show biz

Suranne Jones returns in a beloved BBC psychological drama’s third and final series, nine years after the show gripped the nation in 2017.

If you were amongst the millions of viewers who tuned into the finale of Doctor Foster’s second series back in 2017, you’d be forgiven for thinking that was the end. Yet, following an extended nine-year break, the much-loved BBC psychological drama that kept audiences gripped is returning with a thrilling third chapter.

The forthcoming five-part television series will see Suranne Jones reprising her role as Gemma Foster, alongside Bertie Carvel, who returns as Simon, and Tom Taylor portraying their son Tom. Penned by Mike Bartlett, the synopsis for the new season states: “10 years ago, on discovering her husband Simon was having an affair, Gemma Foster enacted a masterful revenge.

“But the fallout was devastating when her 15-year-old son Tom disappeared. Now, in series three, Gemma is still a GP, still in the same house, but on the brink of a fresh start: she has met someone new and is getting married. But as the wedding day draws closer, and friends and family gather, shadows from the past begin to re-emerge, threatening both her happiness and her reputation.

“As Gemma fights to protect those she loves and expose whoever’s intent on hurting her, will she be able to put the past to bed, dispense justice, and claim the future she deserves, before it is too late?”

Lindsay Salt, Director of BBC Drama, described it as “a privilege to welcome Doctor Foster back to the BBC after almost a decade away”.

She continued: “The extent to which the first two series gripped the nation is a credit to Mike’s writing, the talented team at Drama Republic and our magnificent cast – and now we’re ready do it one more time in this epic final chapter. Bring it on!”

Based on IMDb reviews, audiences of the programme have expressed their views on the opening two seasons. One viewer branded the show a “BBC winner” and a “treasure”.

They commented: “Have found myself watching the BBC less over the years, there are, though, a fair share of treasures like Doctor Foster. It is very well made visually, stylish and audaciously with a fluid way of how it’s shot.”

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Another remarked: “One of the greatest BBC shows with strong Shakespearean drama elements of personas and duplicity, betrayal, obsession, jealousy, revenge, conniving and plotting, and distrust.

“An amazing and gripping show that makes an intense and horrific portrayal of something as domestic as marriage and its complications (an understatement). Carrying strong tones of paranoia, calculated revenge, depiction of ‘natural’ misogyny, and with undertones of misanthropy, this show will give you knots and chills and keep you hooked.”

Another viewer remarked: “I don’t normally write reviews, but if you like nail-biting drama, watch this. Block out five hours of your life and get comfy. You won’t want to leave the telly!”.

A third person observed: “This program is engrossing, well-written and well-acted. It walks a fine line between being utterly disgusting and completely relatable, making me hate it and love it all at once. You definitely have to be patient to watch all the incendiary acrimony!”.

“Sinners,” the blockbuster film that has been a major contender during awards season, was the dominant winner at the 57th NAACP Image Awards.

The film scored trophies for outstanding motion picture and most of the acting awards, including breakthrough performance, awarded to Miles Caton. Michael B. Jordan, who won for actor in a motion picture, also won entertainer of the year.

Before the ceremony, Ryan Coogler won writing and directing honors, while Wunmi Mosaku and Delroy Lindo won the supporting actress and actor awards, respectively.

But the ceremony was not only about honoring Black excellence in entertainment. The event was also flavored by several remarks from celebrities addressing the divisive political climate and recent events that have targeted and affected Black entertainers.

Viola Davis received the chairman’s award during the 57th NAACP Image Awards on Saturday.

(Chris Pizzello / Chris Pizzello/invision/ap)

Host Deon Cole kicked off the ceremony by welcoming the audience to “the Trump Image Awards. Because you know he wants his name on everything.”

Asking permission to “buy a curse word,” he made a joke that was bleeped out during the live stream, but was apparently aimed at federal ICE agents. The comment sparked a standing ovation from the predominantly black-tie audience, many of whom wore anti-ICE pins.

“I don’t want to see no ICE ever again,” he said. “When I looked at the guest list, I took off Ice Cube, Ice-T, Ice Spice. I don’t want no ice cream, I don’t want no ice in my drink.”

Samuel L. Jackson said in a tribute to the late Jesse Jackson, who died earlier this month, that President Trump’s attacks on diversity and his quest to remove references to slavery and Black history from museums would not succeed.

Utilizing one of Jackson’s trademark slogans, Jackson said, “We will not be erased from this country’s history because I am somebody.”

And in accepting the award for actor in a drama series for “Paradise,” Sterling K. Brown added, “Like Sam said, they can’t erase us because there is no country without us.”

The event also continued to put a spotlight on the uproar surrounding the shouting of a racial slur during the BAFTA Awards last week.

Jordan and Lindo were presenters during the BAFTA Awards, which took place at London’s Royal Festival Hall. As they were introducing the visual effects category, a member of the audience shouted the N-word. The two actors paused momentarily before continuing.

Director Ryan Coogler, left, and actor Delroy Lindo presenting the award for actress in a motion picture. The pair addressed the incident at the BAFTAs in their remarks.

(Chris Pizzello / invision/AP)

Later, awards host Alan Cumming addressed the outburst, referencing the nominated film “I Swear,” which is about Scottish campaigner John Davidson, who has Tourette syndrome and shouted the racist slur from the audience. Cumming apologized, while Davidson, an executive producer for the BAFTA-nominated film, left his seat midway through the ceremony. BAFTA later issued an apology to the actors.

Cole delivered a comic prayer referencing the incident: “Lord, if there are any white men out there with Tourette’s, I advise you to tell them to read the room tonight, Lord. It might not go the way they think.”

Actor Rebecca Hall early in the awards show said she wanted to pay tribute to “two kings. Thank you for your grace.”

Lindo later in the ceremony said, “We appreciate all the support we’ve been shown in the aftermath of what happened last weekend. It is an honor to be here among our people this evening … It’s a classic case of something that could have been very negative becoming very positive.”

Here is a list of the night’s winners:

Entertainer of the year
Michael B. Jordan

Outstanding motion picture
“Sinners”

Actor in a motion picture
Michael B. Jordan, “Sinners”

Actress in a motion picture
Cynthia Erivo, “Wicked: For Good”

Breakthrough performance in a motion picture
Miles Caton, “Sinners”

Drama series
“Reasonable Doubt”

Actor in a drama series
Sterling K. Brown, “Paradise”

Actress in a drama series
Angela Bassett, “9-1-1”

Comedy series
“Abbott Elementary”

Actress in a comedy series
Quinta Brunson, “Abbott Elementary”

Actor in a comedy series
Cedric the Entertainer, “The Neighborhood”

Chairman’s Award
Viola Davis

Hall of Fame Award
Salt-N-Pepa

President’s Award
Colman Domingo

BRIT Award viewers were left fuming after the show’s In Memoriam segment – blasting it as “a pathetic attempt”.

On Saturday night’s show, The Charlatans musician Tim Burgess was brought on stage to lead the In Memoriam tributes, leading on the loss of his close friend, Gary ‘Mani’ Mounfield of The Stone Roses and Primal Scream, who died in November.

However, the artist struggled to say his speech, simply referring to “Mani” which some viewers thought to mean Manchester, or not recognising who he was referring to.

A videotape then played, showing the name of dozens of stars who have passed across the past year, flashing on screen briefly as a select number of artists were played in the background.

But fans were left less-than-pleased at how quickly the segment ran, before the show cut to an ad break.

Complaining to X (formerly Twitter), one fan wrote: “What a pathetic memoriam to artists who had passed away last year.

blues up

Noel Gallagher BOOED at Brits just seconds after picking up prestigious award

bleep-gate

Brits host Jack Whitehall takes swipe at Baftas after N-word outburst outrage

“Surely you could have made more time to show Mike Peters (a Welsh Brit) and also Rick Buckler of The Jam (another Brit) and a great drummer of his generation.”

“That tribute to all artists that have passed over this year was laughable,” wrote another.

“Wow! One of the worst ‘In Memoriam’ I have ever seen,” noted a third.

“What on earth was that all about #Brits2026 ?” complained a fourth. “I’m talking about those who lost their lives in the last year – that was disrespectful to many of those who passed.”

While a fifth wrote :”Putting the In Memorial names up quicker than anyone can read them. Poor show Brits, poor show #Brits2026″

“Whose idea was that In Memorial section? Blink and you’ve missed it – must get the adverts in….” wrote a sixth.

While on stage, Sturgess told the crowd at Manchester’s Co-Op Arena: “Hi everyone, I’m here tonight to pay tribute to my good friend. Mani changed music and inspired generations ahead of him. These songs he recorded will be his legacy.

“He was truly one of the phenomenal ones. I’d like you to think about Mani for a moment and we can cherish the thought that we got to experience our time and his time together.

“Let’s take a few moments to remember Mani.”

While the In Memoriam segment may have been lacking, the awards show was filled with tributes to artists loved and lost.

It’s a Wednesday afternoon in West Hollywood, one day after the city was blanketed in a light coating of rain. The midday sun has only just begun to peek through the overcast sky.

Its beams are slightly more vivid through the large windows of the Edition, which sit at the edge of a secluded area of the hotel. Jamie Hewlett sits at a wooden table stirring a cappucino with a black straw.

“I mean, who drinks out of a straw when you get past the age of 10, right?” he says, jokingly. After 25 years of bouncing around the globe with Gorillaz, he’s still longing for a jet lag cure. Coffee can only do so much.

Leaning back in his chair, in a suave, all-beige outfit, he starts to grin while recounting his day in Los Angeles.

“We’ve been walking around the streets having a very rare morning off together. We bought some weed, which is always one of the most wonderful things about this state,” he recalls.

