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DIANA Vickers has been branded “unreal” by adoring fans as she stripped to a bright red bikini.

The X Factor alum, who recently revealed to The Sun the impact of celibacy on her life, was seen soaking up the sunshine on a beach holiday to Portugal.

She flashed a smile as she crouched down on the sands in her two-piece, with her blonde locks blowing in the sea breeze.

Diana, 35, went make-up free for the sizzling snaps, which captured her toned figure and glowing holiday tan.

She added a simple red Emoji love heart for her caption, though fans were quick to comment.

One wrote: “Hahahaa yes babe,” as a second simply put: “Unreal”.

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A fan then added: “You’re so fit,” as another gushed: “Looking amazing and so gorgeous”.

One follower then put: “Always flawless”.

Recently, The Sun exclusively reported how she celebrated her 12 months of celibacy by having sex with a colleague.

Opening up about her sex journey, Diana – who has appeared in BBC sitcoms Josh and Not Going Out – says she swore off sex to concentrate on her career and social life.

“I went celibate for a year just to see what would happen and I really thrived,” she says.

“I had such a great year with work and got every job I went up for.

“And then it got to the year mark, which I wanted to reach and I celebrated it by sleeping with someone I worked with.

“I was like (mimes pointing): ‘You! You have won the competition.’ And it was great.

“It was a really lovely experience with a really lovely guy, who I’ve stayed friends with since”.

Jessica Williams always goes to bed laughing.

“Everything’s so sad,” the actor explains. “Not taking yourself seriously is the only way, because otherwise I would just be upset, especially as a Black woman in the year 2026. I hate when people are on ‘The Bachelor’ and they’re like, ‘I love laughing,’ but it’s true. I really love it.”

Williams, 37, knows a thing or two about making others laugh. A three-time Emmy nominee for supporting actress in a comedy series for her work on “Shrinking,” she’s made an art of it. On a show about grief and mental health, Williams is often on hand to bring the funny.

Curled up in a chair on the top floor of The Times’ offices in El Segundo, looking down on the runways of LAX boiling in the late July sun, Williams gives runway fierceness against the beige office walls. She is just like the pop of bubblegum pink polish on her toenails as she strikes a pose in a chic all-black linen ensemble — a delightful burst of cheer in a subdued environment, something effervescent amid so much inoffensive sameness. She’s always been that way.

I would know; I’ve known her since we were 12 years old, awkward adolescents in Marcia Barryte’s Dodson Middle School drama class. As we catch up, I remind her of a PG-13 scene she caused in eighth grade science class during an earthquake drill. (To be fair, the drama students were asked to play standardized patients, and she was assigned “hysteria.”) While the class collected our backpacks, she broke into an award-worthy performance, wailing about not wanting to die a virgin.

“No!” she gasps, covering her mouth but unable to hide the mischievous grin that’s broken across her face at the memory. “That’s very inappropriate. I love that.”

Under slightly different circumstances, it’s a storyline that could belong to her “Shrinking” character, Gaby Evans, a therapist who brings her sunny demeanor, audacious sense of humor and enviable stores of energy into every room. That’s partly because so much of who Gaby is has been carefully honed by the writers and Williams to align with the actor’s voice.

“We can write almost anything and Jessica can make it sound like it has stemmed from Gaby,” says series co-creator Bill Lawrence. “She’s in charge of Gaby’s voice — and it’s a tremendous safety net for us as a writing staff.”

Jessica Williams in “Shrinking.”

(Apple TV)

Williams agrees this has been her experience, one she’s grateful for in an industry often dead set on ignoring perspectives like hers. “At the end of the day, white guys are in charge of this business,” she says. “Progress in film and TV requires them to go to bat for us. I feel really lucky to be on a show where Bill pulled me aside and was like, ‘If I’m doing my job right, the first couple episodes, we write these stories, and then, there’s a moment where it switches to being your character and you are the shepherd of her.’ It made it really collaborative and a safe space for me to play.”

Three seasons in, the set has become the world’s best playground. For instance, the writers gave Williams ample runway in a scene where Gaby turns the tables and proposes to her boyfriend, Derek (Damon Wayans Jr.), after discovering an engagement ring in a desk drawer (and getting it stuck on her finger). “Look, if you’re a television writer and you have a proposal scene and you don’t let Jessica Williams run with it, you’re cheating yourself,” quips Lawrence.

