show biz

FOR years, Victoria Beckham’s been branded the biggest spoilsport when it comes to a potential Spice Girls reunion – thanks to her refusal to ever sing on stage again.

But – following reports that it’s Geri Horner, not Victoria, who’s “dragging her heels” on plans to mark the girls’ 30th anniversary next year – a different picture is emerging. One which reveals a bigger “diva” hiding in plain sight.

Yes, all evidence suggests that Geri’s doing what she’s always done behind the scenes – vying to be top dog. And if she doesn’t get her way, she’ll simply do what she did before: quit. 

Speaking exclusively to the Sun, an insider tells us that whispers of Geri’s obstinance behind closed doors are nothing new. 

We’re told: “Although it’s always Victoria who gets the reputation for being a diva, it’s actually Geri.

“There’s always been that slight distance between her and the rest of them as she did leave them high and dry at the biggest point of their career during that world tour in 1998 [when she shocked the world and left the band at the height of their fame and fortune]. 

“Obviously that was years and years ago and they’ve all moved on but the four others do have a slightly different bond. But Geri is quite selfish and will always put herself first to get what she wants and she likes to be the one in control making all the decisions.”

Earlier this week, The Sun revealed that Geri, Victoria and their fellow bandmates Emma Bunton, Mel B and Mel C have been involved in discussions ahead of the 30th anniversary of the release of their debut single Wannage next year.

According to sources: “A variety of projects are being talked about to mark the occasion, including a documentary and a possible tour or performance by the group.”

There’s also apparently hope of a biopic being made for Netflix by Orchid Pictures, which is headed by The Crown producer Suzanne Mackie.

But time is closing in on making a final decision – and Geri’s reportedly gone quiet, with insiders reporting she’s been “dragging her heels” for almost a year now. 

Our source says Geri’s reluctance stems from a number of factors: one, she’s always been in the driving seat when it comes to the Spice Girls – ever since they first got put together in 1994.

Long-time fans might remember that Geri often positioned herself as the creative force behind the band, and was known to butt heads with their management. 

She even infamously led the band’s coup against their then-manager Simon Fuller in 1997, firing him because he was too controlling.

They initially managed themselves in the aftermath – with Geri largely taking the reins – before subsequently taking on a different team to steer them forwards. 

As a result, Geri has long been considered to be the de facto leader – a crown she’s worn proudly. The fact that she’s not the instigator of these latest plans is therefore apparently causing discomfort for Ginger Spice.

Husband’s scandal

The other factor that seems to be waylaying her decision-making right now is the ongoing controversies surrounding her husband, Christian Horner. 

Racing legend Christian served as head of Red Bull for 20 years, but was let go as team principal in July following a slump in the team’s performance and amid reports of internal power struggles.

But the elephant in the room at his leaving-do was the fact that – just 12 months earlier – he’d been embroiled in a text scandal.

A female employee accused him of “inappropriate, controlling behaviour”, before an independent investigation cleared him of wrongdoing.

In the aftermath, Christian denied all allegations – and Geri loyally stood by him. But the controversy inevitably played a part in Christian’s Red Bull exit, and – according to sources – it did a number on Geri, who felt understandably humiliated.

Granted, Christian’s rumoured £80million payout will have softened the blow, but being married to Christian has always carried a certain sense of pride and prestige for Geri.

Geri’s still embarrassed by all the Christian allegations, and feels she’s lost some of the power she had

Insider

So, seeing his name dragged through the mud will have undoubtedly done a number on her.

Our insider reveals: “Geri’s still embarrassed by all the Christian allegations, and feels she’s lost some of the power she had. 

“She now wants to be the one who plans all the 30th anniversary celebrations.” 

Cheeky spice

On the face of it, Geri’s undoubtedly transformed before our eyes over the past 30 years.

Back in 1994, she assumed the highest rank among her new bandmates thanks to her ballsy attitude and outspoken antics – and that was something she dialled up when they hit it big. 

Taking the title Ginger Spice with pride thanks to her box-dyed, flaming red hair, Geri earned a name for herself for being cheeky, headstrong, and loudly screaming “girl power!” to anyone who would listen.

The origins of that famous Spice Girls pop feminist slogan are debatable, but Geri’s certainly repeated it enough over the past three decades to claim a majority share in its inception. 

Back then, part of her calling card was being messy, cheeky and pushing boundaries, like the time she kissed Prince Charles on the cheek – and, rumour has it, pinched his bum at the premiere of The Spice Girls’ movie Spiceworld in 1997.

She later clarified: “I didn’t pinch Prince Charles’ bum, as reported. I patted it.” 

Meanwhile, her legendary Union Jack dress – which she boasted she’d made herself using a tea towel – became a lasting emblem of the band as a whole. As a result, Geri promulgated herself as the group’s mascot. 

When she left the Spice Girls in May 1998 – saying at the time it was due to “differences between us” – she inevitably sirened the beginning of the end for the band.

The girls continued as a foursome for another album, but while Geri’s solo career soared, they couldn’t quite match their previous success – which, one can only assume, will have fed her feelings of importance all the more. 

Over the years, feelings of bad blood softened – even as we learnt more and more about the in-fighting that had plagued the band, as it emerged that Geri and Mel B had often come to blows. 

In 2007, they reformed as a fivesome for the first time for their Return of the Spice Girls world tour, and Geri proudly flew the flag again – literally – in a Union Jack inspired outfit. 

She may have mellowed slightly, but she still upheld that cheeky Ginger Spice persona that had initially made her famous.

A triumphant performance at the Olympics Closing Ceremony in 2012 reunited them again – followed by a photocall at the London premiere for the Spice Girls’ inspired West End musical, Viva Forever! 

At the latter, Geri stood between her bandmates in a massive blue ballgown, again reminding us who was queen bee. 

Who’s Posh?

But – over time – as Victoria’s fashion career skyrocketed, it became more and more difficult to maintain the Spice Girls as a five-piece. 

Crucially, Victoria’s ambivalence to the band wasn’t sparked by any need for control; it was simply her coming to the inevitable conclusion that her talents lay elsewhere, and she gave them her blessing to continue regardless.

In the meantime, Geri’s metamorphosis continued. Over time – and especially after meeting Christian in 2013 – she dropped the cheeky, outspoken, ballsy act, and started becoming….well, just a little Posh. 

After she and Christian married in 2015, they settled in a country mansion in Oxfordshire, welcomed their son Monty, now eight (Geri’s also mum to Bluebell, 19, from a previous relationship), and duly became lord and lady of the manor.

In the process, Geri’s taken to wearing an all-white wardrobe, speaking in clipped vowels, and blushing at the memory of some of her more brassy stunts of the past.

When she and Mel B, Mel C and Emma reunited as a foursome for the Spice Girls’ second reunion tour in 2019, she directly addressed her twentysomething behaviour, saying she’d been a “brat” for leaving the band in 1998.

But – according to our source – while Geri may have softened on the outside, and now prefers cooking with her Aga and tending to her farm animals than causing a scene at showbiz events, she’s still just as headstrong as ever. 

She may not be about to pinch a monarch’s bum anytime soon, but she refuses to be sidelined. 

The others feel if Victoria is onboard, then they need to get it all sorted, and fear that Geri dragging her heels could cause Victoria to change her mind

Insider

So, now that she’s feeling on shaky ground as the group’s 30th anniversary approaches, we’re told she’s keeping her distance until they reassure her, in no uncertain terms, that she’s still de facto leader.

To that end, our insider says Geri kept a wide berth from the others when all five girls attended the premiere for Victoria’s new Netflix docuseries Victoria Beckham earlier this month.

Our source tells us: “Even at Victoria’s premiere, she kind of stayed away with Christian and his daughter, while Emma and Mel C mingled with everyone. Geri didn’t pose on the carpet with them. 

“When The Spice Girls first got together, it was Geri and Mel B making most of the decisions because they were the loudest, but they’ve all found their voices and the others feel if Victoria is onboard, then they need to get it all sorted, and fear that Geri dragging her heels could cause Victoria to change her mind. 

“But Geri likes to feel needed so will want them to be flattering her and giving her more control so that she agrees.” 

As rumours of in-fighting spread earlier this week, Geri took to Instagram, upholding her reinvention as the true Posh Spice by announcing she’d be appearing at The Royal Commonwealth Society’s Christmas Concert in December. 

She told fans she was “looking forward” to it – while making no mention of the big music milestone anniversary on the horizon. 

It seems the issue comes down to power: who wants it absolutely, and who’s willing to share.

Geri may have long trailblazed the world’s need for girl power, but she might just have been talking about one specific girl only: herself. 

