show biz

OASIS have teased more huge gigs with a cheeky nod to their chaotic first tour that saw Liam Gallagher deported from Holland.

The band have been drip-feeding fans cryptic videos hinting at 2027 shows in the UK and Europe ahead of an official announcement.

So far sleuthing supporters have decoded gigs at the Etihad Stadium, Celtic Park and Munich’s Allianz Arena.

Now they’re convinced the band is heading to Amsterdam — two days after The Sun exclusively revealed the band will play shows at the Johan Cruyff Stadium as part of an extended world tour.

Back in 1994, the boozed-up band set sail for the Dutch city’s Paradiso Club only to clash with rowdy West Ham fans on the ferry.

All hell broke loose and Liam famously ran from police in scenes reminiscent of a Benny Hill sketch.

definitely, maybe

Full list of UK dates for Oasis tour 2027 and what we know about tickets

roll with it

When Oasis documentary Don’t Look Back in Anger is released & how to watch it

Noel Gallagher wasn’t involved in the fracas, having headed to his cabin early, however, the damage was done and he joined Liam and the rest of the band on the next ferry home, with the scheduled gig cancelled.

The new clip sees two plucky young lads sprinting through a shipping yard, stopping to stick their fingers up at police officers in pursuit.

One fan commented on X: “I instantly thought of Liam getting arrested on the ferry in Amsterdam!!!”

Another said: “Ferry containers, running from the police, it’s Amsterdam just like they were deported by the police in Amsterdam in 1994.”

A third said: “Fighting on the ferry to Amsterdam?”

The Gallaghers have been promoting the band’s new Don’t Look Back In Anger documentary this week that documents last year’s comeback tour after the brothers ended their 16 year feud.

Today, directors Will Lovelace and Dylan Southern revealed on Radio X the lengths they went to to ensure they didn’t jeopardise the brothers’ fragile relationship.

Will said: “Day one of shooting was day one of their rehearsals which they hadn’t done before. No one had ever filmed; they hadn’t allowed cameras into rehearsals. The first day of filming was them getting in a room together.

Dylan continued: “Genuinely, other than the photograph to launch this whole tour, it was the first time they’d spent time together in 15 years, so we didn’t want to be the people to ruin this for everybody, so our whole approach was to be invisible.

“We rigged cameras in the room – 12-14 cameras and just left them to film and we had to hide in a portacabin for the whole summer which had no air conditioning during a heat wave.

“We were like CCTV security guards, but we had to be watching the preparation for the biggest rock and roll comeback ever.”

Inside the Universalist Unitarian Church of Riverside, a line of masked people filed into the red-lighted chapel, one by one, to take part in the rite of confession.

The private booth was framed in flowers, and rather than a priest listening inside, it was a microphone recording their confessions, to be played at an upcoming art exhibition. The brick triangle-roofed church that held the booth has stood since opening in 1892; that night, it was the site of a masquerade, or as Riverside artist Perry Picasshoe called it, the “Masqueerade.”

Picasshoe, whose real name is Neveah Marquez, hosted the event, which had an entirely LGBTQ+ guest list and one requirement: Bring a mask, whatever that looks like to you.

Marquez, a 26-year-old transgender woman robed entirely in red, stood at the pews and danced to the experimental electronic DJ sets and drag performances as guests entered in masks that ranged from papier-mâché deer antlers to collaged photos of eyes and lips.

The event came as a celebration ahead of the Riverside native’s first solo exhibition, “SagradX,” which will open Saturday at Riverside Art Museum and remain through Jan. 31.

The recorded confessions, layered over one another until they become an unintelligible cacophony, represent just one piece of the 25 paintings, photographs and interactive displays in the exhibition. The show explores the meaning of “sacred” as Marquez documents her most private places and experiences, and asks viewers to consider what they hold sacred.

The exhibition, she says, began with heartbreak.

Neveah Marquez (Perry Picasshoe), 26, sits inside the Riverside Art Museum.

(Carlin Stiehl / For De Los)

“The first time I started thinking about sacredness … was when my ex-partner brought somebody into our bed,” said Marquez.

“I was crying, distraught, and drove over to these hills over Lake Mathews [in Riverside] and I realized: The bedroom was sacred to me. That’s why it hurt so much. And I started thinking, if it wasn’t sacred to them, how do we decide what is sacred to each of us?”

The very headboard of that bed sits in the exhibition; on it, Marquez painted fairy-tale creatures representing the lovers gallivanting across the woods.

While Marquez’s experience with betrayal sparked the idea, the exhibition explores sanctity in many different scenarios: In one, the artist plays with the concept of the digital safe space by inviting guests to look through her phone as she is tied on a handmade iron-wrought cross. Inside the exhibition space, she uses a small painter’s brush to slowly paint the white walls red over the course of the show.

In curating the exhibition, Marquez began to look inward, painting and photographing herself in ways she never had before: through the lens of femininity. She lived the previous 26 years of her life as a man, growing up religious to the point that she once considered becoming a priest. The paintings serve as portals into a part of her that she long held inside.

“I describe it like having blurry vision your whole life and not realizing how clearly you can see, until you put glasses on,” Marquez said. “That’s how painting myself as a woman felt.”

Neveah Marquez (Perry Picasshoe) considers what is sacred.

(Carlin Stiehl / For De Los)

Though she initially identified with her male birth name, the more she painted herself in Venus-like, feminine poses and with longer hair, her understanding of her identity shifted. Illuminated by her signature scarlet red clothing and tastefully shrouded in sheets, the soft expression on her face was inspired by Raphael’s “La Fornarina.”

“I wasn’t thinking much of it in the moment, but as I kept painting these portraits, I was thinking a lot about myself and thinking about gender and my identity,” Marquez said. “Through my art process, I realized: ‘Maybe I would be a pretty woman.’ That’s what scared me the most from transitioning, was not feeling like I would be beautiful enough.”

In “SagradX,” Marquez’s body is documented vulnerably; easing into her own identity becoming a painfully honest artistic process, which the audience is now invited to watch.

“I feel like I don’t paint very often because when I do, it’s just so emotionally intense. Like when Olivia Rodrigo wrote that she’s scared of her guitar because she couldn’t lie to it, that’s how I feel about painting,” Marquez said. “I can’t lie to my painting.”

Neveah Marquez (Perry Picasshoe) wears long, flowing red clothes.

(Carlin Stiehl / For De Los)

Aside from her self-portraits, Marquez includes photographs of her ice blocks project, in which she placed 25-pound blocks where immigration enforcement raids took place in the Inland Empire last year. These were once safe places that she says have been “desecrated with fear.”

Marquez’s personal journal, which documented her inner joys and struggles over the last year, is also open on a table in the exhibition for guests to read through, draw over, or tear. For Marquez, “SagradX” was the catalyst to “let everything out.”

“If the show is about vulnerability, I need to practice that for myself as well. Otherwise, you would see in the work that there’s a blockage, you can sense when artists aren’t fully honest,” Marquez said. “I want people to question, ‘What is sacred to you?’ If I give you access to something sacred to me, what will you do with that?”

Stars including Kate and Rio Ferdinand as well as Venezuela Fury and new husband Noah have flown into Vancouver for the new series, of I’m A Celebrity: Wild Frontier, it has been reported

A trailer for I’m A Celebrity’s new Canadian spin-off show has been released as Ant and Dec embrace the outback.

I’m A Celebrity…The Wild Frontier will be hitting our screens in 2027 with filming said to be starting soon. But in a unique twist on the Australian version, the new programme will feature celebrities competing in pairs.

ITV say we will see they will undertake gruelling trials and take on action-packed challenges to win food, all aiming to become the last pair standing. After weeks of shocks and survival in the Canadian wilderness, viewers will have the power to decide which duo is crowned the overall winners.

Viewers will be able to have their say and cast the final vote in a live grand final broadcast direct from London. Kate and Rio Ferdinand and Venezuela Fury and new husband Noah have already flown into Vancouver, it has been reported.

Brian McFadden and Keith Duffy have also been linked with the show, as has ice-skating stars Christopher Dean and Karen Barber.

Eternal singer Louise Redknapp will join the series, alongside her brother, Joe Nurding – with influences Paul Olima and Jeremy Lynch also set to fly out, reports state.

Ant said: “This brand new series is I’m A Celebrity… like you’ve never seen before. It’s a brand new format with lots of twists and surprises”.

His co-star Dec added: “We’re also making sure to retain some of the elements that we know viewers love from the Australian series. Buckle up, it’s going to be brilliant.”

Set in the untamed wilderness of Canada, the series will feature celebrities competing as pairs alongside relatives, loved ones or even fellow celebrities. So for example it could be two celebrities together, a celebrity and a family member, or a celebrity and their best friend.

Katie Rawcliffe, Director of Entertainment, Reality & Daytime ITV said: “I’m A Celebrity…The Wild Frontier is a brand new series from the award-winning I’m A Celebrity… team. The format takes duos to the most spectacular locations in Canada. The duos enter as a pair, play as a pair and leave as a pair.