That mutual trust doesn’t mean that Gaby and Williams are the same person — just that Williams’ lived experience has shaped who Gaby is. “The point of a scene is we don’t know what it’s going to be,” she says. “We learned our lines. We’re going to show up. The director’s here. They have an idea. We’re going to make this thing together. We’re going to ‘Yes, and?’ until we get the scene up.”

Her ability to take the ball and run with it is what caught Lawrence’s eye in the first place, discovering Williams as a correspondent on “The Daily Show.” “She works very hard at making it seem like it’s off the cuff,” he emphasizes. “She is quick to call the writing staff with questions and is always looking to improve things. That’s not always the truth with everybody. She works her ass off.”

Jessica Williams. (Ryan Pfluger / For The Times)

That work ethic was essential for her Season 3 arc, which found Williams facing some of the toughest acting challenges of her career. Gaby bonds with a new, albeit reluctant, patient, Maya (Sherry Cola), only to be devastated when Maya takes her own life. It’s the heaviest storyline of the season — and a heartbreaking look at the realities of suicide, loss and trauma in the lives of mental health professionals.

One of the show’s consultants had experienced a similar loss, and their insights helped the writing staff find dramatic resonance. For Williams, it was a chance to showcase what she always believed she was capable of. “For women, people of color, queer people, any minorities, we just want the opportunity to show what we can do,” Williams says. “I was rubbing my hands together. Like, ‘F— yeah. Let’s go.’ But I was also really nervous. Sometimes when I get scenes that are a bit more difficult, I wake up and I wonder if I can do it. Every single time it’s proving to myself that I can. It felt like I didn’t get to rest last season in a way that was really nice. Most times I feel like I’m just goofing, but that felt like, ‘Oh, I’m an actor.’”

That’s an inevitable side effect of appearing on a Bill Lawrence show. His blend of humor and pathos demands a high-wire act from his ensembles. “With Bill, you have to have the acting chops to be able to do the drama, but then be able to turn a joke very quickly,” says Christa Miller, who’s been married to Lawrence since 1999 and played major roles on “Scrubs” and “Cougar Town” before “Shrinking,” in which she stars as Liz. “You really have to be able to do it on a dime.”

Lawrence clocked early on that Williams had the chops to hold her own against heavyweights like Harrison Ford. “We knew comedically she would crush it. The only question mark was about who she was as an actress,” says Lawrence. “But she was great from the second she set foot onstage. It would’ve been a massive mistake not to let her showcase that stuff.”

The storyline also pushed Williams to reopen an old wound. In 2019, she lost her longtime boyfriend to a heroin overdose. “He had a therapist who had come recommended from my therapist,” she says. “I don’t remember that time that much because it was so intense and traumatic. I do remember my therapist was helping me work through it, but she was also like, ‘I’d like to check in with his therapist and see how he’s doing.’ That was the first place I went when they told me about that storyline. It was a good opportunity to work through that a little bit.”

Even though her grief was readily accessible, it also churned up emotions that Williams often tries to quiet. “There’s always something when someone dies, whether it’s suicide or an accident, where you feel guilt,” she reflects. “‘What could I have done?’ It was something that I’ve processed and am still processing, and it was easy to transfer that into Season 3. Grief is so ongoing. It’s a wound that I have forever, and I would give anything to not have it. But now I have it, and I live with it. It’s like an old friend.”

Williams describes the days filming those scenes as different for her, harder to shake. Driving home from the set in Burbank, she’d often take side streets back to her house in Eagle Rock, getting lost in music and her environment. “It felt like trying to shed it,” she explains. “I really felt it. But so many people responded to it in a way that was what I wanted. It’s such an intimate thing, this job, and to be able to portray something [that resonates], that’s the whole point.”

One emotion the work generated that she wasn’t expecting? Embarrassment. “I’m usually not embarrassed doing comedy,” she says. “I’m like, ‘There’s no rules. We can try anything.’ It doesn’t feel as vulnerable, whereas acting, there’s something fundamentally so indulgent about it.”

It’s a surprising admission; though I haven’t spent substantial time with Williams in years, she always seemed fearless to me. Willing to do whatever it took to get a laugh. It’s why our drama teacher invented an entirely new role for her in our spring musical, to showcase her generational comedic talent.

