show biz

Dua Lipa and Callum Turner are writing a new chapter in their romance, tying the knot two years after a meeting that would make most bookworms swoon.

The Grammy-winning “Levitating” pop diva, 30, and “Eternity” actor, 36, exchanged their vows Sunday morning at the historic Old Marylebone Town Hall in Westminster, London, officials confirmed to the Associated Press. The Daily Mail published photos of the newlyweds all smiles and hand-in-hand descending town hall steps. Callum was spotted wearing a navy suit as his bride donned a custom Schiaparelli skirt suit, white gloves and a wide-brimmed hat, according to the Daily Mail. The singer also wore white Louboutin heels and a serpentine necklace by Bulgari.

Lipa and “Masters of the Sky” star Turner began dating in January 2024, after numerous missed opportunities. Turner told the Times of London in October 2025 that he and his now-wife (“I just thought she was the most beautiful woman in the world”) first met in Los Angeles before a mutual friend’s birthday and struck up an instant connection. “We sat next to each other and realized we were reading the same book, which is crazy,” Turner said.

Lipa runs her own book club and blog, titled Service95, and announces the selected reads on Instagram. When they met, the bookworms-turned-lovebirds were each making their way through Hernán Díaz’s “Trust.”The novel won the Pulitzer Prize for fiction in 2023.

“I had just finished the first chapter and I told her and she looked at me and said, ‘I just finished the first chapter too.’ I said, ‘So we’re on the same page,’” he told the Times. “In the movie version of it I look up to the sky and I’m like, ‘I hear you. I understand. The signs are loud, don’t worry.’ And that was really the first [moment].”

Lipa hard-launched her romance with Turner on Instagram in July 2024, sharing photos from Glastonbury. Over the following years, the singer continued sharing photos of sweet moments between herself and Turner, who does not have an Instagram account, and the pair were spotted together at numerous public events including the 2025 Met Gala. In December 2024, Lipa posted photos featuring a diamond ring on her left ring finger, spurring engagement chatter. After months of flaunting the ring on social media posts, Lipa confirmed the engagement to British Vogue in June 2025.

“It’s very exciting … This decision to grow old together, to see a life and just, I don’t know, be best friends for ever — it’s a really special feeling,” she told the outlet at the time.

SOAP couple Nikki Sanderson and Anthony Quinlan have finally revealed their baby son’s name, and the sweet meaning behind it.

The couple welcomed their first child, a baby boy, in April – just four months after they revealed they were expecting.

At the time, they revealed the news with a monochrome snap and simply dubbed him their ‘little man’.

But now, Hollyoaks actress Nikki and fellow soap star Anthony have revealed their baby boy is named Anthony James Quinlan.

Anthony Jr not only shares the same name as his dad, but Nikki told OK! Magazine that his middle name, James, is an ode to her brother.

“Two very special men,” she explained.

Girls’ night out

Christine McGuinness leaves awards show with Towie’s Demi Sims

main man

Truth behind KSI’s exit from The Sidemen as ‘blindsided’ crew’s next step revealed

With two Anthonys at home, things are bound to get confusing, as new dad Anthony says the family are already working ways around it.

He told the publication: “Different members of our family and friends have all started calling him different things. 

“A couple of people call him AJ, some Tony. I used to get called Toe, so he’s little Toe as well. I love the fact that he’s got my name.”

Nikki and Anthony first announced they were expecting a baby with a sweet post at Christmas time.

Sharing a video on Instagram, the caption read: “Merry Christmas from the 3 of us. Baby Quinlan due Spring 2026.”

In the clip, the couple were seen decorating their Christmas tree together, adding baubles, before opening a box and unveiling the most important decoration of all.

The tree ornament included a photo of the baby scan and read: “Baby Quinlan: Arriving 2026.”

Nikki and Anthony got together in 2022, going public with their romance in April of that year.

Last year, Nikki stepped away from her role of Maxine Minniver in Hollyoaks, one she had held since 2012.

But before that, she began her soaps career on Coronation Street, where she played feisty hairdresser Candice Stowe.

Just like the mother of his child, Anthony is also a soap star and is known for playing Gilly Roache in Hollyoaks, and Pete Barton in Emmerdale.

AFTER returning to Instagram Katie Price has found herself with one less loyal follower – her husband Lee Andrews.

Katie was previously left fuming after her account with a whopping 2.6 million followers was removed from the platform.

The ban came at a tumultuous time for the former glamour model, following a man hunt for Lee, who is currently thought to be jailed in Dubai’s Al Awir prison.

But after regaining access to her page earlier today, she was met with a mystery.

Katie’s conman hubby Lee has hit the unfollow button on the star, something that usually points towards trouble in paradise.

Lee now follows nobody over on the app.

NO SHAME

I was first to interview Lee Andrews — his reaction proves he’s out for himself

PRICEY IS BACK

Katie Price RETURNS to Instagram after being locked out & investigated

Things between the pair have certainly been a rollercoaster these past few weeks as she claimed to have told him he was the “most hated man in Britain” over the phone.

The reality TV legend told fans last week that she and Lee had a two-minute phone call from which he dialled in from a prison call box.

Lee claimed he’d been detained on suspicion of spying but that lie was quickly debunked.

Authorities confirmed to us he was NOT being held over spying charges and we understand he’s behind bars over claims relating to a private, civil matter.

Lee, who has “three phones” and bragged about being an “arms dealer,” is due for release today but must pay a four-figure fine.

The self-confessed “businessman” has certainly fuelled speculation on his relationship with Katie after savagely unfollowing her.

She was furious with Lee when he “made her look a d**k” after failing to show up for their joint GMB interview but this could be the ultimate betrayl.

Podcast host Katie had her Instagram account taken away over the weekend due to her flashing her boob in one post, alongside a flurry of promotions for CBD products.

Meta, the company behind the social media giant, removed her entire profile as it investigated.

Execs are understood to have analysed her posts and stories, and found no wrongdoing, hence why her profile has now returned.

Twenty pages into “There’s Only One Sin in Hollywood” by bestselling Pasadena author Rasheed Newson, I had to stop reading. Not because the story and characters were anything less than gripping —I was utterly transfixed. Not because I was unmoved by the setting, the 1950s version of the iconic landmarks where today’s Angelenos, myself included, work, play, eat and drink: Griffith Park, the L.A. Central Library, the Paramount Pictures lot, the Roosevelt Hotel, the Tam O’Shanter in Atwater Village and the Black Cat in Silver Lake, site of America’s first queer riot, also depicted in the book.

No, it was writerly admiration — OK, envy — that stopped me. As I turned the pages, I kept scribbling the same question in the margins. “How did Newson do this?”

How did Newson, author of the 2022 bestseller “My Government Means to Kill Me” and a producer/writer on such popular TV series as “The Chi” and “Bel-Air,” craft a novel populated with a seamless mix of real and invented characters, each with their own true or fictional backstory, personality, career vicissitudes, sartorial style and sexual proclivities, adhering simultaneously to both his novelistic timeline and historically accurate events?

How did Newson seat his fictional protagonist — Aaron Touissant, a Black, closeted gay Hollywood “fixer” employed by Skyline Studios to keep queer actors’ secrets secret — at the same Beverly Hilton ballroom table with Sidney Poitier, Diahann Carroll, Harry Belafonte, Sammy Davis Jr., Lena Horne, Ruby Dee, Ossie Davis, James Edwards, Eartha Kitt and Xavier Barlow, Newson’s invented Black gay movie star who is Skyline’s greatest hope and Touissant’s principal client?

I couldn’t read another page without knowing, and those unread pages were calling to me. So I called Rasheed Newson, whom I’d seen around the L.A. lit scene but had never met, and asked how he’d made the magic of his novel happen.

“I wanted to do a deep dive into Black queer history during the Golden Age of cinema,” Newson said. “The first thing that came to me was Xavier’s character. I decided to make him the 10-years-younger, queer rival of Sidney Poitier, to highlight the acceptable versus unacceptable — meaning, straight versus gay — 1950s Black movie star.

“I read a lot of books on Hollywood’s golden era,” Newson said. “But I was trying to get closer to what people were thinking at the moment, rather than what they reflected back on later. Only newspapers give you that. So I spent hours and hours in the downtown L.A. public library, poring over microfiche, reading the newspapers of the time.”

Author Rasheed Newsom.

(Mariah Tauger / Los Angeles Times)

I asked Newson about the titular “one sin in Hollywood.”

“That sin is disobedience,” he said. “Particularly when your disobedience threatens to upend how the business makes money. In Hollywood you can be an addict, be a philanderer, be outspoken. But don’t disrupt the cash flow.”

Newson’s plot and characters serve the novel’s thesis well. We meet Aaron Touissaint as a brutally bullied “sissy” in a small, small-minded Ohio town. Aaron escapes his torturers, first by rooting himself in the town’s only movie theater open to Black people, and then by lying about his age and enlisting in the Navy at 16. On the Korean battle front, Aaron becomes the aide and the lover of superstar fighter pilot and “model Negro” Horace Dixon. When the war ends and Skyline Studios buys the screen rights to Horace’s life story, Aaron follows Horace to Hollywood.

The movie is canceled. Horace leaves Hollywood and a heartbroken but determined Aaron behind. Hired as a Skyline security guard, Aaron is promoted to fixer, keeping himself and Skyline’s A-listers closeted by any means necessary. To that end, Aaron marries Kimberly, who becomes his poised, self-contained “beard.”

At the top of Aaron’s client roster is Xavier Barlow, Skyline’s new, hot rising star and Aaron’s new, hot crush. “The bond between us was never conventional,” narrator Aaron tells us. “Off and on for nearly a decade, it was my duty to keep [Xavier’s] nose clean. … He challenged me to admit who and what I am. And I fell in love with him.”

