the scatological young upstart as it crashes against his cascading awe of Mozart’s divine music.
Share via
“The entire play really takes place in a mental space,” Tresnjak said during a recent rehearsal. “That location is Salieri’s increasingly addled brain and what happens within that brain strikes me as eminently contemporary.”
Mays called “Amadeus” a “memory play,” noting that “every aspect of this production is exploring that — it’s all filtered through the warped, distorted memories and imaginings of its unreliable narrator.”
The Pasadena Playhouse has one of the few remaining on-site scene shops in the industry, and its staff of designers, carpenters and painters created elaborate wall sconces and candle holders that become smaller and smaller as they move to the back of the stage, toward two tiny doors in the center. At one point in the show, actor Matthew Patrick Davis, who plays Emperor Joseph II, steps through the doors.
“Amadeus” director Tresnjak says the key to his lavish productions is a strong community of artists, rather than a big budget. “It’s all smoke and mirrors,” he said.
(Ariana Drehsler / For The Times )
Mays describes the moment as “delicious” because Davis is quite tall and thin — even more so in his 2-inch, 18th century heels — and when he unfurls his body into the room and proceeds down the stage, the audience realizes what a gigantic figure he is in Salieri’s mind.
“It’s all shot through with these ‘Alice in Wonderland’ moments of surrealism,” Mays said. “It feels like a fever dream.”
Music is key to Salieri’s world, and the sound design by Jane Shaw strives to access the otherworldly power of Mozart’s music through layered backing tracks. An electric keyboard programmed to sound like a fortepiano is also embedded in a handcrafted instrument, which actors with musical training can play.
A fortepiano is being built for “Amadeus” at Pasadena Playhouse. A small electronic keyboard will be embedded within so actors with musical training can actually play it.
(Ariana Drehsler / For The Times)
Tresnjak has a long history directing with L.A. Opera and its departing music director, James Conlon, worked with Clemmett on conducting. He also gave the actor a history lesson about what the art form would have been like in Mozart’s time. Jeffrey Bernstein, the founding artistic and executive director of the Pasadena Chorale, drilled the cast on their chorale passages.
The key to creating such a richly textured theatrical environment is not a bloated budget, said Tresnjak, it’s engaging a whole community of artists — onstage and backstage — and giving them free reign to set their creativity loose. Pasadena Playhouse, which is known for being a resourceful company, made that easy, he added.
The show is buoyed by its classic stagecraft, with flats, escape stairs and rolling platforms. There is no computer automation and anything that moves is moved manually, said associate artistic director Jenny Slattery, pointing out the theater’s antiquated hand winches that control a mobile throne.
“There is something magical that comes from a resonance between the subject matter and the aesthetic and the behind-the-scenes techniques,” said Slattery.
A sketch and fabric swatch for Venticelli’s costume in “Amadeus” at Pasadena Playhouse. The costume is the same red as the set walls, so the character will seem to fade in and out of Salieri’s consciousness.
(Ariana Drehsler / For The Times)
Linda Cho designed the costumes and L.A. Opera fabricated the extravagant 18th century garments, which Slattery said have become a “staff tourist attraction.” The fabric was sourced in New York and shipped to L.A.; the ribbons were made by hand. Mays said he got giddy and breathless when he first stepped into his costume.
L.A. Opera fabricated the costumes for “Amadeus” with fabric sourced from New York.
(Ariana Drehsler / For The Times)
“It makes all the difference when you know that your sleeves are cut in a bias and your arms have to do certain things,” he explained. “I find a costume, particularly the costumes of this late 18th century period, to be so informative about physicality and how you move.”
In rehearsal, Mays fully inhabits his role — and his costume — moving with a lithe formality as he strives to eavesdrop on Mozart and Constanze. His revulsion and deep attraction are on full display. The actor said it is not his intention to play Salieri as a mustache-twirling villain, but rather as human, recognizable and understandable.
Details on the sleeve of a jacket made by L.A. Opera.
(Ariana Drehsler / For The Times)
“We are all Salieri to varying degrees,” Mays said. “What interests me are everyman aspects of him. The banality of his evil and the way that evil actions seem to always rise out of fear and insecurity.”
The lighting design by Pablo Santiago helps manifest Salieri’s uncomfortable emotions onstage.
“Darko is someone who likes to work in more of the intellectual, emotional space rather than realism. So a lot of it is about using the set in a more abstract way,” said Santiago. “It’s about shapes and color and creating full stage pictures that are interesting.”