He also finds humor in L.A.’s obsession with driver-less food delivery.

“Every time we saw a post-bot driving down the road, we stopped and doffed our caps. … In the future, when robots take over and destroy us all, they’ll remember me for being nice to the post-bot!”

It’s been a long few weeks for Hewlett and bandmate Damon Albarn as they roll out the group’s latest endeavor, “The Mountain,” out Friday. Just one day prior, “House of Kong” opened at Rolling Greens in downtown L.A. The exhibition, initially intended as a Gorillaz 25th anniversary event, has landed on the West Coast.

“I think with this album, we were both quite happy with what we’ve done … and feeling like it was an honest, genuine adventure that was taken, and what we’ve given is something that we’re proud of,” Hewlett says.

He and Albarn are also artists at heart and in nature. It’s why Gorillaz continues to look and sound the way it does, and why the group is consistently pushing the agenda of how a nonexistent band can still resonate with a group of fans who are very much alive.

“The process, the research, the putting it together, the making of it is really fun, and the delivery of it is kind of like a mini death syndrome,” he says. “What you’re required to do is get straight on to the next thing, and you won’t have any time to waste thinking about the fact that the completion of that left you feeling numb, because then you’re excited about the next project.”

He adds that Albarn, similarly, is like a “kid in a sweet shop” when he’s making music: “The moment it’s finished, there’s no interest in discussing it.”

Even so, the album is undeniably their most intimate in recent history.

Perhaps it’s something to do with the experience of grief that the two lived through, losing their fathers only 10 days apart and just before a trip to India. Or maybe it’s a testament to the process behind “The Mountain,” which saw Hewlett and Albarn travel the country, spending more time together there than during previous album productions.

“It’s weird, because I’m born 10 days after Damon… the idea presented itself, and at that point we were going down that road, and there was no avoiding it… It wasn’t even necessarily going to be a Gorillaz project; ‘Let’s go together and see what happens.’ ”

“I completely fell in love with the place and got into their whole concept of death,” Hewlett says of India.

(Blair Brown)

Hewlett says the album was also inspired by his late mother-in-law, Amo, who was diagnosed with cancer in 2010 and opted for Eastern medicine instead of chemo.

“She said, ‘No, I’m going to India.’ … She was into Ayurveda medicine and knew this doctor, and she spent three months in India [being treated]. When she came back, her cancer had gone. In France, they call her in for a checkup, and they give her a scan. They say, ‘Where’s your cancer gone?’ She said, ‘I’ve been in India,’ and they say, ‘We don’t believe in that.’ ”

It wouldn’t be until 2022 when Jamie visited India himself, under unfortunate circumstances. He was in Belgrade with Albarn shooting the second video from “Cracker Island” when he received a call from his brother-in-law, who said that Amo had just had a stroke.

“They said they saved her, but she went into a coma. I was on a plane to India as quickly as I could get a visa, which wasn’t easy at the Indian Embassy in London,” he said. “I spent eight weeks with my wife, Emma, in Jaipur, dealing with that, in a public hospital during a pneumonia epidemic… having that experience that was traumatic; it should have been a reason for me to never go back to India ever again.”

But during his time there, it became clear that being in the country had the opposite effect on him.

“I completely fell in love with the place and got into their whole concept of death. … We met a lot of families who became friends of ours because we were at the hospital every day,” he continued.

“A loved one who was dying, who was in tears because they knew they were going to die, but also there was a celebration about the fact that they were coming back,” he said. “Their understanding of the cycle of life is a lot more appealing to me.”

Shortly after, Hewlett returned to Europe and went straight to Albarn with an idea: “I said, ‘We have to go to India, it’s so amazing,’ and of all the places he’d been around the world, that was the place he still hadn’t been. So we decided to go.”

Albarn first visited India in May 2024 alongside Hewlett.

(Blair Brown)

“The Mountain” is, as expected, heavily doused with notions on the concept of death. Inevitably, the question arose: “How can we make an album about death that would leave the listener feeling optimistic?”

But Gorillaz has always been a group entwined with different, equally heavy topics. On “Plastic Beach,” they tackle the climate crisis and human extinction. The enchanting and rhythmic “Dirty Harry” also examines war and soldiers, with its single cover even giving a nod to Stanley Kubrick’s “Full Metal Jacket.”

The tone Gorillaz achieved on “The Mountain” is an extension of that.

“The Happy Dictator,” released as the lead single in September, parodies megalomaniac Saparmurat Niyazov’s approach to governing in Turkmenistan. As Sparks produce stunning vocals, singing “I am the one to give you life again,” Gorillaz fictional frontman 2-D (voiced by Albarn) breaks in to pronounce, “No more bad news!”

Equally as enjoyable is “The God of Lying,” the third single released, featuring Idles. Joe Talbot hauntingly asks, “Do you love your blessed father? / Anoint by fear of death / Do you feel the lies creep on by? / As soft as baby’s breath.” It’s a bouncy song that could have been pulled straight out of the band’s self-titled debut, all the way back from 2001.

Even so, it feels criminal to compare it with the band’s earlier catalog, given that Hewlett and Albarn are artists in “perpetual motion.” This has resulted in some of their most sonically and visually impressive work — with styles and genres consistently shifting — but also asks the listener to be willing to evolve with them.

“I think art has to be an evolution,” Hewlett explains. “I know what David Hockney does at 88 years old, still smoking and drinking his red wine. He wakes up every day … and he does something new, and then the next day he does something new, and that promotes longevity. He’s never bored.”

Gorillaz’s exhibition in “House of Kong” seems to be contradictory in its existence, more or less serving as a retrospective from a band that not only doesn’t like to look in the rearview, but likely has it taped over altogether.

But it’s also an organic experience, teeming with originality, despite its familiar marketing as an “immersive experience.” It’s more comparable to something out of a Disney or Universal theme park than another gallery that merely projects video onto a wall.

“Down here at Kong, we are creating something that … only really existed in Jamie’s drawings and animations and in the minds of the fans of Gorillaz,” says Stephen Gallagher of Block9. He served as creative director on the project but has worked with the band since 2018 and previously collaborated with Banksy for his “The Walled Off Hotel” and “Dismaland.”

“I’d had this idea already: ‘What about if we built a film studio, and then you could do a backstage tour, and you’re seeing behind the scenes of the making of all of these music videos?’ ” he continued. “Then that evolved, and it became the ‘House of Kong.’ ”

As for why the exhibition landed in L.A. for its second showing, Hewlett compares the city to Shanghai when it was “still free and decadent and swinging.”

“I love L.A. … I love it. I’ve been coming here since I was 19 years old. … L.A. might be the last one [showing], to be honest,” he says. “All that stuff in the exhibition belongs to me; this is part of my lifelong collection of weird s—!”

“I’d love to get it back at some point,” he jokes.

Final Oscar voting began yesterday. How many of the nominated movies have you seen? Are you doing your due diligence in all the categories before the March 15 ceremony or, given the summer weather outside your window, might the mountains be calling?

I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter. It’s never too early for flip-flops, is it?

Testing out a new mandate

To vote for the Oscars, you have to watch all the nominated movies.

This may seem obvious. But until this year, the motion picture academy operated entirely on the honor system, strongly encouraging members to see everything before voting.

Now voters have to show their work — up to a point.

This year, academy members are required to certify through the group’s screening room portal that they have viewed all nominated films in each category to be eligible to vote in that category. Since nominations were announced in January, the academy has been emailing voters with updates on their progress, indicating where they’re cleared to vote and where they still have work to do.

One wrinkle, and it’s not a small one: Members can simply check a box indicating that they’ve watched a movie outside the academy’s platform. Perhaps they saw it at a festival, on a streaming platform other than the portal or the place God intended films to be seen — a movie theater.

Whether they actually did watch the movies is left to the honesty of the voter. It’s still an honor system, and members do not need to show movie stubs, tickets or receipts.

Talking with academy members, there seems to be a little wiggle room when it comes to having a clear conscience.

Take the voter who loved Ethan Hawke‘s lead turn as legendary lyricist Lorenz Hart in “Blue Moon,” but hated “Marty Supreme,” turning it off 20 minutes after starting it. Since the academy’s screening room counts a movie as watched only if it’s viewed in its entirety, this voter told me they planned on restarting “Marty Supreme” one night and running it on mute so he could vote in the lead actor category.

“I’d seen enough,” he said. “Watching [Timothée] Chalamet play another pingpong tournament wouldn’t make me change my mind.”

Other academy members told me they were OK marking the “watched” box next to a movie they hadn’t seen, provided they had viewed four of the category’s other nominees. By and large though, they were the outliers. Most voters said they were happy to abstain from voting in a category in which they hadn’t watched all the nominated work. (As academy members may not publicly state voting decisions or preferences, voters spoke on the condition of anonymity.)

“I don’t need to see another ‘Avatar’ movie,” a producers branch member said. “So I’m fine not voting for visual effects or costume design this year. Life is short.”

“I like the idea that I can abstain from categories without any guilt,” an Oscar-nominated writer noted, adding that she thought the new system has been “helpful, reminding me to watch things.”

To that effect, academy members have been receiving a flurry of emails and texts that would give off Big Brother vibes if it didn’t simply boil down to an admonition to watch “Frankenstein” so they could vote in the nine categories where Guillermo del Toro’s monster movie is nominated.

It really isn’t that big an ask, as in recent years the Oscars have become increasingly dominated by a smaller number of movies vacuuming up a greater share of the nominations. This year, the five movies earning the most recognition — “Sinners,” “One Battle After Another,” “Marty Supreme,” “Frankenstein” and “Hamnet” — hauled in 56 nominations.