“With all the brilliant DNA of I’m A Celebrity…, brand new gameplay and the dynamics of living and playing with your spouse, best mate or sibling, it promises to be a treat for audiences in 2027.”

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

It was 1963 and up-and-coming freelance journalist Gloria Steinem had been a working writer in New York City for roughly three years when Show magazine sent her on an undercover assignment that she was uniquely qualified for: to infiltrate Manhattan’s “greatest new showbiz gimmick,” the Playboy Club. She already had the beauty and brains, all she’d need was an alias, a leotard and a notebook. The assignment would change the course of her career, but not in the way that she’d hoped.

“GIRLS:

Do Playboy Club Bunnies Really

Have Glamorous Jobs,

Meet Celebrities, And

Make Top Money?

Yes, it’s true! Attractive young girls can now earn $200-$300 a week at the fabulous New York Playboy Club, enjoy the glamorous and exciting aura of show business, and have the opportunity to travel to other Playboy Clubs throughout the world.”

Armed with the above ad and welcomed by a grinning private guard calling, “Here bunny, bunny, bunny!” Steinem set out to expose the working conditions and interior lives of the bunnies slinging booze to the playboys who patronized the club. She subjected herself to the wardrobe fittings, which included getting her bunny suit stuffed to boost her breast size; she was poked and prodded during an invasive physical exam; she strutted through the club near-naked with sore feet and a suit so tight, she had to wrap gauze around her midsection where her skin had been rubbed raw; and various other indignities she underwent for the sake of journalism.

Documenting a lunch shift at the club, Steinem wrote, “Somehow, the usual tail pullings and propositions and pinching and ogling seemed all the more depressing when, outside this windowless room of perpetual night, the sun was shining.”

Steinem’s article accomplished what it set out to do, and not only were the working conditions at the club exposed, but some were subsequently improved because of her work. In her essay collection “Outrageous Acts and Everyday Rebellions,” Steinem wrote that in response to the story, Hugh Hefner wrote her a letter saying that her “beef about the physical given [to] the girls before they start work at the club prompted my eliminating it.”

Also as a result of her piece, she was slapped with a $1-million libel suit, subpoenaed as a witness in a liquor laws case against the Playboy Club, and received “obscene and threatening” calls.

Most notable, of the short-term results of the story, was the immediate impact it had on her career. Sure, in a lot of ways it had put her on the map, but she struggled to land serious journalistic assignments because, as she put it, “I had now become a Bunny — and it didn’t matter why.”

Steinem, a feminist icon and one of the most widely recognized leaders of the second-wave women’s movement, died on Wednesday at 92. Since she shed the bunny suit after her 11-day stint on the job at the Playboy Club, she went on to cofound New York Magazine and Ms. Magazine, which changed the course of the abortion rights movement with its “We Have Had Abortions” petition in which high-profile women admitted to having illegal abortions, Steinem among them. She played a pivotal role in spearheading some of the most influential and successful women’s rights efforts. And in 2013, she was awarded the Presidential Medal of Freedom for her lifetime of work as a journalist and activist.

Still, with all the aforementioned accomplishments, and decades later, Steinem said that her naysayers used her bunny work in an attempt to discredit her. For decades she considered the story a “professional error of gigantic proportions.” But later, she changed her tune.

“I’m not sorry I did it,” she told Ronan Farrow in 2020, when she was 86 years old. “But it is true that as old as I am, when anybody wants to put me down, they say, ‘Well, she was once a bunny.’ ”

In Steinem’s “Famous Last Words” interview, released on Netflix following her death, she closed the segment by addressing the audience. “Please tell your own story,” she said. “This is the most important thing we can do for each other: is to know each other through stories.”

I was hesitant to tell this story, and stewed over the potential risks I would be taking by telling it, but then I thought of the risk Steinem took. She dealt with fallout and she grappled with the ways the article may have hurt her career more than helped. But of the ample wisdom she imparted, its the power of women’s stories to shift culture, change policy and empower other women that feels most resonant.

I didn’t discover Steinem’s “I Was a Playboy Bunny” exposé until I was in college. I was in my late twenties at the time because I’d taken a few detours after I left high school, most of them dead ends.

One such detour led me through the massive hedge-lined gates of the Playboy Mansion. I was 18, and the E! reality series “The Girls Next Door” sparked renewed interest in Playboy bunnies. I wish I could say that I’d arrived at the mansion on an undercover magazine assignment, but the reality was different. I’d been watching a rerun of the E! show from a bedbug-ridden townhome in downtown Los Angeles, and earlier that day I grappled with whether I should pay my parking debt or buy a burrito.

I watched as the girls bounced around the mansion, appearing carefree, bedbug-free and parking ticket-free. Their lives, produced and edited as they were, appeared to be stable and glamorous, and I thought, “Hmm, maybe I should do that.” If Hefner was good at anything, it was creating a facade.

Like Steinem found, applying to be a Playboy bunny was surprisingly simple. I emailed a photo of myself in a swimsuit and shortly afterward, an invitation to a casting call at the mansion arrived.

At the casting call, I was handed a satin robe and pointed toward a small tent where I could change and a large tent with the photo crew inside. Steinem had likened wearing the bunny suit to feeling like meat on a hook. I, too, couldn’t shake the thought of a meat factory and almost instantly, realized I wanted off the conveyor belt.

My trip to the mansion and endeavor to become a bunny was short-lived. I’d driven there feeling like a femme fatale, and left feeling naive and out of my depth. Worse, it was just another humiliating misadventure that I’d carry around for years with shame.

That is until I came across her story in her essay collection “Outrageous Acts and Everyday Rebellions.”

Steinem said that she was pigeonholed because of the story. She struggled afterward to be taken seriously and that may be true, but I’d argue an opposite point. Because Steinem was ultimately held in such high regard as a journalist and activist, and because she was an undercover bunny along the way, she helped the bunnies of the world to take themselves a little more seriously, to see that beyond the bunny suit, there is a world of possibilities waiting for them.

In the collection, originally published in 1983 and reprinted several times, Steinem wrote that after a town-hall meeting in New Bedford, Mass., a little girl of 6 or 7 gave her a crayon drawing of her in the bunny costume copied from a photo that had circulated online. “ ‘Even if a girl looks silly,’ she said, ‘boys should know that’s she’s smart.’ ”

“This story may outlast me,” she wrote. “but it’s not going to outlast or outsmart that little girl.”

In the book, Steinem wrote that one longer-term result of the article was “realizing that all women are Bunnies. After feminism arrived in my life, I stopped regretting that I had written the article.”

The line “All women are Bunnies” stands out. But what I imagine she meant is, bunnies are just women.

TELLURIDE, Colo. — The Telluride Film Festival has always enjoyed keeping a secret. Tucked away in the Colorado mountains with nary a red carpet or paparazzo in sight, the low-key film festival doesn’t announce its lineup until the day before opening and surprise additions have long been a fixture of the event.

But even by Telluride standards, organizers went to unusual lengths this year to keep their biggest surprise under wraps. They had carved out a prime Sunday evening slot for a world premiere that, fingers crossed, would remain unknown until the audience was seated inside the theater. Festival director Julie Huntsinger offered only a few clues beforehand. The film involved some “very known names,” she told The Times. “Do not miss it. Your jaw will be on the ground for the entire length of the film.”

For three days, trying to crack the mystery became Telluride’s unofficial parlor game. Was it Aaron Sorkin’s “The Social Reckoning”? Denis Villeneuve’s “Dune: Part Three”? Alex Gibney’s Elon Musk documentary “Musk”? By Sunday, the mounting speculation had become fodder for jokes: Introducing his new movie “Club Kid” earlier in the day, writer-director-star Jordan Firstman announced that the evening’s TBA would be a newly restored print of Jerry Seinfeld’s 2007 animated film “Bee Movie.” “Just kidding,” he added. “I love Jerry.”

The festival kept the suspense going right up to showtime. Before entering the Werner Herzog Theatre on Sunday evening, hundreds of moviegoers were required to lock their phones in pouches to prevent spreading the word. Inside, they were warned that security guards equipped with night-vision goggles would be watching for anyone who managed to keep a phone accessible.

Taking the stage, Huntsinger made one last plea for secrecy. “What happens in Telluride stays in Telluride,” she told the crowd, before bringing out Nathan Fielder, the deadpan comic mind behind the reality-bending television shows “Nathan for You,” “The Rehearsal” and “The Curse.”

What Telluride had been guarding so carefully was “You Can See Everything,” a nearly three-hour documentary about convicted Theranos founder Elizabeth Holmes, co-directed by Fielder and documentary filmmaker Lance Oppenheim. The film, which A24 will release theatrically in October, had been made largely in secret over three years.

“For those of you who don’t know who we are and are disappointed, I apologize,” Fielder, joined onstage by Oppenheim, told the crowd to laughs. “But hopefully by the end of the film, you’ll be slightly less disappointed.”