As secret same-sex love stories all too often do, Aaron’s love for Xavier, and Xavier’s one-man campaign to mitigate Hollywood’s homophobia, come to a tragic and suspicious end. Soon after Xavier publicly protests the studio’s homophobic rewrite of a movie script he intended to serve as his coming-out announcement, a truck crashes into his car on Wilshire.

“This was no accident,” Aaron realizes. “Xavier was hunted down.” With his best friend, Diahann Carroll, and a sizable contribution from Sidney Poitier, Aaron organizes the funeral, attempting to redeem the reputation he was hired to protect. “The news reports following Xavier’s death impeached his character,” Aaron says. “The implication was that gay men naturally had messy lives and untimely deaths. … Confidential magazine went as far as to print that “the driver of the truck [that killed Xavier] could well have been one of Xavier’s spurned male lovers.”

“Furious at the coverage,” Aaron narrates the story, “Diahann asked me, ‘Why don’t they print the lovely things I have to say about Xavier?’ ”

“I said, “They never will. Xavier fought the studio, and everything you’re reading is part of his punishment.”

The erasure of gay Black Hollywood is really the point of this imaginatively crafted, stunningly tense, historically significant sophomore novel. Newson’s impressive gifts for story, for writing the erotic and the noir, and for rooting himself in his adopted city are on magnificent display here. By smoothly merging the true and the invented stories and characters of 1950s Hollywood, Newson alerts us to the increase in racism and homophobia evident in the entertainment business, and in the U.S., today.

Rasheed Newson will talk with novelist Laura Warrell at Octavia’s Bookshelf at 6 p.m. Monday, and with writer Manuel Betancourt at Skylight Books. at 7 p.m. June 24.

Maran, a Silver Lake-based author, has written “The New Old Me” and other books.

Maybe you can use a laugh this morning. Maybe you’re still deep in your feelings, thinking about the “Hacks” series finale and that shot of Hannah Einbinder looking at Jean Smart on the dance floor, grief seeping into her eyes. Maybe you’re lamenting the chaos at our treasured national parks. Hell … maybe you took out a loan to buy a tomato over the weekend.

If you’re feeling down, Gary Oldman would like a word. And that word is: Hufflepuff.

I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter, back in your inbox for the next few weeks as we navigate our way through Emmy season.

Digital cover story: The world according to Gary

(Jennifer McCord / For The Times)

Gary Oldman is a Hufflepuff.

Never mind that the 68-year-old actor, who played the rebellious, impulsive wizard Sirius Black in the Harry Potter film franchise, couldn’t tell you the difference between a Hufflepuff and, say, a Gryffindor.

When journalist Josh Horowitz reads a list of core personality qualities — loyalty, hard work, patience, fairness, dedication — and asks Oldman if that describes him, he nods his head.

You’re a Hufflepuff.

“I’m a Hufflepuff?” Oldman says, trying the word on for size. He likes it. “I’m a Hufflepuff!”

This video clip is a favorite of mine, one I could watch on a loop for the sheer delight Oldman takes in pronouncing the word Hufflepuff.

It’s easy to see why Oldman takes such pleasure in being a granddad these days, one of the things we talked about at length not long ago for an Envelope digital cover story. He can access his silly side with ease.

I asked Oldman about the upcoming HBO “Harry Potter” television series, a decade-spanning endeavor that will spend a season adapting each of J.K. Rowling’s seven fantasy books.

“I’ve seen a trailer for it, and I think it’s a great idea,” Oldman says. “They’re doing the whole book, which I love, because there were a lot of wonderful things, fabric and character detail, we had to lose for the sake of telling the story in two hours.”

Would Oldman be keen to don a distressed velvet overcoat again and participate in the reboot?

“I don’t think they want any of us from the movies contaminating or muddying the waters,” Oldman says, pleasantly. “Besides, I’m too old.”

But with AI, is anyone too old now? Oldman could drop into “Harry Potter and the Prisoner of Azkaban” and look like he hasn’t aged a day since the movie was released 22 years ago.

“I don’t know where we’re going with it because it seems to advance every week,” Oldman says. He ponders the advances made since Martin Scorsese used digital deaging in his 2019 film “The Irishman.”

“I think that was the least successful thing about it,” Oldman says of the technology, “and I’ve been a huge Martin Scorsese fan forever. Ultimately, I don’t know why they wanted to make [Robert] De Niro’s eyes blue.” He pauses, considering the change and why it bothered him. “I guess it’s a blue-eyed Irishman. If I had one negative takeaway, it would be that.”

Oldman prefers directors like Christopher Nolan, whom he worked with on the “Dark Knight” movies and “Oppenheimer,” who think technology should be used sparingly to enhance the storytelling.

“Otherwise it leaves me a bit cold,” he says. “You’re just looking at ones and zeroes.”

“I don’t want to be replaced entirely,” Oldman continues, shaking his head. “I don’t think anyone does.”

Read more coverage of ‘Slow Horses’

LEE Andrews’ lies, mistruths and mystery disappearance have captivated the nation following his flash wedding to Katie Price in January.

Accusations of fraud, gaslighting and emotional abuse have been levelled at him by ex-partners in recent months, all of who fell under his smooth-talking spell and promises of a happy future and financial riches.

Back in March, I became the first newspaper journalist to interview Lee following his emergence as Katie’s new man.

I held out little hope of it taking place when my initial request via WhatsApp was met with weeks of silence.

But then, out of the blue, Lee replied that he was keen to chat and to quash the ‘lies’ that had been spread about him.

I believe he was either that confident in his powers of persuasion that he could brazenly talk himself out of the numerous question marks around his lavish lifestyle and career, or that he viewed me as a useful idiot who could be hoodwinked into washing his tarnished reputation — perhaps a combination of the two.

GONE IN AN INSTA

The REAL reason Katie Price’s Instagram account was removed revealed

LEE’S LIES

I’ve spoken to the Lee Andrews survivors club – they could finally take him down

We set a date to talk the following week, but when the time came Lee revealed he was struggling with illness and would need to reschedule.

The interview was then postponed twice more with Lee still under the weather and, at this stage, it felt like I was being strung along, destined for the same fate as the Good Morning Britain producers who tried to land him for a TV interview months later.

To my surprise, he eventually made it onto the Zoom call on Friday, March 26, speaking from inside a Dubai branch of Caffé Nero.

Tanned and with salt and pepper stubble, he wore a baseball cap and T-shirt and sounded like someone coping with the last remnants of a cold.

I found him to be amiable, relaxed and open to being grilled on subjects that I thought would make him uneasy.

Off the bat I asked if he was a fantasist and compulsive liar, which he dismissed with a chuckle, telling me the claims were “comical and spin”.

For over an hour we went through everything from his dodgy CV, which he claimed was the result of errors from an unnamed personal assistant, his desire to start a family with Katie and plans for a lavish second wedding, his ability to speak multiple languages (with some muddling examples) as well as serious allegations from his ex-partners, which Lee likened to “barking dogs”.

There was also lots of business talk, full of wordy jargon that I can only assume was designed to impress and baffle someone not au fait with the workings of a cutting edge tech firm.

At the end of it all, we thanked each other and said our goodbyes.

The following day, the story ran in the paper with the humorous tag line: “I don’t really like liars myself. I do everything with honesty (just don’t look too closely at his CV).”

It was perfectly befitting of the ridiculousness of the story at the time, before even more ludicrous claims came to light including Lee’s attempt to buy Chelsea Football Club and boasts about being an international arms dealer.

But I expected Lee might not see it the same way I did and the next day I was proved right when he messaged me to say: “I don’t appreciate the pictures your edit team have used or the way the article has been written.”

I politely explained that we had a duty to examine the various claims against him, that a light touch of light humour was to be expected and that there was no malice in the framing.

His follow up surprised me.

Rather than pushing back, or at least further pleading his innocence on the accusations about his wealth and past relationships, Lee reiterated that his biggest issue was with his looks.

He simply said: “I don’t like the photo at all.”

The photos in question were a selection of unedited grabs from the Zoom call, a fair reflection on Lee through the course of the interview.

What struck me at the time, and even more so now in light of his disappearance and ghosting of wife Katie, is how his visual portrayal seemingly mattered more than any harm caused to others by his actions.

It’s no secret, Lee is fixated on his appearance; his numerous photoshopped pics have gone viral time and again.

The pictures we used took that editing power away from him and the reality appeared to hurt.

In other videos on social media he can be heard referencing his looks, from his hair to his chiselled body, and commenting about filters — or the lack thereof — to ‘prove’ he’s not fake.

He also took great pains to portray himself as a wealthy businessman with links to Kim Kardashian and Elon Musk, years after his sustainable vehicle company was quietly dissolved, which he continues to insist isn’t the case.

Further interactions between us saw him insist others simply couldn’t understand the workings of his complex world.

Optics are king with Lee and it seems he’s willing to let real feelings fall by the wayside as long as he is presented as the handsome, wealthy success story he’s so desperate to be — a mindset that could have heartbreaking consequences for Katie.

A DISNEY legend has been rushed to hospital after suffering a stroke, leaving his nearest and dearest concerned.

The musician, known for films such as Aladdin and Beauty and The Beast, is currently under medical care following the scary incident.

Paebo Bryson is best known for songs such as Aladdin’s A Whole New World and the titular track for Beauty And The Beast, a duet with Celine Dion.

The family of Peabo, who is now 75, have shared that he suffered a stroke this week in a worrying ordeal.

In a statement shared with Variety, they said: “Two-time Grammy Award-winning singer, songwriter and balladeer, Peabo Bryson — the voice behind the Oscar-winning Disney songs ‘Beauty and the Beast’ and ‘A Whole New World’ — has suffered a stroke and is currently under medical care.

“At this time, the family requests privacy as they navigate this deeply personal moment together.