If an Oscar voter viewed the 10 best picture nominees, they’d be eligible to mark their ballots in best picture and eight other categories — supporting actor, adapted screenplay, casting, cinematography, film editing, production design and original score. Add Hawke’s “Blue Moon” and that opens up lead actor. Make it a double feature with “It Was Just an Accident” and original screenplay becomes available.

“You don’t really need to be much more than a casual moviegoer to knock out most of your ballot,” an actors branch member told me, “except for things like animation and documentaries and the shorts. I don’t know how many people watch all of those.”

Nobody does, save for the PricewaterhouseCoopers accountants counting the ballots. The question vexing both voters and the awards consultants paid to persuade them is how this new, formalized voting will affect the results. As Oscar winners are sometimes the movies that are the most-watched, might requiring voters to see all the nominated work boost less-publicized efforts?

“If ‘Sirât’ wins sound over ‘F1,’ then I think it’s a new ballgame,” one veteran campaigner said. “Right now, though, nobody knows.”

We will soon. In the meantime, with Oscar voting running through Thursday, some academy members tell me their weekend is booked.

“Three nights, three movies,” one voter said. “And then I’m watching ‘Bridgerton.’”

The Brit Awards viewers were left unimpressed by ITV’s decisions on a number of occasions during the ceremony hosted by Jack Whitehall

Viewers of the Brit Awards were left incensed by ITV as they watched the annual ceremony. As many tuned in to see how would be winning the biggest gongs of the year, they fumed as the ITV show kept being censored.

Bosses made the decision to blank out several of Jack Whitehall’s jokes throughout his hosting duties. And as a number of winners used their acceptance speech time to share their views, they also found themselves censored. Among those being bleeped was Geese frontman Cameron Winter.

The singer of the Brooklyn indie rock band took to the stage as the band won their first ever Brit Award for International Group of the Year. During his acceptance speech, he said: “I just want to say, Free Palestine, F–k ICE, go Geese!”

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But viewers at home didn’t get to hear his actual speech, with interference played over the top. The same thing happened during Noel Gallagher’s speech after he accepted the accolade for Songwriter of the Year.

After thanking his brother and his bandmates, Noel shouted: “Up the f***ing Blues” in reference to his beloved Manchester City. But the moment was banned from TV, and instead viewers at home just heard the aftermath of boos.

And another getting the bleep button was Angry Ginge as he took aim at London. The Manchester native made his feelings known as he called the country’s capital a “s***hole”.

Fans weren’t impressed with the cuts and on Twitter/X they let their feelings be known. One user ranted: “The buzzing to bleep things out is getting annoying. I’m sure what they’re saying is not that bad to air at 9.30 pm. #Brits2026”

“Free speech and all that. Bleep bleep. #Brits2026,” moan another. A third added: “I’ve never known the Brits bleep out so much stuff? What is happening #Brits2026”

A fourth tried to make light of the situation and create a drinking game for the irritation. “Take a shot every time there is a bleep #Brits2026 #BRITs.” And a fifth simply wrote: “Bleep bleep bleep bleeeeep #Brits2026”

The rage continued when Sharon Osbourne was also censored. A fan ranted: “It’s 23:00 and ITV are censoring Sharon Osbourne accepting an award for her late husband.”

But despite the complaints, one user had a different idea, hitting out at host Jack. “Why do they hire Jack Whitehall to present every year if they’re gonna bleep half the jokes just get someone else #Brits2026.”

Elsewhere at the awards ceremony, in between the awards wins, Jack “let slip” who will be the new Strictly Come Dancing hosts. Tess Daly and Claudia Winkleman stepped down at the end of the last series and ever since speculation over their replacement has been rife.

Speaking to Bez and Shaun Ryder of the Happy Mondays, Jack joked they were ready for the role and “revealed” their secret. Shaun labelled Jack a “grass” as he played along with the joke announcement.

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OLIVIA Dean was queen of the Brit Awards last night, scooping four gongs — ten years after she attended the ceremony as a student.

The singer-songwriter, 26, won the best artist, album and pop act categories and the publicly voted song of the year with Rein Me In, with fellow award-winner Sam Fender.

London-born Olivia, who stunned on the red carpet, also performed on stage, a decade on from partying at the event as a Brit School student in 2016.

Her impressive haul followed the success of her second studio album, The Art of Loving, which spent seven weeks at No1 following its release last year.

The songstress celebrated by holding a private afterparty in Manchester where the ceremony was held.

The switch to the city’s Co-Op Live arena marked the first time the event has been staged outside London.

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A source said: “Olivia wanted to thank everyone around her for their support. She sees the success of the evening as a group effort.”

Olivia won a place at the free Brit School in Croydon, South London, aged 15, following in the footsteps of singer-songwriter former students Adele, Amy Winehouse and Jessie J.

She enrolled on a theatre course but later switched to songwriting as she began creating tracks on a second-hand piano which she begged her mum, Christine, to buy.

Speaking about the Brit School, Olivia said: “It set me up for life. I knew what I wanted for myself and it taught me so much. I just think it is a magic place.

“Look at all the people it has produced and will continue to do so.”

Last summer, Olivia made her first public appearance with her American drummer boyfriend Eddie Burns as they stepped out at the Wimbledon tennis championships together.

OLIVIA Attwood and pal Pete Wicks reunited for the Brit Awards on Saturday night.

The reality TV icons were seen arriving at their table together, having earlier left a Manchester hotel to head to the venue.

Olivia showed off her incredible figure after earlier “paying tax” at the gym with a sweaty workout to get red carpet ready.

She rocked an asymmetrical black dress with a dramatic fan cut out shape across the chest and back.

The stunning gown also had thigh high split and Olivia completed the look with sheer black gloves.

Once inside the venue, Olivia and Pete reunited with Pete’s podcast co-host Sam Thompson, where an onlooker said, “Pete was a gent and poured the drinks for the group before they settled down to their meal.”

SMASH BRITS

BRITs red carpet kicks off as Maya Jama and Olivia Attwood lead the glam

RED CARPET REGIME

Olivia Attwood leads stars showing pre-glam routines ahead of BRIT Awards

The pair, who host Kiss’ The Sunday Roast radio show, have long been friends, with Olivia even describing her former Towie co-str as her “twin flame.”

“We’re soul sisters. We’re twin flames. We’re the same person,” she said in September.

Olivia’s big night at the Brits comes after she admitted she’s working hard to keep herself busy to distract herself from her marriage breakup.

She recently admitted her marriage to footballer Bradley Dack “wasn’t healthy.”

It was revealed last month that the pair had separated after a “breach of trust” on his part.

The ITV star, 34, moved out of the marital home and into her own apartment and blocked her husband on Instagram.

While in conversation with TikTok sensation Tinx on the latest episode of her podcast, Olivia’s House, the Love Island icon made reference to her own relationships while discussing dating.

After Tinx said she’s happy in life but would like to meet someone, Olivia responded: “And that’s like the best place you could be in to meeting the right person. There’s not like a void to fill.

“If you’re going into relationships and there’s motivations of, you know, say you have a gap in your life or you need saving, it doesn’t start on a healthy trajectory.”

As It Was singer and former One Direction star Harry Styles took to the stage to open the Brit Awards 2026 live from Manchester on Saturday, with fans admitting they were ‘shaking’

It’s safe to say Harry Styles impressed fans with his performance at the Brit Awards.

The As It Was and Sign of the Times singer, and former One Direction star, opened the live ceremony on ITV1 and ITVX on Saturday night. He performed his new track Aperture after recently announcing the release of his fourth album would be very soon.

Marking his return to music, the singer took to the stage to kick things off, the performance no doubt gave fans a peak of what to expect with his upcoming world tour. Amid a backlash from many viewers about the prices of his tour tickets, Harry won over viewers with his vocals and choreography.

In fact, fans claimed they were “shaking” and “going to be sick” after watching it live. Taking to social media, one fan said: “Wish I could be normal but unfortunately I’m literally shaking over Harry Styles performing at the Brits.” Another said: “I AM SHAKING,” as a third added: “I’M GONNA BE SICK.”

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A fourth fan said: “HE IS A PERFORMER,” as a fifth said: “HARRY IS SO BACK THAT WAS INSANE.” A further post read: “Harry sounds GOOD. Aperture live is such a vibe.”

Another fan commented: “OMG DID HE HAVE TEARS IN HIS EYES!?? HARRY STYLES IS SO BACK.” A final tweet read: “Ok Harry actually ate that choreo.”

It was revealed the awards would take place in a new home on Saturday night, at the Co-op Live in Manchester. Artists revealed to be performing included Olivia Dean, Wolf Alice, EJAE, Audrey Nuna and REI AMI, the singing voices of HUNTR/X (filmed in advance of The BRIT Awards).

Alex Warren, Mark Ronson, ROSALÍA, SOMBR and RAYE were also confirmed. Mark was also revealed to be receiving an award for his outstanding contribution to music, while Noel Gallagher was said to be receiving a songwriting award.

Speaking of honours, it had also been revealed that tributes would be made to some of the lost music acts who have recently passed away. Ozzy Osbourne is set to be honoured with Robbie Williams fronting a super group paying tribute to the star. It comes seven months after the Black Sabbath frontman died aged 76.

The performance will be a special arrangement of ‘No More Tears’ – the title track from Ozzy’s multi-million selling 1991 album of the same name. It was curated by Ozzy’s wife, Sharon Osbourne, and will boast a phenomenal line up of British and international musical talent.

It will feature musicians that played as part of Ozzy’s band over the years, including Adam Wakeman, Robert Trujillo , Tommy Clufetos and Zakk Wylde. The makeshift group will be fronted by Robbie, who was invited personally by Sharon to be part of this special moment.