Williams agrees she was a cutup in class, but she never got the chance to do any capital-A acting in middle school. “I would get a part, and then I wouldn’t be able to do it,” she recounts. “Mrs. Barryte would have to call my parents and be like, ‘She did not do her homework. She has bad grades. She can’t do the play.’ I let people down. I remember feeling really sad about it.

“That taught me I’m a part of a team,” she reflects. “I have to be professional. I have to be ready. But I’m glad I don’t have to do my math homework to be able to perform. Public school’s tough — you had to be an awkward Black girl and get good grades to do the musical.”

That all changed when Williams found improv, joining the ComedySportz team at Harbor City’s Narbonne High (she continued on the college team while she was a student at Cal State Long Beach). “I cared about improv so much that I wasn’t not going to do my homework,” she says. “It just affected my life profoundly. I’m getting misty thinking about these programs that are underfunded, that s— really matters.”

Williams has also found reassurance in the response to her character. “She makes me more confident,” she admits. “Just seeing the response to Gaby. A lot of that is amazing writing, directing and an amazing crew, but it’s also my instincts.”

“The first time I was like, ‘Whoa, what the f—?’” she says of her three Emmy nominations for the role. “Second time, it was like, ‘OK, it wasn’t a fluke.’ And then the third time you’re like, ‘Oh s—!’ All the actresses that I admire are in this category, so I’m honored. But these are my peers too. So it’s like, ‘Oh, they see me.’ Gaby means something to people, it feels like — and that’s really nice. It encourages me to keep going.”

As for what that future will hold, besides at least one more season of “Shrinking,” Williams is hungry to do a play on Broadway, having not done theater since high school. Somewhere in there she’d like to capitalize on her tendency to play erudite characters and embody a detective in a thriller (preferably a paranormal one like her childhood faves “So Weird” and “The X-Files”).

Mostly, though, she just wants to keep doing what she’s been striving for since we were kids — “I want, when you watch me, for you to feel like you’ve seen something magic happen.”

Well, abracadabra.

ELLA Rae Wise’s new businessman boyfriend’s Instagram page is awash with snaps featuring sharp-tailored suits, flash classic cars and London luxury.

But latest accounts for his Belgravia tailoring company Lawrence & Winslade Ltd show the company has just £3,083 in the bank.

Filed in April and documenting the business’s finances up until September 2025, accounts show the company holds £18,941 in stock and spent £7,414 on assets, primarily made up of new fixtures and fittings.

It made a net profit of £1,214 for the year.

The business is heavily funded by its directors, Ricky and business partner Jack Winslade, whose £33,613 directors’ loans account for more than half of the business’s short-term debt.

The Sun has contacted the business for comment.

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Truth about Ella Rae Wise’s ‘new husband’ Ricky as pals reveals fears

Ricky, 34, and Towie star girlfriend Ella, 26, went public with their romance last week while on holiday with mutual pals Lorri Haines and Ferne McCann.

They were pictured kissing at Marbella’s luxury Don Carlos Hotel and even sparked marriage rumours when Ella was spotted wearing a gold band.

Since those public displays of affection, concerns have been raised by Ella’s pals about Ricky’s past.

Last year he was cleared of assaulting his ex girlfriend and former Miss Universe finalist Chloe Othen.

Jurors heard the model claim she was pinned down by Ricky and accused him of punching and biting her on her legs, arm and shoulder.

Ricky denied the charges and was cleared of assault causing actual bodily harm after an eight-day retrial in June of last year. 

A close pal of Ella’s told The Sun: “She knows what happened with Ricky in the past and has no concerns whatsoever about him, but it’s concerning for some of us that she’s linked to him now.

“He has a bit of a reputation and was in a relationship with someone else not too long ago.

“He really showered his last girlfriend with gifts and big gestures and was talking about marrying her all the time before he met Ella.

“There are constantly rumours about his wealth as well – he appears incredibly rich online and drives a Rolls Royce, but is just renting his place in Knightsbridge.

“We all just want Ella to be happy and just hope she knows enough about him.”

Years ago, at the height of his success, Anthony Jeselnik couldn’t sleep. It was making him crazy. Hoping to find relief, the comedian sought help from a therapist he assumed would guide him back to a healthy sleep schedule. Instead, he encountered an apathy that stunned him.

“So what?” he recalls her saying. “So what if you don’t sleep? If you wake up, read a book. Find ways to be productive in your loneliness.”