FRESH START

James Van Der Beek’s ex-wife marries four months after star’s tragic death

Back online

Scott Mills’ husband returns to social media for first time since his radio axe

“The thoughts, prayers and love of friends and fans are welcomed and deeply appreciated.”

Hailing from South Carolina, Peabo is married to singer Tanya Bryson (née Boniface) and a dad to eight-year-old son Kitt and older daughter Linda.

Peabo has had a lengthy music career with numerous accolades under his belt.

In 1992, his performance of Beauty and the Beast with Céline Dion won him a Grammy award in 1992.

A Whole New World, which he performed with Regina Belle, also bagged him the gong the following year.

Alongside his Disney hits, R&B star Peabo has a string of solo hits across the ’70s, ’80s and ’90s.

Songs If Ever You’re in My Arms Again, Can You Stop the Rain and Feel The Fire all hit the top end of the charts.

Back in 2019, he suffered a mild heart attack and was hospitalised.

At the time, his family assured doctors expecting Peabo to make a full recovery, with his health appearing in check up until this new scare.

Perrie Edwards has explained why Leigh-Anne Pinnock has likely been cast as a traitor after her former Little Mix bandmate was announced as part of the lineup for the hit BBC show

Perrie Edwards has explained why Leigh-Anne Pinnock has likely been cast as a traitor on the next series of Celebrity Traitors. The Little Mix star, 32, was asked for her opinion after her bandmate Leigh-Anne, 34, was announced as part of the lineup for the upcoming edition of Claudia Winkleman‘s hit BBC series.

Earlier this year, comedian Alan Carr schemed his way to victory after being cast as a traitor and now that Leigh-Anne, along with a host of other huge names like Love Island host Maya Jama and Coronation Street legend Julie Hesmondhalgh have been chosen to enter the famous castle as either a Faithful or a Traitor, Perrie has weighed in

Speaking on the Hanging Out with Ant & Dec podcast, she implied she’d be a good traitor because of her affinity for mischief: “Oh she is so annoying, I already know she is going to annoy me. You don’t understand how infuriating it is, she would lie about silly things so she would do pranks and we’d be like, ‘Leigh-Anne’s that’s…’ and she’d be like ‘it’s a prank’ and I’m like ‘that’s not a prank you’ve just lied, it’s just annoying’. And so I don’t know if I’ve got it in me to watch her do that for a full series.”

Despite her enthusiasm and ability to come up with a theory for her bandmate, Perrie admitted that this will be the first time she has ever seen the hit game show.

She said: “I’ve never seen it, never! I can’t get into it but now I am going to have to because Leigh-Anne’s on it and so I need to watch it now!”

Initially, the star avoided using words and simply shared two emojis after the announcement was made that she was set to take part. She posted a looking eyes emoji as well as an emoji covering its faces with its hands to signal she isn’t sure what she’s signed herself up for in the new season.

Leigh-Anne will line up with some huge names in the industry, including Michael Sheen and Jerry Hall. The 21-star list also includes Richard E Grant and Miranda Hart.

Also taking part is BBC presenter Amol Rajan, The Last of Us actress Bella Ramsey and comedian James Acaster – not to be mixed up with You’re Beautiful singer James Blunt, who has also signed up. Comedy stars Joanne McNally and Joe Lycett, and social media content creator King Henry were also announced.

Industry actress Myha’la and BBC maths guru Professor Hannah Fry. Rob Beckett with be bringing laughs alongside TV sidekick Romesh Ranganathan, flanked by former EastEnder Ross Kemp and My Mad Fat Diary star Sharon Rooney.

Game of Thrones actor Sebastian Croft completes the line-up as former Strictly Come Dancing presenter Claudia gets ready to choose her Traitors.

While they will all take part exactly like the usual Traitors series, rather than take any winnings themselves, the celebrity players will be donating anything they get from the potential £100,000 jackpot to their chosen charities

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

FANS of Molly-Mae Hague are convinced that she has already secretly given birth to her second child.

The star and her partner Tommy Fury are expected to welcome the little one any day now.

In Molly-Mae’s latest YouTube vlog she said it was likely going to be the “second to last” video she posts ahead of giving birth.

However, eagle-eyed viewers have spotted a major clue that hints that she’s already welcomed the baby into the world.

Discussing the theory on TikTok, a fan pondered: “You know what girls, I’ve just had this epiphany.

“Molly-Mae posts religiously every single Sunday night at 7pm.

Read more Molly-Mae Hague

MOL’S LOOK

Molly-Mae hits back after trolls mocked her outfit for Venezuela Fury’s wedding

OH MAE

Trolls are saying the same thing about Molly-Mae – no one will confront it, I will

“It’s now 9:45 and I’ve just gone onto her Instagram and she’s not posted which means…

“She’s in labour. You’ve heard it here first.”

Fans have also noticed from the location of Molly-Mae’s latest content that she’s been in London, which is where she’s openly said that she plans to have her baby.

Adding this theory into the TikTok thread, another user shared: “Also Zoe [her sister] said she is heading to somewhere for a couple of days which I believe is London where Molly is having her baby.”

A third fan chimed in with: “She’s been in London since Friday [and] her sister got there yesterday, but she has been online all day so she’s either in labour or [has] had the baby.”

The fan excitement comes a few weeks after Molly-Mae teased the gender of baby number two.

Fans noticed a book called ‘Peppa’s new baby sister’ in the background of one of Molly-Mae’s vlogs, leaving viewers convinced that she’s having another girl.

Opening up recently about deciding not to share the gender, Molly-Mae confessed she’d been enjoying seeing her fans guess what she is having. 

She said: “A baby is coming in a few weeks, so I really need to sort out my hospital bag… 

“I thought I would just show you a couple of bits that I’ve started packing for me.

“Because everything for baby is quite gender obvious and we’ve kind of kept it to ourselves up till I’m basically giving birth so we might as well keep it until the end now.”

Molly continued: “It happened so accidentally. We’ve actually got a full-blown gender reveal video. We did a balloon with Bambi.

“I was planning to post it but we just never did. And then I don’t know, seeing everyone guess has just kind of been funny.”

Molly-Mae and Tommy welcomed their daughter Bambi, 3, in 2023.

Rachel Nickell’s horrific death sent shockwaves across the UK, but it took the police more than 15 years to solve her murder. As the case is explored in a new Netflix documentary, we speak to the expert who found a breakthrough clue after years of investigation failures

Rachel Nickell had her whole life ahead of her when it was cruelly stolen in a sickening attack – leaving her toddler son as the sole witness.

In July 1992, the 23-year-old mum was strolling through Wimbledon Common with her two-year-old son Alex Hanscombe, and their dog Molly. In a quiet, wooded area, she was ambushed, sexually assaulted and stabbed dozens of times.

Alex was later found by a passerby, desperately clinging to his mother’s body. In a heartbreaking attempt to help, the toddler had placed a piece of paper on her forehead as a makeshift bandage after pleading with her to wake up. Even at that tender age, Alex later revealed, he knew instantly that his mother was never coming back.

The brutal murder shattered the life of Alex and his father André Hanscombe. Yet, it would be 16 years for anyone to face justice. The haunting case is now the subject of a new three-part series for Netflix dramatisation, The Witness, alongside an accompanying documentary featuring never before seen archive footage, and deeply personal accounts from those who lived through the tragedy.

Among those interviewed is legendary forensic scientist Angela Gallop, whose work has helped solve many of the UK’s most high-profile murders, including the killings of Stephen Lawrence and Damilola Taylor.

Her team was handed the case in 2002, a decade after the murder, when the investigation had gone completely cold. They had agonisingly little to work with: a microscopic trace of male DNA recovered from the crime scene. To make matters even more difficult, forensic technology at the time was ill-equipped to handle such a minute sample. In order to find the killer, they had to pioneer an entirely new methodology to examine the sample.

Reinvestigating the decade-old DNA required immense precision. Describing the pressure and the patience required to manipulate the tiny shred of evidence, Angela said: “The technique that had been used at the time was a very new, sensitive method, but we had never particularly liked it in my laboratory.

“For Rachel’s case, we got hints of male DNA using our standard test, but we wanted to see if we could squeeze out some more information. By concentrating and purifying the DNA, we managed to achieve it, but it took two years to develop the technique properly.”

After a painstaking process, the team eventually got a strong enough DNA profile to add to their database – and it matched with a man named Robert Napper, a paranoid schizophrenic and serial rapist.

To ensure the case was ironclad, they raced back to the crime scene and analysed all the sample items that had been collected. Angela and her colleagues then went on to uncover footwear marks and forensic paint evidence linking Napper directly to Wimbledon Common.

His footwear was matched directly to the mud profiles taken from the area, and microscopic paint flakes matching Napper’s toolbox were discovered trapped in the hair of two-year-old Alex. The box, found in Napper’s flat, contained knives and other weapons.

The new DNA breakthrough was enough to convict Napper and exonerate Colin Stagg, the innocent man wrongfully targeted by a flawed police honey-trap operation. A new Netflix documentary will examine the botched investigation, which led to Stagg – a local resident who walked his dog on the common – spending 13 months behind bars in custody, and facing rampant speculation that he killed Rachel.

He was freed by an Old Bailey judge in 1994, who criticised officers for using a ‘honeytrap’ undercover policewoman to try to make him confess to the murder, branding the entrapment evidence as “reprehensible”

Mr Justice Ognall, who halted the trial, described officers actions as “deceptive conduct of the grossest kind” after undercover officer “Lizzie James” tried to seduce Stagg, promising a relationship in the hope of getting a confession. Stagg later received £700,000 compensation from the Home Office.

In 2008, Napper admitted manslaughter on the grounds of diminished responsibility and was detained indefinitely at Broadmoor. He was already incarcerated at the psychiatric unit, having been convicted in 1995 for the equally depraved double killing of single mother Samantha Bisset, 27, and her four-year-old daughter Jazmine.