And if she doesn’t get that absolute power, she’s fully prepared to Stop right there, thank you very much.

Representatives for Geri Horner were approached for comment.

SUNNYVALE, Calif. — A young woman is desperate to raise $50,000 for her mom’s life-saving medical treatment. She will get the money, but only if she agrees to her stepsister’s unusual proposal: to marry her wayward fiance, who comes from a wealthy family but also has a rap sheet.

That’s the plot line for an episode of “The Double Life of My Billionaire Husband.”

That may sound like a telenovela. In fact, it’s a popular series that appears on ReelShort, an app where audiences can view on their smartphones over-the-top, dramatic tales reminiscent of soap operas called micro dramas.

Unlike a regular TV show, this drama unfolds over 60 episodes, each lasting one to three minutes. After six episodes, viewers hit the paywall, where they could continue watching ad-free with a $20 weekly subscription, watch ads or pay as they go.

Already, the series has garnered more than 494 million views since it launched in 2022 and ReelShort says it has made more than $4 million from the show.

With titles like “The Billionaire Sex Addict and His Therapist,” “How to Tame a Silver Fox” and “Pregnant by My Ex’s Dad,” micro dramas lean heavily into sensationalism and light on budgets, which are typically less than $300,000 per series. And many of them are filmed in Los Angeles.

Short serialized dramas first took off in China, where they are hugely popular and generated revenues of $6.9 billion last year, even surpassing domestic box office sales, according to DataEye, a Shenzhen-based digital research firm.

Now, Hollywood is starting to take note of the bite-sized format.

In August, the venture arm for Lloyd Braun — the former ABC executive and chairman of talent agency WME — and L.A.-based entertainment studio Cineverse formed a joint venture called MicroCo to build a platform for micro dramas.

“Traditional Hollywood moved away from a whole genre and storytelling that fans love, and I think micro dramas really took advantage of that and really leaned into that fandom,” said Susan Rovner, chief content officer of MicroCo.

Studio interest

Major studios are investing in micro dramas in an attempt to replicate China’s success and find new ways to appeal to younger audiences that are accustomed to watching short-form videos on TikTok, YouTube, Instagram and other platforms while on the go.

Fox Entertainment recently announced an equity stake in Ukraine-based Holywater, a producer of micro dramas. Under the deal, Fox Entertainment Studios (a division of Fox Entertainment) will produce more than 200 vertical video titles over the next two years for Holywater.

And Walt Disney Co.’s accelerator program, which invests in startups, recently named micro drama business DramaBox, whose parent company is based in Singapore, as part of its 2025 class.

David Min, Walt Disney Co.’s vice president of innovation, said he believes micro dramas will continue to do well, especially with younger audiences accustomed to watching entertainment on their phones.

“We have to be where everyone is consuming their content, so that’s an opportunity for us,” Min said in an interview. “…This is just another new platform to experiment with and explore and see if it’s right for the company.”

This year, ReelShort, which is based in Sunnyvale, Calif., says it will produce more than 400 shows, up from 150 last year.

All of the productions are filmed in the U.S. and mostly in Los Angeles, said ReelShort CEO Joey Jia in an interview. The company plans to build a studio in Culver City that will adapt its most popular micro dramas into films.

“We offer a lot of opportunity,” Jia said.

Warsaw-based DramaShorts said in 2026 it aims to shoot 120 micro drama projects in the U.S., up from 45 to 50 this year. About 25% of those will be in the L.A. area.

“People are so used to consume content through social media, through TikTok, through Instagram, through Facebook and to share information,” said DramaShorts co-founder and Chief Operating Officer Leo Ovdiienko, 29, in an interview. “I believe it’s only a matter of time before the big players will also come to this stage.”

The company works with production partners in L.A. who employ actors, writers and crew members who work on the quick-turn projects, a bright spot in a struggling job market.

“The plus side of filming in L.A. is it is the epicenter of Hollywood,” said executive producer, writer and director Chrissie De Guzman, who has worked on DramaShorts projects. “We know how the state of our industry is doing right now, so a lot of talent have moved into the vertical space.”

Though vertical dramas are the length of a movie, they are spliced up into small chapters and produced quickly. A 100-page script might be shot in just one week as opposed to a month for a feature film.

Each chapter usually features a cliffhanger or dramatic moment — whether that’s a slap or a character in danger.

“It just hits every little emotional point,” said Caroline Ingeborn, chief operating officer at Palo Alto-based Luma AI, which provides micro drama companies with AI tools. “It hooks you in like this and because it’s so easy to press [Play]. You just need to see the next episode.”

Labor tensions

With ultra-low budgets, many of the productions are non-union, prompting some writers and actors to work under pseudonyms to avoid facing sanctions from their unions, said several people who work on the shows.

In an effort to address the issue, performers union SAG-AFTRA recently announced it has created agreements that cover low-budget vertical dramas.

Writers Guild of America West President Michele Mulroney said in an interview the union is aware that “there are companies that are trying to do this work non-union, so the guild wants to help our members … in ways that they can work on verticals and make sure they get that work covered.”

Micro drama producers said they welcome talking with the unions, but questioned whether their business models could support union contracts.

“We’re not anti-union at all,” said Erik Heintz, executive producer at Snow Story Productions, which makes vertical dramas for platforms including DramaShorts.

Despite labor tensions, these short-form dramas have provided a key source of employment for Hollywood workers who’ve struggled to find jobs as production has moved out of California.

Corey Gibbons, 44, a director of photography, said vertical dramas kept him in the business when other work dried up.

“I have a feeling that we’re on the brink of something that’s really going to change,” Gibbons said. “I’m just excited to be a part of it.”

So was 27-year-old actor Sam Nejad, a former contestant on “The Bachelorette” who started acting in vertical dramas in January. He said he’s landed one or two lead roles a month since then and can earn $10,000 a week.

“It’s a new art,” Nejad said. “The new Tarantinos, the new Scorseses are all coming through this.”

ReelShort’s office in Sunnyvale looks more like a typical Silicon Valley startup than a Hollywood studio.

Jia, the chief executive, sits at a desk in an open floor seating area with his staff. Along the office walls are framed posters with titles like “Prince With Benefits,” “Never Divorce a Secret Billionaire Heiress” and “All the Wrong Reasons.” Jia proudly points out why each program was notable on a recent tour of the space.

“I don’t have money to hire celebrities,” Jia said. “I have 100% rely on story.”

The 46-year-old entrepreneur, who has an electrical engineering background, launched his business in 2022. At the time, there wasn’t much interest from Hollywood studios.

The skepticism followed the high-profile collapse of Quibi, the startup led by studio mogul Jeffrey Katzenberg and tech executive Meg Whitman, that worked with A-list movie stars on series that would appear on an app in short chapters. Quibi raised $1.75 billion, only to shut down roughly six months after launching.

Jia took a different approach. Rather than signing expensive deals with celebrities, he hired students or recent graduates from colleges like USC to work at his company.

Jia approves all of the micro drama stories at ReelShort, which he says is expected to generate $1 billion in revenue this year.

A ReelShort representative declined to disclose the company’s earnings but said the business is profitable.

Jia said ReelShort has 70 million monthly active users, with 10% of them paid users.

The churn — the rate at which customers drop weekly subscriptions — can be more than 50% at ReelShort, Jia said. That makes it paramount for the company to have a steady stream of content that entices customers to keep paying. Currently it has more than 400 in-house titles and roughly 1,000 licensed titles.

Like others in the genre, ReelShort and DramaShorts rely heavily on data metrics like customer retention and paid subscribers to make their content decisions.

“A lot of directors are thinking, when I shoot the film, ‘I don’t care how people think, this is my creation, it’s my story,’” Jia said. “No, it’s not your story. Your success… should be determined by the people.”

Channel 4 soap Hollyoaks fans are convinced they know who shot Tony Hutchinson after he was left fighting for his life on his wedding day

In a shocking turn of events on Hollyoaks, Tony Hutchinson was shot on Wednesday (October 22) episode, leaving viewers in suspense about his fate.

The drama unfolded during a crossover episode with Brookside on Channel 4, where a plane piloted by serial killer Jez (Jeremy Sheffield) crashed into the village, causing a massive explosion.

However, the chaos didn’t stop there. On what was supposed to be his wedding day to Diane (Alex Fletcher), Tony (Nick Pickard) found himself confronted by Darren Osborne (Ashley Taylor Dawson) for having an affair with his wife Nancy (Jessica Fox).