BRIT Awards bosses are also set to honour Stone Roses bassist Mani at Saturday night’s show – led by Charlatans legend Tim Burgess. Gary ‘Mani’ Mounfield died suddenly aged 63 last November, and close pal Tim will be on hand to deliver an emotional speech.

A source said: “Tim is set to present the In Memoriam section, but before he does so, he is primed to talk about Mani who was both a dear friend and mentor. The fact that Mani was from Manchester too – and the awards is being held there for the first time – means it will be a really special moment. Mani will then feature heavily in the section, as will other greats we have lost including Ozzy Osbourne.”

Ahead of the ceremony, three acts had received the most nominations. They were Olivia Dean and Lola Young with five nominations apiece, and Sam Fender trailing closely on four nominations following his Mercury Prize success.

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What sounded like a very cool L.A. Art Week party ended up getting a bit too rowdy. On Sunday night the Los Angeles Police Department was called to a former 99 Cents Only store on Wilshire Boulevard where an opening night party was underway for a week-long pop-up called “99CENT,” organized by former tagger and blue-chip artist Barry McGee and presented with the Hole gallery.

An LAPD public information officer confirmed that officers responded to a disturbance call at the location, which is just down the street from the Los Angeles County Museum of Art and the Academy Museum, at 10:30 p.m. Sunday. Police arrived to find “a large group of about 20 or 30 people, drinking and playing loud music.” The crowd dispersed on its own after law enforcement arrived.

Neighbor Rebekka Mueller, who lives across the parking lot from the store, said that a concert at the event had attracted hundreds of people, a number of whom took to tagging four or five neighboring businesses, including the now-closed historic Googie-style Johnie’s Coffee Shop.

The event drew plenty of respectful art fans, Mueller said, “but attracted lots of other people, and they started tagging the whole building — but not in an art way. And then it spilled over to the businesses nearby, to an insurance company, and then two apartment buildings were completely tagged … and they had no security on site when this happened. So this was very alarming for the neighborhood.”

Cole Schiffer, whose family owns the 99 Cents building, said he was sorry that neighbors’ structures were tagged and that he has been working all week to paint over the tagging.

“We didn’t know that this would happen. I was pretty naive about the graphic art world,” he said. “We’re business owners, we spend a lot of time removing graffiti. My mom grew up in this neighborhood. My grandparents lived and died here, so honestly, it’s a little sad and crazy to see this graffiti all over the neighborhood.”

Schiffer said things had calmed down after Sunday night and that the Hole gallery was working to avoid problems for the rest of the week’s festivities.

In a brief story about the event, Times freelancer Mariella Rudi noted that the 99 Cents store had been transformed into, “a dense, joyous artist flea market” featuring, “more than 200 contributors and well over 4,000 works.” When Rudi was there on Sunday night she said she didn’t see any destructive behavior.

“Paintings are stacked against old shelving. Shopping carts hang from the ceiling. You can even check out your purchases at the register, complete with a sticker and a receipt,” Rudi wrote, adding, “Graffiti-heavy aisles will thrill fans of Beyond the Streets, but a handwritten sign near the entrance offers a final note: ‘Please, no tagging inside. Owners are cool.’ ”

The pop-up will feature puppets from Bob Baker Marionette Theatre this Sunday, as well as an Anti-Fascist Zine Fair. This whole scene is right up my alley, and I say, “Yes, please,” to more edgy arts programming featuring outsider artists and youthful rebellion.

But it seems a minority of guests decided to dishonor the spirit of the event by disrespecting the boundaries put into place by organizers.

Even neighbors who complained, like Mueller, said they were big supporters of the arts and that a lot of great art was on display inside the store — they wished the situation had played out differently, and they hope Sunday night’s grand finale proves more in control.

Mueller said that although organizers had painted over many of the tags, the situation at Johnie’s had not yet been remedied.

I’m Times Arts editor Jessica Gelt, and I’m here for all the colorful underground fun — and the angry dissent that often comes with it — but none of the destruction of property.

The week ahead: A curated calendar

FRIDAY
All My Sons
Oánh Nguyễn directs Antaeus Theatre Company’s production of Arthur Miller’s 1946 Tony-winning play about a Midwestern family facing a moral reckoning after World War II.
Through March 30. Kiki & David Gindler Performing Arts Center, 110 E. Broadway, Glendale. antaeus.org

Detail of a photo by Lou Bopp, seen in the documentary “All the Empty Rooms.”

(Netflix)

All the Empty Rooms
Photos memorializing the bedrooms of children lost to school shootings captured by photographer Lou Bopp and reporter Steve Hartman and featured in the Oscar-nominated documentary short film directed by Joshua Seftel, are on display at an outdoor installation.
Through Monday, Sunset Triangle Plaza, 3700 Sunset Blvd.

And What of the Children?
Writer-director Ryan Lisman’s play blends drama, dark comedy and horror in a psychological thriller about a trio of siblings in the Witness Protection Program.
Through March 15. The Broadwater Black Box, 6322 Santa Monica Blvd., Los Angeles. events.humanitix.com

Front and Center: Emerging Artists with the Colburn Orchestra
Salonen Fellows Mert Yalniz and Aleksandra Melaniuk will lead a varied program of concerto works spotlighting up-and-coming soloists. The performance will be live streamed.
7 p.m. Friday. Zipper Hall, 200 S. Grand. Ave., downtown L.A. colburnschool.edu

John Giorno in Andy Warhol’s “Sleep.”

(Andy Warhol/John Giorno Collection, John Giorno Archives. Studio Rondinone, New York, NY.)

Sleep
John Giorno, the subject of the exhibition “John Giorno: No Nostalgia,” stars in Andy Warhol’s 1964 five hours and 21-minute silent film. Free with a reservation.
5-10:30 p.m. Friday. Marciano Art Foundation, 4357 Wilshire Blvd., Los Angeles. marcianoartfoundation.org

SATURDAY

John Holiday in the title role of LA Opera’s 2026 production of “Akhnaten.”

(Cory Weaver)

Akhnatan
John Holiday stars in L.A. Opera’s production of Philip Glass’ portrait of the Egyptian pharaoh, sung in in English, Ancient Egyptian, Biblical Hebrew and Akkadian. Directed by Phelim McDermott and conducted by Dalia Stasevska making her company debut.
Through March 21, Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. laopera.org

Attacca Quartet and Theo Bleckmann
The versatile Grammy-winning ensemble teams with vocalist Bleckmann on David Lang’s “note to a friend,” a chamber opera based on three reimagined texts by Japanese writer Ryunosuke Akutagawa.
8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu

From Strand to Sculpture
A self-guided tour of the Japanese bamboo basketry exhibition will be followed by a lecture from bamboo art expert Robert Coffland, founder of TAI Gallery (now TAI Modern) in Santa Fe, N.M., and now president of the Santa Fe gallery Textile Arts Inc. The lecture is also available via Zoom.
4-7 p.m. Saturday. The Gamble House is located at 4 Westmoreland Place, Pasadena. gamblehouse.org

The Price
Richard Fancy, Dana Dewes, Jason Huber and Scott G. Jackson star in Arthur Miller’s late-period drama about two brother’s cleaning out their late father’s New York brownstone.
Through April 5. Pacific Resident Theatre, 703 Venice Blvd. pacificresidenttheatre.org

Pepe Romero Returns
The classical guitarist joins the Long Beach Symphony for a concert featuring ”Concierto de Aranjuez” by Joaquín Rodrigo, Gabriela Lena Frank’s “Elegia Andina” and movements from Handel’s “Water Music Suites.”
7:30 p.m. Saturday. Long Beach Terrace Theater, 300 E. Ocean Blvd. longbeachsymphony.org

Bud Cort in the 1971 movie “Harold and Maude,” screening March 15 at the Aero.

(CBS via Getty Images)

Starring Bud Cort
The American Cinematheque salutes the singular character actor, who recently died at 77, with screenings of Robert Altman’s “Brewster McCloud” (1970), Wes Anderson’s “The Life Aquatic With Steve Zissou” (2004) and Hal Ashby’s“Harold and Maude” (1971).
“Brewster McCloud”, 2 p.m. Saturday in 35mm. Egyptian Theatre, 6712 Hollywood Blvd.; “The Life Aquatic”, 3 p.m. March 14; “Harold and Maude,” 1 p.m. March 15 in 35 mm. Aero Theatre, 1328 Montana Ave., Santa Monica. americancinematheque.com

SUNDAY
Unassisted Residency
Every edition of erstwhile weatherman Fritz Coleman’s monthly comedy show features a special guest.
3 p.m. Sunday. El Portal Theatre, Monroe Forum, 5269 Lankershim Blvd., North Hollywood. elportaltheatre.com

TUESDAY
Camerata Pacifica
The ensemble performs a program that includes Madeleine Dring’s “Trio for Flute, Oboe and Piano,” the world premiere of David Brice’s “Natural Light,” Cécile Chaminade’s “Thème varié for Piano, Op. 89” and Antonín Dvořák’s “Quintet in A major for Piano and Strings, Op. 81,” arranged by David Jolley.
3 p.m. Sunday. Bank of America Performing Arts Center, Janet and Ray Scherr Forum, 2100 E. Thousand Oaks Blvd., Thousand Oaks; 7:30 p.m. Tuesday. The Huntington, 1151 Oxford Road, San Marino; 8 p.m., Thursday. Zipper Hall, 200 S. Grand Ave., downtown L.A.; 7 p.m. Friday. Music Academy of the West, 1070 Fairway Road, Santa Barbara. cameratapacifica.org

WEDNESDAY

Sara Porkalob, playwright and performer of “Dragon Mama.”