Discovering the match provided a profound sense of justice for Angela’s team, particularly regarding the human toll of the investigation. “We had a DNA result that hit a match on the National DNA database, so the police have got something to investigate,” she said.

“There was an added level of satisfaction because Colin Stagg had been professing his innocence for all those years. We were able to show that he was telling the truth,” she said.

The new documentary about the 1992 murder features Alex describing the moment that he knew his mother had died after being stabbed 49 times.

A home video video captures him describing the moment his mother was killed on Wimbledon Common to his dad André, who gently discusses what his son saw on the day.

Now 36, Alex describes seeing Napper, telling his dad: “I saw him first,” he says, telling Andre that the man was carrying a bag which he opened. Asked what he took out, he replies simply: “A knife.”

He then tells his dad that the man “knocked me over” and that he witnessed his mum being stabbed. “There’s his knife,” the little boy tells his dad, indicating the picture he is drawing of his mother. “I saw the knife. I saw it, Yeah, I saw it all.”

Speaking in the trailer for the film, André explains: “My son saw his mother’s murder but nobody could have possibly known how long it was gonna take to find the person who did this.”

Ahead of the Netflix show, Angela is keen to emphasise that DNA evidence is rarely a simple “magic bullet.” Television would make people think that experts can simply swab a crime scene and receive a clear-cut result just 30 minutes later, Angela said, adding: “If it was going to be really straightforward, the original scientists would have discovered the truth a long time ago.

“You have to be much more clever. Sometimes you have to look for one type of evidence to find another. In the Stephen Lawrence and the Pembrokeshire Coastal Path murders, it was analysing textile fibres that led us to finding blood traces and therefore DNA.”

As well as the archive footage, the documentary will explore how Angela’s work led to justice for Stagg after her breakthrough solved the case.

The three part drama, The Witness, will follow Alex and André as they deal with the devastating impact of losing Rachel. Jordan Bolger plays André, while Max Fincham is the teenage Alex. Both men acted as consultants on the series.

The story aims to show how a father and son “moved through the aftermath of unimaginable tragedy, from darkness into light.”

The other cast include Kevin Eldon as DCI Mick Wickerson, Neil Maskell as DI Keith Pedder, Mark Stanley as DS Ivan Agnew, Jon Pointing as DC Nick Sparshatt, James Dryden as DC Paul Miller, Kerry Godliman as André’s mother June, James Bradshaw as DCI Tony Nash and Claire Rushbrook as Dr. Jean Harris-Hendriks.

In a joint statement released last month, André and Alex Hanscombe said: “Our life has been a battle. We can never express how indebted we are to everyone that’s been a part of this, for the kindness and generosity they’ve extended to us, for the chance they took with us in bringing our story to the screen, and for the care they have taken.

“Our journey has all been by the grace of God and a promise to go on together, and we feel incredibly blessed to be able to share our story in this way.

“We hope that audiences will be left with a testament to the tough battle of life we all face and to the power of faith, hope, love – and never giving up.”

• Documentary The Murder of Rachel Nickell has been made to accompany the new drama about what happened that day, called The Witness. Both will be released on Netflix on June 4.

Not every summer movie needs to be a mystery that unfolds hallway after hallway, with a creature hiding around every corner ready to pop out. But maybe the best one is: “Backrooms,” opening May 29 and directed by 20-year-old phenom Kane Parsons. We chatted with him about how he got to make his big debut for A24. Apart from that inspiring story, what can we hope for at the multiplex? We asked our staffers for their dreamiest expectations and they didn’t hold back: space epics, Matt Damon in a helmet and, yes, a “Jackass” movie. Read on and let this be your guide.

‘The Mandalorian and Grogu’

(May 22)

Pedro Pascal, left, and Sigourney Weaver in the movie “The Mandalorian and Grogu.”

(Lucasfilm)

TV’s “The Mandalorian” premiered in 2019 and was the first live-action series in “Star Wars” history. Now, the next adventure of the fierce bounty hunter and his adorable young charge will be the franchise’s first big-screen installment since the sequel trilogy wrapped with “Episode IX — The Rise of Skywalker.” I, for one, am excited that Grogu, with all his snackish charm, has been promoted to title-character status along with Pedro Pascal’s more stoic Din Djarin. The movie will also introduce Sigourney Weaver as Col. Ward, a former Rebellion pilot turned New Republic leader, and Jeremy Allen White as grown-up Rotta the Hutt, Jabba’s son, who debuted as an infant in the animated “Star Wars: The Clone Wars.” — Tracy Brown

‘Masters of the Universe’

(June 5)

Nicholas Galitzine in the movie “Masters of the Universe.”

(Giles Keyte / Amazon MGM Studios)

Our opinions of Hollywood’s dip into the nostalgia well may vary, but it’s easy to want to feel the kind of joy that a game or toy brought us when the world felt less complicated. He-Man’s best stories so far may have been on animated TV, but I have enough childhood memories of smashing the character’s action figure against others that I’m curious about how he’ll play in the big-screen sandbox. Starring Nicholas Galitzine as a wayward Prince Adam trapped on Earth, “Masters of the Universe” adds a contemporary twist and some modern sensibilities to the lore. With Laika Studios vet and “Bumblebee” director Travis Knight at the helm, I’m expecting a sweet balance of humor and heart. — Tracy Brown

‘Disclosure Day’

(June 12)

Emily Blunt in the movie “Disclosure Day.”

(Niko Tavernise / Universal)

Nearly half a century after “Close Encounters of the Third Kind” and decades on from “E.T.” and “War of the Worlds,” Steven Spielberg is still looking to the skies — and we still want to know whether to be excited or terrified by what he sees. His latest brings extraterrestrial life into the realm of ’70s conspiracy thrillers. (Screenwriter David Koepp has compared it to paranoia pieces like “Three Days of the Condor.”) Emily Blunt plays a Kansas City meteorologist who begins receiving a signal from beyond Earth, while Josh O’Connor is a government employee on the run with information that powerful people are trying to keep hidden. If Spielberg’s earlier UFO movies gave us awe, comfort and catastrophe, this one feels like an encounter of a fourth kind: What happens when the cover story breaks? — Josh Rottenberg

‘The Death of Robin Hood’

(June 19)

Hugh Jackman in the movie “The Death of Robin Hood.”

(A24)

Go to the beginnings of Hollywood and there are Robin Hood movies: Douglas Fairbanks, Errol Flynn, some shorts from even earlier. And it’s a safe bet that, as long as there’s pull to the idea of stealing from the rich and giving to the poor, there will be more to come. Quietly, writer-director Michael Sarnoski has made a niche for himself as a storyteller of regrets, of roads not taken. His 2021 restaurant memory drama “Pig” gave Nicolas Cage his subtlest dialogue in years, while “A Quiet Place: Day One” had no business being as believably haunted as it was. Sarnoski is the perfect person to do a retelling tilted toward the end of a rampager’s life. Hugh Jackman embodies the role with a rough dignity. — Joshua Rothkopf

‘Leviticus’

(June 19)

Stacy Clausen, left, and Joe Bird in the move “Leviticus.”

(Neon)

Unlike many tales of demonic possession, Adrian Chiarella’s feature debut lingers in the mind for being so recognizably close to home; it doesn’t need to crab-walk into the room, spin its head 360 degrees and announce itself as evil. In a small, backwards Australian community, coming of age and coming out evince fear in the Christian townsfolk. Two teenage boys (Stacy Clausen and “Talk to Me’s” writhing standout Joe Bird) keep their attraction to themselves. Even so, a violent curse bedevils them, a sophisticated feat of careful writing and directorial sensitivity that sets Chiarella apart from the gorehounds. Let’s also cheer the return of Mia Wasikowska, stepping back confidently. — Joshua Rothkopf

‘Maddie’s Secret’

(June 19)

John Early in the movie “Maddie’s Secret.”

(Magnolia Pictures)

An affectionate throwback to overly earnest TV movies (and a knowing send-up of over-the-top bad-girl flicks), this film marks the feature debut as writer-director for comedian John Early, who also stars. With a cast drawn from comedy-scene friends such as Kate Berlant and Conner O’Malley all tuned into a very specific wavelength, the movie somehow surpasses conventional notions of camp and irony to exist in a genuinely unique space all its own. As Maddie, an aspiring L.A. food influencer battling a secret eating disorder, Early’s performance will undoubtedly remain one of the most distinctive and original of the year, by equal turns outrageously funny and tenderly vulnerable, often in the same moment. — Mark Olsen

‘The Invite’

June 26

Olivia Wilde, Seth Rogen, Penélope Cruz and Edward Norton in the movie “The Invite.”

(A24)

Olivia Wilde’s dinner-party dramedy made good on its considerable promise when it premiered at Sundance in January, earning a standing ovation and tears (of relief? joy?) from Wilde as she took the stage. Wilde and Seth Rogen play longtime marrieds harboring a laundry list of resentments who host their upstairs neighbors (Penélope Cruz, Edward Norton) for an evening of fun. At least it starts off that way, but of course, the gathering quickly sours, leaving us rubbernecking the damage. Wilde navigates the tonal shifts with authority, delivering surprises along the way, including an ending that somehow delivers hope for the institution of wedlock. Am I overselling it? Would I cry Woolf to you? — Glenn Whipp

‘Jackass: Best and Last’

(June 26)

Johnny Knoxville, right, in the movie “Jackass: Best and Last.”

(Paramount Pictures)

Johnny Knoxville and his band of professional bad decision-makers are calling this one their final hurrah and, really, can you blame them? The original “Jackass” crew are now in their 50s, long past the point when being shot out of cannons and zapped with tasers seems like a sensible career plan. Knoxville himself was hospitalized with a brain injury after being flipped by a bull during the filming of 2022’s “Jackass Forever” and has said he can’t risk another concussion. This send-off mixes new stunts with archival footage, promising the usual outlandish pranks and blunt-force impacts to sensitive bodily regions. If this really is the end for the franchise, it’s hard to argue they didn’t push it as far as it would go. — Josh Rottenberg

‘Supergirl’

(June 26)

Milly Alcock in the movie “Supergirl.”