Darren was livid upon discovering that Tony is the biological father of his daughter, Morgan, following a past fling with Nancy. Their heated argument was briefly interrupted by the plane disaster, but quickly resumed, much to the dismay of Tony’s son, Ant Hutchinson (Brook Debio).

Adding to the confusion, Tony believed he had got Marie Fielding (Rita Simons) pregnant, only to find out she was wearing a fake baby bump. Meanwhile, Mercedes McQueen (Jennifer Metcalfe) was also expecting his child, reports the Manchester Evening News.

Tragedy struck when Mercedes lost her baby in the aftermath of the plane crash. Tony had left her trapped under debris as he rushed to save Marie, a decision that will haunt him.

Diane (Alexandra Fletcher) stepped up to rescue Mercedes, mirroring how Mercedes had previously saved her. Now, both Mercedes and Diane are furious with Tony – Mercedes for her heartbreaking loss, and Diane for her groom’s reckless behaviour.

In a later scene, Darren was seen in tears as he pointed a gun at Tony, who pleaded for his life. Suddenly, a gunshot echoed from behind Tony, and he collapsed to the ground after being shot.

Now, Tony’s fate hangs in the balance.

Hollyoaks viewers are now speculating about who could have shot Tony, with some suggesting that his own son Ant might be the culprit following their earlier disagreement.

One fan took to X, formerly known as Twitter, to ask: “So…Who shot Tony? My guess is Ant! #Hollyoaks.”

Another declared: “I’m calling it ant was the one who shot Tony! He was pretty mad at his dad #hollyoaks.”

A third joined in, saying: “My early theory for who shot Tony in #Hollyoaks: It was Ant!”.

“I feel like Ant was probably the 1 that shot Tony #hollyoaks”, another viewer added.

Hollyoaks airs Monday to Wednesday on E4 at 7pm and first look episodes can be streamed Channel 4 from 7am

POP fans have only just realised that Sombr is secretly a nepo baby, following controversy over his performances.

Horrified fans worked out who his dad is and accused the pop star – real name Shane Michael Boose – of using his father’s connections to launch his music career.

Social media users looking into Sombr, who will be playing three nights at London’s Brixton Academy next March, have clocked that the singer is actually a nepo baby, whose dad counts some of the world’s biggest celeb names, including Elton John and Leonardo DiCaprio, as his clients.

The Back to Friends singer is the son of Andy Boose, 54, who founded luxury events company AAB Productions.

His company produces galas, concerts, fashion shows and charity events including fundraisers internationally.

Andy, who operates his company in cities including Los Angeles, London, Hong Kong and Venice, counts huge names among his client books.

These include UNICEF, Elton John AIDS Foundation, amfAR, the Leonardo DiCaprio Foundation and other high-profile organisations.

Social media users were shocked to learn of Sombr’s nepo baby status, and quickly spread the news on X.

One wrote: “I found out today that sombr is a nepo baby, I feel like I just got shot in the chest”.

Another blasted: “well the reason sombr has no stage presence is because he was never meant to be a performer.

“his father is a CEO of some sort of major music company & he’s a mega nepo baby”.

While one posted: “Sombr is a f***ing nepo baby i knew something was fishy about him”.

It’s the latest saga surrounding his music career after a concert goer called out inappropriate jokes and bizarre segments at his concerts.

Sombr played a show in Washington, D.C. earlier this month, which 25-year-old TikTok user Megan Tomasic attended.

She posted a video on Wednesday recapping the whole experience, calling it “genuinely the worst concert” she’d ever seen.

She quickly realised she wasn’t the target audience – describing “thousands of tweens running around like they were at a middle-school dance” at the concert.

She claimed the singer made “a bunch of niche meme references for like the 12-to-16-year-old age range” through large parts of the show.

“It was like brain rot on stage,” she added.

The video, which went viral on the platform, prompted Sombr himself to respond.

“Anyone who knows me knows I’ve never uttered a serious word in my life,” he said.

“And also, I make jokes for five minutes of the concert and the rest is music. Like, live a little, enjoy life.”

“Every age, sex, sexuality, gender, race, everyone is welcome at my concert, and I mean everyone,” he said. “You guys need to find problematic people to hate on because I am just existing.” 

He ended his video with a “quick tutorial” where he touched grass, a Gen Z reference which essentially means ‘get a life’.

It’s dead certain that if you’ve been a television critic for, ahem, a number of years, you’re going to have reviewed a passel of shows based on the writing of Stephen King, America’s most adapted, if not necessarily most adaptable author. (It’s been a mere three months since the last, “The Institute,” on MGM+.) The latest float in this long parade premieres Sunday on HBO — it’s “It: Welcome to Derry,” a prequel to the 2017 film, “It” (and its 2019 follow-up, “It: Chapter Two”) based on King’s 1986 creepy clown novel, each of which made a packet. (There was a 1990 TV miniseries version as well.)

Developed by Andy Muschietti (director of the films), Barbara Muschietti and Jason Fuchs, “Derry” is an extension of the brand rather than an adaptation, which features a white-faced circus-style clown called Pennywise (Bill Skarsgård, back from the movies) who lives in the sewer and comes around every 27 years to feed on children’s fear — fear being the preferred dish of many famous monsters of filmland, and white-faced circus clowns having lost all goodwill in the culture. (No thanks to King. Or Krusty.) And while I assume some of the series’ points may be found within King’s original 1,138-page novel, life is short and that is going to have to remain an assumption. In any case, it’s very much a work of television — not what I’d call prestige television, despite a modicum of well-done fright effects — just ordinary, workman-like TV, with monsters. (Or one monster in many forms.)

It’s 1962 in Derry, Maine, and everywhere else. (Subsequent seasons — prequel prequels — will reportedly be set in 1935 and 1908.) The Cold War is heating up. Schoolchildren, forced to watch animated films about the effects of a nuclear blast, are ducking and covering beneath their desks (a psychological rather than a practical exercise). But the threat of annihilation has done nothing to slow them in their teenage rituals. Bullies chase a target down the street. A group of snobby girls is called the Pattycakes, because they play patty cake, and their leader is named Patty. On the other hand are the kids we care about, the outsiders, banded together in unpopularity. It’s a paradoxical quality of horror films that to be an outsider either qualifies you as a hero or the monster — the insiders are usually just food. Not that the monsters are particular about whom they eat.

We open in a movie theater. Robert Preston is on the screen in “The Music Man,” performing “Ya Got Trouble.” (Chronologically accurate foreshadowing!) In the audience is Matty (Miles Ekhardt), a boy way too old to be sucking on a pacifier. Chased from the theater — he’s been sneaking in — it’s a snowy night, and he accepts a ride from a seemingly normal family, who quickly turn abnormal. Suddenly it’s four months later and Matty is an officially missing child.

The series begins promisingly, setting up (as in “It,” or, hmmm, “Stranger Things”) a company of junior investigators. Phil (Jack Molloy Legault) has a lot of thoughts about aliens and sex; Teddy (Mikkal Karim Fidler) is studious and serious and has thoughts about Matty. Lilly (Clara Stack) is called “loony” because she spent time in a sanitarium — the King-canonical Juniper Hill Asylum — after her father died in a pickle factory accident. (Not played for laughs, although the pickle is perhaps the funniest of all foods.) Lilly thinks she heard Matty singing “Trouble” through the drain in her bathtub; Ronnie (Amanda Christine), the daughter of the cinema’s projectionist Hank (Stephen Rider), has heard voices in the theater’s pipes. The kids run the film, and supernatural mayhem ensues. It’s pretty crazy! Gross hallucinations — or are they? — will afflict them through the series.

Meanwhile, Air Force Maj. Leroy Hanlon (Jovan Adepo) has been transferred to the local base, where secret doings are afoot, involving (classic plot line) the military’s desire to claim and weaponize whatever barely understood dangerous thing that’s out there in the woods. (His value to this operation is that he cannot feel fear, the result of a brain injury.) The Hanlons — including wife Charlotte (Taylour Paige), a civil rights activist in a Jackie Kennedy pillbox hat, and son Will (Blake Cameron James) — are Black (as are Ronnie and her father, seemingly accounting for 100% of Derry’s in-town African American population). “Don’t be looking for trouble,” Leroy tells Charlotte, who responds, “There’s going to be trouble anywhere we go. That’s the country you swore your life to defend.” Will, who is scientific, will become friends with Rich (Arian S. Cartaya), an appealingly goofy kid in a band uniform; they’ll both wind up on the Pennywise case.