(Corey Olsen)

Dragon Mama
Writer-performer Sara Porkalob returns in Part II of her Filipina American “gangster” family’s intergenerational saga, “The Dragon Cycle,” this time centering her mother’s journey. Directed by Andrew Russell
Through April 12. Geffen Playhouse, 10886 Le Conte Avenue, Westwood. geffenplayhouse.org

THURSDAY
The Adding Machine
The Actors’ Gang performs Elmer Rice’s 1923 satire that provides a prophetic warning from the past for our present.
Through April 18. The Actors; Gang, 9070 Venice Blvd., Culver City. theactorsgang.com

Dante and Beethoven’s Sixth
Gustavo Dudamel conducts the L.A. Phil in Beethoven’s “Symphony No. 6 in F major, Op. 68 – Pastoral” and Thomas Adès’ “Inferno – Part 1.”
8 p.m. Thursday; 11 a.m. Friday; and 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Bill T. Jones/Arnie Zane Company
A remounting of the historic dance theater work “Still/Here,” created by Jones 30 years in the midst of the AIDS epidemic from interviews with terminally patients which he called “survival workshops.”
8 p.m. UCLA Royce Hall, 340 Royce Drive, Westwood. cap.ucla.edu

Arts anywhere

New releases of arts-related media.

Clockwise from top left, artists Candice Lin, Njideka Akunyili Crosby, Tomás Saraceno and Ragnar Kjartansson from “Art in the Twenty-First Century.”

(Art21, Inc.)

Art in the Twenty-First Century
Museums are fantastic, but do you ever want to know what’s going on right now in the art world? Since it debuted in 2001, this video series has focused on contemporary art and artists and has been a mainstay of public broadcasting. The second episode of the 12th season (they’re released biannually) debuted Feb. 11 and profiles four international artists, Njideka Akunyili Crosby, Ragnar Kjartansson, Candice Lin and Tomás Saraceno, who use ordinary materials to make extraordinary art. Of local note, Crosby and Lin both live and work in L.A., and the Huntington in San Marino makes an appearance as well. Watch at art21.org, YouTube and pbs.org.

(Princeton University Press)

Michelangelo & Titian
It may not have been a heated rivalry, but author William E. Wallace makes the case that the two great Renaissance artists drove each other to excel in a new dual biography subtitled “A Tale of Rivalry and Genius.” Princeton University Press: 248 pp., $35. press.princeton.edu

Japan’s Yuma Kagiyama competes in the figure skating men’s singles free skating at the 2026 Winter Olympics on February 13 in Milan, Italy.

(Robert Gauthier/Los Angeles Times)

Turandot: Christopher Tin Finale
The two-time Grammy-winning composer completed Giacomo Puccini’s famously unfinished final opera for this EP recorded at London’s Abbey Road Studios with an all-star cast. You may even have heard it during Japanese figure skater Yuma Kagiyama’s free skate program at the recent Winter Olympic Games in Milan (Kagiyama won silver for the second time). Not only was Milan Puccini’s hometown, but the Games coincided with the 100th-anniversary of the premiere of the opera at Teatro La Scala. Tin Works: $12-30. Available on vinyl, CD, digital download and streaming platforms. christophertin.com

— Kevin Crust

Culture news and the SoCal scene

Frieze Los Angeles returned to the Santa Monica Airport on Feb. 26.

(Casey Kelbaugh / Courtesy of Frieze and CKA)

Art Week is here, and L.A. is overflowing with guests, artists and dealers from around the world as the city stages a wide variety of fairs, exhibitions, dinners and other arts events. The Times put together a handy guide to all the fairs you need to see, including Frieze, Butter LA and the Other Art Fair.

Freelancer Jane Horowitz wrote an in-depth piece about Frieze’s “Body & Soul,” a public art program of eight installations designed to reach beyond traditional art fair audiences. The story gives information about site-specific installations and the artists behind them, including Patrick Martinez. Amanda Ross Ho and Kelly Wall.

Kara Walker, “Unmanned Drone,” 2024, bronze

(Ruben Diaz)

Earlier this week, MOCA announced it had acquired 158 works by 106 artists in 2025 and that it had acquired the centerpiece of its current blockbuster “Monuments” exhibit: “Unmanned Drone,” by artist Kara Walker. “Walker created the 13-foot-tall bronze sculpture out of a statue of the prominent Confederate Gen. Stonewall Jackson that was originally in Charlottesville, Va. The statue had been removed after serving as a significant gathering place for the infamous 2017 Unite the Right rally of white supremacists,” I wrote in a story about the acquisition.

Our major investigation into L.A. arts icon Judy Baca also published this week, featuring allegations by 10 former employees, including two managers, that Baca used her nonprofit arts center, SPARC, to benefit her private, for-profit art practice, Judy Baca Inc. They also alleged Baca personally benefited from a $5-million Andrew W. Mellon Foundation grant to expand her most famous work, a community-driven effort known as “The Great Wall of Los Angeles.”

Alexander Hurt, left, Katie Holmes and Charlie Barnett in “Hedda Gabler.”

(Rich Soublet II)

Times theater critic Charles McNulty headed to San Diego’s Old Globe to catch Katie Holmes in a new take on Henrik Ibsen’s “Hedda Gabler” written by Erin Cressida Wilson “that compresses the action and sharpens the language to a razor’s edge.”

McNulty also caught Guillermo Cienfuegos’ “enlivening, if at times unsteady,” production of Shakespeare’s “Richard III” at A Noise Within. “Cienfuegos is a font of directing ideas, but his work here could use more editing. He plays up the comedy, which is as much a part of the play as its violence. But sometimes the actors overdo it,” McNulty writes.

“Beethoven’s ‘Missa Solemnis’ is a grand mass for large orchestra, chorus and four vocal soloists that lasts around 80 minutes,” writes Times classical music critic Mark Swed in his review of Gustavo Dudamel and the L.A. Phil’s performance of the challenging piece. “It was written near the end of Beethoven’s life and is his most ambitious work musically and spiritually.” The concert at Disney Hall was part of Dudamel’s “month-long L.A. Phil focus on Beethoven.”

Urban Light at LACMA

(Deborah Vankin / Los Angeles Times)

The Los Angeles County Museum of Art announced that its partnership with Hyundai Motor Co. will continue until 2037. The union was first cemented in 2015, and the museum said in a news release that it “represents the largest programmatic commitment from a corporate partner in LACMA’s history.” The announcement included two initiatives “that will define the next chapter” of collaboration. “The first initiative is a new exhibition series under the title ‘Hyundai Project.’ Beginning in 2028, the museum will present a biennial survey of an artist with significant ties to Los Angeles and the Pan Pacific region. The featured artist will also develop a large-scale banner for the exhibition that will be installed on the exterior of the Broad Contemporary Art Museum (BCAM). Secondly, with Hyundai Motor’s renewed support, LACMA will expand the scope, visibility, and impact of the Art + Technology Lab,” the release noted.

Segerstrom Center for the Arts is celebrating its 40th anniversary season and has announced its 2026–27 Broadway season featuring 11 shows, six of which are Orange County premieres. The season kicks off with “Beauty and the Beast,” followed by “The Outsiders,” “Water for Elephants,” “Book of Mormon,” “Jersey Boys,” “The Who’s Tommy,” “Buena Vista Social Club,” “Waitress,” “The Great Gatsby,” “Maybe Happy Ending” and “Death Becomes Her.”

— Jessica Gelt

And last but not least

Olympic Gold-winning U.S. figure skater Alysa Liu is everybody’s favorite person these days. Now she has her own mural on Crenshaw Boulevard in Gardena.

PINKPANTHERESS has become the first woman and the youngest ever artist to be named the BRIT Awards’ 2026 Producer of the Year.

The 24-year-old is also nominated for two further awards; Artist of the Year and Dance Act, which will be revealed tomorrow.

Who is PinkPantheress?

PinkPantheress, real name Victoria Beverley Walker, is a British singer-songwriter and record producer.

Known for her unique, instantly recognisable music style that has been dubbed  “New Nostalgia”, the artist has picked up multiple awards for her music.

She was named Producer of the Year by Billboard Women in Music in 2024, whilst earning nominations for five Brit Awards and two Grammy Awards.

Her BRITs Producer of the Year nomination turned win marked her as just the second solo female musician to ever even be nominated for the award.

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With the previous nominee being Kate Bush in 1990. 

PinkPantheress burst onto the scene in late 2021 with the release of her first mixtape ‘To Hell with It’.

The mixtape contained singles “Just for Me” and “Pain“, which both peaked in the top 40 of the UK Singles Chart, winning her BBC‘s Sound of 2022 poll. 

One year later she released her hit single “Boy’s a Liar” which reached number two in the UK.

Her TikTok viral tune “Illegal” was released in 2025 as part of her second mixtape, Fancy That, which earned two Grammy nominations and reached number three on the UK Albums Chart.

What did she win a Brit Award for?

Last year, PinkPantheress shared the mixtape Fancy That and its companion remix project, Fancy Some More? 

Featuring songs like “Stateside” and “Illegal”, Fancy That consists of nine songs with a duration of 20 minutes.

Described by PinkPantheress herself as the “most tied together project” of her career, the mixtape quickly reached number three in the UK after its release.

Featuring artists like Zara Larsson, Anitta and Ravyn Lanae, remix album Fancy Some More? was released on October 10, 2025 through Warner Records, consisting of 31 songs.

Stacey Tang, 2026 BRIT Awards Committee chair and co-president of RCA Records UK, said: “PinkPantheress is both an inventive and instinctive voice in British pop right now.

“As a producer, she’s precise and playful, building bold, boundary expanding sounds that travel beyond the UK.