The story of Salieri and Amadeus, said Mays, is one of twisted love. Salieri gets up every morning and tries to destroy that which he loves most. Playing the troubled antihero is “not altogether pleasant,” Mays said, “because you’re marinating in this cesspool of thwarted ambitions and inadequacy, but then you’re surrounded by this beauty that is a constant reminder of your own failings.”
When the curtain finally rises, the cast and crew hope the stage will be its own thing of beauty — its ambition fully realized.
AN iconic American actress looks completely unrecognizable after a string of legendary roles and an Oscar nomination.
The star first shot to fame in 1983 as she appeared in Scarface playing Al Pacino’s character’s sister, Gina Montana.
Sign up for the Showbiz newsletter
Thank you!
The now 67-year-old looked incredible as she starred in a string of 80s and 90s hitsCredit: AlamyShe even played Maid Maron in Robin Hood Prince of ThievesCredit: Warner BrosThe star was nominated for an Oscar and a Golden Globe for her role Carmen in The Colour of Money back in 1986Credit: Getty
Mary’s style is incredibly chic, with the actress often donning shirt’s and over sized blazers.
Years ago, glamourous Mary was often seen on red carpets wearing floor length gowns and posing with her A-lister pals.
Many of Mary’s fans may recognise her from Robin Hood Prince of Thieves, where she played Maid Marion – a spy.
While Mary is probably best known for her role in Scarface she also appeared in the 1986 movie The Colour of Money, playing Carmen, which landed her the coveted Oscars Best Supporting Actress nomination.
Most read in Entertainment
Paul Newman and Tom Cruise appeared alongside the star in the movie, which also saw her nominated for a Golden Globe.
Her other movie roles include James Cameron’s science fiction, The Abyss with Ed Harris, she played the attorney daughter ofGene Hackman‘s character inClass Action, co-starred in the 1992 thrillerConsenting Adults and played a fishing boat captain in The Perfect Storm.
Mary Elizabeth Mastrantonio appeared alongside Ed Harris in the science fiction movie The Abyss in 1989Credit: AlamyAs well as her work on a string of Legendary films the actress has also appeared in iconic TV shows including Law & Order: Criminal intentCredit: Getty
The singer was also nominated for a Tony award for Best Actress in a musical back in 2003 for her work in Man of La Mancha.
As well as her impressive career as a movie star, Mary also appeared in many TV shows, the most notable being Without A Trace and Law & Order: Criminal Intent.
Mary was born in Lombard, Illinois and studied drama at the university. She worked summers at a local theme park to get her through college.
The Broadway star lived in England for over 20 years with her husband Pat O’Connor, who directed The January Man.
Mary and Pat have two sons and they all moved back to the US in the 2010s.
The movie star now works as a professional coach using her years of experience in theatre, film and prime time television.
Mary now spends her time as a professional coach, teaching students using her years of experience in theatre, film and prime time televisionCredit: AlamyBrunette bombshell Mary has been spotted out looking incredibly chic yet completely unrecognizableCredit: Getty
LISA Armstrong has seemingly confirmed she’s back on the market with a savage Instagram rhyme.
The Strictly Come Dancing make-up artist, and ex-wife of Ant McPartlin, hinted she’s single again with a post celebrating those “on their own”.
Sign up for the Showbiz newsletter
Thank you!
Lisa shared a cheeky rhyme which seems to confirm her single statusCredit: https://www.instagram.com/lisaarmstrongmakeup/Lisa shared a sassy single post to mark Valentine’s DayCredit: instagram
The 49-year-old is reported to have ended her romance with Grant Kilburn, 34, earlier this month.
In wake of the alleged split, Lisa’s pointed Valentine’s Day post included a rhyme that appeared to take aim at her former flame.
It read: “Roses are flowers, pebbles are stones. Here’s a big shout out to those on their own.
“Count yourself lucky and try not to snob. Look on the bright side, you’re not with a nob!”
Reports last month claimed she was “happier than ever” with actor Grant who had been touring in the play 2:22 A Ghost Story.
But friends say they have since quietly gone their separate ways after deciding it wasn’t working.
A source told The Mirror: “It’s very sad but it wasn’t to be.”
Lisa is believed to have met Grant through her friends, former Strictly professional Kevin Clifton and his partner Stacey Dooley.
The break-up follows her divorce from TV presenter Ant in January 2018 after 11 years of marriage.
The split happened just two months before he ploughed into two other cars while more than twice the legal drink-drive limit.