Typically, the kids — also including Marge (Matilda Lawler, the secret weapon of “Station Eleven” and “The Santa Clauses”), Lilly’s socially desperate friend — are the strongest element in the story and the show; their energy overwhelms the obviousness of the narrative, and whatever takes us away from them, into pace-slowing side plots, is time less well spent.

What else? There’s a Native American element — including the old Indian burial ground story — represented by Rose (Kimberly Guerrero), who runs a thrift store (called Second Hand Rose, in a nice nod to Fanny Brice) and whose indomitable air makes her a kind of counterpart and potential ally to Charlotte. Manifest destiny gets a mention, and the plot will conventionally pose Native humbleness against white hubris. Dick Hallorann (Chris Chalk) is a Black serviceman with a tragic mental gift, used cruelly by his superiors — a familiar King type. Racism is a recurring theme without becoming a consistent plot point, with messages for 2025. (Rich: “This is America. You can’t just throw people in jail for nothing.” Will: “Are we talking about the same country?”)

Also: A statue of Paul Bunyan is going up in town — and in fact a 31-foot-tall Bunyan statue was unveiled in Bangor, Maine, in 1959. This is pointed to a couple of times, so I would imagine some kind of Stay-Puft Marshmallow Man scenario coming in the series’ unseen back half. Or something.

Horror, especially body-horror — there are two monstrous birth sequences in the five episodes, out of nine, available to review — has, you may have noticed, moved from the fringes to the center of popular (even high) culture, with A-list stars signing on and Oscar and Emmy nominations not unlikely. Indeed, the good, cheap, unrespectable, unambitious variety of scare flick has mostly disappeared from the big screen. That “Welcome to Derry” is more of a cheesy B-picture than its makers might like to imagine, assembled from worked-over tropes — somewhat excusable for King having originated many of them — is more in its favor than not. TV remains a haven for cheesiness. Long may it remain so.

The BBC TV licence is an annual fee – but not everyone needs to pay for it

Brits who only use their TV to watch four types of entertainment could be eligible for a refund worth £174.50. If you no longer require a TV Licence from the BBC, you can ask your money back – providing there is at least one full month left on it.

The TV Licence fee has been a standard expense for many people in the UK since its inception in 1946. Back then, the BBC was the sole broadcaster in the country, and the licence cost £2 – equivalent to approximately £105 today.

Despite significant changes in how we consume television, including the advent of numerous channels, streaming and on-demand platforms, this annual bill remains. Following a price increase last year, it now costs £174.50.

Even if you don’t tune into any BBC channels, many households still require a licence. For example, it’s necessary to:

• Watch or record programmes as they’re being broadcast live on any TV channel
• Watch live programmes on any online TV service – such as Channel 4, YouTube, or Amazon Prime Video

It’s also required to download or watch any BBC programmes on BBC iPlayer. However, there are four lesser-known circumstances where you can use your TV without needing to pay for a licence.

According to the Government website, you do not need a TV Licence if you only watch:

• Streaming services like Netflix and Disney Plus
• On-demand TV via services like All 4 and Amazon Prime Video
• Videos on websites like YouTube
• Videos or DVDs

If these are the only things you use your television for, you do not need to pay for a licence. However, if this applies to you and you’ve already paid you could be able to get some money back.

The TV licensing website explains: “You can apply for a refund if you won’t need your licence again before it expires, and you have at least one complete month left on it.” You can apply for a TV Licence refund up to 14 days before the date you no longer need it.

Certain people are also exempt from paying for a TV licence or qualify for a discounted rate and can therefore apply for a refund.

“If you’re eligible for an over 75 or blind concession, you can apply for a refund at any time and for any length of time left on your licence,” the TV licensing website adds.

If you’re aged 75 or over

The Government website states that you can obtain a free TV Licence if you’re 75 or older and you either:

• Receive Pension Credit
• Live with a partner who receives Pension Credit

If you’re currently receiving Pension Credit, you can apply for a free TV licence when you reach the age of 74. However, you’ll need to continue paying for your licence until the end of the month before your 75th birthday.

From then on, your free licence will cover you. You can submit an application for a free licence online here.

Residential care or sheltered accommodation

If you live in residential care or sheltered accommodation t his entitles you to apply for a discount. If you live in a qualifying residential care home, supported housing or sheltered accommodation, you can obtain a TV Licence for £7.50.

To be eligible, you must also be either:

• Retired and over 60
• Or disabled

Your housing manager can verify your eligibility and apply on your behalf.

Registered as blind

If you’re registered as blind, or severely sight impaired, or live with someone who is, you can receive a 50 percent discount. The licence must be registered in the name of the blind person – if it’s not, a new application can be made to transfer it into their name.

When applying, you’ll need to provide your existing TV Licence number. You can apply online here

U2 legend Bono looked unrecognisable as he flew in luxury on a private jet with his actress daughter, Eve Hewson.

The famous rocker donned his trademark coloured glasses as his thespian daughter copied his style by wearing her own blue-tinted shades.

Eve, 34, is the second of four children born to Ali Hewson and U2‘s lead singer, Bono, 65.

The Bad Sisters star posted the photo with her famous dad to her Instagram stories.

Bono was sat in one of the private jet’s seats as Eve cuddled up close to him.

“Gene vs environment,” Eve captioned the post, perhaps referring to scientific research into how genetics and a person’s environment can shape them.

Eve has been acting since she was a teenager and spoke to The Irish Sun about developing a “heart of stone” to help her get over rejection at auditions.

“I have a heart of stone at this point. I can’t feel anything anymore,” she said last year.

“When I was younger I used to cry my eyes out but now I’m just dead.”

Eve added: “One good piece of advice that I got which went on for years and years – when you get really, really close to a job and then you get heartbroken.

“And someone said to me, ‘If you’re getting close, it’s a matter of time’.”

Eve has also opened up about how being the daughter of a famous rock star has helped her career, but also how being labelled a “nepo baby” has affected her.

Speaking further on her very famous dad, Eve said: “The only thing you can do is crack a joke and move on.”

And back in 2023, the TV star poked fun at the situation on Twitter saying: “2023 goals: be successful enough to get recognized as a nepo baby.”

Eve previously said her famous father both helped and hindered her career.

She told the Radio Times: “In the beginning, I think it was easier for me to get in the door.

“Some of the friends I went to Tisch with are the most talented actors but have found it difficult to get an agent or an audition.

“That’s never been a problem for me, and I think that’s because of my family.

“That’s not the way the system should work, of course, but if the door is open, walk through the door.”

Lío Mehiel has been working for a moment like “After the Hunt” for a long time.

Directed by Luca Guadagnino, this thorny morality play of a film set at Yale University pits well-liked professor Alma (played by Julia Roberts) against both her protegé, Maggie (Ayo Edebiri), as well as her longtime friend and colleague Hank (Andrew Garfield) during a scandal that risks her entire academic career.

Amid that starry A-list cast, the actor plays Maggie’s partner, Alex. The film, which had its world premiere in August at the Venice Film Festival, is Mehiel’s most high-profile project yet.

“There is so much time as an artist where you are doing the work and nobody cares and you have to find within yourself the motivation and the commitment and the drive to keep going,” Mehiel tells The Times. “Because you know that when you are going to be able to reach people, it will be worth it.”

Such a step has been years in the making. Mehiel, who lived in Puerto Rico until they were 5 years old, began their creative endeavors almost as soon as they arrived in New York City, first as a salsa dancer and later as an actor. By the time they were in fifth grade they were attending Broadway auditions, eventually booking a role in the 2003 revival of “Cat on a Hot Tin Roof” starring Ashley Judd and Jason Patric.

But as they began finding their own sense of self and body, they also found the kind of opportunities that led them to “After the Hunt.” That began in earnest back in 2023, when they starred in Vuk Lungulov-Klotz’s film “Mutt” as Feña, a role they booked after cold-emailing the director and telling them they’d do anything to win that part. The film chronicled a particularly hectic day in the life of a young trans man in New York City, as he struggles to rekindle old relationships he’d severed since he’d transitioned. Mehiel’s soulful performance won them a Special Jury Award for Acting at the 2023 Sundance Film Festival, putting them on the map as a trans Latine performer to watch.

“Moving forward from ‘Mutt,’ I was really interested in building on that momentum to what’s next,” they say. Not just in terms of their career but in the broader cultural conversation around contemporary queer and trans representation. The following year, they returned to Sundance with Alessandra Lacorazza’s “In the Summers,” which walked away from the festival with the U.S. Dramatic Grand Jury prize — the first for a film directed by a Latina director. Like “Mutt,” that sun-dappled film found Mehiel breathing life into a trans character navigating a thorny relationship with their father (played by renowned Puerto Rican rapper Residente).