“She’s quietly reshaping what modern pop can be, and in doing so, opening the door for a new wave of female producers to step forward. Celebrating her at the BRITs is both timely and significant.”

That the “The Napa Boys” won’t be everyone’s cup of tea — or in this case, goblet of wine — almost feels like this meta comedy’s raison d’être. And to say its fusillade of jokes is hit-and-miss would also be a charitable take. They’re mostly miss, even if that, too, can seem like kind of the point.

Co-writers and co-stars Nick Corirossi and Armen Weitzman (Corirossi also directed) have assembled a series of scenes in search of a story, sending up pivotal moments from a hodgepodge of movies, some real (“Sideways,” “American Pie,” “The Lord of the Rings”), some invented. I’ll admit, it took a minute to understand what the filmmakers were doing (their grandiose statement in the movie’s press kit is purposely unenlightening) and, thus, for this grab bag of nonsense to sink in.

Still, once you realize what the heck it is you’re watching, you might just settle in for a more diverting — or less terrible — time than first expected. But the lower your entertainment bar, the better.

The barely-there plot finds a group of pals and wine aficionados, a.k.a. the Napa Boys, gathering in the California valley (Malibu subbed) for a screwball adventure that, among much else, will involve a coveted wine competition at something called the Great Grape Festival.

The hapless group includes its leader, the crassly horny Jack Jr. (Corirossi), sad-sack widower Miles Jr. (Weitzman), conflicted family man Kevin (Nelson Franklin), underdog vintner Mitch (Mike Mitchell) and a kinder, newer member known only — in an all-caps nod to “American Pie” — as Stifler’s Brother (Jamar Neighbors). Meanwhile, a devotee and “investigative podcaster,” Puck (Sarah Ramos), also joins the guys on their wayward journey.

The film’s goofy conceit is that this is the fourth installment of a Napa Boys movie series (based on nonexistent graphic novels), with the official on-screen title of “The Napa Boys 4: The Sommelier’s Amulet” (Dig that “Indiana Jones”-style font.) As a result, it unfolds as if the viewer is already intimate with a franchise’s culture and lore, dropping us smack into the thick of things with little, if any, context. Confused yet?

This ploy hands Corirossi (a former head creative at Funny or Die) and Weitzman a license to be as slapdash and surface as possible, which, it would seem, is also part of the picture’s wobbly in-joke. Because this alt comedy makes no bones about its characters or situations being even remotely logical or realistic, anything goes — and does. You sometimes wish it didn’t.

Case in point: After a meds mix-up, unruly Jack Jr. (he and Miles Jr. are always addressed with the suffix) unleashes his explosive diarrhea into a barrel of contest-qualifying wine, after which he “spontaneously” ejaculates into it. And then, natch, the judges must sample the concoction. It’s an awful, protracted sequence that begs the question, satire or not, is this truly the funniest bit they could hatch? (To be fair, it’s likely some viewers will, uh, eat it up.)

That aside, the film’s barrage of scenes, sketches, shout-outs and absurdist scenarios leading up to the climactic wine-making championship are largely harmless flights of farce. These involve sex, love, death, near-death, maybe incest, lots of wine tasting (why is the vino here iced-tea brown?) and a moose on the loose.

There are also rides in Jack Jr.’s showy “Wine Wagon” SUV (license plate: IH8MERLOT), beatific montages backed by swelling strings celebrating the “joys” of Napa Boys life (“To be a Napa Boy is to be free!”) and a surprise — and rather pointless — cameo by those other movie “brainiacs,” Jay (Jason Mewes) and Silent Bob (Kevin Smith). There’s also an anxious visit to Jack Jr.’s onetime hookup, the now-elderly sexpert called the Milfonator (Eve Sigall). Oh, and is that really iconic filmmaker and vintner Francis Ford Coppola as the wine competition’s “super-secret celebrity guest judge”? (Two guesses.)

All this inanity takes place over the course of a handful of days, during which no one ever seems to change clothes. Couldn’t Jack Jr. have packed at least two Hawaiian shirts?

And what of the title’s elusive sommelier (DJ Qualls of “Road Trip” fame) and his mystical green amulet? He makes an almost tacked-on, Yoda-like appearance, but it’s too little, too late.

The game if uneven cast includes Paul Rust (channeling Paul Reubens, with whom he co-wrote 2016’s “Pee-wee’s Big Holiday”) as Squirm, Mitch’s insufferably cruel wine-making rival; David Wain (who directed and co-wrote “Wet Hot American Summer,” another spoofy touchstone here) as the wine contest’s even-handed host; and playing the guys’ various love interests: Chloe Cherry, Vanessa Chester, Riki Lindhome and Beth Dover.

Reportedly shot in under 10 days, the film features such fun needle drops as the Supremes’ “You Can’t Hurry Love,” Gerry Rafferty’s “Family Tree” and, of all things to accompany a seduction scene, “The Girls of Rock ‘n’ Roll” sung by Alvin and the Chipmunks and the Chipettes. How this proudly low-budget effort managed to license those tunes is as curious as so much else in this ragtag oddity.

Simon Cowell, who was known for his brutal takedowns of fame-hungry hopefuls, is ‘back’ according to Britain’s Got Talent co-star Amanda Holden, who says his toned-down persona is gone

Amanda Holden believes her Britain’s Got Talent co-star Simon Cowell is back to his former, more straight-talking self, having ditched his “Mr Soft” act. As the ITV talent hunt gets underway, Amanda is glad to see the return of Simon’s infamous “one liners”, on the “chaotic” new series.

The new series, which began on 21st February, has already frustrated viewers at home. During the first episode fans were getting worked up over the ‘overuse’ of the infamous golden buzzer. As Ant and Dec reminded viewers at the start of the show, the golden buzzer is used when one of the judges deemed a contestant good enough to bypass the rest of the auditions and go straight through to the semi-final.

READ MORE:

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READ MORE: Britain’s Got Talent’s Simon Cowell hits golden buzzer after very dramatic audition

But while fans were already complaining, Amanda Holden has promised this series will be full of drama. As reported by the Mail, she explained: “Simon is back. He’s been Mr Soft in recent years, and I think it has a lot to do with the fact that KSI is so honest on the other end of the panel.”

Explaining he is done with ‘sugar coating’ his comments, she added: “I’m glad to see that Simon is no longer being soft serve ice-cream, although it was nice for a year or so!”

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Amanda says the new series “feels very loose and very chaotic”, with KSI helping the show thanks to his “succint” answers. Meanwhile “the old Simon” is back, with the Heart Radio host saying she is “loving” that Simon’s “one liners are better than ever”.

Simon has assured fans there will be “lots of surprises”, with more behind-the-scenes filming, letting the audience at home “behind the Wizard of Oz’s curtain”. But Amanda has recently admitted he “hated” one aspect of filming the new series.

The star was forced to step into head judge Simon’s role, after he had to miss filming after falling down some steps and hitting his head. The brief shake up saw Amanda thrust into head judge duties, with X Factor runner up Stacey Solomon joining the panel as a guest.

As reported by the Daily Star, Amanda explained: “I must admit I hated sitting in that seat! I’ve been on the show the longest, so I understand why I probably need to sit in that seat, but when I was there, I felt very outcast on the end.

“It’s okay if your team are sat to the left of you, Simon’s got dozens of staff and family watching from the side and communicating with him. Mine all decided to eat my snacks and sit in the dressing room paying no attention to the show or me whatsoever!

“Simon said to me, ‘You must have loved it. Did you feel powerful?’ I said I hated it because I had to keep leaning in to be part of the conversation. I never want to sit in that seat again! I’m juicy in the middle, it’s such a good spot.”

Elsewhere, talking about Stacey joining the judging panel, Amanda said: “She’s so lovely and I think we’ve got quite a similar style of judging.

“She’s warm, she’s super funny, she has a great understanding of what it’s like to be on the other side, because she obviously auditioned for The X Factor all those years ago.

“Even though she’s smashing it in the real world now, she’s very down to earth and doesn’t have an ego, so I think that worked really nicely for the day that she was pulled in. We’re all fans of her and her crafting is through the roof. If only I could be that type of mother!”

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LOTTIE Moss has revealed she’s in hospital for the second time this week, leaving fans worried.

The model, 28, who is the half-sister to Kate Moss, first revealed earlier this week that she was in hospital and shared a picture of her food in a medical boot.

However, she didn’t reveal what had happened to it.

Now, Lottie has taken to her Instagram Stories to reveal she’s back in A&E just days later.

Recording herself in the waiting area with boyfriend Themy Kalaitzis, Lottie had her hair bundled into a messy ponytail and a grey jumper on.

“Saturday dates,” art advisor Themy said to the camera, as Lottie laughed.

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She captioned the post: “Guess who’s back in A&E second time in 1 week”.

Lottie again didn’t divulge what is wrong or the reason behind her hospital visit.

However, she did seem to have a dishcloth wrapped around her hand, with Themy holding it securely on.

Just four days prior, Lottie snapped a picture of her foot in a medical boot and wrote “FML”.

The star revealed her new romance with Themy last month, with the pair posting loved-up Instagram Stories and TikTok videos since.

She was previously in a relationship with musician Evan Campbell, but they split in June 2024.

Lottie has followed in her half-sister’s footsteps with a modelling career, and was also a star of adult-only subscription site OnlyFans.

But in 2024, the star revealed she had quit the adult content website after falling out with her family over it.

She said: “I lost a lot of friends from the modelling industry.

“My mum didn’t speak to me for weeks and my family was a little bit in turmoil over it.”

THE BRIT Awards are back again tonight, and music fans will be excited to see if they are any shocking moments on the show.