Anthony Jeselnik grows earnest when he talks about his love for books.

(Ariana Drehsler / For The Times)

The advice resonated. Today, the comedian is still reading alone, only now he has a dog — and an audience. A lifelong reader, Jeselnik has transformed his literary habit into a popular online book club, Jeselnik Book Club, where he recommends novels and invites discussion on his YouTube channel. His first video, posted in January and reviewing Jim Thompson’s “The Getaway,” garnered over 31,000 views. Each month, he chooses a novel and offers it up for discussion.

“My goal was to curate and give people their best shot at enjoying reading,” he says. It’s a valiant effort, considering that reading has been in a steady decline. Last year, it was reported that the number of American readers had declined by 40% over the previous two decades.

“People will say, ‘Oh, I don’t like reading books.’ You’re choosing the wrong books,” says Jeselnik, his voice likely ringing with his signature snark because he, for the most part, knows otherwise. In 2022, bestselling writer Isaac Fitzgerald, who recently released the anticipated “American Rambler: Walking the Trail of Johnny Appleseed,” witnessed the power of a Jeselnik recommendation.

“It helps with the masculinity crisis in that reading is masculine. It is a masculine thing to do,” Anthony Jeselnik argues, advocating that young men trade online conspiracy forums for literature.

(Ariana Drehsler / For The Times)

“A friend texted me that Anthony Jeselnik, a comedian whom I loved — but had never met nor interacted with — shouted out his love of my memoir, ‘Dirtbag, Massachusetts,’ on his podcast. I was thrilled,” Fitzgerald says. “At my events, both in Chicago and throughout the rest of that year, more and more people in my signing lines told me they’d heard of the book from Jeselnik’s podcast. I was also buoyed by how many of the people in the signing lines were young men.”

Since then, despite Jeselnik’s self-proclaimed loner status, Fitzgerald and Jeselnik have struck up a friendship. “The man is a real lover of books, with excellent taste and, unsurprisingly, confidence in his convictions,” Fitzgerald says. Earlier this year, the author held a book launch event for “American Rambler” at Skylight Books in Los Feliz. Jeselnik hosted. “I think he may have single-handedly invented a new way to do literary events. I don’t know what to call it … a literary roast?” Fitzgerald says. “Everyone laughed for an hour straight.”

In a sun-drenched luxury apartment above Hollywood Boulevard, Jeselnik explains that he mostly avoids the press — because he says he’s become weary of cancel culture and identity politics, conversations that have mired comedy.

Still, he welcomes the chance to discuss books, his voice swelling with excitement at the mention of authors Emily St. John Mandel and Ottessa Moshfegh — both personal favorites. Almost an hour into the conversation, the comedian reveals that he has Joan Didion’s author photo tattooed on his chest. His hand rests on his heart as he evangelizes her writing — a surprisingly tender moment of sentimentality from a comedian who has made a career out of stinging misanthropy.

“She has the cleanest prose. I think she’s the best writer of all time,” Jeselnik says. “I’ve read all of her novels, a lot of her essays. Her book about her husband dying is one of the most heartbreaking books.”

In fact, Didion is a natural match for the comedian. He is renowned for his precise and restrained use of language, delivering provocative truths about people’s ugliest impulses and asking the audience to laugh at them.

In the comedy world, Jeselnik has become legendary for his razor-edged one-liners, each joke ending with a dark reversal. He’s gained a reputation as the provocative bad boy of comedy with irresistible charm. Over the course of his career, he has enjoyed toying with this stage persona, which he jokes is that of a “borderline psychopath.” His roast of Donald Trump catapulted him to stardom, and he has released five hourlong comedy specials, the most recent of which, “Bones and All,” debuted in 2024. On Instagram, he has over 1 million followers.

“I was trying to be the devil onstage and somehow ended up as likable anyway,” he says of his storied career. This interests him in literature too — transcending reputation through good art. “Edgar Allan Poe wrote these books about psychopaths and killers. Authors do not equal their persona.”

“I’m trying to make reading cool again,” Anthony Jeselnik says. “Reading is a solitary act in the way that stand-up comedy is a solitary art form.”

(Ariana Drehsler / For The Times)

Jeselnik’s book club recommendations are eclectic and literary — the kind of titles name-dropped in MFA writing workshops and met with impressed nods at dinner parties. Most recently, he recommended “Stoner” by John Williams, “Dept. of Speculation” by Jenny Offill, and “Paradais” by Fernanda Melchor. He curates his recommendations painstakingly, choosing brisk reads of around 250 pages that he hopes will hook new readers.