Mehiel has long been building a body of work that centers on the very work of having a body. Just this past summer, they visited the Salton Sea for a performance installation titled “angels of a drowning myth.” In photos from that day, Mehiel is seen naked and half-submerged into that so-called sea, posing alongside a bust of their own chest made six months after they’d received top surgery. A portrait of a body twice represented, Mehiel’s piece stressed the solidity and malleability of their own body, and the beauty they find within and around it. Their work moves past familiar ideas of the body in transition, gleefully embracing the messiness of the queer experience and refusing the easy siren call of visibility.

“‘After the Hunt,’ is such a beautiful example of that because Alex is a queer and trans character, but we just see them getting home from a run, taking their shirt off, being with their partner, dealing with stuff that has nothing to do with their queerness,” Mehiel says.

That moment Alex first appears on screen is quintessential Mehiel. Not just because of the honeyed intimacy their sweaty, bare chest exudes. But because their appearance immediately reframes everything audiences have heard about this seemingly militant, radical social justice warrior. Alex at first appears as a figure of “woke” culture there to defy the older generation Roberts’ Alma comes to stand for. But there’s more to them than that.

“Alex doesn’t represent all queer people who have a political orientation in the world, all queer people who might attend a protest,” they explain. “I think what Luca did and what Nora did in the script was to give us all an opportunity to move away from identity politics. Instead, they gave each of the characters enough meat on their bones that they get to be complex, messy characters.”

“After the Hunt” may focus on complicated ethical questions surrounding sexual assault allegations at a university, but within that plot, Mehiel sees also a chance for viewers to catch a glimpse of characters like Maggie and Alex who may not otherwise be centered in such stories.

“I’m just excited that there is more exposure that people are having to queer and trans people and to queer relationships, and how that can fit in the context of a ‘normative’ world,” they add. “This is a movie with Julia Roberts, one of our biggest stars and crown jewels of Hollywood and of American cinema. There’s going to be a lot of folks that are going to see it because Julia is in it. And then they’re also going to get to experience a queer and trans person on screen who is likable in some moments and unlikable in others, just as much as every other character.”

That’s been Mehiel’s purpose for years now: to expand what queer and trans characters can look like on stage, on screen and, in turn, in real life. At a time when these communities are vilified by those who wish to harm them, Mehiel insists on the importance of such normalized visibility.

“Honestly, exposure to these experiences creates connection more than anything and allows people to feel comfortable,” they add. “Because the political climate right now — for the Latine community and for the trans community — is really hard and heartbreaking and challenging. And I think so much of it has to do with people feeling like they don’t know who these people are.”

A central kernel of the premise of “After the Hunt” is that you never know what someone is going through. And, more to the point, that making assumptions about other people’s experience can be extremely dangerous.

“This movie really serves as a mirror to the people that are watching it,” Mehiel insists. The film confronts audiences with their own biases and refuses any tidy conclusions.

But for Mehiel, the film will forever be remembered as a highlight of a career that is only bound to get bigger and more exciting. Just this year, they spent the summer at the Williamstown Theatre Festival starring in Jeremy O. Harris’ new play as well as serving as head of production for “Mother, Daughter, Holy Spirit,” a grassroots fundraiser for the Trans Justice Funding Project, all while continuing to pursue their various interests as artist, writer, and filmmaker. In that context, “After the Hunt” stands now less as a calling card than as a reminder of how far they’ve come and yet how much further they want to go. That film, now playing in theaters and coming soon to Prime Video, will widen the scope and reach of their artistry.

“Watching it, I was like, ‘I fit right into the fabric of the movie,’” they say. “On a personal journey level, I feel confident that I have the skill, the talent and the experience at this point to work with the masters that I dream of working with (if the sexy French filmmaker, Julia Ducournau, ever reads this interview, she should know that I want to work with her).”

Or, in much simpler terms that echo an ethos they’ve brought to bear on and off screen: “I just feel ready and able to actualize the things that I have been dreaming about for a long time.”

Fans of Michael McIntyre’s The Wheel watched on as a lollipop lady took home one of the biggest jackpots in the show’s history after a dramatic final question

Michael McIntyre made dreams come true after an elated contestant on The Wheel bagged one of the biggest ever jackpots on the show. Lollipop lady Sally from Gateshead went all in in the final showdown, surprisingly choosing the game’s lowest-ranked celebrity to help her with the final question.

It saw her have the chance to scoop a £110,000 jackpot, doubling what she had banked in the cash builder throughout the show. After picking former rugby star Joe Marler as her famous face to help her, he joked: “I’m not doing it. I feel sick,” as he looked stunned she had gone for broke.

But together the pair somehow managed to unearth the right answer, correctly revealing that Jade Jones had medalled in the Olympics in Taekwondo. Sally, who had earlier this year recovered from lung cancer, had doubted herself after locking in the answer.

READ MORE: BBC The Wheel contestant’s heartwarming plan for £110k win revealedREAD MORE: The 1% Club apologises after major mishap leaves fans frustrated

Both she and Joe looked far from convinced they were onto a winner. But thankfully for the north-east based contestant, the ticker turned gold, giving her the huge six-figure sum.

The gobsmacked contestant couldn’t believe it as she gasped: “Oh my God,” before removing her glasses to wipe away the tears. She was in so much shock that she kept asking the celebs around the wheel, including Jill Scott and Roman Kemp, if this was really happening.

Revealing to comedian Michael how she would be spending the prize, she sobbed how she would treat her husband and friends who had helped her through her tough cancer treatment: “We can get the van and we can go off on our adventures,” she revealed.

“I can treat my friends to thank them,” she said before breaking down in tears again to a round of applause from the celebs and the audience. “What a year,” she continued.

“What a year, of course,” Michael replied. “You got the all clear this year.” “Oh my God,” she again exclaimed before revealing: “I’m not going to hang my lollipop up, mind! I love it… Oh my God. Did that just happen?”

“And well done Joe as well,” Michael added in between applause. He had helped whittle down the question to two answers, with Sally picking the correct one for a dramatic end to the popular gameshow.

Sally’s tears weren’t the only shed on the show on Saturday. Michael McIntyre said, “I wasn’t expecting this,” as the first contestant also down in tears.

Hannah, a data analyst from Macclesfield, revealed a special connection she had with rugby star Joe. “I struggled with mental health for quite a while,” she said.

“I never really had a hobby,” she went on before pausing as she began to tear up. “I was always kind of a lost kind of person growing up; I didn’t know if I was coming or going. This said person brought out a podcast about mental health and rugby”.

As she welled up again, she then told Michael: “I now play rugby; it is a massive passion of mine and if it wasn’t for Joe, then I wouldn’t be doing it.”

READ MORE: Suitcase packing cubes save so much space there’s ‘room for gifts’ now 45% off

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COMIC Michael McIntyre has admitted turning to fat jabs after his doctor told him he was obese.

The 5ft 5ins star said wife Kitty ordered him to start after the medic ticked him off for being 100kg (15st 10lbs).

McIntyre, 49, said he first used Ozempic before switching to ­Mounjaro and the weight dropped off in only three weeks of injections.

The dad of two, who has long struggled with his weight, made the admission to an audience in London.

He joked: “Have you noticed how tiny I am? I have lost weight.

“Don’t applaud it because there is a little bit of cheating that has gone on.”

McIntyre who once lost 7kg (14lbs) at a £2,000-a-week clinic, confessed that he did not want to use appetite suppressants but Kitty insisted.

He also blamed his problem on eating his kids’ leftovers.

On his trip to the GP, he told fans: “The ­doctor told me I weighed 100kg.

“He told me I was ‘obese’. How rude. He said, ‘It’s a medical term’.”

McIntyre, whose new series of The Wheel started last night on BBC One, also declared that his weight-loss success will “fall apart” if he ever eats something sweet again.

Other stars who have admitted taking fat jabs include Jeremy Clarkson, 65, James Corden, 47, and US model Chrissy Teigen, 39.

On the night of September 24, 2025, Hollis Frazier-Herndon performed an acoustic rendition of his song “Eldest Child” for a sold-out crowd at USC’s Shrine Auditorium. During his croon of the lyrics, “Eldest child, eldest child, I know your momma and your daddy so goddamn proud. They don’t know me, no. They don’t know me now,” the artist known as 2hollis went from a fractured growl to a sweet silky falsetto to a full collapse into tears.