(Warner Bros.)

No diss to last summer’s charmingly square “Superman,” but the funniest scene in the movie was Milly Alcock’s 45-second cameo as Kal-El’s cousin Kara, who stumbled into his Fortress of Solitude to collect her dog Krypto still hungover from an outer-space bender. (“This is why he has behavioral issues,” Superman said with a sigh.) Now, she and the mutt have their own movie and zero pressure to represent truth, justice and a better tomorrow. Ana Nogueira’s script appears to be a riff on the 2021 comic-book miniseries “Supergirl: Woman of Tomorrow,” in which the blond‘s birthday bacchanal takes a U-turn after Kara aligns with an alien child (young Eve Ridley from “3 Body Problem”). It’s basically an intergalactic “True Grit.” My one concern is that director Craig Gillespie made the too-squishy “Cruella.” Here’s hoping “Supergirl’s” tone is more sour than sweet. — Amy Nicholson

‘The Odyssey’

(July 17)

Matt Damon in the movie “The Odyssey.”

(Melinda Sue Gordon / Universal Pictures)

As the follow-up to his “Oppenheimer” — which won Oscars and made nearly $1 billion — Christopher Nolan has gone from an ambitious story about the creation of the nuclear bomb to an even more ambitious story rooted in the origins of literature. Adapting Homer’s ancient Greek saga, Nolan has created an epic to end all epics: the tale of a king struggling to return home after years away at war. With an absolutely stacked cast and told at a massive scale, “The Odyssey” indicates that Nolan seems to trust that modern audiences will respond to a 3,000-year-old tale, and that some aspects of the human experience truly are eternal. — Mark Olsen

‘I Want Your Sex’

(July 31)

Cooper Hoffman and Olivia Wilde in the movie “I Want Your Sex.”

(Lacey Terrell / Magnolia Pictures)

A new Gregg Araki movie loaded with sex and bad choices? What a rare and wonderful summer treat. (It’s the indie provocateur’s first feature in more than a decade.) An unhinged Olivia Wilde as the ultimate bad boss — an art star hoping to recapture some edge — gets you in the door. But Araki has shaded in the margins masterfully, with vivid supporting turns by Chase Sui Wonders, Daveed Diggs and the now-ubiquitous Charli XCX. And it’s Cooper Hoffman, in a performance as flustered as his impresario in “Licorice Pizza” was confident, who commands the movie, topping from the bottom. Araki’s sensibility is, if anything, wiser now, though he’d probably flinch at the word. Brace for inappropriateness. — Joshua Rothkopf

‘Spider-Man: Brand New Day’

(July 31)

An image from the movie “Spider-Man: Brand New Day.”

(Sony Pictures)

It’s been five years since our friendly neighborhood webslinger’s last big-screen adventure and a lot has changed in the Marvel Cinematic Universe. But it appears things have pretty much stayed the same for Peter Parker (Tom Holland). His last adventure involved him staving off a multiversal crisis by making everyone in the world forget him, including his best friends MJ (Zendaya) and Ned (Jacob Batalon). “Spider-Man: Brand New Day” picks up a few years later, with Peter still protecting the streets of New York as a masked superhero while his friends continue to live their lives unaware of what he once meant to them. Can some mutating DNA be the catalyst for a happy reunion? I hope so. — Tracy Brown

‘One Night Only’

(Aug. 7)

Monica Barbaro and Callum Turner in the movie “One Night Only.”

(Nicole Rivelli / Universal Pictures)

“The Purge”… but hot? That’s the pitch behind Will Gluck’s high-concept romantic comedy in which singles are eager to hook up on the one night a year when premarital sex is legal. The original story by Travis Braun was ranked No. 1 on the 2024 Black List of the best unproduced screenplays. While “that Gluck magic” doesn’t have quite the flow of the “Lubitsch touch,” he’s already directed one of the best modern rom-coms (“Easy A”) and one of the most lucrative (“Anyone but You”). Those films crowned Emma Stone and Sydney Sweeney as official movie stars. I’d love to see this film’s ingenue, Monica Barbaro, ascend to their ranks. Barbaro excelled in the Bob Dylan biopic “A Complete Unknown,” where her hard-to-impress Joan Baez earned her an Oscar nod for supporting actress. This is her chance to seduce the audience as well as her onscreen co-star Callum Turner. I’m eager to commit. — Amy Nicholson

‘Teenage Sex and Death at Camp Miasma’

(Aug. 7)

Hannah Einbinder, left, and Gillian Anderson in the movie “Teenage Sex and Death at Camp Miasma.”

(Ryan Plummer / Mubi)

Jane Schoenbrun has become one of the freshest new voices in American independent filmmaking with 2021’s “We’re All Going to the World’s Fair” and 2024’s “I Saw the TV Glow,” transforming pop-culture obsessions into emotional explorations of identity and self-discovery. Promising to turn the summer camp slasher movie inside-out, their latest effort is about an up-and-coming director (“Hacks” star Hannah Einbinder) who entreats a faded scream queen (Gillian Anderson) to return to the horror franchise that once made her a star. Einbinder and Anderson locked into a psychosexual transference story already feels plenty potent. Put that setup in the anything-goes hands of Schoenbrun and it should make for a combustible combination of genre, persona, desire and fun. — Mark Olsen

‘The End of Oak Street’

(Aug. 14)

From left, Ewan McGregor, Christian Convery, Maisy Stella and Anne Hathaway in the movie “The End of Oak Street.”

(Warner Bros. Pictures)

Do you ever look out your window and, tired of the same old view, long that you could just pick up and live somewhere else? I don’t know if Anne Hathaway’s character in David Robert Mitchell’s “The End of Oak Street” has ached for that kind of change, but it sure seems to have found her and her family in this tale of a suburbia transported to … prehistoric times? To another dimension, a dimension of sound, a dimension of sight, a dimension of mind? I do not know. I do not want to know. I do know that there is a dinosaur giving chase. And Ewan McGregor looks alarmed. And Mitchell is the weirdo writer-director behind “It Follows” and “Under the Silver Lake.” That’s all I need. — Glenn Whipp

‘The Dog Stars’

(Aug. 28)

Jacob Elordi in the movie “The Dog Stars.”

(Fabio Lovino / 20th Century Studios)

Director Ridley Scott long ago secured his place in film history with “Alien,” “Blade Runner” and “Gladiator.” The fact that he’s still at it at 88 makes each new film feel like an event. His latest adapts Peter Heller’s 2012 novel set in the aftermath of a pandemic that’s nearly wiped out humanity. Jacob Elordi, hot off “Frankenstein,” plays Hig, one of the few immune survivors, a pilot living at an abandoned airfield with his dog and a heavily armed survivalist (Josh Brolin). Hig’s days are spent flying perimeter patrols, scanning for signs of life — or trouble — until he encounters Margaret Qualley’s Cima, a medic guarding her own small foothold in the ruined world. Scott has called the film hopeful, which may be the most intriguing part: a post-apocalyptic story about why anyone bothers to keep going. — Josh Rottenberg

Jason Bateman could snag limited series Emmy nominations for his lead role as a deep-in-debt barman on Netflix’s “Black Rabbit” and supporting role as a sexually adventurous weatherman on HBO’s “DTF St. Louis.” Drawing more than one nomination in a year has been the norm for Bateman.

14

Bateman’s previous Emmy nominations encompass acting, directing and producing.

1

His lone Emmy win came in 2019, for directing an episode of his Netflix crime drama “Ozark.”

21

The former child actor’s first nomination, as lead of the Fox (later Netflix) comedy “Arrested Development,” came in 2005. Bateman’s adult “comeback” has lasted 21 years and counting.

4

Times he has received multiple nominations in a year, most often for acting in, directing and producing “Ozark.”

2

“Black Rabbit” and “DTF St. Louis” would mark his second time receiving acting nominations for different shows in the same year.

2020

Bateman competed for drama lead for “Ozark” and guest actor for HBO’s “The Outsider.”

0-for-7

Bateman is overdue for an acting Emmy. His brilliant straight-man work in “Arrested Development” lost out to Emmy juggernauts Tony Shalhoub (“Monk”) in 2005 and Jim Parsons (“The Big Bang Theory”) in 2013.

3-for-13

The Actor Awards have been kinder: Bateman won three lead actor statuettes for “Ozark.”

2026

The guilds already have spoken on “Black Rabbit,” with Bateman receiving Actor, DGA and PGA nominations.

5

Also a producer on “DTF St. Louis,” Bateman has a shot at five Emmy nominations this year.

In her early 20s, Ashley Padilla moved from the Bay Area to Los Angeles, hoping to make a living in comedy. She was taking classes at the Groundlings when an acting exercise forever changed her.

“The teacher said, ‘All right, everyone try to get my attention.’ Everyone starts going crazy,” recalls Padilla, imitating the manic movements her classmates incorporated to be as noticeable as possible. “I just stood in the back like a quiet little freak. I didn’t try to do anything. And she went, ‘I’m just staring at Ashley.’”

Padilla, now 33, is sitting in the restaurant at the 1 Hotel on Sunset, dressed in an elegant white blazer and long skirt, a long way both mentally and professionally from that aspiring performer struggling to find her creative voice. But that lesson remains close to her heart.

“I think about it all the time: You don’t have to be so loud. It actually is more powerful if you’re a little slower.”

Currently in her second season as a featured player on “Saturday Night Live,” Padilla, who sports an ebullient manner and warm smile, has become a fan favorite by exploring how much humor (and tension) you can derive from stillness. Her best sketches, including “Mom Confession,” in which a MAGA mother finally, begrudgingly, admits to her liberal kids that maybe Trump hasn’t been a great president, sparkle because of how expertly she builds suspense regarding where the setup is going.