While the award ceremony celebrates musical talent, the event hosted by Jack Whitehall, is also infamous for being host to an array of wild celebrity moments.

As we gear up for the likes of global hitmaker Alex Warren, pop legend Harry Styles and KPop Demon Hunters to take the stage this evening, we take a look back at the wildest moments that took place at the Brits over the years.

Danny Dyer shocked viewers as he dropped the c-word (2025)

EastEnders legend Danny, 48, was chatting with host Jack Whitehall, 37, when he made the X-rated blunder, forcing producers to mute the audio.

The actor was discussing his new film Marching Powder when he struggled to find the right words to describe it without getting himself into trouble.

And, while Danny’s comments didn’t make the airwaves in their entirety, The Sun captured it all from the crowd.

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“It’s basically Bridget Jones, but with the word c**t,” he quipped, leaving Jack scrambling to remind him, “Danny, like when I said say anything, not bad words, obviously.”

Producers silenced some of his comments, swiftly cutting to an ad break before things got even worse.

Lewis Capaldi’s sweary speech (2021)

The singer, 29, appeared at the O2 to present the award for British Album of the Year.

However his speech had to be muted due to the amount of swear words he used.

Lewis said to the audience: “Hello motherf***ers! Listen guys… I’m f***ing sweating – it’s like a swamp down there, I’m telling you. Sweaty b****cks.”

He added: “It’s been a great year for albums….

“Most of all because I haven’t f***ing released one!”

The award was given to Dua Lipa for her album ‘Future Nostalgia’.

Jack Whitehall and Little Mix (2019, 2021)

Jack has had a couple of awkward moments with Little Mix at the awards ceremony.

In 2019 he brought up a comment about the girls made by Piers Morgan after they posed nude.

Jack asked Leigh-Anne Pinnock, Perrie Edwards, Jesy Nelson and Jade Thirwall: “What would you say to that dutty wasteman?”

The girls were left lost for words, with him adding: “What? I want some beef at some Brits.”

Then in 2021 he chatted to the band again, but this time as a trio after Jesy Nelson left in 2020.

Leigh-Anne and Perrie proudly showed off their growing baby bumps, to which Jack said: “The next question on my card is, “What do you do to pass the time in lockdown?”

“He went there, he actually went there,” Leigh-Anne joked back.

Madonna’s cape fail (2015)

Madonna took a tumble down a flight of stairs at the 2015 awards, she later blamed the fall on the design of the cape she had been wearing.

But the cape’s designer, Giorgio Armani claimed that the cape was originally designed with a hook – but Madonna has requested a tie.

He said:  “Madonna, as we all know, is very difficult. That’s all there was to it.”

Liam Gallagher vs. Peter Kay (2010)

At the 2010 ceremony, the Oasis frontman made a surprise appearance to accept his award for Best Brits album of the past 30 years – but then went on to give a rambling and foul-mouthed acceptance speech.

Liam then threw his microphone into the crowd, causing a 10 minute delay.

Host comedian Peter Kay eventually got back on stage where he referred to the Oasis member’s actions by saying: “What a k***head.”

Brian McFadden vs. So Solid Crew (2002)

This may not be on of Brian’s best thought out moments, but reportedly the then-Westlife singer threw a bottle of water over all 24 members of So Solid Crew backstage at the 2002 awards.

Apparently, he’d consumed two bottles of vodka and eight cans of Red Bull before he decided it was a good idea.

We don’t think either of the band’s would have been happy about that.

Robbie Williams vs. Liam Gallagher (2000)

Who could forget the time that Robbie used his acceptance speech to offer Oasis singer Liam Gallagher a fight?

In 2000, Rob famously used his Brit Awards acceptance speech to offer to fight Liam, leading the rocker to call Rob a “fat f***ing idiot”.

Robbie said: “So, anybody like to see me fight Liam?

“Would you pay to come and see it? Liam, a hundred grand of your money and a hundred grand of my money.

“We’ll get in a ring and we’ll have a fight and you can all watch it on TV, what d’you think about that?”

Robbie was quickly escorted away from the stage.

Ronnie Wood and Brandon Block (2000)

In one of the most awkward moments in the history of the Brits, dance DJ Brandon Block was so drunk that when his friends joked that he had won an award he staggered onto stage to accept it – interrupting rock legend Ronnie Wood’s speech.

Brandon was pulled back but broke free from security and squared up to the Rolling Stone’s rocker.

Ronnie then retaliated by throwing a drink in his face.

After Nexstar Media Group announced layoffs at KTLA-TV this week, some viewers have expressed shock and dismay over losing several longtime local broadcast journalists at the station.

The cuts included KTLA weatherman Mark Kriski, weathercaster Kacey Montoya, midday anchors Lu Parker and Glen Walker and reporter Ellina Abovian. The layoffs come as Nexstar attempts to cut costs and pursues a merger with rival media company Tegna.

Abovian, who was a general assignment reporter at the station, reflected on the layoffs on social media, saying in a video posted to Threads on Thursday that she was “blindsided,” and that the cuts were “part of corporate restructuring.”

“Corporate layoffs are a part of life and this is just the game of life. They’re impacting people across multiple industries right now, so I’m not the only one, and my situation certainly isn’t unique,” said Abovian, who worked at the station for more than a decade. “But it’s hard to process, considering how it happened.”

Some viewers and fellow journalists have also expressed their disappointment.

CNN anchor Elex Michaelson responded on X, writing, “Mark Kriski is an L.A. broadcasting icon. As a kid, the OG KTLA Morning News crew (Carlos, Barbara, Mark, Sam, Eric, Gayle, etc) inspired me to want to be a journalist. I have great respect for Glen, Lu, Kacey, and Elina as well … all great people … and talented broadcasters.”

Each of the laid-off journalists had been with the station for a number of years. Kriski had been with KTLA since 1991, and Walker sat at the station’s anchor desk since 2010. Parker joined KTLA in 2005.

KTLA morning news anchor Frank Buckley addressed the situation before continuing with the broadcast Thursday.

“As you probably know, we are extremely limited in what we can say,” Buckley said. “But if you are a regular viewer of this program and of this TV station, you also know that we are a family here. We consider you to be part of that family. And when family members experience tough times, we all feel it. So this is a difficult time for us. And we will go through it together.”

SAG-AFTRA, which represents the laid-off journalists, issued a release on Wednesday condemning the cuts. The guild disclosed that it is “actively bargaining with Nexstar stations in multiple markets.” It accused Nexstar of pushing “to gut severance pay and insert onerous provisions into the union contract that limit workers’ ability to freely negotiate the terms of their own employment.”

“By laying off journalists across the country, Nexstar is eroding the resources and talent that local communities rely on for trusted news,” said SAG-AFTRA’s President Sean Astin in the release. “These actions highlight the risks of media consolidation and underscore the urgent need for regulators and the company to prioritize the public interest and the professionals who serve it.”

Nexstar operates 201 stations in 116 local markets in the U.S., reaching 70% of American households. It is the largest TV station ownership group in the U.S. Tegna owns television stations in 51 U.S. markets. Following the pending $6.2-billion merger, the standing company will have 265 stations, representing 80% of U.S. TV households.

President Trump has expressed his support for the deal in a social media post earlier this month.

He wrote, “Letting Good Deals get done like Nexstar – Tegna will help knock out the Fake News because there will be more competition, and at a higher and more sophisticated level. Those that are opposed don’t fully understand how good the concept of this Deal is for them, but they will in the future.”

A bartender who worked at Soho House’s exclusive Soho Warehouse in downtown Los Angeles is alleging a supervisor at the posh membership club and hotel drugged and raped her, according to a lawsuit filed in Los Angeles Superior Court on Wednesday.

The woman, who filed as Jane Doe, said in her complaint that she was “subjected to repeated sexual advances and unwelcomed physical touching” by one of her supervisors, Leonard Marcelo Vichique Maya, immediately after she began working as a bartender at Berenjak, the club’s restaurant, in September 2025.

Doe is suing Vichique Maya, Soho House, Soho House Los Angeles and Soho Warehouse for sexual harassment, retaliation and other claims..

“This is as egregious an instance of callous corporate indifference to workplace sexual violence that anyone can experience,” said her attorney Nick Yasman of Los Angeles-based West Coast Trial Lawyers in a statement.

Representatives for Soho House and Vichique Maya were not immediately available for comment.

Doe has further alleged that Vichique Maya made “numerous comments” about her appearance, propositioned her to be his “hook-up buddy” and told her that she “would be pregnant by now” had they met earlier, all within earshot of her supervisors and colleagues.

After two weeks on the job, Doe said that she reported Vichique Maya’s conduct to two male supervisors, including Soho House’s floor manager and food and beverage director, states the complaint, but “neither took any semblance of corrective or investigatory action.”

According to the suit, Doe claims that despite “his pattern of harassing behavior and complaints,” the company, did not address his alleged misconduct. ”

She claims his behavior escalated after a “team-bonding” work event on Sept. 13, where Doe said she became disoriented after drinking with supervisors and co-workers, eventually losing consciousness, and woke up naked in Vichique Maya’s apartment.

“Paralyzed and speechless despite her consciousness slowly returning, Plaintiff was condemned to simply watch in horror as [sic] MARCELO repeatedly raped her inanimate body,” states the suit.

The next day, Doe said that she reported to her floor manager that Vichique Maya had “sexually assaulted her.”

She said her general manager “confirmed” that he “appeared to be preying” on her during the work event, telling her that “These things happen between coworkers.”

When she proclaimed that she could no longer work with Vichique Maya,” she said the general manager dismissed her concerns telling her: “I have a restaurant to run; I can’t have it blow up on me.”