The movie begins 34 days before Holmes is due to report to federal prison, with Fielder, Oppenheim and a small crew given extraordinary access to her life with her partner, Billy Evans, and their young children. Holmes and Evans embrace what they call “radical transparency,” opening their home to the cameras in hopes of convincing the filmmakers — and eventually the world — that the public has fundamentally misunderstood her.

But as anyone familiar with Fielder’s reenactment-heavy work can imagine, “You Can See Everything” quickly becomes something far stranger than a conventional documentary. Fielder finds himself drawn from behind the camera into the story, struggling to determine whether Holmes and Evans are being candid with him or manipulating him. From there, the movie takes a series of increasingly surreal turns, including elaborate reenactments involving a Hollywood actress (her arrival is too good to spoil) that further scramble the line between reality and performance.

During a post-screening Q&A moderated by Emma Stone, who co-starred with Fielder in the darkly comic A24 series “The Curse,” Fielder said that his own inability to get a firm grip on what he was witnessing became one of the forces driving the project.

“We’re all smart and we’re really working at the top of our intelligence,” he recalled thinking as he and the crew tried to make sense of their time with Holmes and Evans. “Why can’t we make sense of what’s happening in this house?”

The project began, appropriately enough, with a magic trick.

Oppenheim said he and Fielder were at the Magic Castle in Los Angeles several years ago when a magician asked the audience to name a celebrity. Someone called out Elizabeth Holmes. Afterward, Oppenheim told Fielder he had heard through a friend of a friend that Holmes was looking for someone to document her life.

Fielder had read John Carreyrou’s “Bad Blood,” the bestselling 2018 account of Theranos’ rise and collapse and initially saw little reason to make another documentary about Holmes.

“I thought the story was really fully told,” he told the Telluride crowd. Holmes, however, had largely disappeared from public view, and Fielder was curious about what she might have to say for herself.

Meeting her only deepened that curiosity. Sitting across from Holmes, Fielder said, he found her “sort of honest and charming,” even as his brain was warning him, “No, don’t trust.” That disconnect — between what he knew about Holmes and what he felt in her presence — became central to the movie.

A24 gave Fielder and Oppenheim unusual freedom to pursue the project without any deadline or obligation to turn what they captured into a finished film. If nothing came of it, Fielder recalled being told, “you can just throw everything away.”

Holmes founded Theranos in 2003 and became one of Silicon Valley’s most celebrated young entrepreneurs by claiming the company could perform a wide range of medical tests using only a few drops of blood. The company collapsed after investigations exposed serious problems with its technology and business practices. In 2022, Holmes was convicted on four counts related to defrauding investors and later sentenced to more than 11 years in federal prison.

As shown in “You Can See Everything,” once Holmes reports to federal prison, the filmmakers’ access to her changes dramatically, with Evans — who takes over Holmes’ Twitter feed and assumes power of attorney over her decisions — becoming their main conduit. Fielder said the relationship grew strained as Evans tried to exert greater control over the project. Neither Holmes nor Evans has seen the finished movie.

Fielder is hoping to keep the film’s biggest surprises under wraps. During the Q&A, he told the Telluride audience he hoped future viewers could experience the film without knowing where it was headed. Stone seconded the request.

“You won’t be upsetting me,” Fielder joked. “You’ll be upsetting Oscar-winning actress Emma Stone.”

Fielder said that even after three years immersed in her world, he still doesn’t know quite what to make of Holmes — or how much of what she says can be believed.

“I really am struggling to this day to understand exactly what I experienced in this,” he said. “I don’t quite know what I went through.”

As the crowd filed out of the Herzog, one reaction seemed to recur more than any other: “That was wild.”

EXCLUSIVE: There were arguments aplenty and several walkouts – but Jackie Bassett and Peter Davies say they’d still do it all over again, given the choice

In 1964, 14 children aged seven were plucked from obscurity to take part in the TV experiment Seven Up!, which would follow them every seven years to see how their different starts in life would affect them.

The nation has long been fascinated by these kids, who have now (mostly) reached the grand age of 70. Two of them have died, along with the show’s long-term director Michael Apted, who went on to have a career making films in Hollywood.

Two of the most outspoken were Jackie Bassett and Peter Davies – and both say that, despite everything they didn’t like over the decades, they’d do it all again.

Left-wing Peter, from Liverpool, was working as a teacher at a comprehensive in 1984 when 28 Up aired. He was vilified by the right-wing press for calling the Thatcher government “the most incompetent, uncaring bloody shower we’ve ever had” and pulled out for many years after that, not returning until 56 Up, when he realised it was a good way to promote the music he was releasing.

“I think for a long time I felt cynical about the programme and the way in which individual stories were shaped,” he says now. “I’m thinking particularly back to when I did 28 Up – I think one of the headlines was, ‘Would you let this man teach your children?’

“At the time I was quite shocked because I’d never experienced anything like that – the sheer level of vitriol involved in some of the comments. I was quite taken aback.”

He held Michael partly responsible for the way in which he was portrayed. “I actually spoke to Michael and said, ‘You know, you’ve really condensed me there almost to a caricature – the angry young man from the North of England.’”

But “on balance” he’d still do it all again, because of how it turned out. “It’s not a decision I’d have taken lightly because there has been a downside as well.” This downside, in turns out, is the fame that the show has inevitably brought the participants. “I’ve found that intrusion difficult at times,” he admits.

Jackie has now left Scotland, where she brought up her three sons, and moved to the Norfolk coast. “I love my children, I love my grandchildren, but it was time for me to have a life and that’s what I’m doing now,” she declares. “It only took me 65 years to get there, but I’m finally pleasing myself.” She agrees that sometimes the public’s reaction to the show can feel a bit much. “The thing is, they see you for 15 minutes on that screen and suddenly believe they know everything about you. And that’s ridiculous, as most normal people would understand.”

Peter feels the show’s aim of showing the class system evolved into “something much bigger” but still didn’t explore certain areas enough. “I think something they missed was the emergence of a new lower middle class perhaps – people like myself whose parents were working class, but who were able, by virtue of a properly resourced welfare state and state education system, to move out of that background, go to university, change our lives.”

Prior to film-maker Michael’s death in 2021, Jackie enjoyed sometimes putting him in his place, famously challenging him on camera in 2005 for asking the women about marriage and children rather than anything else.

Later, she would point blank refuse to speak about certain topics. “He never saw us, never had contact with us. So he’d come back from America to do a film with me, or Peter, or whoever, and he just sat down and started throwing questions at you. And sometimes he didn’t like the fact that we didn’t want to answer them. I was not going to talk about something that would affect my family, my children – so I basically just told him no. He didn’t like it, but there wasn’t much he could do about it.”

That said, she also had warm feelings for him, and knew he gave her opportunities she wouldn’t otherwise have had. “I probably would do it all over again yes,” she confesses. “Because Michael opened up a whole different world to me with the screenings of his films and things like that. Obviously there’s points on the programme that I’ve not enjoyed, usually because I sort of opened my mouth without engaging my brain, but I think I would do it.”

She thinks it was outrageous to only have four girls alongside ten boys – comprised of herself and two friends Lynn and Sue, all from the same primary school in working class East London, along with solo upper-class Suzy, who liked ballet and thought she’d probably hire a nanny one day.

“The quote wasn’t ‘show me the boy and I’ll give you the man,’ it just says ‘give me the child at seven’,” Jackie points out. “I think it was partly because at that time women were mostly at home looking after children. Women didn’t have careers – you may have had one or two, but they were few and far between. It was just, ‘well, we’ll keep it to a minimum because they’re not going to go very far and they’re not going to do very much.’ But they knew they made a mistake. They really did.”

Peter says Michael actually admitted he’d got that wrong. “It was outrageously sexist, but this was the early 60s and people behaved in outrageously sexist ways all the time.”

They have not yet seen the final films and know that watching themselves for a final time is going to feel emotional. “I’ve been told to take plenty of tissues. I have no idea what to expect, and it’s probably going to feel strange,” Jackie says. Peter believes it will be “momentous”, reasoning: “It’s just the culmination of so much, isn’t it?”

The pair of them enormously enjoyed making the double-bill 70Up finale, with new director Asif Kapadia. “I think it had become a little formulaic,” Peter says. “So having someone new on board was going to shake things up a bit. And I think he did. Some of the questions he asked were difficult to answer, but they were interesting and made me work a bit harder.”

Jackie concurs. “I’ll second that. I think it had got very staid and in its box, and Asif came in like a breath of fresh air. It was far more relaxed, nowhere near as formal. I think it actually should have worked pretty well, fingers crossed.”

They feel that now is the right time to pull the plug. “The last thing we want is us all walking in with Zimmer frames or in wheelchairs or whatever age does to us. I think it’s very appropriate to end on 70,” Jackie says., laughing: “I have no idea why it fascinates people, not really.”

“It can’t go on forever,” Peter agrees. “Two of the cast members have gone, Michael’s gone. So yeah, this feels like the right time to end it.”