Lisa allegedly met Grant Kilburn through her Strictly pals Stacey Dooley and Kevin CliftonCredit: InstagramLisa previously dated electrician James Green after her split from AntCredit: InstagramShe and Ant divorced in 2018 after 11 years of marriageCredit: Getty
He later admitted drink-driving, was fined £86,000 and handed a 20-month ban.
After the crash, he entered rehab and stepped away from TV presenting for 10 months.
The presenter later tied the knot with his former personal assistant, Anne-Marie Corbett, in 2021.
The couple went on to welcome their first child Wilder Patrick McPartlin last year.
Meanwhile, Lisa dated Sky electrician James Green in 2020, but they split in August 2023.
Pals said the break-up was “unexpected” and had “come out of nowhere”, though it was believed to be on friendly terms.
Despite their divorce, Lisa and Ant continued to share custody of their much-loved dog Hurley until his sad passing last week.
The couple were forced to make the agonising decision to have Hurley put to sleep after vets explained the 12-year-old pet was too ill to recover.
Ant, 50, and Lisa were both able to spend time with him beforehand, and Ant was by Hurley’s side as he peacefully slipped away.
Lisa posted an image on Instagram of a girl releasing hearts into the sky to mark the heart breaking news.
Lisa marked Hurley’s passing with a touching Instagram postCredit: instagramHurley sadly passed away last weekCredit: instagram/lisaarmstrongmakeup
As Sister Veronica questions her purpose in life on the BBC drama, we take a look inside the life of actress Rebecca Gethings
Angie Quinn Screen Time Reporter
15:00, 15 Feb 2026
Sister Veronica has taken leave from Nonnatus House in Call the Midwife (Image: BBC / Neal Street Productions / Luke Ross)
Sister Veronica’s anguish has left Call the Midwife fans in tears as she longs for a child to call her own.
When the BBC period drama commenced its 15th series this January, set in 1971, viewers were immediately met with an unexpected revelation as Sister Veronica (Rebecca Gethings) opened up about her innermost feelings, and her tale is heartwrenching.
In a candid exchange with Geoffrey Franklin (Christopher Harper), the nun disclosed her desire to become a mother herself, despite having devoted her life to the Church.
Sister Veronica had also developed a particularly close relationship with baby Christopher, providing invaluable assistance and support to the Turner family in caring for the little one.
The family decided Christopher should travel back to Hong Kong to continue receiving medical care at the British Army Hospital, and Sister Veronica accompanied the tot on his journey.
On Sunday (February 8), Sister Veronica arrived back from Hong Kong and insisted on speaking privately with Sister Julienne (Jenny Agutter) at Nonnatus House. During an emotional discussion, Sister Veronica revealed her intention to relinquish both her position as a nun and her duties as a midwife within the order.
She said: “I came back to Poplar via the Mother House. I needed to confer with Mother Mildred because I have been feeling increasingly unhappy.”
Sister Julienne responded: “I wasn’t unaware of it but our work is not about our happiness, it is about seeking no reward other than knowing that we do his will.”
The remark caught Sister Veronica off guard, prompting her to declare: “If you are quoting Ignatius of Loyola, then you are admitting the bit about giving and not counting the cost. And I can’t keep on giving and not counting the cost any longer.”
“I hoped I could bear it, but I can’t”, Sister Veronica confessed, before removing her wimple and exposing her hair for the first time.
“I have been given permission to go away for six weeks while I decide if I want to give up my vows and leave the order.”
Sister Veronica, now going by Beryl, later received consolation from Shelagh Turner (Laura Main), who had herself left the order years earlier to build a family with Doctor Turner (Stephen McGann). Beryl subsequently gathered her belongings and departed Nonnatus House. Will she return to Nonnatus House?
Who plays Sister Veronica in Call the Midwife?
Sister Veronica joined Call the Midwife in Series 12 (2023) as a new nun at Nonnatus House, replacing Sister Hilda.
She had previously worked as a midwife in Hong Kong and initially joined Nonnatus House as a health visitor. She certainly has her quirks, though she has become a much-loved member of the team and the community.
Sister Veronica is played by Rebecca Gethings, a 50-year-old English actress who was born in Canada.
Raised in Berkshire, UK, she studied drama at the Webber Douglas Academy. Starting off her career in theatre, she appeared in the West End production of Vassa.
She has gone on to star in a long list of television shows, including Queen Eleanor in The Serpent Queen, Helen Hatley in The Thick of It, Dawn in Not Going Out, Lizzie in Extras, and a guest role in EastEnders in 2001.