Despite informing three managers that she was “raped,” Doe said she was continuously scheduled to work shifts with Vichique Maya during which he repeatedly sexually harassed her.

In December, Doe filed a complaint with Soho House human resources, and she was assured that an investigation would be opened and “immediate corrective action” taken.

However, during the investigation, Doe said that she was placed on indefinite leave while Vichique Maya continued working. A month later, she was informed the company had completed its investigation and found her report of rape “was uncorroborated” and he “would not be disciplined.”

In February, the plaintiff said that she was forced to quit her job.

One of the first, exclusive members-only social clubs, Soho House debuted in London in 1995 and quickly became the bolt-hole of choice for celebrities and the deep-pocketed. It expanded globally with 48 houses in 19 countries.

It drew high-profile investors, including Ron Burkle through his investment fund Yucaipa.

In 2021, the company filed for an initial public offering on the New York Stock Exchange, but it has faced financial challenges. .

Last year, Soho House went private, selling itself to a group of investors including Apollo Global Management and actor Ashton Kutcher, who also joined its board of directors, at a $2.7-billion valuation.

On Monday, Flav offered “a real celebration” for the women’s team.

“If the USA Women’s Hockey team wants a real celebration and invite ,,, I’ll host them in Las Vegas,” Flav wrote on social media. “Do some nice dinners and shows and good times. I’m sure I can get a hotel and airline to help me out here and celebrate these women for real for real.”

He added: “But I gots to invite my Bobsled + Skeleton team too.”

The idea has only grown bigger.

“Letz go even bigger and better,” Flav wrote Tuesday. “ALL Female US Olympians and Paralympian medalists are invited out to celebrate in Viva Las Vegas for the SHE GOT GAME Weekend ,,, Hit a guy up and LETZ GOOO.”

On Thursday, Flav announced the event would be held July 16 to 19 in partnership with MGM Resorts and the Gist sports media brand.

“I wanna give a special shout out to MGM Resorts,” Flav wrote. “many people offered to help the hockey team,,, but when I said I wanted to include ALL women who earned medals from the winter games + USABS,,, they didn’t hesitate and stepped up to be REAL partners with 100+ rooms.”

He added: “They also offered food and hospitality, spa, ground, event space, after parties, and to host the parade and party for the PUBLIC to celebrate our women for FREE.”

MGM Resorts confirmed Friday that it is hosting the event.

“Planning is underway and details will be shared soon as we get ready to celebrate our incredible USA athletes in a way only MGM Resorts knows how: world-class hospitality, high-energy fun, and memorable experiences,” the company said in a statement emailed to The Times.

Mexican writer-director Michel Franco (“Memory”) explores dynamics of money, class and the border through the spiky, unsettling erotic drama “Dreams,” starring Jessica Chastain and Isaac Hernández, a Mexican ballet dancer and actor.

In the languidly paced movie, Franco presents two individuals in love (or lust?) who experiment with wielding the power at their fingertips against each other. The film examines the push-pull of attraction and rejection on a scope that’s both intimate and global, finding the uneasy space where the two meet.

Chastain stars as Jennifer McCarthy, a wealthy San Francisco philanthropist and socialite who runs a foundation that supports a ballet school in Mexico City. But Franco does not center on her experience, but that of Fernando (Hernández), whom we meet first escaping from the back of a box truck filled with migrants crossing the U.S.–Mexico border. He’s abandoned in San Antonio on a 100-degree day.

His journey is one of extreme survival, but his destination is the lap of luxury: a modernist San Francisco mansion where he makes himself at home and where he’s clearly been before. A talented ballet dancer who has already once been deported, he’s risked everything to be with his lover, Jennifer, though, as a high-profile figure, she’d rather keep her affair with Fernando under wraps. He’s her dirty little secret but he’s also a human being who refuses to be kept in the shadows.

As Jennifer and Fernando attempt to navigate what it looks like for them to be together, it seems that larger forces will shatter their connection. In reality, the only real danger is each other.

The storytelling logic of “Dreams” is predicated on watching these characters move through space, the way we watch dancers do. Franco offers some fascinating parallels to juxtapose the wildly varying experiences of Fernando and Jennifer — he almost dies of thirst and heat stroke; she arrives in Mexico on a private plane, but both enter empty homes alone, melancholy. During a rift in their relationship, Fernando retreats to a motel, drinking red wine out of plastic cups with a friend in his humble room, ignoring Jennifer’s calls, while she eats alone in her darkened dining room, sipping out of crystal.

These comparisons aren’t exactly nuanced but they are stark and, for most of the film, Franco just asks us to watch them move together and apart, in a strange, avoidant pas de deux. Often dwarfed by architecture, their distinctive bodies in space are more important than the sparse dialogue that only serves to fill in crucial gaps in storytelling.

Cinematographer Yves Cape captures it all in crisp, saturated images. The lack of musical score (beyond diegetic music in the ballet scenes) contributes to the dry, flat affect and tone, as these characters enact increasing cruelties — both emotional and physical — upon each other as a means of trying to contain each other, until it escalates into something truly dark and disturbing.

Franco loses the plot of “Dreams” in the third act. What is a rather staid drama about the weight of social expectations on a relationship becomes a dramatically unexpected game of vengeance as Jennifer and Fernando grasp at any power they have over the other. She fetishizes him and he returns the favor, violently.

Ultimately, Franco jettisons his characters for the sake of unearned plot twists that leave the viewer feeling only icky. These events aren’t illuminating and feel instead like a bleak betrayal. The circumstances of the story might be timely, but “Dreams” doesn’t help us understand the situation better, leaving us in the dark about what we’re supposed to take away from this story of sex, violence, money and liberty. Anything it suggests we already know.

Katie Walsh is a Tribune News Service film critic.

MUCH-LOVED Australian actress Lorraine Bayly has died at 89.

The Sullivan’s star died in her Sydney care home on Saturday morning.

Lorraine’s close friend, journalist Craig Bennett confirmed her death to 2GB on behalf of her family.

She was best known for starring in The Sullivans as Grace and presenting popular children’s show Playschool.

The hit show ran from 1976 to 1983.

After leaving The Sullivans, Lorraine took on a role that had been speficially written for her.

She played solicitor Jennifer Carson in Carson’s Law.

In a heartbreaking social media post, the actresses’ friend Craig called Lorraine a “showbiz legend, a bona fide star of stage and screen, a triple Logie winning TV treasure and beautiful friend to many”.

He noted that the award-winning actress only retired 10 years ago.

BELOVED actor Robert Carradine’s death has been ruled a suicide, as tear-jerking tributes pour in for the late star.

The Lizzie McGuire lead tragically died on Tuesday following a decades-long battle with bipolar disorder.

Citing the Los Angeles County Medical Examiner’s Office, Page-Six reported the cause of Carradine’s death was sequelae of an anoxic brain injury resulting from hanging.

Sequelae are conditions resulting from a prior disease, injury, or attack.

Robert’s body has been released to his family.

“It is with profound sadness that we must share that our beloved father, grandfather, uncle, and brother Robert Carradine has passed away,” the family said in statement announcing the heartbreaking news.

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“In a world that can feel so dark, Bobby was always a beacon of light to everyone around him.

“We are bereft at the loss of this beautiful soul and want to acknowledge Bobby’s valiant struggle against his nearly two-decade battle with Bipolar Disorder.

“We hope his journey can shine a light and encourage addressing the stigma that attaches to mental illness.”

Older brother and fellow actor Keith Carradine added that the family wished to shed light on Robert’s condition and bring awareness to mental health.

Robert was first diagnosed with the illness after his brother David died by asphyxiation in 2009.

“We want people to know it, and there is no shame in it,” Keith said.

“It is an illness that got the best of him, and I want to celebrate him for his struggle with it, and celebrate his beautiful soul.

“He was profoundly gifted, and we will miss him every day.

“We will take solace in how funny he could be, how wise and utterly accepting and tolerant he was. That’s who my baby brother was.”

Robert got his big break with a role in Revenge of The Nerds in 1984, starring as head nerd, Lewis Skolnick.

He went on to find a new generation of fans starring in Disney Channel’s Lizzie McGuire, as Sam McGuire, dad of the title character.

His co-star Hilary Duff released a heartbreaking tribute to the actor, writing that she “always felt so cared for by my on-screen parents”.

She wrote in a tearjerking Instagram post: “This one hurts. It’s really hard to face this reality about an old friend.

“There was so much warmth in the McGuire family and I always felt so cared for by my on-screen parents.

“I’ll be forever grateful for that. I’m deeply sad to learn Bobby was suffering.

“My heart aches for him, his family, and everyone who loved him.”

Robert’s daughter, Ever Carradine, shared an emotional statement on Instagram, writing that the late actor “was all heart”.

She wrote: “My sweet, funny dad, who’s only 20 years older than I am, who never missed an opportunity to drive me to the airport or tell me how much he loved my homemade salad dressing, is gone.

“Whenever anyone asks me how I turned out so normal, I always tell them it’s because of my dad.

“I knew my dad loved me, I knew it deep in my bones, and I always knew he had my back.”

Ever added: “My dad was a lover, not a fighter. He was all heart, and in a world so full of conflict and division, I think we can all take a page out of his book today, open our hearts and feel and share the love.”

Robert was born in Los Angeles to actress and artist Sonia Sorel and actor John Carradine.

He began acting as a child star, appearing in The Cowboys with John Wayne in 1972.

The late actor is survived by three children and his brother Keith, who is known for playing Tom Frank in the 1975 film Nashville.

If you or someone you know is affected by any of the issues raised in this story, call or text the 988 Suicide & Crisis Lifeline at 988, chat on 988lifeline.org, or text Crisis Text Line at 741741.