Seven Up! launched in 1964 with 14 participants – 10 boys and four girls – picked to represent different elements of the UK’s class structure. They are:

• Andrew Brackfield – Upper class schoolboy who read the Financial Times aged 7, went to Oxford and became a solicitor
• Bruce Balden – Schoolteacher who attended a prestigious boarding school and wanted to be a missionary
• Charles Furneaux – Kensington prep school boy who became a documentary producer and left after 21 Up, returns this time – but only in audio
• Jackie Bassett – Working class schoolgirl from East London who moved to Scotland and had three sons
• John Brisby – Upper class schoolboy whose father died when he was nine, he became a barrister and is angry over his portrayal
• Lynn Johnson – Jackie and Sue’s friend Lynn died from a brain condition in 2013. She thought she would work in Woolworths but was a children’s librarian
• Nick Hitchon – Yorkshire farm boy who became a nuclear scientist and moved to the US in 1982. He is featured despite his death, from throat cancer, in 2023
• Paul Kligerman – A carehome resident who moved to Australia and settled in to family life
• Peter Davies – A middle-class lawyer and musician from Liverpool who dropped out after 28 Up but returned for 56 Up
• Neil Hughes – Peter’s classmate, wanted to be an astronaut but became a local politician and preacher and has experienced homelessness
• Sue Davis – Jackie’s schoolfriend who was a single mum in 42 Up and became a university administrator who has remarried
• Suzy Lusk– Upper class schoolgirl who dropped out of education at 16 and later became a bereavement counsellor
• Symon Basterfield – Brought up in a Barnardo’s children’s home, he has fostered more than 120 children.
• Tony Walker – Working class “cheeky chappie” from Essex who dreamed of being a jockey but became a London cabbie.

– 70 Up: The Final Chapter, 15 & 22 September, 9pm, ITV and ITVX

REBEKAH Vardy is to swap the dolce vita of Italy for Burnley FC after hubby Jamie joined the Clarets yesterday.

The Wag, 44, will have to pack up her glam dresses to make the move from their £2million villa in Salò, Lake Garda, where former England striker Jamie played for Cremonese last season.

He is returning to England on a deal to the end of the season.

It means he is likely to relocate to the Lancashire town — 137 miles north of the family home in Grantham, Lincs.

It is hoped he will revive the Clarets after a bad start to the season.

Jamie, 39, said: “This club has a proper footballing history and passionate fans who deserve a team that represents them and their town. I can’t wait to get going on the pitch and help the team move in the right direction.”

VARDY PARTY

Jamie Vardy ends Everton transfer links as free agent joins struggling Burnley

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Rather than move full-time to Burnley, it is expected Becky will remain at their Grantham home near to where their children, Sofia and Ella, go to school.

She faces a two-and-a-half-hour drive to Turf Moor to see Jamie in action.

Becky is a regular at his games and previously spoke about getting more nervous than he does during matches.

She said: “Jamie is so laid back about football, he doesn’t get nervous.

“The only time I get nervous is when he has to take a penalty.

“It’s anxiety-inducing and I’m always so relieved when he hits the back of the net.”

Becky faced a public backlash after losing her 2022 “Wagatha Christie” High Court libel case with Coleen Rooney, over leaked Instagram stories.

A MARRIED At First Sight star has tearily opened up about a five-year health battle she’s been going through.

Erica Roberts, who rose to fame on the dating show in 2023, took to social media to share her frustration as she’s been left with even more unanswered questions following further medical tests.

In a new video, the reality star explained that she has been having blood tests for the last five years which have consistently come back with worrying results – including a low white blood cell count.

Erica recently underwent yet another blood test and was met with the same results.

After being told by doctors that they don’t know the reason for the abnormalities in her results, Erica explained that she’s feeling sick of the ongoing situation.

“It’s just frustrating because I really feel like I’ve been trying to change my lifestyle, do what I can to be healthy and just try to figure out what’s going on with my body and It’s just frustrating, I feel like I’ve been the healthiest that I’ve ever been in my whole entire life, so why are my levels dropping?

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“Why is it getting worse? I just don’t know what to do anymore, it’s so frustrating,” said Erica with tears in her eyes.

She continued: “This has been going on for five years, like, every single time I get my bloods done with my doctor I’m like, ‘What can we do?’ and they’re just like, ‘Oh we’ll just keeping checking it’ and I just don’t feel like that’s good enough.”

The emotional star explained that undergoing a blood panel test with private brand Biosensitive meant she was able to see her results more in depth – and has caused her to become more worried about the situation.

“Now I know that I just need to push my GP or just go private because there is clearly something going on and it needs to be fixed,” said Erica.

The star explained in the video that she suffers from health anxiety and told fans in the comment section she has already been diagnosed with Hashimoto’s and an underactive thyroid.

Hashimoto’s disease is an autoimmune condition that attacks the thyroid gland and can lead to an underactive thyroid.

Rob Reiner has won a posthumous Emmy for his appearance in Season 4 of “The Bear.”

On Sunday, the Television Academy hosted the second night of Emmy ceremonies, where guest actor awards were among those announced. Reiner, who died in December, won for guest actor in a comedy series for his appearance as Albert Schnurr, a consultant who mentored line cook Ebraheim (Edwin Lee Gibson), on the FX show’s fourth season. It was his third Emmy Award, having previously won twice for supporting actor in a comedy for “All in the Family.”

While Reiner largely focused on directing, writing and producing in the latter part of his career, he would occasionally make appearances on TV shows and in films. He was most recently seen in an episode of Larry David’s HBO series “Larry David in Life, Larry and the Pursuit of Unhappiness: an Almost History of America,” which aired in July. In the final season of “The Bear,” which premiered at the end of June, the show nodded to Reiner, referencing a line from his 1987 film “Princess Bride.”

Guest actress in a comedy series was awarded to Betty Gilpin for “Widow’s Bay.” In the Apple TV horror-comedy series, she plays Sarah Westcott Warren, wife of the founder of the town at the center of the show.

On the drama series side, Ernest Harden Jr. won for guest actor in a drama series for “The Pitt,” while Shailene Woodley won for guest actress in Season 2 of “Paradise.” It is the first Emmy Award for both actors.

In HBO’s medical drama, Harden played Louie, an alcoholic who was a regular visitor at the Pitt, befriending many of the doctors and nurses on staff. However, tragedy strikes after a medical emergency, leaving the staff to mourn him during the Fourth of July shift. Meanwhile, in Hulu’s postapocalyptic series, Woodley played Annie, a former tour guide at Graceland and survivor of the Day. Her storyline dovetails with Xavier, played by series lead Sterling K. Brown, and the pair share an intense and emotional moment.

Also announced were supporting actor and actress in a limited series, which went to David Harbour and Linda Cardellini, who both won their first Emmys, for “DTF St. Louis.” In the series, they play a husband and wife whose marriage is struggling, and they become enmeshed with a local TV weatherman, played by Jason Bateman, who was also nominated in the category.

The first pair of Emmy ceremonies, formerly called the Creative Arts Emmys, were held over two nights two weekends before the Primetime Emmy Awards and honored many of the behind-the-scenes workers and craftspeople in television. An abridged version of the ceremonies will be broadcast Sept. 12 on FXX and stream on Hulu the following day. The Primetime Emmy Awards will be held Sept. 14 in Los Angeles with Mariska Hargitay as host.

The winners from Sunday’s ceremony:

Television Movie
“Remarkably Bright Creatures”

Supporting actor in a limited or anthology series or movie
David Harbour, “DTF St. Louis”

Supporting actress in a limited or anthology series or movie
Linda Cardellini, “DTF St. Louis”

Guest actor in a comedy series
Rob Reiner, “The Bear”

Guest actress in a comedy series
Betty Gilpin, “Widow’s Bay”

Guest actor in a drama series
Ernest Harden Jr., “The Pitt”

Guest actress in a drama series
Shailene Woodley, “Paradise”

The complete list of winners for Sunday’s ceremony can be found at televisionacademy.com.

A HAPPY Mondays star has been forced to cancel work and an Ibiza holiday – as they revealed their mother is in hospital after a fall.

The singer, 60, performed with the iconic alternative dance band across two stints.

Rowetta – ful name Rowetta Idah was part of the group from 1990 to 1993 and again from 2012 to 2024.

Taking to Instagram, she shared a photo of her mother lying in a hospital bed, sipping a drink.

Rowetta captioned her post: “Apologies to friends & family but my mum has had another fall.

“She has 3 broken ribs and her left lung needs to heal, so I won’t be on here much and studio & Ibiza are on hold.

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“She’s in a great place so hopefully back soon.”

One person commented: “Thinking of ye both. I hope she gets better soon.”

Another wrote: “Wishing her a speedy recovery and sending you lots of love, strength and courage.

“Please do get in touch if I can help with anything.”

A third said: “Hope she feels better soon.”

Aside from her work with the Happy Mondays, Rowetta is the vocalist on 1989 track Reach Out.

It has since been sampled by other artists including The Black Eyed Peas and Steve Angello.

Meanwhile, Rowetta competed on The X Factor‘s inaugural 2004 series, placing fourth and being the highest placed female contestant.