It was a moment of raw catharsis as well as a culmination. During a pre-show interview backstage, Hollis revealed the hidden meaning behind the lyrics. He said the figurative “momma and daddy” are actually his fans, whose expectations he’s glad he’s fulfilled, even though they “don’t actually know each other” in real life. Thus, a sold-out crowd enthusiastically singing back at him evoked an emotional release. In tandem with that though, is the fact that this was 2hollis’ first show in his hometown since his Altadena childhood house burned down in the January 2025 fires. The embrace from his extended community after he persevered through that tragedy and continued to ascend to musical stardom was palpable.

“I’m at a place now where I feel like, in a way, it’s sort of a phoenix situation,” Hollis said about his post-fire rise from the ashes. “The whole town burned down. It was terrible and insane. But it weirdly felt like that needed to happen [to make the new album what it is]. I don’t know, it’s hard seeing somewhere you grew up just be a deserted place.”

On the day before the release of his fourth album, “star,” in April, 2hollis posted a picture of a burnt-edged tarot card with the same title. He added a message explaining that the star card was the only thing he and his mother found intact when they returned to Altadena to assess the damage. It was also later reported by 032c Magazine that atop a tall hill behind Hollis’ family property existed a wooden and metal star statue filled with lightbulbs that would glow at night. That star, which Hollis and his childhood friends would hike up to, also burned. The album “star,” 2hollis’ best version of his signature crystalline hardstyle EDM, meets grimy rage trap, meets velvet emo pop punk, emerged directly and impactfully from the remains of the roaring flames.

At the end of the full throttle album opener “flash,” Hollis said he added recorded sounds of the wind chimes from his Altadena home porch, triggered by the Santa Ana winds in the lead up to the fire. You can also hear faint gusts and flame sounds emerge sparsely throughout the project. He let the weather itself dictate the type of immersive experience the album could be, even as it also chronicles his layered chase for notoriety and glory.

“There are a lot of self-reflective moments, and it is very personal and emotional, but it’s also like one big party,” he explained. “I feel like, in a f—ed up kind of way, that’s what a fire is, too. It’s so big and full of visceral anger and emotion and almost a sad kind of wave. But then, also, it’s lit.”

2hollis is a visual thinker, thus he envisions scenes and uses optical inspiration to craft his imaginative rave-like soundscapes. Grammy-winning producer Finneas, during a recent interview with Spotify, recalled a time in the studio with 2hollis when he described a sound he was trying to capture as “a crystal with a pretty face on it.” This is a regular practice. Backstage, he described the process of juxtaposing an RL Grime-esque intense trap drop with a synth piano inspired by the movement and presence of a porcelain Chinese lucky cat he kept in his bedroom studio at the Altadena house. This was for his song “burn” from “star,” a scorcher which also happened to be the last song recorded in his home before the flames hit.

For 2hollis’ most openly psyche’d song on the album, “tell me,” where he professes lyrics like, “Everybody I don’t know tryna know me these days I don’t even know who I am,” his mental visual for the ending electro drop is illuminating. “I always imagined heavy rain there and lightning shining on someone’s face,” Hollis said about a perhaps heroic moment linked to the fire. “And it’s also like a face-off. Maybe me versus my ego on a rainy war field at the end of ‘Squid Game.’”

2hollis often creates outlandish alternate worlds he hopes to thrust his listening audience into. “I think there’s become this thing with a lot of artists where they feel the need to be relatable,” he proclaimed questioningly. “That’s cool, but I want [to present] the fantasy of, ‘Let me listen and pretend I’m not me for a few minutes.” In a time of constantly looming shaky ground, Hollis presents escapism as mindful.

2hollis, at times, appears in tandem with a white tiger. The animal bears the name of his first album and appears on stage at his shows as a large figurine that roars vehemently behind him during song transitions. As much as it feels a part of his fantastical sonic world, it is also deeply tied to his personal story.

On a follow-up call from backstage at a later show in Detroit, Hollis recalled a period of debilitating psychosis he experienced at 18 years old. He mediated and prayed to Archangels as an attempt to pull himself back together. When he invoked the spirit of the Angel Metatron, he would picture a white tiger destroying all the darkness and “demonic shit” around him. “It was wild and sounds insane, but it really helped me come out of it,” he said.

The more one speaks to Hollis, the more one realizes he embodies the Shakespearean line “All the world’s a stage.” Even in the most wholesome times in his life, as a little league baseball player and school theater kid, he would get a similar “butterfly in the stomach feeling” from the performance of it all. But by that same token, he is also someone who values solitude and garnered his appreciation for it from Altadena itself.

Hollis describes it as a place of “untouched, unscathed innocence.” A place where he could walk his dog up to the star behind his home, meditate, and look at the city of LA in the distance. “I go back there all the time even though there’s nothing there anymore,” Hollis said from Detroit about his home’s unending pull. “It’s just comforting to be there by myself. The energy that was there before didn’t die.”

That far-gone youthful time alone is where Hollis dreamed of the world he’s in now. He said, if he could, he’d say to that wide-eyed yet apprehensive kid, “Dude, you’re doing it, you were right, you knew. Now it’s beautifully harmoniously coming together.” On “tell me” 2hollis raps that he’s equal parts scared of “press,” “death,” and “judgment.” But now, with overwhelming chaos in his rearview, he proclaims, “I’m running headfirst into everything. I’m not dying. I’m not scared of sh—.”

2hollis performs at Shrine Auditorium on Monday.

EastEnders star Balvinder Sopal, who plays Suki Panesar, has paid tribute to Strictly Come Dancing presenters Tess Daly and Claudia Winkleman

Strictly matriarchs Claudia Winkleman and Tess Daly will be sorely missed, says EastEnders star Balvinder Sopal. This week the presenting duo shocked everyone when they announced they would be departing the show at the end of the current series. Balvinder, 46, paid tribute to the “caring” and “supportive” pair.

“People are sad to lose them and their iconic presence on Strictly,” said the actress, who plays Suki Panesar. “They’re so brilliant. They’re powerful, they’re funny, they’re sexy. They’re sassy, they look amazing, they’re of a certain age and they still power through. They’re engaging, they draw audiences in, people tune in sometimes for them. It’s incredible what they’ve done for the show and for us.”

“They’re the best of friends and they come across like that. How lucky are we to be able to absorb that energy and be taken care of? They’re the matriarchs of the show, they really have taken care of Strictly Come Dancing in the best possible way. And what an inspiration for us as well, to be looking up to such women like that.”

Soap star Balvinder – who danced the quickstep to Texas Hold ‘Em by Beyoncé last night with partner Julian Caillon – described is an “end of an era” and said it’s a privilege to dance in their final season.

“They are of the old school of Strictly, the time of Len Goodman and Bruce Forsyth. They bring all of that legacy. So now when they depart, we’re going to have two new people that are going to provide the show with a different direction. Things come to an end and we just have to reinvent and move on. Let’s see what happens. They’re big boots to fill.”

Tess and Claudia announced their departure from the show on Thursday (23 October) in a joint video, where they said: “After 21 wonderfully joyful years on Strictly, we have decided that the time is right to step aside.”

They added that they have a pact to leave together. In a separate statement, Tess referred to Strictly as her “third child” and “second family” and promised she wasn’t going to stop watching Strictly but felt it was time to “hand over the reins”.

“We were always going to leave together and now feels like the right time. We will have the greatest rest of this amazing series and we just want to say an enormous thank you to the BBC and to every single person who works on the show. They’re the most brilliant team and we’ll miss them every day. We will cry when we say the last ‘keep dancing’ but we will continue to say it to each other. Just possibly in tracksuit bottoms at home while holding some pizza.”

Sources close to the pair, who always had a pact to leave together at the same time, suggested they had told the top show execs of their plan some weeks ago, but their video on social media caught many of the Strictly cast and crew off guard. Insiders said privately Tess and Claudia have been discussing the idea of leaving for around a year.

A TV source said: “The feeling is Tess and Claudia wanted to go out at the top and whilst the show is still huge and shortly after they received MBEs. Announcing it mid series also gives them a bit of a swansong and doesn’t take the spotlight away from the winner.

“Claudia is right at her career peak with The Traitors and other TV offers flooding in. Tess has been hosting the show for more than two decades and like that idea of more weekends with her family and her friends.

“The recent scandals around the show have also impacted the ratings a little bit and there might be more around the corner, so they weighed it up and feel it is the right time to quit.”

Another source close to the duo said: “They always said they would go together when they felt right and it just feels right this year.”

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HOLLYWOOD star Reese Witherspoon is shaken and stirred by James Bond films — saying they objectify women in bikinis.

The Oscar winner, 49, blasted Bond Girls such as Halle Berry and Ursula Andress.

She said: “Women deserve better stories because women save the day all the time.