Ashley Padilla, right, with castmates Tommy Brennan and Jane Wickline in the “SNL” sketch “Mom Confession.”

(Will Heath/NBC)

“I really want to be able to stop and take that pause at the beginning [of a sketch], which are the quickest things to cut because you’re trying to save time: ‘Let’s get rid of when you enter,’” she says. “What roots me as an actor is a little breath. Before we get to the jokes, let the audience see me live in it for a second. I think I’ve proven that [those pauses are] not going to suck the air out of the room. It’s actually going to assist in the blowup that we’re waiting for.”

When Padilla lived in L.A., she adored her Los Feliz neighborhood, so on this late April afternoon she confesses to some disorientation at doing press on the Westside. Still, memories keep creeping up unexpectedly. “I’ll see a coffee shop, and you remember how you were feeling: ‘Will I ever make it?’”

There were encouraging moments that kept her going. One dispiriting day, she was on Melrose Avenue walking to the Groundlings. “In my head I went, ‘Will I ever be on television?’ Just then, a car passes with the girl rolling down the window going, ‘I’ve seen you perform! You’re going to be on television!’ It’s literally like someone answered my cry inside and went, ‘Calm down, it’s going to be OK.’”

Optimism came through other channels too, such as her job as Diane Keaton’s assistant, eventually co-creating her 2024 book “Fashion First.” Padilla adored the late actor and filmmaker, grateful for her endless sense of wonder, which inspired Padilla to see the world differently.

“She would stare at a tree: ‘Look at the way the sun goes through the branches,’” Padilla says, marveling. “I have a voicemail that I listen to whenever I’m feeling a little sad or I miss her — she’s just like, ‘Hey, Ash, how are you doing? I’m just checking in.’ And she stops and goes, ‘The blue sky. Wow.’ And I’m just like, ‘You are someone we all want to be around.’ It’s why she is so massive in people’s lives.”

Before ‘SNL,’ Padilla had stints at the Groundlings and as Diane Keaton’s assistant.

(Sela Shiloni / For The Times)

Since girlhood, Padilla has loved to write, which was valuable once she joined the Groundlings, doing seven shows a week. “You don’t get onstage unless you write your own stuff,” she says. Her viral “SNL” sketch “Haircut” — in which Padilla goes to dinner with friends, disturbing them with her atrocious haircut — was created at Groundlings, where it killed. But pitching it at “SNL” revealed the differences between the stage and live television.

“‘Haircut’ started as a ‘[Weekend] Update’ [feature], and I was unwilling to get rid of some stuff in there because I knew it worked at Groundlings,” she recalls. Padilla credits her frequent “SNL” co-writers Alison Gates and Kent Sublette for helping her understand the program’s rhythms. “They made it punchier and snappier. I definitely need the other writers — they make it so much better. At the Groundlings, there’s no camera cuts, there’s no time limit — you can mosey and do behavioral stuff. But [‘SNL’ sketches] need to look good on television. These writers are so good — they’ll say a joke that I go, ‘You’ve just said everything I was trying to do in a whole page.’”

Padilla’s peculiar but grounded characters may make you wait to see what they have in store, but she isn’t wasting any time. Last summer, wanting to distract herself from wondering whether she’d be asked back to “SNL,” Padilla wrote a screenplay, which is now being backed by Oscar-winning “Moonlight” producer Adele Romanski. Padilla won’t say much about the project, but you can bet she included a part for herself.

“It’s like, ‘I want to be on television? OK, write your sketches. I want to be in movies? I wrote a movie,”’ she explains. “I don’t want to wait around for someone to give me a role. I hope I get to work with great people, but I also want to control my own career — and my own happiness as well. I want to be creative all the time.”

Hollywood has been waiting for Kane Parsons since the year he was born. The 20-year-old director is the same age as YouTube’s first videos and grew up with no barriers between his creativity and an audience. “Backrooms,” his debut feature, marks the start of a new new wave of filmmakers raised by internet feedback who are ready to reinvigorate the industry.

Young Steven Spielberg screened his 8mm reels for his neighborhood. Parsons uploaded his early shorts online where he could analyze the mass response. When one, an unsettling nine-minute experiment about a warren of dingy carpets, taffy-yellow walls and gridded drop ceilings clicked with 78 million viewers, he made sequels. A24 offered Parsons a deal before he finished high school. He’s graduating into multiplexes having spent his adolescence writing, directing, editing, composing and market-testing what people want to watch. I’d toast to that, but Parsons isn’t old enough for Champagne.

Given that backdrop, “Backrooms” would be one of the year’s most significant releases even if the movie itself was merely fine. But it’s better than fine — it’s a work of honest-to-goodness art. Working with screenwriter Will Soodik, Parsons has gone back into that banal maze to find an uncannily mature story about loss and stagnation, about how our self-serving narratives barricade us from emotional growth.

Set in 1990, “Backrooms” has the fritz of an old VHS tape. (Like so many other Gen Z kids, Parsons is nostalgic for a pre-smartphone era he never knew.) A failed architect-turned-furniture salesman named Clark (Chiwetel Ejiofor, superbly expressive) tumbles through a portal in his store’s basement to the backrooms of the title — less Alice in Wonderland, more Alice in Wonderbland.

“It’s like it was made by a bunch of construction workers on acid,” he muses. The hallways lead to more hallways, the overhead fluorescents whine like hornets. Someone — or something — has piled lamps and stools into the center of one room, scattered chairs in another and embedded shoes into the floor as though the ground were made of sand. The disorder looks like the wreckage of an unknown chaos. Aboveground, Clark is trapped in his own resentments, throwing temper tantrums like a toddler. Down here, frustration feels natural.

Should he be afraid? And if so, then what of?

Distant thuds warn that Clark isn’t alone. Soon after, three other characters follow Clark into this liminal space: his loud employees Bobby and Kat (Finn Bennett and Lukita Maxwell) and his exasperated therapist, Dr. Mary Kline (Renate Reinsve), who is haunted by flashbacks of her agoraphobic mother. There’s also a mysterious man in a lab coat (Mark Duplass) who works for a company that factors into the backrooms’ preexisting internet lore, but doesn’t have much purpose in this script. It’s fine just to see Duplass as a gesture toward corporate apathy. More beings will appear too and cinematographer Jeremy Cox’s deliberately low-fi look forces you to do triple and quadruple takes to comprehend what you’re even seeing.

How does a 20-year-old fathom adult-sized discontent? Lord knows, but Parsons does. One theory is that today’s 20-year-olds were just launching into teenhood when the pandemic teleported them from their classrooms to isolated computer screens. Meanwhile, they overheard their parents fret that society might be forever hollowed out. When a young person looks toward the future, what do they see? Probably not an office building bustling with entry-level jobs.

Think about how the act of buying a couch no longer involves interacting with a salesman like Clark, but peering at a pixelated living room that doesn’t actually exist with a couch that changes colors at a tap. Think about how lately the internet at large feels human-less. Then layer that emptiness over the images here.

Sparse yet gripping, “Backrooms” and its minimalist story accommodate the audience’s own free-ranging imagination. The infinite size of these drab catacombs triggers sense-memories of feeling small and confused in an ordinary place that feels all wrong. It’s a time travel trip back to childhood — mass entertainment made intimate — with Parsons tossing us scraps of Clark and Mary’s personal histories like a breadcrumb trail. I remembered what it felt like to get lost in a motel on a road trip with my grandparents. More recently, I tidied the home of a friend who was in the hospital, the pill bottles and crumpled blankets left in situ as evidence of someone else’s pain. “Backrooms” felt like that, too.

There’s an incredible special effects shot where the camera sinks through the floor of Mary’s living room to find a mutation of the same room — and then another and another — each replica deteriorating further from reality until it becomes a new room altogether that would fit right into the backrooms. This, we wordlessly understand, represents how memories of the past can be at once factually inaccurate and emotionally true. We’ve all been bewildered kids, Parsons more recently than most. Some of the most powerful people on Earth still behave like they’re stuck in that headspace.

Describing “Backrooms” as a horror film doesn’t feel exactly right. It’s a surrealist painting in motion, the equivalent of staring at Salvador Dali’s wasteland of melting clocks until it makes gut-sense. Dali made that famous masterpiece, “The Persistence of Memory,” in 1931, a breath-holding moment between wars when daily life looked normal enough but vibrated with the dread that no, things were definitely not OK. Kids don’t know that, but they vibe with Dali anyway because he keys into their suspicion that the world doesn’t really obey the rules.

That anxiety hums through “Backrooms.” It’s why millions of people watched and shared the original short. Yet as fraught as it sounds — and as abruptly as it ends — I left elated. A major new moviemaking talent has arrived and he’s the beginning of a movement. Other internet-honed young filmmakers will follow with their own fresh insights into genres like action, comedy and romance. Kane Parsons is just the first one through Hollywood’s labyrinth.

FOSTER Sylvers, child star and member of a family R&B group, has tragically died.

The standout singer from the 1970s ensemble was just 64 years old.

His brother, Leon Sylvers III, confirmed his death following a battle with stage 4 pancreatic cancer, TMZ reported.

The star died in hospice.

Leon said further updates would come from their sister, Pat Sylvers.

Following the announcement of his death, Foster’s daughter Erin posted a touching tribute to social media.

TV TRAGEDY

Alaskan Bush People’s Matt Brown dead at 43 after brother pulled body from river

STAR GONE

Brit drummer legend who played with Elton John and David Bowie dead at 89

“Rest well, Daddy,” she wrote.

“I love you so much.”

Her heartbreaking post to Facebook was accompanied by a photograph of the pair together.