AS SHE counts down to the birth of her second child, Scarlett Moffatt enjoyed a sweet baby shower this weekend.

The former Gogglebox favourite – who already shares son Jude with her fiance Scott Dobinson – enjoyed a fun-filled ‘baby in bloom’ themed bash with her friends and family.

From baby bingo to hilarious games, the shower saw all of Scarlett’s nearest and dearest come together.

Guests were welcomed to a large pastel coloured balloon arch with a sign that read ‘Baby in Bloom, Scarlett’s baby shower’ inscripted on it.

A floral cake with the same colour scheme and an ‘oh baby’ topper was beautifully displayed for guests to enjoy too.

Scarlett donned a floral dress as she matched the day’s theme, whilst her other half Scott and their son Jude both opted for pastel blue shirts.

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Sharing a carousel of pictures from the day, Scarlett wrote to Instagram: “Baby in Bloom 🌸🌼🩵

“One last big celebration before our littlest love arrives. My heart (and belly 😂) are VERY full 🩵”.

She continued: “Thank you to my mam and bestie for organising it all especially getting up at the crack of dawn to make finger sandwiches lol, to everybody who came we love you so much.

“Honestly what a giggle I’ve had & @balloonsbymollyx as always for the beautiful display”.

Scarlett announced she and Scott were expecting their second child earlier this year, but recently told The Sun that the pregnancy has been far from smooth sailing.

After a very relaxing pregnancy with Jude, Scarlett says she was shocked this time around.

“This time, the first trimester I was still working and filming and I was getting bad travel sickness – I’ve never had that in my life before.

“I was also running off to throw up at work,” admitted the star.

Even had you never read Charles Dickens’ “A Tale of Two Cities,” or even known of its existence, the odds are good that you have somewhere encountered its much quoted opening and closing lines: “It was the best of times, it was the worst of times” and (spoiler) “It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to than I have ever known,” respectively, the latter possibly in the course of a Ronald Colman imitation. (Please do not ask who Ronald Colman is.)

Reckoned to be Dickens’ most popular novel, it has been several times filmed for the big and small screens, going back to 1911 — the big-budget Colman version came in 1935 — but has not been mounted in this century, until now, with a four-part adaptation premiering Sunday on MGM+ in a co-production with BBC One. It stars Kit Harington, whom “Game of Thrones” people know as Jon Snow, as Sydney Carton, a disheveled, cynical, self-loathing, alcoholic, yet clever London lawyer. London is one of the two cities whose tale this is. Paris, before and during the Revolution, is the other.

Daniel West’s adaptation hits the major plot points and select lines of dialogue, but has typically, unavoidably, been streamlined and compressed. Characters disappear, or have their attributes and actions assigned to different characters. But much has been added as well. Most of these alterations are trivial, although one major change, coming near the end, is a very bad idea. I can’t tell you what it is, though.

Francois Civil, left, and Kit Harington in “A Tale of Two Cities.”

(Marcell Piti / MGM+)

Other than that, the most substantial changes are to Lucie Manette (Mirren Mack), the female lead, in order to give her a more active, heroic role in the story, this being 2026. (Not that Dickens didn’t write a heroine or two.) So we meet her, a Frenchwoman raised in England, sneaking out at night to dissect corpses in a sort of one-woman underground medical school — knowledge that will come in handy when Charles Darnay (François Civil), a Frenchman living in London, shows up at the place where she lives, dying from a knife wound acquired in the process of chaperoning into England a young woman in danger from the French ancien régime (the king is still in his counting house); laying him out on the dining room table, she cauterizes the wound.

Darnay has also been tasked with delivering the message “Recalled to life,” which refers to the fact that the father Lucie believed dead has merely been languishing in the Bastille for 18 years and is now out. In the novel, he is simply released, but here he has escaped — or rather, has been escaped, since he is something of a wreck, as you might imagine — and is being hidden at the wine shop of the pre-revolutionary Defarges, Ernest and Thérèse. Like the novel’s first and last lines, Madame Defarge (Roxane Duran), with her knitting needles, has transcended the text into folklore.

“A Tale of Two Cities”

(Marcell Piti / MGM+)

But before a recovering Darnay can clear any of this up, he’s dragged away by English police, accused of spying for the French for the benefit of the Americans — our own revolution is in progress at this point — and put on trial. Lucie, having exhausted all other possibilities, and needing Darnay in order to find her father, hires a very reluctant Carton, who in a trick worthy of Perry Mason, gets him off when a witness cannot tell him and Darnay apart. (Make a note of their resemblance; it will be important later.) By this time, both men are in love with Lucie, which, historical action scenes and social commentary aside, is the real point of the story, which might as easily be titled “A Tale of Three Citizens.”

All this gets the miniseries off to an energetic start. After this, there will be a lot of going back and forth across the Channel; crimes of the aristocracy; Darnay’s own Big Secret revealed; more trials, more imprisonments. Still, though it wakes up when we get to the storming of the Bastille, economically but effectively rendered, and, later the Reign of Terror, in between it can turn into a murky, mopey slog. It is often dark, visually and temperamentally; the music tends to moodiness. The actors speak quietly, as if fearful of being overheard, whether or not there is anyone around to hear, and often regard one another with pained or stunned expressions. It’s not necessarily inappropriate — there’s a lot of death in the book, and in a love triangle, someone is bound to lose, at least in the pre-polyamorous 19th century. But this “Two Cities” does lean into the worst of times.

Nevertheless, as Lucie, Mack makes a consistently vital impression — one can see why everyone’s in love with her. (Harington, the big name here, is less vivid; he’s more interesting before Carton falls for Lucie, when he’s still a bit of jerk and not simply sad most of the time.) And as Madame Defarge , who will become the symbol of the revolution’s bloodthirsty overreach, Duran is splendid; she’s a monster, finally, but layered and human. She has her reasons.

A second celebrity has been eliminated from ITV’s The Box, after losing a duel on Gary Lineker’s new celebrity game show.

A contestant on The Box has spoken out after their exit from the gameshow, as they became the second star to be eliminated.

The ITV series, which premiered on Saturday (September 5), sees 10 celebrities take part in a variety of challenges. Fronted by former Match of the Day presenter Gary Lineker, the cast includes Danny Aarons, Ranvir Singh, Joey Essex, Ellie Taylor, JB Gill, Jenny Ryan, John Bercow, Sara Davies and Shakira Khan. During Saturday night’s debut episode, Graeme Souness became the first star to be eliminated, and now a second celebrity has been sent packing.

After losing out on The Duel, a head-to-head game after the main challenge, Sara Davies was confirmed to be going home. She shared how much she enjoyed her experience, adding that she was “dead proud” of putting herself through challenges, reports the Express.

She went on: “Where I’ve played this wrong is, I’ve shown my true colours a little bit. They’ve seen that actually, she’s playing this to win. And I think that’s what’s been my downfall.”

Sara continued by saying how much she’d enjoyed her time taking part in the show, adding: “I’d do it again in a heartbeat.” Each episode of the show sees a celebrity get enclosed in a yellow box, before finding themselves in mystery locations across the country.

“They will never know where they are, or what challenge is facing them on the other side. The challenges could be physical, mental, logical, funny, a bit daunting, or all of those at once,” the synopsis adds. “With minimal or no instruction, they must decipher and work out what to do. At the end of each episode, two players will battle it out in The Duel, a high-stakes head-to-head game to avoid elimination.”

Just a day earlier, when The Box premiered, Sara shared a message about filming the programme on social media. She shared: “So around this time last year, I was asked to take part in a brand new and totally different show for ITV called ‘The Box’.

“I received a phone call asking if I would take part and, because the show had never been made before, I didn’t really fully understand what I was letting myself in for. I just knew I was going to be put into a big yellow shipping container, transported SOMEWHERE, and then I’d have to work out what the hell was going on and what I needed to do about it the split second the box doors opened!

“What they did promise was that it would be a challenge, it would be unexpected, I’d be pushed well out of my comfort zone, and I’d have to challenge myself in ways I could never have imagined. Well, they weren’t wrong and I can’t wait to hear what you all think of it!”

She went on to say that unfortunately she’d be missing the show airing as she was walking the Great Wall of China with breast cancer charity CoppaFeel, but she wanted to share the “truly memorable experience” with her followers with some behind-the-scenes pictures.

Sara was widely supported from fans after her post, with one writing: “Love this can’t wait to watch.” Another said: “Just watched 1 and 2 episodes big love from another Northern Gal.” Someone else wrote: “I’m watching the second episode now and it’s brill xx.”

Sara’s exit from The Box comes after she quit Dragons’ Den last year. She had become the youngest ever female Dragon when she joined in 2019.

She shared at the time: “Little update from me… As this last run of Dragons’ comes to an end I have to say l’ve loved every minute of this series so far and I’m so proud of the businesses l’ve invested in this year!

“As a lot of you will know, l’ve taken up my position again as CEO of Crafter’s Companion and my business is my big priority this year. And when I commit to a business, I really commit, which is why I find Dragons’ Den such a rewarding role.