Rebecca has also starred in movies, including Casino Royale and The Critic. In 2015, she played PR manager, Miriam Clark, in Ricky Gervais’ film David Brent: Life on the Road.
Who is Rebecca Gethings’ husband?
In June 2025, Rebecca tied the knot with long time partner Tom Brass, opting for a pink dress after a disaster with her original wedding dress.
Rebecca and her animation director husband, also parents to two children, celebrated their union with an intimate East London ceremony.
The actress took to Instagram to share her joy, posting a stunning snapshot of her and Tom walking hand in hand as newlyweds.
Content cannot be displayed without consent
Underneath the photo, she brimmed with enthusiasm, captioning: “I do, he do, and we very much did! All our thanks to @davidjonesphotography @iconoclast_london @justineluxton_costumedesigner.”
Speaking about her wedding dress disaster, Rebecca shared on the Call the Midwife Instagram page: “I wanted to keep our wedding very low-key – just Tom, the kids and myself. So I bought myself a wedding dress online in the sales. Just a white summer dress – nothing too fancy. It was then that disaster struck!
“Unfortunately, the dress arrived by post in a rainstorm whilst I was at work! I asked our babysitter to rescue it from behind the bin where the postman had left it. But when she turned up, she found that the rain-soaked parcel box had disintegrated completely!”
Justine Luxton, the show’s costume designer, and her assistant Anna Laflin, saved the day by making a new dress from beautiful coral fabric from Joel & Sons, which Rebecca had selected.
Call the Midwife airs Sunday at 8pm on BBC One and iPlayer
**For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website**
SAVANNAH Guthrie is reportedly looking to quit The Today Show for good as she fears her fame made her mother a vulnerable target.
It comes just months after she filmed a segment for the show with her mother Nancy, 84, who has now been missing for two weeks.
Sign up for the Showbiz newsletter
Thank you!
Savannah Guthrie is reportedly looking to quit The Today Show for good amid the desperate search for her motherCredit: AlamyA segment from just months before Nancy vanished was filmed inside her homeCredit: NBC
Sources have said that the co-host is considering a permanent exit from the hit show after her mother was abducted from her home in Tucson, Arizona, at around 2am on February 1.
“This absolutely came out of the blue, and I think she’s really concerned that it was because of her job,” NewsNation’s Paula Froelich reported, citing sources.
She added that Savannah, who is said to be a “mess” as the search for her mother enters its third week, fears her fame made her mother more of a target “with bad characters”.
Just months before she was taken, The Today Show filmed a segment with Savannah near Nancy’s $1 million home, which is now a major crime scene.
No data found
In the NBC clip from November 2025, the mother-and-daughter duo paired up for a piece called “Savannah’s Arizona Homecoming” which also featured her sister Annie.
What we know about Nancy Guthrie’s disappearance
It documented the television star going back to her roots including her alma mater and El Charro, the oldest family-owned Mexican restaurant in America where she shared a meal with her family for the show.
“I have to come here every time I come home to Tucson,” Savannah said.
Her mother has featured in several segments for the show over the years since Savannah joined in 2012.
Most read in Entertainment
Despite admitting they are ‘exhausted’ by the search for Nancy, who is in poor health and in need of daily medication, cops have vowed they will find her and those responsible for her disappearance.
Investigators have now reportedly turned to high-tech scanners that can detect Bluetooth signals in an attempt to connect to Nancy’s pacemaker as they run out of leads and have no suspects.
A series of ransom notes sent to the family, law enforcement, and several news outlets are further muddying the waters, with a number of them turning out to be fake.
Fox News Digital reported that the Bluetooth devices have been attached to the bottom of police helicopters that are flying in low and slow, in grid-like patterns to try to locate her heart monitor device.
But, Pima County Sheriff Chris Nanos has said the search for Nancy could now go on for years as hopes seemingly begin to fade.
Nancy has featured on the show a number of times and Savannah reportedly fears her exposure on national television put her at risk of ‘bad characters’Credit: GettyFBI and SWAT units perform operations in a neighborhood approximately two miles from Nancy Guthrie’s homeCredit: Getty
Earlier this week, investigators were seen combing through the grounds of her property, and searching inside a septic tank.
On Friday night, a number of people were reportedly detained in a SWAT raid at a nearby home after mystery DNA was recovered in the case, but cops later confirmed no arrests were made.
Federal agents have released new details about the suspect as they hope to cut down the number of public tips that have been called in with over 13,000 reported since February 1.
Officials are looking for a man who is around five-foot-nine-inches to five-foot-ten-inches with an average build.