“We are not wearing bikinis while we do it.”

Reese was in London to plug her co-written novel Gone Before Goodbye.

Reese Witherspoon is best known for her roles in Legally Blonde, critically-acclaimed Walk the Line, and the dark comedy Cruel Intentions.

She’s been taking home awards since 2006 including Academy Awards, BAFTAs, Teen Choice Awards, and Golden Globes.

She’s set to feature on a new series of The Morning Show alongside Jennifer Aniston.

Her first break came when she appeared in several local TV adverts at just age seven.

She was soon securing major movie roles as a teenager and throughout the 1990s. 

Few recent films have had quite the reversal of reputation as Karyn Kusama’s 2009 supernatural high-school thriller, which can now clearly be seen for the wise, witty gem it has always been. Overwhelmed at the time by the cultural backlash that swarmed both its star Megan Fox (fresh from the media firestorm of the “Transformers” franchise) and screenwriter Diablo Cody, after her meteoric ascent with the Oscar-winning “Juno,” initial audiences were unprepared for a savage horror-comedy about the traumas of navigating the world as a teenage girl. The bond of two best friends (Fox, Amanda Seyfried) is put to the test when, after a ritual sacrifice goes awry, one of them becomes a possessed succubus who must feed on human flesh. Kusama’s finely modulated direction keeps all the plates of the story spinning as the film moves between being funny, scary and surprisingly tender toward its characters. A conversation with Kusama, Fox and professor Tananarive Due, who specializes in horror, should make this a special evening.

“Jennifer’s Body” is playing Oct. 25 at the Academy Museum. Tickets here.

POP icon Nelly Furtado has announced at she’s no longer going to be performing her music after a huge comeback last year.

It comes after she hit back at a flood of cruel comments about her figure after returning to the spotlight.

Nelly proudly embraced her natural curves while headlining Manchester Pride earlier this year.

Taking to Instagram, the Grammy winner made an emotional post expressing gratitude for all her career gave her and that she feels it’s now time for her to “step down”.

She celebrated 25 years in the industry, before adding: “I have decided to step away from performance for the foreseeable future and pursue some other creative and personal endeavours that I feel would better suit this next phase of my life.

“I have enjoyed my career immensely, and I still love writing music as I have always seen it as a hobby I was lucky enough to make into a career. I’ll identify as a songwriter forever.”

The star, 46, took over radio stations throughout the 2000s, well-known for her song Promiscuous as well as her feature on James Morrison’s ‘Broken Strings’.

June Lockhart, the perennial TV mom who consoled her son Timmy and his faithful pet collie in “Lassie” and explained the unfolding galaxy to her children in the kitschy prime-time sci-fi show “Lost in Space,” has died.

Active in Hollywood well into her 90s, Lockhart died Thursday in Santa Monica of natural causes, with daughter June Elizabeth and granddaughter Christianna by her side, said her publicist, Harlan Boll.

She was 100.

Upbeat and bubbly, Lockhart happily accepted playing second-fiddle to children, animals and even a robot. In “Lassie,” she was most often seen teaching her son small life lessons extracted from his misadventures, often saved from peril by his faithful dog. In “Lost in Space,” she was a biochemist who seemed to spend most of her time prepping meals in the galley or tending to the children as the “Swiss Family Robinson”-like clan drifted randomly in space.

“Motherhood has been a pretty good dodge for me,” Lockhart told The Times, years after the shows went off the air. “I seem to have outlasted most of my colleagues because of it.”

June Kathleen Lockhart was born on June 25, 1925, in New York City and grew up in a family steeped in the arts. Her father was a Broadway actor and her mother a singer. For years the family staged a seasonal production of “A Christmas Carol” in their home, inviting neighbors, friends and relatives to attend.

In 1938, the family went a step further and took their by now well-polished version of the Charles Dickens classic to film with a young Lockhart cast as Belinda Cratchit. The movie was all of one hour and nine minutes long.

Lockhart attended the Westlake School for Girls after the family moved to Los Angeles, where her father hoped to find a career as a film actor. But it was Lockhart who cracked Hollywood by landing modest but frequent roles on popular television shows such as “Wagon Train,” “Gunsmoke” and “Rawhide.”

In 1958, she was cast as Ruth Martin, the patient and good-natured mother on “Lassie,” a role that earned her an Emmy nomination. The show ran for 17 seasons, making it one of the longest-running prime-time shows on television. Lockhart left the series in 1964 to pursue other opportunities.

Lockhart realized the show had its limitations. “It was a fairy tale about people on a farm in which the dog solves all the problems in 22 minutes, just in time for the last commercial,” she told The Times.

The scripts were only slightly more challenging in “Lost in Space,” which followed the adventures of a family aboard a saucer-shaped spaceship headed to an Earth-like planet circling a faraway star. She left the show after three years and joined the cast of “Petticoat Junction” as a medical doctor who sets up practice in a worse-for-wear hotel in the middle of nowhere.

Earlier in life, Lockhart had been a regular on the news quiz show “Who Said That?” in which contestants were read a quote and asked to guess who said it. Lockhart had been absorbed by journalism and newsmakers since childhood, when she started a neighborhood newspaper. As an adult she subscribed to the New York Times, Wall Street Journal and Los Angeles Times, reading them from beginning to end.

To prep for the show, she began cutting out quotes from the newspapers and memorizing them. One of the panelists on the show, a White House reporter for United Press International, was so impressed with Lockhart‘s grasp of politics that he invited her to a White House briefing.

Lockhart went on to become an unofficial member of the White House press corps, attending briefings, traveling with the Richard Nixon and John F. Kennedy entourages during their presidential showdown and hitting the campaign trail with Ronald Reagan.

During her years as an informal White House correspondent, she was called on only once to ask a question during a presidential briefing, asking President George W. Bush for the name of the veterinarian who cared for the first family’s dog, Barney. Bush chuckled and said it was top secret.

Though she never had another prime-time role as big as in “Lassie” or “Lost in Space,” her career was remarkably long. She was the kindergarten teacher on “Full House,” James Caan’s mother on “Las Vegas,” a mother once again on “The Drew Carey Show” and a hospice worker on “Grey’s Anatomy.” For years she hosted coverage of the Rose Parade on CBS.

Her final credit arrived in 2018, when she voiced a radio communications officer in the “Lost in Space” reboot on Netflix. Twice married and divorced, Lockhart is survived by daughters June Elizabeth and Anne, as well as four grandchildren, said longtime family friend, Lyle Gregory.

The service will be private. In lieu of flowers, the family suggests donations to the Actors Fund, ProPublica and International Hearing Dog Inc.

Times staff writer David Zahniser contributed to this report.

Strictly Come Dancing star Vicky Pattison was left in tears as she spoke openly about her experience on the show, which she says is helping her become a ‘better version’ of herself

Vicky Pattison’s emotions poured out during Strictly Come Dancing’s icons week. The former Geordie Shore star, 37, reflected on the person she used to be and who she is now before she transformed into Cheryl Tweedy for an impressive routine.

As the pre-dance video rolled, Vicky said: “I first started out in this industry at about 21 and I made some bad decisions. I just don’t think at that age I had the tools to navigate that space I was in. Now I do my best to be a better version of myself – someone I can look in the mirror and feel alright about.”

She went on: “What I’ve learnt about myself is that with determination and a little bit of self-belief, you can achieve stuff.” As she opened up on her song choice for the week, Fight for this Love by the Girls Aloud star, Vicky tearfully added: “Apart from being a banger is a very important song to me. The whole idea that the comeback is greater than the setback.

“You can have the life you want. You can change the narrative. You can be who you want to be, not letting the past define you. I think that’s really powerful. I worked on myself and now I’m here in a place that makes us really happy and I’m finally becoming a woman I’m proud of.”

Following her dance, Vicky was left gobsmacked after her icon sent her a personal message. As Cheryl appeared on screen, the reality TV star couldn’t help but gasp and jump around as she was told she had been following her progress.

Cheryl congratulated her fellow Geordie before saying she was “honoured and humbled” to be her choice of icon. Cheryl added: “I know you’ve got it in you because you’re a Geordie.

“So go on, get out there. Fight for your place and I’m sending you loads of love. I’ll be rooting for you from home.” An elated Vicky joked it was amazing that Cheryl even knew who she was as she continued to showcase her disbelief at the message.

Earlier in the show, Ellie Goldstein also received a personal message of her own. After dancing a salsa to a Spice Girls medley dressed as Baby Spice, Emma Bunton surprised her with a touching message.