“As well as filming an incredible show, being a Dragon requires so much dedication and time behind the scenes as you join the life of each business you invest in. It means seeing through your investment and committing to your part in that organisation. It’s so much more than a TV show.

“That’s why l’ve taken the decision to step away from the Den for now, to focus on my own business, which was my first baby! So I won’t be filming with the team this year for the next series.

“Sending so much love to my fellow Dragons and the amazing team behind it all. In the meantime, you can still catch me in the second half of this series of Dragons’ Den later in the year – it will not disappoint!”

The Box is available to watch on ITVX

TELLURIDE, Colo. — For four days every Labor Day weekend, the Telluride Film Festival turns this tiny mountain town into something of a refuge from the outside world. Tucked into a box canyon and far from the usual machinery of Hollywood, moviegoers spend their days seeing films they may have known little about before arriving and talking about them almost nonstop.

Artificial intelligence, apparently, did not get the memo.

This year, even Telluride’s usually self-contained movie bubble couldn’t keep out the existential anxieties surrounding AI. On Saturday, the festival devoted two events to the subject, beginning with “The Humanity Dilemma,” an hourlong multimedia presentation mixing dire warnings with live music and imagery, and continuing with a panel bluntly titled “AI AI AI,” featuring Microsoft co-founder Bill Gates.

Introducing “The Humanity Dilemma” at the nearly packed Sheridan Opera House, festival executive director Julie Huntsinger acknowledged that Telluride normally steers clear of taking political sides. “We just let the program speak for us,” Huntsinger said.

But on AI, she made an exception.

“We are a very humanist festival — that’s how we identify,” Huntsinger said. “AI is a threat.” While acknowledging potentially beneficial applications, she urged the audience to become more engaged in the debate over its development.

“We all need to be very alert and vigilant and loving and kind and stop this s—,” she said, earning loud whoops of approval from some in the crowd.

AI already occupies an uneasy place in Hollywood, where filmmakers and studios are experimenting with the technology even as actors, writers and other creative workers fight to protect their jobs and likenesses from being exploited or replaced.

For all of Huntsinger’s warnings, Telluride is not treating AI as off-limits. Its program includes “Love, Rendered,” a short documentary directed by Liz Garbus and produced by Darren Aronofsky about an elderly couple confronting the husband’s memory loss. Using AI along with family photographs and stories from loved ones, the filmmakers recreate the moment the couple first met and fell in love 70 years earlier. On Sunday, the film’s creative team is scheduled to discuss the project at an event titled “Filmmaking and Technology With Empathy: AI for Societal Benefit.”

“The Humanity Dilemma” was presented by Tristan Harris and Aza Raskin, co-founders of the Center for Humane Technology, who appeared in the 2020 documentary “The Social Dilemma,” along with artist and researcher Joy Mauthe and violinist Andrei Matorin. Harris and Raskin also appear in this year’s “The AI Doc: Or How I Became an Apocaloptimist.”

The presentation was designed to work on the emotions as well as the intellect. Original songs about humanity’s relationship to AI ran through much of the hour, with Mauthe singing and playing guitar and Matorin on violin, as Harris and Raskin delivered warnings accompanied by images of environmental devastation, poverty and figures in the AI race including Elon Musk, Sam Altman and Larry Ellison.

Their argument was stark: The race to build more powerful AI is moving far faster than governments or the public can keep up. Their deepest fear is that humans could eventually lose control of increasingly capable AI systems altogether.

At the same time, they acknowledged the technology’s potentially transformative benefits.

“AI is confusing because it represents both simultaneous utopia and dystopia,” Raskin said. “Just imagine having to reason about a nuke that could also solve cancer.”

By the end, Harris was calling for a halt to the development of more powerful systems.

“We need to pause frontier AI development and pivot and steer towards a pro-human future,” he said.

The hour concluded with Mauthe leading the audience in a final refrain, singing that the future is “still in our hands.” It was the kind of unabashedly earnest moment that could easily have tipped into awkwardness, but many in the room seemed to embrace it.

A few hours later, Harris and Raskin returned for “AI AI AI,” held outdoors at the Abel Gance Open Air Cinema in Telluride’s Elks Park, joined by Gates and filmmaker Joshua Oppenheimer, director of the Oscar-nominated documentaries “The Act of Killing” and “The Look of Silence,” who served as a moderator.

From left, Bill Gates, Aza Raskin, Tristan Harris and filmmaker Joshua Oppenheimer discuss the risks and potential benefits of artificial intelligence at the Telluride Film Festival on Saturday.

(Josh Rottenberg)

For Gates, who has spent decades focusing much of his philanthropy and public advocacy on global health and poverty, the rise of AI has forced him to make room for a new priority. In an essay published last week, he warned that the technology was improving faster than he anticipated and called for a new framework to manage its risks.

At Telluride, Gates said he now feels compelled to devote some of the political influence he has long used to advocate for causes such as malnutrition, polio and malaria to raise alarms about AI as well.

“Is this the greatest problem humanity has ever faced?” Gates said. “That is just a fact.”

Gates said his concerns have grown as AI systems have become more capable, particularly at writing computer code, something he has been obsessed with since he was 13.

“The AIs are superhuman, i.e., better than I am at writing code,” Gates said.

He laid out five broad areas of concern: jobs, biotechnology, cyberattacks, psychosocial harms and whether humans will be able to maintain control over the systems they are building.

Oppenheimer said that after spending hours digging into AI risks ahead of the panel, he had come away “absolutely terrified.” He read aloud an answer he had received after asking ChatGPT to estimate the risks if the race toward increasingly powerful AI continued with little regulation.

The chatbot put the chance of “persistent dystopian outcomes for all humanity” at 25% to 40%, a civilization-scale catastrophe at 5% to 15% and human extinction or permanent loss of human control at 5% to 10%.

“That’s what AI thinks,” Oppenheimer said.

Gates stressed AI’s potential upside, citing advances in medicine, education and assistance to farmers in poor countries. But pressed on whether development should be slowed until safety measures catch up, he said he would be open to the idea.

“If there was a credible plan that would cause this to be either slowed down or, you know, even held in stasis for a period of time, I would likely support that,” Gates said.

The difficulty, he said, is that multiple developers in both the U.S. and China are pushing closer to the technological frontier. Still, Gates rejected the argument that competition with China makes meaningful regulation impossible.

“China does not want cyberattacks, bioattacks or loss of control,” Gates said.

The discussion was punctuated by a pair of outbursts from the audience. At one point, as Gates discussed the economic incentives driving AI development, a man shouted that they represented “everything that’s wrong with America” and invoked Jesus Christ. Gates paused before responding dryly: “Anyway, not everything is wrong with America, according to me.”

Gates argued that government and civil society need to move much more quickly.

“This five-year period, in my view, is a very critical period,” he said, adding that responses that take five or six years to get underway could come too late.

Despite the dire warnings, Harris pointed to signs that pressure for safeguards is growing, including calls from AI-industry employees to limit the development of more powerful systems. Just last week, Meta agreed to pay $17 billion to settle claims by 29 states that Facebook and Instagram harmed young users while also agreeing to new child-safety measures on the platforms.

“I just want to leave you with not naive optimism, but momentum,” Harris said.

Near the end, Raskin suggested that President Trump’s well-documented desire to win the Nobel Peace Prize might provide an incentive for him to pursue a U.S.-China pause on more powerful AI systems.

“What’s better than solving one war?” Raskin said. “Saving all of humanity forever from uncontrollable AI.”

Gates, with a wry smile, called the Nobel angle “smart.”

“Whoever really takes the step to solve this AI problem would deserve the Nobel Prize,” he said.

Later that night, the festival would hold an outdoor screening of Stanley Kubrick’s “2001: A Space Odyssey,” featuring HAL 9000, one of cinema’s most famous rogue artificial intelligences.

Gates framed the current stakes in similarly cinematic terms.

“There are these movies where the aliens are coming, and you see unprecedented levels of cooperation between China and the U.S.,” he said. “Well, believe me, the aliens are here.”

Game of Thrones’ Rose Leslie still remembers what she learnt when winter was coming.

Rose Leslie has shared some handy behind the scenes Game of Thrones tricks she used for Vigil season three.

Vigil continues to air every Sunday and Monday night on BBC One as DI Kirsten Longacre (played by Rose Leslie) heads up the latest murder investigation.

But in a complete 180 degrees move to series two which was mostly set in the Middle East, season three takes place in Svalbard, Norway, which is located in the Arctic Circle.

And with Svalbard having an average annual temperature between minus 11 and minus 16 degrees, it wasn’t the easiest of conditions to work in.

Nevertheless, Leslie did pick up a few helpful tips while shooting in Iceland’s freezing temperatures for Game of Thrones.

“Filming back then, I was given a brilliant hack that I also used for Svalbard as well.

“Essentially, if you get a heat pack and you place them on both your kidneys, you are then heating up your blood because your blood is going through your kidneys and then whizzing everywhere else in your system.

“So if you’re heating up the blood going through your kidneys, you’re actually going to warm yourself up.