Foster rose to fame during the 1970s when he performed alongside his family in their band The Sylvers.

The group had a string of hits including Fool’s Paradise, Boogie Fever and Hot Line.

Foster performed with his siblings James, Edmund, Ricky and Angie.

And he played the bass and supported artists including Dynasty and Evelyn “Champaign” King, as well as releasing solo music.

His brother Edmund died in 2004 from lung cancer.

Their other brother Christopher – who was their youngest sibling – died in 1985 when he was just 18 years old from hepatitis.

The remaining Sylvers siblings are Olympia, Leon, Charmaine and James.

They formed the original quartet known as Little Angels, alongside Joseph, Ricky, Angie and Pat.

Over their careers, the group of siblings released 10 albums, all issued during the 1970s, and were regularly compared to the Jackson family.

Foster was just 10 years old when he recorded his first solo project in 1973.

Due to his considerable popularity, he went on to appear on multiple television programmes, including American Bandstand and Soul Train.

Netflix’s latest worldwide wager is a menu of programming designed to feed the building fútbol frenzy that will explode in mid-June, when the FIFA World Cup begins. They might even win some Stateside converts ahead of the platform’s presentation of the CONCACAF Gold Cup and Nations League finals in 2027 and 2029.

“We say our goal is to entertain the world; in order to [do that], we need to entertain every single country” where Netflix has a presence, says Francisco Ramos, the streamer’s vice president of original content, Latin America. “Our superpower is that we’re so deeply rooted into local storytelling, then that becomes global.

“Netflix is uniquely qualified at building global audiences” for international sports content, he says. “We are very conscious and deliberate about it.”

Not that original sports content is anything new for the streamer; its first-ever original international series, “Club de Cuervos,” was a Mexican dramedy about a soccer club. But this salvo is precision-guided to hit as about 5 billion viewers get hyped for the global tournament.

“Four years ago, during the World Cup, we launched [an Argentine] documentary called ‘Sean eternos: Campeones de América’ [‘Captains of the World’], and it was massive, and then Argentina ended up winning a few months later,” says Ramos. “Right now, as the World Cup arrives, it’s very passionate.”

It’s not just Latin America that’s being targeted with new programming: There’s a trio of documentaries about Jamie Vardy, Liverpool’s 2005 Champions League-winning team and footballer-turned-actor Vinnie Jones under the “Untold UK” banner; “Poldi,” on German superstar Lukas Podolski; and “The Bus: A French Football Mutiny,” about the national team’s rocky 2010 World Cup journey.

A scene from “USA ’94: Brazil’s Return to Glory.”

(Netflix)

The World Cup-contending squad

For fans, the slate offers documentaries on landmark moments in Cup history (“USA ’94: Brazil’s Return to Glory”), superstar players (“Emi Martínez: The Kid Who Stops Time” and “James”) and even up-and-comers in a prestigious amateur tournament in Brazil (“The Root of the Game”).

But for the uninitiated, apart from the streamer’s FIFA soccer simulation game coming this summer, the gateway drug may be “Ronaldinho: The One and Only.” The doc spotlights one of the most improvisational and dynamic players ever, soccer’s Magic Johnson. The legendary attacking midfielder was a wizard on the pitch and a charisma machine off it.

“Ronaldinho retired from soccer [in 2018], and he’s still in the mainstream. He has 80 million followers on Instagram,” says Luis Ara, director of “Ronaldinho” and “USA ‘94.” “You have [superstars Lionel] Messi and Neymar [da Silva Santos Júnior] talking about him like he’s God.

“He was always so cool … for him, it was not only about winning a game; it was also about entertaining the people.”

Scripted offerings include the feature “Mexico ’86,” starring a wildly hustling Diego Luna. It’s a nasty comedy about the wheeling and dealing (and outright bribery) that landed Mexico the right to host its second World Cup. Non-soccer fans might enjoy the snarky dialogue and bare-knuckled machinations — it plays like a Spanish-language, soccer-themed “Succession” or “Marty Supreme.”

“Brazil ’70: The Third Star” is a miniseries about that country’s campaign to win a third World Cup, led by a name even non-fans know: Pelé. Rodrigo Santoro stars as Coach João Saldanha.

“Brazil was in the midst of the dictatorship; they had to somehow generate some sort of national pride,” says Ramos. “The only thing that unites Brazilians 100% is their team. It becomes this compelling thing about how society is so intertwined with sports, and how sports are so intertwined with politics in Latin America.”

Soccer superstar Ronaldinho Gaúcho is interviewed in the new Netflix documentary “Ronaldinho.”

(Netflix)

Is converting new American fans a realistic goal?

When soccer is the No. 1 sport in so many nations, why isn’t it bigger here?

It might have to do with the U.S. not having been a major player on the world stage, at least on the men’s side. The men’s team’s highest World Cup finish in the modern era is the quarterfinals in 2002, while U.S. women’s teams have won a record four World Cups. But the men have qualified for the tournament this year — which will be played partially in the States — and analysts say the team has improved, though they’re no one’s favorites to win it all.

Ramos says if American audiences stop seeing it as a competition between football and fútbol, they might come to appreciate soccer’s nuances.

“Take a look at the last 20 minutes of the World Cup four years ago, between France and Argentina. It’s the most extraordinary, beautiful art of people moving, and moving in extraordinary coordination. It’s like, the most-watched online thing ever.”

Beyond Netflix’s big bet on the World Cup slate, it’s not hard to get Ramos and Ara to make further wagers on this year’s tournament.

“Four teams have huge chances to win: Spain, France, Argentina and Brazil,” says Ara. “My heart is with Uruguay, but I don’t know if we’re gonna have a chance. Because of my bond with Brazil nowadays, I wish they could win again. A player once said to me, ‘Brazil is the second national team for any fútbol supporter.’ ”

“Oh my God, I will get in trouble,” says Ramos. “I’m Mexican, and it takes place in Mexico [and the U.S. and Canada], but … I’m gonna go with Argentina. My No. 2 would be Brazil.”

I come from a family of priests and devoted Catholics. Catholicism is the blood in my veins. My father was not a disciplinarian, but if you lived under his roof you went to church. Saturday evening or Sunday morning, didn’t matter, you went. My four siblings and I were not miscreants, but we drank beer and sneaked out, and I was once cited for stealing liquor. I can’t recall my father ever yelling at me for anything other than missing Mass.

My great-uncle Dan was a diocesan priest at St. Charles Borromeo in Drexel Hill, Pa. Dan was a fire-and-brimstone hard-liner. Every Thursday we’d gather as a family for a roast beef dinner at my grandmother’s house. Dan would drink Manhattans — plenty — and if someone expressed a view of God contrary to his own, he’d say, “It’s awfully hot down there.” “There” meant hell. My uncle Ed, my mother’s eldest brother, was an Augustinian. Patient, compassionate, inclusive, Ed’s God was very different from Dan’s. While discussing God, Ed would quote Michael Himes, “There is nothing we can do to make God not love us,” and the Trappist monk Thomas Merton, “Mercy, within Mercy, within Mercy.”

Sports was in my family too — basketball, specifically — and I came to view Dan and Ed as head and assistant coach, respectively. The head coach shouting harsh critiques from the sideline, the assistant coach there to put his arm around you when you made it, crestfallen and ashamed, back to the bench. I loved them both, but I aligned with Ed’s view of God. Dan passed away a decade ago. Ed has since left the priesthood and married a kind and patient woman named Kathy. Over the years, Ed’s views on God have changed drastically. We meet for dinner once a month to talk about life and faith, and it was during one of our conversations that “Task” was born.

Mark Ruffalo in “Task.”

(Peter Kramer / HBO)

Tom Brandis, played by the singular Mark Ruffalo, is a former priest-turned-FBI agent who has lost his faith. Everything he held as truth in his life has come crashing down in the wake of a family tragedy. Tom believes he was called by God to adopt two children, Emily and Ethan. Adopting these children has resulted in the death of his wife, Susan. Matricide. What kind of God allows that? I have struggled with my Catholic faith over the years, but nothing has perplexed me more than the idea of suffering. The poet Archibald MacLeish wrote, “If God is God, He is not good / If God is good, He is not God.” The message is clear: If God is God, the author of everything, then He created evil and suffering and therefore cannot be good.

In “Task,” I wanted to explore a crisis of faith with honesty and without easy answers, because that is exactly how I have found my own faith journey — arduous and circuitous. I believe in God, but I find that belief tested daily. Faith and religion are separable. Tom’s journey in “Task” is a journey of faith. In the fifth episode, Tom is kidnapped by the criminal Robbie Prendergast, played by the brilliant Tom Pelphrey. During a long and tense car ride to the Poconos, Robbie tells Tom that he doesn’t believe in God. Never has. God is an idea conjured to make life bearable. “There’s nothing after this life,” Robbie says. Tom doesn’t argue. His own beliefs have veered in that direction. The car pulls into a secluded, wooded area. Facing death, Tom suddenly wants to call his son, Ethan, and forgive him. Robbie doesn’t allow it. Instead, he walks Tom to the edge of the woods, tells him he’s a decent man, and sets him free. Because Robbie has his own plan: to sacrifice his life in the hopes of providing a better one for his family. It’s through Robbie’s act of mercy that Tom regains faith. He believes in goodness again.

Brad Ingelsby.

(Ian Spanier / For The Times)

In the final episode, Tom finds himself taking care of a young and suddenly parentless boy, Sam. Sam reminds him of his own son, Ethan. Sam wants to live with Tom. And Tom desperately wants Sam to stay with him. But Tom also recognizes that Sam would be better served in the care of a young family capable of meeting his needs. Sam shouldn’t be stuck with an old man like him. Tom lets Sam go; he believes the boy will be taken care of. That is Tom’s act of faith.