And fans spotted the sweet moment Ellie’s dance partner Vito Coppola moved to make sure she was okay. After staring down at the star, Vito appeared to wipe away a tear from her eye as the judges gave the duo positive feedback following their routine.

Taking to X, formerly known as Twitter, one user gushed: “Vito checking on Ellie and dabbing away a tear. #Strictly #StrictlyComeDancing” They also added crying emoji faces to their comment.

Alex Kingston also transformed into Dolly Parton for an impressive routine alongside Johannes Radebe. And she too was treated to a personal message from her icon.

However, her moment came in private during training. It came about thanks to fellow celebrity dancer La Voix.

READ MORE: Suitcase packing cubes save so much space there’s ‘room for gifts’ now 45% off

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KATIE Price showed off some worrying bumps on her forehead after revealing concerns about her health and weight loss.

The 47-year-old mum-of-five took to Snapchat to share a close-up selfie of her forehead where she pointed to the series of “humps” that protruded from her skin.

“I’ve got HUMPS on my forehead,” Katie captioned the post.

The selfie, which she also shared to her Instagram Stories, showed several bumps from her eyebrows up to the middle part of her forehead, with the biggest bump in the centre.

On her Snapchat, Katie posted a video of her ‘before’ getting the botox, where there was a number of black marker dots on her forehead, presumably injection points for the botox.

“I’ve gone from this,” she said in the first video and it quickly changed to the next Snapchat where she spoke about the bumps on her skin.

“At the moment, it looks like I’ve got humps on my face, my ‘lovely lady lumps’,” Katie said referring to the Black Eyed Peas song, My Humps, which she had playing over the video.

Bumps are a common reaction to Botox and could occur because of a reaction to the needle or allergic reaction to the Botox itself.

It comes weeks after she started going to the doctors over her unexplained weight loss and months after undergoing a £10,000 facelift in August.

Katie revealed she was in hospital last month after drastically losing weight over the past 12 months.

The Celebrity Big Brother winner told her fans on Snapchat at the time: “I’ve been up early at the doctors so she could do some bloods and because my veins are so s*** they had three attempts.

“They could only fill two tubes up, so I’ve got to go back in two weeks.

“And I’ve got to have my stitches out then because they looked at my little stab wound that I did.”

Her boyfriend, JJ Slater, worried that Katie might be running herself into the ground.

 MAFS alum JJ, 32,  was “terrified of her [Katie] losing any more weight,” according to a source published in the Daily Mail.

“It’s not an easy thing to sit back and watch your partner running themselves into the ground health-wise.”

They added this concern was a consensus among the star’s wider family and said: “JJ and Katie’s family think she is putting way too much pressure on herself.

“She’s been constantly on the move with tour shows, but isn’t right mentally or physically – something she knows deep down.”

Katie’s health woes come amid more personal drama as her ex-husband Kieran Hayler was charged with raping and sexually assaulting a 13-year-old girl.

The former stripper will appear at Crawley Magistrates Court on November 19.

Hayler, 38, has been charged with three counts of rape and one count of sexual assault on a 13-year-old girl and is under police investigation.

The alleged offences occurred between June and October in 2016, when Katie was still married to Hayler.

In Megha Majumdar’s new novel “A Guardian and a Thief,” a cataclysmic climate event in the Bengali city of Kolkata has wiped out shelter and food supplies, leaving its citizens desperate and scrambling for survival. Among the families beset by the tragedy are Ma, her young daughter Mishti and Ma’s father Dadu. They are some of the fortunate ones, with approved passports to travel to the U.S., where Ma’s husband awaits them in Ann Arbor, Mich. But a brazen theft threatens their very existence.

“A Guardian and a Thief” is Majumdar’s follow-up to her critically acclaimed bestselling debut “A Burning.” We chatted with the author about white lies, the pleasures of anthropology and teaching as a form of learning.

(Please note: The Times may earn a commission through links to Bookshop.org, whose fees support independent bookstores.)

✍️ Author Chat

Your novel takes place in Kolkata, which is your hometown. Why?

It’s one of the cities in the world which is most severely affected by climate change. I was reading about all of these grim predictions. Kolkata has grown significantly hotter and is predicted to endure more storms in the coming decades. Reading all of that was really sad, and it was really alarming. The book really grew out of these predictions about the future of the city.

Your character Boomba makes life very difficult for your family, yet he is really a victim of circumstance, right? Calamities can make good people do bad things.

This is the kind of question that got me into this book, which is, are there good people and monsters or do we contain elements of both in us? And is this revealed in a circumstance of scarcity and crisis? That’s the kind of question that I was very interested in. Boomba came to me initially as the thief of the title, but as I started writing more about him, I realized that it wouldn’t be truthful or interesting to simply make him the thief. He was more complex and I needed to write him with all of his complicated motivations and wishes and worries and regrets.

Everyone in the novel lies to some extent, whether it’s for self-preservation, or to protect their loved ones from being hurt.

I think it’s coming from love, actually, the loving function of lies and falsehoods. Anybody who has lived far away from home might find that this resonates with them: This feeling that when you are really far away from your loved ones, you need to assure them that you are OK, that things are all right. It’s a kind of love that you can offer them, because they cannot do anything to help you from so far away. So offering them falsehoods about how your circumstances are fine and they have nothing to worry about is an expression of love for them.

You studied anthropology in college. How did you move into fiction?

Anthropology is about the effort to understand [other people] while acknowledging that you can never fully know, that there are limits to how much any of us can understand another person’s life. That training, in listening for complexity in somebody else’s life story, and honoring the contradictions and intricacies of their life, and maintaining the humility to acknowledge that there are things about other people which will always remain mysterious to us — that space is so rich for a fiction writer.

You teach writing in the MFA program at Hunter College in New York. How does that feed into your work?

It’s what I loved about working as a book editor. Teaching feels beautifully related to editorial work, because, once again, I am close to other writers. I’m close to their text, I am thinking with them through the questions of what this text is accomplishing. And I love having the opportunity to think through failures of prose with other incredibly smart and creative and ambitious writers. When I say failure, there’s nothing bad or stressful about it. I fail in my writing all the time. Failure is part of the process. Being able to look at those failures and ask, what is happening here is very useful.

📰 The Week(s) in Books

Valorie Castellanos Clark writes that “The Radical Fund,” John Fabian Witt’s book about a Jazz Age millionaire who gave his money away is a “meticulous” story of “the ways a modest fund endowed by a reluctant heir managed to reshape American civil rights in less than 20 years.”

Nine years after “Go Set a Watchman” published, Robert Allen Papinchak reviews Harper Lee’s latest, “The Land of Sweet Forever,” a collection of stories and essays from the late author, calling it “a rewarding addition and resource to the slim canon of her literary legacy.”

Leigh Haber is entranced with Gish Jen’s new novel “Bad Bad Girl,” about a fraught mother-daughter relationship, calling the book “suffused with love and a desire to finally understand.”

Finally, Mikael Wood chatted with filmmaker Cameron Crowe about his new memoir, “The Uncool.” Says Crowe of his journalism days, “I did an interview with Bob Dylan for Los Angeles magazine, and I got it so wrong that they didn’t publish it.”

📖 Bookstore Faves

Nine months after the Eaton fire, Vroman’s Bookstore continues to be a cherished haven for local residents. The store still vibrates with bookish energy as it continues its ambitious fundraising outreach campaigns for fire victims. We chatted with the store’s chief executive, Julia Cowlishaw, about how things are going at the beloved Pasadena institution.

Nine months after the fire, how is business?

Business has been steady this year and we’re pleased with that, given all the variables in the world.

What books are selling right now?

The new releases this fall are fabulous, and we are seeing a broad range of interests. In nonfiction there’s a lot of interest in trying to understand current events from historical perspectives and Jill Lepore’s “We the People” is one example on our bestseller list. Since it is fall, the list of cookbooks is amazing and Samin Nosrat’s new cookbook “Good Things” along with her older book “Salt, Fat, Acid, Heat” make great gifts. In fiction, Ian McEwan, Kiran Desai, Thomas Pynchon and Lily King’s new novels are popular, so literary fiction is alive and well.

How important has the store been for the community in such a challenging year?

Bookstores, including Vroman’s, have long been recognized as a third place in their communities. A third place gives people a space to come together with friends and family over a shared interest and a fine sense of community. That sense of community became even more important after the fires, and it was so important for us to be more than a bookstore and give back to our community in every way we could. Our community really responded by helping us raise money for several community foundations, and collect books and supplies for people impacted by the fires.

Vroman’s Bookstore is at 695 E. Colorado Blvd. in Pasadena.