So I was like ‘Guys, you’ve got to listen to me on this!’ And it works!

“That really helped me on every single day we were filming outside on the mountain tops.”

Vigil season three returns for its third episode tonight, Sunday, September 6, where Kirsten will finally be reunited with DCI Amy Silva (Suranne Jones).

It’s been teased that Amy travels to Svalbard to “clear Kirsten’s name” as she faces the “wrath of the Russians”.

The official synopsis continues: “Together, they dig into the complex motivations within the hub whilst something more sinister bubbles beneath its surface.

“The truth of Hodge’s murder may be closer to home than they thought, but the situation threatens to combust before they can get to the truth.”

Vigil is available to watch on BBC One and BBC iPlayer.

CARA Delevingne has shared a picture of herself topless while cuddling her pet cat in a new Instagram post.

The supermodel, who is a doting pet-parent to two male cats, posed in bed as one of her Persian shorthair cats covered her chest.

Donning just a pair of grey boyshorts, Cara showed off her natural complexion with her hair scraped back in the snap.

She also shared a myriad of other pictures in the post, including a loved-up snap with her partner Minke.

Cara has been with Minke, whose real name is Leah Mason, since 2022.

Whilst Cara is best known for her successful modelling career, the star has recently turned to music.

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Earlier this month, she stripped down for a sexy new music video for single Crazy, Baby to launch her move to music in style.

The video saw Cara embrace her rock side with leather knee-high boots and matching shorts, with the star going topless for several scenes.

Cara officially launched her music career earlier this year after signing with Warner Records.

She followed this up with the release of her first two electropop/rock singles, ‘I Forgot’ and ‘Out Of My Head’.

Crazy, Baby is Cara’s latest release.

Her debut studio album, Not Normal, is expected to be released over the coming weeks.

An adaptation for Graham Norton’s best-selling novel has just been given a major update

Channel 5 viewers have said they “can’t wait” as the release date for an exciting new series has been announced.

Graham Norton’s best-selling novel, Forever Home, is set to be released as a six-part drama, and is due to air in just days. It was earlier revealed that the cast includes Amy Nuttall, Douglas Henshall, Denise Welch, Kevin Whately, Samantha Bond, Lewis Cope, Jenny Walser, Shane Zaza and James Baxter.

Channel 5 has now teased: “Would you still want the house if you knew what it was hiding?” The broadcaster also confirmed that the series would begin airing from Monday, September 14.

“I’m really excited to watch! Looks so good! Proud of you always Lewis,” one fan said. Another commented: “Not long to go!! I can’t wait to watch.”

A third echoed: “Looking forward to this,” as another said: “Can’t wait.” Yet another wrote: “Ohh this looks good.”

Someone else said: “Cannot wait to see this, I’ve almost finished the book, what a fab writer Graham Norton is….” Another fan echoed: “Read the book hopefully it be as good.”

The synopsis had previously revealed: “The six-part series follows the story of a second wife dealing with the memories of the woman who went before her. When Carol discovers a long-dead body hidden in the basement of her home, the horrific realisation is undeniable – she’s living with a killer.

“The story that her husband’s first wife ran away never to be seen again now looks like a lie, and the fact he’s insisted on never selling the house suddenly makes sense. But one dark family secret is soon to be replaced by another…”

After the series was commissioned, chatshow host and author Graham shared: “In writing Forever Home, I was initially inspired by the simple idea of packing up a home later in life, and the ‘what if’ scenarios and complexities that come with later-life relationships. The novel soon evolved into a funny, twisted, ‘dark-romp’ full of farcical scenes and it’s wonderful to see the depth and richness of Carol’s story realised as a screenplay.”

Commissioning editor Paul Testar also commented: “We’re delighted to partner with FilmNation and The Mediapro Studio to bring Graham Norton’s compelling novel to UK screens, supported by an outstanding cast. Working with North East Screen again to champion local filming has been a pleasure, and we can’t wait for viewers to immerse themselves in Forever Home.”

Creative director of FilmNation TV UK, Kirstie Macdonald, added: “From the moment I read the always-hilarious Graham Norton’s brilliant novel, I knew I wanted to bring Forever Home to the screen. It’s a story full of twists and turns, secrets, and emotional depth that we can’t wait to bring to life for 5 audiences. We’re proud to collaborate with Clara Salaman, 5, and our partners at The Mediapro Studio on this thrilling adaptation and are grateful for the support of North East Screen.”

Forever Home airs premieres 5 on Monday, September 14 from 9pm.

FROM #ad posts to children launching their own fashion lines, the world of influencing is no longer reserved for reality stars and celebs – but their mini-mes too.

Amy Childs became the latest star to cash in on her daughter Polly when she revealed last month that the nine-year-old was launching her own fashion range – with a crop top-clad Polly telling the camera all about her new venture.

The announcement didn’t go down quite as positively as Amy had hoped, with many fans slamming her for ‘exploiting’ the youngster for the money-spinning venture – leaving her ‘devastated’.

It comes as a whole host of celebs have welcomed their offspring into the world of business.

Ferne McCann’s daughters Sunday and Finty often feature in her social media brand deals, Molly-Mae’s three-year-old Bambi joined her in fronting a campaign for laundry detergent brand Comfort and Persil, and Rochelle Humes’ three children often appear in front of the camera for her brand, My Little Coco.

But why are so many celebs turning to using their children for new cash-grabbing ventures?

‘devastated’

Amy Childs hit by backlash over kids’ gym clothes with daughter Polly, 9

mum mode

Molly-Mae Hague shares health update on son Midas & admits ‘it’s been savage’

PR expert Luana Riviera says celeb parents are a ‘goldmine’ when it comes to money-making, as she says: “Being seen with their children makes even the most famous faces seem more down-to-earth and relatable.”

However, fans have been left concerned over the rise in celeb children on their screens.

Amy Childs’ was flooded with comments about ‘exploitation’ after revealing daughter Polly’s clothing brand.

Something feels off about this. Sorry but it’s a money making thing and doesn’t seem right.

“She isn’t old enough to do this sort of thing and have the maturity to understand,” said one.

Another echoed: “God let her be a child a little longer.”

Molly-Mae faced similar backlash after showing daughter Bambi in the bath on her Amazon Prime series and taking part in campaigns together.

“From a PR point of view, the use of families is appealing and will certainly get people talking about the brand and the marketing campaign,” explains Launa, who is the founder of Dauntless PR.

She continued: “But it is important to remember that these decisions are forever and when children get older they may wish they had been given more privacy and normality in their younger years.”

“Whether or not celebrities SHOULD put their children in the public eye in this way is an area which people will have lots of opinions on.

“Some will argue it is a safety risk and that the children themselves aren’t old enough to fully consent or understand the implications of establishing a level of fame in their own right.”

With the move such a controversial one, will the young stars see any of their hard-earned profits?  

PR expert Carla Speight believes they will reap the rewards, just not anytime soon.

“These industry savvy parents will be making sure their kids won’t work for free, especially in the case of Molly Mae’s Bambi in the Comfort ads.

“Bambi will have been paid for that and the money will sit in a trust earning interest until she’s at least 16, which gives her a good financial head start.

“Just like most of the celeb children, they’ll either have shares in the brands or they’ll get a wage for each time they showcase the brands and in the case of their parent’s brands, it’s likely they’ll get both.”

VENICE, Italy — “My actual personality is not very friendly, I’m afraid,” claims Korean actor Jeon Do-yeon. “Myself and actor Sul Kyung-gu, we can be a little bit brusque. We don’t really have the talent to make the set fun.”

As she says it, though, Jeon and co-star Cho Yeo-jeong are laughing — making the assertion rather harder to believe when it arrives in English from Korean via an interpreter. Throughout our conversation, in fact, the pair chuckles, nods along to each other’s answers, interjects sounds of assent. Enough for me to understand that their chemistry comes naturally, whatever Jeon’s protestations.

“In the film I play a character that chases [Jeon’s character] and it really suited me, almost to the point where I didn’t really need to try and act this role,” as Cho puts it. “I was almost like a sunflower, constantly facing and chasing actor Jeon.”

The actors needed every ounce of the sublime chemistry they forged to portray the magnetic but fatally flawed relationship at the heart of auteur Lee Chang-dong’s first film in eight years, “Possible Love,” which premiered Sunday at the Venice Film Festival. South Korea’s international feature submission for the 2027 Oscars, the Netflix film sees Ye-ji (Cho), a documentarian married to a wealthy businessman (Zo In-sung), cozy up to Mi-ok (Jeon), whose husband (Sul) has been seriously injured in a brutal crackdown on striking factory workers, in order to secure an interview with him — only for divisions of class and professional ambition to expose the fault lines in their relationship, and in turn their marriages.