He was seen in the footage wearing a black, 25-liter Ozark Hiker Pack backpack.
The reward for information that leads to an arrest and conviction in the case has been increased from $50,000 to $100,000.
Timeline of Nancy Guthrie’s disappearance
Nancy Guthrie, the 84-year-old mother of Today show co-anchor Savannah Guthrie, disappeared from her home on February 1, 2026.
Timeline:
January 31: Nancy is last seen by her family
5:32pm: Nancy travels to her daughter’s home for dinner, about 11 minutes from her own house.
9:48pm: Family members drop off Nancy Guthrie at her home in Tucson. Her garage door closes two minutes later.
February 1: Nancy is reported missing and a search begins
1:47am: Nancy’s doorbell camera disconnects
2:12am: Camera software detects a person moving in range of the camera. There is no video, and Nancy does not have a storage description.
2:28am: Nancy’s pacemaker app disconnects from her phone, which is later found still at her house.
Around 11am: A parishioner at Nancy’s church calls the mom’s children and says she failed to show up for service.
11:56am: Family members arrive at Nancy’s house to check on her.
12:03pm: The family calls 911 to report Nancy missing.
8:55pm: The Pima County Sheriff’s Office gives its first press conference and reveals some clues found at Nancy’s home caused “grave concern.” Sheriff Chris Nanos says helicopters, drones, and infrared cameras are all being utilized in the search.
February 2: Search crews pull back. Nancy’s home is considered a crime scene. Savannah releases a statement thanking supporters for their prayers, which her co-hosts read on Today.
February 3: A trail of blood is pictured outside Nancy’s home, where there were reportedly signs of forced entry. Nanos admits they have no suspects, no leads, and no videos that could lead to Nancy’s recovery. He and the FBI beg for more tips and accounts.
February 4, 8pm: Savannah and her siblings release a heartbreaking video directed at their mother’s abductors asking for proof she is alive and saying they’re willing to work with them to get her back.
February 5: FBI offers $50,000 reward for information on the case.
5pm: First ransom demand deadline for millions in Bitcoin passes. Guthrie family releases demand to speak “directly” to the kidnappers, saying, “We want to talk to you and we are waiting for contact.”
February 9, 5pm: Second ransom demand deadline, reportedly with “much more serious” conditions.
How to Get to Heaven from Belfast is a dark comedy thriller series topping Netflix charts, and here’s everything you need to know about the actor who plays Liam
How to Get to Heaven from Belfast fans are recognising Darragh Hand(Image: NETFLIX)
How to Get to Heaven from Belfast fans are only just realising where they have seen Darragh Hand before.
Emerging star Darragh Hand portrays Liam, a Garda police officer who comes to the trio’s aid when they find themselves stranded on a road.
Liam plays a pivotal role in the investigation that forms the crux of the plot, and here’s everything you need to know about the actor’s past roles.
Darragh Hand is an Irish-Jamaican actor who has featured in big-name shows like Netflix’s Heartstopper and ITV’s detective series, Grace.
His television debut was as Kai Davis in the BBC’s long-standing drama, Silent Witness. He then landed the role of Leo in the third season of Grace.
Viewers might recognise him as Michael Holden from the third season of Netflix’s romantic drama, Heartstopper.
In his cameo in Radio Silence, Michael came across as geeky and awkward for an athlete, owing to his height and his thick-framed glasses.
The actor has also made his mark in theatre, with acclaimed performances in Dear England, Richard III, and The Land of Lost Content.
In conversation with Bustle, the 27 year old Olivier-nominated performer from Croydon discussed his Heartstopper role and what viewers can anticipate from the forthcoming film.
He revealed: “The fans of that show are some of the most loyal, dedicated fans I’ve ever experienced. It means so much to them as an audience, so I don’t know if there’s much I can give away.
“But it is the final instalment, so we will be saying goodbye to these characters, which is sad and beautiful – especially for a lot of the other cast [members who have] grown up with this show.”
He continued: “I will always be so grateful for Heartstopper because it introduced me into the TV/film realm in the best way possible. Even down to the comics – my character, Michael Holden, looks a bit different from how I look.
“And I would see people online absolutely crushing any narrative of, like, Oh, this is not how he looked in the comics. This is not how his hair was in the comics. They really vouched for me.
“They genuinely had my back, which was a bizarre but lovely thing. For that to be my introduction was beautiful.”
How to Get to Heaven from Belfast is on Netflix
**For the latest showbiz, TV, movie and streaming news, go to the new Everything Gossipwebsite**