When Ed and I met for dinner last month, we talked about how his idea of God has changed over the years. He no longer sees God as a bearded white man tallying our sins and waiting to judge us in heaven. He thought God was everywhere, all the time. The love that exists between people. He thought he could feel God right then, among us at the table as we laughed. We talked about Camp Mystic. The young girls swept away. Why, God? They were there to serve You. We didn’t have any answers. We never do. But the food and wine were good, and we talked about great-uncle Dan, about how he was so different from us but how much we loved him anyway, and how, when he drank Manhattans — plenty — he could turn harsh and opinionated, but it didn’t matter because he loved God. He loved Him with his whole heart, and we thought about the unimpeachable dignity of that and what an amazing gift it would be — to believe and never doubt.

Matt Brown, who starred with his family in the Discovery reality television show “Alaskan Bush People,” was found dead in the Okanogan River in Washington state, law enforcement officials said Sunday.

Brown’s body was discovered Saturday by a group of private citizens who were conducting a search, the Okanogan County Sheriff’s Office said in a statement.

Brown’s brother, Bear Brown, said in a video posted Saturday on social media that fellow brother Noah had been with the search team, helped pull the body out of the river and identified him.

The official cause and manner of death is still to be determined by the coroner, the sheriff’s office said. But the Brown family believes Matt Brown died by suicide, Bear Brown said in the video.

Witnesses said they saw Matt Brown in or near the river and that he “took his own life,” Bear Brown said on social media.

“I would have never suspected he would hurt himself, honestly,” Bear Brown said in the emotional video. “He struggled for a long time.”

Bear Brown said his brother had battled with alcohol and drugs and that Matt Brown told him in their last conversation that he had “fallen off the wagon.”

The Brown family and their life in the Alaskan wilderness were the subject of the reality TV show “Alaskan Bush People,” which ran on the Discovery Channel from 2014 to 2022.

ROCKER Ronnie Wood has got satisfaction on his birthday today – after being surprised with a classic red phone box from his wife.

The Rolling Stones legend was gifted the timeless telephone booth by his honky tonk woman Sally Humphreys to mark his 79th birthday.

The original British Telecom K6 phone box, costing some £5,000, did the moonlight mile as it was delivered to his country estate in Little Gaddesden, Herts.

The fixture means the former hard-partying icon won’t be going off the hook anymore.

Wood married his current wife, theatre producer Sally, 48, in 2012 and welcomed their twin daughters just four years later.

Speaking to Hello! Magazine he said: “Any time I’m with her and the girls, that’s the best for me, nothing tops it.

STAR’S GIG MEAL

Ronnie Wood reveals posh breakfast that powers his Rolling Stones gigs

REUNION HINT

Rolling Stone Ronnie Wood reveals he’s working on new music with Brit icon

“When the twins come into our bed and we’re all snuggled up together, that, for me, is wonderful. My idea of heaven.

“It’s special. The girls are so cuddly and gorgeous. I’m a lucky man.”

A source said Ronnie is celebrating his birthday at his holiday home in Barcelona.

Soccer Aid has raised an eye-watering and record-breaking amount of money for Unicef with their annual charity match that saw the likes of Joe Marler and Angry Ginge compete

Soccer Aid have raised a huge sum of money for Unicef. The annual charity football match raised a staggering £16.5million for the children’s aid organisation.

The match, which was created by Robbie Williams and Jonathan Wilkes in 2026, aims to raise millions for Unicef every year but has never raised as much as it did this year. By raising over £16m, the celebs taking part have increased the total ever raised from the event to £137million.

The grand total was revealed in the last few moments before Soccer Aid went off air, in an announcement made by Robbie, who also performed his song Feel for the halftime performance.

Over £1million of the total amount was raised by Olly Murs. The singer had taken on a mammoth challenge that involved cycling, rowing and running the 400km distance from Old Trafford to the London Stadium. Prior to the match beginning, Tom Hiddlestone revealed on air that Olly had raised £1,342,214 for the total pot.

The rest of the funds were raised throughout the event, including the build up to kick off. Tom Hanks and Tim Allen came out to the pitch to deliver the football and revealed that before play had even begun, the event had raised over £4.6million. Tim delighted fans as he said his Toy Story character Buzz Lightyear’s catchphrase: “To infinity and beyond!”

Roughly 15 minutes before the teams headed out, GK Barry caught up with Tom Hanks and Tim Allen with the latter catching many off guard courtesy of his comments.

While stood in the tunnel, upon GK Barry asking for their attention, the latter stated: “I’m just just b****ing about penalty shots.” The comment went unacknowledged by ITV, despite airing pre-watershed.

As Americans, the pair aren’t used to European football. Tim continued to say he was going to “try to work out how you win or lose a game on a penalty shot”. Tom, who said he did have some knowledge of the UK game, jokingly hit back: “You cannot use your hands.”

Soccer Aid celebrated its 20th anniversary this weekend with a massive showdown at the London Stadium. The fixture occurs every year and its mission is to raise vital funds for UNICEF while bringing together a unique mix of world-class football legends and beloved celebrities.

Former United captain Wayne Rooney led the line for England. Big football names taking to the pitch included Jill Scott, Jack Wilshere and Theo Walcott.

Other huge names making up the England side were Tom Hiddleston, Danny Dyer, Paddy McGuinness, Olly Murs and Joe Marler. They were joined by Toni Duggan, Steph Houghton, Jordan North, Angry Ginge, GK Barry, Jack Wilshere, Joe Hart, Sam Thompson, Chloe Burrows, Jack Whitehall and Owen Cooper.

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

Internet culture is showing up in a big way in theaters, as low-budget horror films “Backrooms” and “Obsession” led this weekend’s box office and beat out big franchise films like “Star Wars: The Mandalorian and Grogu.”

A24’s “Backrooms” topped the charts with $81.5 million in the U.S. and Canada in its opening weekend, according to studio estimates. The film is directed by 20-year-old YouTuber Kane Parsons, who based it on his internet series of the same name.

“Backrooms,” which reportedly had a production budget of about $10 million, stars Chiwetel Ejiofor as a furniture store owner who finds a mysterious portal in his basement. The film made a total of $118 million worldwide.

In second place was Focus Features’ “Obsession,” which hauled in $26.4 million in its third weekend in theaters, up 10% from the previous weekend’s total. The film, which had a production budget of less than $1 million, has now grossed $104.7 million domestically for a global total of $148 million.

“Obsession” director Curry Barker is also known for his YouTube sketch comedy channel.

The success of two YouTube-native filmmakers at the box office indicates the growing power of the platform — and online culture as a whole — in attracting audiences to cinemas.

Walt Disney Co. and Lucasfilm’s “The Mandalorian and Grogu” fell to third place this weekend with a domestic gross of $25 million. Lionsgate’s musical biopic “Michael” ($11.7 million) and Sony Pictures’ family comedy “The Breadwinner” ($7.5 million) rounded out the top five at the box office, according to Comscore data.

GK Barry was yelled out by a celebrity teammate during Soccer Aid after she ignored a pass to instead dance with the crowd just seconds into her time on the pitch

GK Barry appeared to leave a Soccer Aid teammate frustrated just moments into her time on the pitch. The Loose Women star was yelled at by Tom Grennan after she was too busy dancing with the crowd to see him pass her the ball.

The 26-year-old influencer, whose real name is Grace Keeling, was on England’s team at this year’s charity match and came on after replacing Tom Hiddleston in the 41st minute of the game. She quickly got the ball and passed it to Grennan, then turned to the crowd to celebrate, but missed Grennan’s return pass.

As Keeling celebrated, Grennan kicked the ball back to her and it rolled out of play. He appeared to yell something at her, gesturing to where the ball had rolled out of bounds, before turning his back.

Fans thought Keeling’s antics were “hilarious”. One said: “GK Barry in soccer aid is absolutely sending me”. Another added: “Literally love GK Barry so much”. A third said: “GK Barry is hilarious”. One called it an “all time soccer aid moment”.

Prior to the match, GK Barry sat down with Mirror to talk about Soccer Aid, particularly what her footballer girlfriend Ella Rutherford thought of it. “She’s really excited,” Keeling revealed. “I’ve never been one to understand football; I’ve never had the chance, but I feel like she’s loving telling me about it. She’s like ‘This is a corner’, and I’m like ‘OK’.”

Keeling joked that she and Rutherford were “swapping roles” and she was going to be “signing up to Portsmouth”. She also revealed how her girlfriend was helping her prepare for the match.

“I’m learning how to dribble,” she laughed, adding: “Learning what goal is ours that we have to shoot in. Ella’s got me on a high protein diet, which is hell – I’ve been doing a lot of that, a lot of eggs, a lot of mince, it’s disgusting but I’m hoping that will make me automatically become a footballer.”

As for advice on how to be on the pitch, Keeling says she’s noticed Rutherford is “very good at stopping people getting the ball”. But Barry is a “wuss”. “Her main thing is, you need to control the ball,” she explained, adding: “I get scared – if I’ve got a six-foot man coming towards me trying to get the ball, he might have to have it.”

Despite her excitement for Soccer Aid, Keeling joked it wasn’t her “bag”. She said: “Because I’ve watched Ella do it i sort of maybe kind of know what to expect a little bit, that’s what I’m telling myself.” But, the thought of 60,000 people attending is giving Grace the fear.

“I have a thing, I forget how to walk if I think someone behind me is looking at me,” she said, adding: “I do fear that I may skip onto the pitch or something like that. But it should be exciting, it’s the biggest thing I’ve done.” And despite being terrified she may embarrass herself, that doesn’t matter for Keeling as she’s taking part in an “amazing” event.

And Keeling admits that aligning herself with such a positive cause is “nice” for her due to the ages of her audience. “I think it’s amazing to tie in with that,” she said, adding: “Our team, there are so many types of people in different bits of the industry, so the amount of people we’ll be able to bring in and donate to the charity is amazing.”

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