“It seems like they want to be friends with each other, but then there seems to be a line that just cannot be crossed between them,” says Lee, also through an interpreter, of the actors’ accomplished double act, referring to a scene in which Ye-ji bristles at Mi-ok’s suggestion that her high-end clothes are out of place interviewing unemployed laborers. “[Jeon and Cho] knew of that and they went into shooting that scene knowing that it was quite challenging to express. There were, of course, some things that were up to the camera in bringing that about, but I think that was a scene where the two were able to express just how nuanced and quite strange the relationship can be.”

The film itself is just as slippery and multi-layered, down to Lee’s heady admixture of documentary and dramatic aesthetics. Inspired by real-life labor conflict in South Korea, “Possible Love” uses Ye-ji’s nonfiction study of laid-off workers as a window into the lives of ordinary people swept up in large-scale social change, against the backdrop of which the two women’s competing priorities are thrown into stark relief. Can a filmmaker who totes a $4,000 Lora Piana backpack, however well-intentioned, truly understand the plight of the working class? Is a subject eager to publicize a political struggle prepared for the risk that her personal privacy will be invaded in the process?

To choreograph the film within the film — so compelling that I almost missed seeing its conclusion when “Possible Love” shifts the focus to interpersonal fireworks in the third hour — Lee cast a real-life documentary director and cinematographer as Ye-ji’s crew, lending what Cho calls their “natural energy” to the movements of the camera. Cho herself prepared by consulting the late master of the form, Frederick Wiseman, who was unabashed about the tension between documentary filmaking’s often radical politics and the privilege required to turn it into a profession.

“[Wiseman] was posed the question by some students studying film and documentary: ‘How can I pursue this work in reality?’” she recalls. “And he replied with the immortal words, ‘Marry a rich man.’ And you know, I was preparing for the role of Ye-ji, so it was such an apt response for her situation.”

Jeon, left, and Cho in “Possible Love.”

(Joo Jae-bum/Netflix)

The potential for conflict bursts into the open at a seaside home that has been in Ye-ji’s husband’s family for years, where the group has decamped for a supposedly restorative holiday. Reminded of the setting by the location of our conversation — a set of green-curtained, pink-carpeted suites at the Hotel Excelsior, overlooking the northern shores of the Adriatic — I ask the actors what’s going through their characters’ minds when Mi-ok and Ye-ji’s promising connection ultimately severs.

Mi-ok “doesn’t really want to reveal to anyone else what’s going on in the family … She only wants to show the good side that they are trying to live their best life and trying to improve and move forward with hopefulness,” Jeon says, citing an early scene in which Mi-ok asks the crew not to film her son’s awkward taekwondo at a school field day. When the camera’s prying eye becomes more intrusive, though, she “feels a great sense of betrayal, that her family is being used and exploited.”

For Cho, who says Ye-ji is “constantly balancing the ethical dilemma” between documenting the truth and treating her subjects with care, the break was always inevitable, and no amount of Ye-ji’s remorse or guilt can repair the damage.

Against this microcosm of the class war Lee sets the emergence of artificial intelligence, which threatens to further destabilize labor across a range of industries — including his own. Although he’s uncertain if, when or how AI will “intrude” on the “entirely creative” filmmaking process, the “Poetry” and “Burning” director is already using it for everyday tasks.

“Before going to see the doctor, I like to ask AI all the symptoms that I have, ask what’s wrong with me. Or I would ask, you know, ‘What’s the weather like in Venice?’” he says. “AI gives us instant answers, and it goes even beyond that to where it gives you advice these days. And in that sense, AI has indeed really gotten deeply intertwined in my daily life.”

Similarly, Jeon is open to using AI for more “trivial” matters, such as simultaneous translation from English to Korean and vice versa. But she admits to more “extreme thoughts” than Lee about the technology’s role in the future of screen acting.

“I’m going to be starring in a [Korean-language adaptation] of Anton Chekov’s “The Cherry Orchard” upcoming in New York. And I was wondering, actually, is the stage the last place that cannot be conquered by AI, and will not be replaced by AI?”

Perhaps. But the scene in “Possible Love” that best captures the finely honed chemistry of its female leads, in which Mi-ok and Ye-ji drunkenly bond over soju and Korean barbecue as their bemused husbands look on, seems to me beyond the capabilities of AI — it’s too warm, too meticulously rendered to be anything other than fully human, the sort of acting one hopes the Venice jury will remember when it hands out the Volpi Cup for best actress on Saturday.

“It is quite difficult technically and practically — it was a scene that we shot all night long,” Cho says. “But I remember shooting it with a lot of pleasure.”

No protest there.

Many true crime fans said it was a ‘wild’ watch as they tune in for the first time

An “insane” true crime documentary available to stream online is guaranteed to have your jaw on the floor.

There is an abundance of documentaries and films to watch on Netflix, but there is one particular watch that viewers say did not get “enough recognition” when it was first released.

Premiering in 2019, Bikram: Yogi, Guru, Predator examines the dramatic rise and fall of the controversial founder of hot yoga, Bikram Choudhury.

Directed by Academy Award winner Eva Orner (Taxi to the Dark Side), the film details how the controversial founder built a global fitness empire before it collapsed following numerous sexual abuse allegations.

An official synopsis on Netflix reads: “Arriving in Beverly Hills from Calcutta, India in the early 1970s, Choudhury quickly cultivated a celebrity following and built a global fitness empire that furnished him with extreme wealth.

“But by the 2010s, as numerous sexual abuse allegations emerged and stories of his aggressive, cult-like training environment surfaced, the lawsuits started to mount and Choudhury’s unorthodox teaching style became front-page news.”

It later adds: “BIKRAM: YOGI, GURU, PREDATOR, a Netflix original documentary, shines a light on the stories of the women who took him down and explores the contradiction of how this healing discipline could simultaneously help and hurt so many.”

Recently, one true crime reviewer took to social media having recently watched the documentary film, as they branded it an “insane” watch.

Sharing a video explaining the synopsis of the documentary, they wrote: “This true crime documentary will have your jaw on the ground.”

In the clip, they added: “This insane true crime documentary didn’t get enough recognition when it first came out.” One person replied: “Ohhh I loved this one crazzzyyyy”, as another commented: “Yes this was WILD!!!!”

A third added: “There’s a podcast about this too. Very strange, weird story.” A fourth wrote: “Oh yea this was a good one lol.”A fifth said: “That was a b***** crazy doc!! Too cray cray!!” Another stated: “I saw this already and I screamed at that ***!!! Absolutely insane!!”

Over on IMDb, one reviewer previously said: “The documentary was impeccably put together and a must watch for any yogi.”

Another wrote: “‘Bikram: Yogi, Guru, Predator’ is an exceptionally well made and well constructed documentary. It’s also one that, by the end, will probably also make you very angry for a variety of reasons.”

Bikram: Yogi, Guru, Predator can be streamed on Netflix

The Gentleman actress Jasmine Blackborow appeared on Sunday Brunch to promote the second season and conversation quickly turned to her co-star Maya Jama

One of Maya Jama’s The Gentleman co-star’s has revealed what the Love Island host was really like behind the scenes.

The presenter has has made her major scripted acting debut in the second series of Guy Ritchie’s comedy-drama Netflix’s The Gentleman as Aisha, a gangster’s moll and the wife of Prince Amir bin Abdullah al-Hadidi (Amra Mallassi).

She makes appearances during key moments of the season, notably featured in Episode 1 and Episode 4 and it has been reported that Maya will return for season three.

Actress Jasmine Blackborow, who plays Lady Charlotte “Charly” Horniman, the younger sister of the protagonist Eddie Horniman in The Gentleman, appeared on Sunday Brunch on September 6 so promote the show.

Conversation turned to Maya joining the cast with hosts Simon Rimmer and Tim Lovejoy keen to find out what the Celebrity Traitors was like when the cameras stopped rolling.

Jasmine said: “She was absolutely gorgeous on set and she was nervous because she’s not done this before. She was there running her lines again and again and when she did it she was just such a pro.”

Maya, who has been the host of Love Island since 2023, previously opened up about joining cast of the hit Netflix series and say director Guy made her feel comfortable while filming.

Speaking to Variety, she said: “He’s really kind and nice. He doesn’t feel as intimidating as you’d think, being who he is. He’s very personable and he would be like ‘yeah, you’re doing well’, and reassure me, which was really nice.

“He’s just really involved and kind of a genius to watch, because everyone’s practicing their lines and then he says something that’s way better than the original. You just feel like you’re in the presence of greatness.”

Hugh Bonneville and Michele Morrone are among other names joining season two of The Gentlemen, which is based on Guy’s film of the same name and explores the criminal underbelly of high society Britain.

The first series of The Gentleman premiered with an audience of 3.5 million and secured a place as one of UK’s most-watched TV shows of 2024.

The only other acting experience that 32-year-old Maya has had was in a brief cameo role for Katherine Ryan’s The Duchess on Netflix six years ago.

Speaking about the role at the time, Maya said: “I did the tiniest little cameo in a Netflix series called The Duchess” referring to her appearance as a dental nurse.

“But it was like one day filming, whereas this was my first one where I had to properly learn lines and be on set for a few days. But I was so, so excited because I loved the series.”

The Gentleman is now streaming on Netflix