“I’m trying to make reading cool again,” Jeselnik notes. “Reading is a solitary act in the way that stand-up comedy is a solitary art form.”

He hopes his fan base embraces a life of reading. Similarly, in 2025, comedian John Mulaney also began recommending books on social media. “There are so few books for guys that are literary. There’s a lot of John Grisham and Jack Reacher, but there’s not something literary that a guy can sink his teeth into,” Jeselnik says. “If it’s well written, and the writer is great, then I’ll go on any kind of journey they take me on. I don’t always understand everything that I read, either. But reading a great writer, it’s like listening to classical music.”

With anti-intellectualism in comedy on the rise, he says his book club stands as an antidote to the manosphere. Young men passing time on conspiracy theory-infested corners of Reddit should instead pick up a novel, the comedian argues. “It helps with the masculinity crisis in that reading is masculine. It is a masculine thing to do,” he says. “The Hemingways of the world were out there. It used to be a badass thing to be a writer, and a brave thing to put your thoughts onto the page and publish them.”

The comedian has been a voracious reader since childhood. When he was in a Montessori school, the teachers discovered that reading would soothe Jeselnik. “I could go sit in a corner, and you can be a juvenile delinquent reading juvenile delinquent books.” Reading gave him a sense of accomplishment and satisfaction that followed him into early adulthood — a penchant he would like to stoke in his fans.

Early on, when Jeselnik discovered Bret Easton Ellis’ work, it felt revelatory. “Once you got outside of the curriculum, it was revolutionary to me to read Bret Easton Ellis; to read about sex, gay sex, to read about drugs, and people, young people, doing this was fascinating.”

Starting a book club felt like a natural progression for Jeselnik’s decadelong career, he explains. “In terms of how I do things and my approach to stand-up, instead of doing a podcast, having a book club seems like a natural extension of that.” There’s an earnestness in his appreciation of great literature that translates to his videos. “You can tell that I like the book and want people to enjoy it at the same level.”

Jeselnik, 47, imagines his comedy career is winding down. Thankfully for his fans, he has other creative ambitions. “I’d love to take a crack at either short stories or writing a novel.”

He reflects on the trend of comedians who, later in their careers, seek new legitimacy. “You see a guy like Jim Carrey: the last thing he wants to do is make anyone laugh anymore. He wants to be taken so seriously,” he says. Jeselnik believes his stage persona spared him from that particular crisis of self. “People are afraid of me. Fans who approach me are careful because my stage persona is borderline psychopath,” he says. “I don’t feel that same need to be taken seriously. I think I am taken seriously.”

His comedic sensibility explores cruelty, shock, transgressions and antiheroes — and it’s also what continues to draw him to literature. “I love bank robbers. I love the idea of the villain winning. That is revolutionary to me. You’re raised on TV, and things have to be wrapped up in half an hour, and the moral has to hold,” Jeselnik says. “I love that books don’t have to play by those rules.”

Connors is a culture journalist in L.A. She covers books, food, entertainment and offbeat Los Angeles. She’s currently at work on a book of essays about tourism in all its forms.

Salzburg, Austria — “Optimism doesn’t mean pretending everything is fine,” the Belarusian flutist and political activist Maria Kalesnikava said in this year’s Salzburg Festival keynote address. “It means deciding to step up and act, even in the face of uncertainty.”

Picture-perfect, Mozart-drunk Salzburg can’t pretend everything is fine. Temperatures are rising and normally rainy Salzburg now worries about water shortage and the environmental ravage of over-tourism. The artistically and culturally exceptional six-week Salzburg Festival, which began mid-July with a two-week Ouverture Spirituelle this year titled “miserere” (mercy), is facing its own political and administrative turmoil and uncertainty.

Salzburg’s worries are our worries; its triumphs can be ours as well. Los Angeles and the Salzburg Festival have been cultural and political soulmates for close to a century, beginning when playwright, director and filmmaker Max Reinhardt, who co-founded the Salzburg Festival in 1920, found mercy in L.A. as refuge from the Nazis.

Reinhardt’s star-studded 1934 music-theater production of “Midsummer Night’s Dream” at the Hollywood Bowl offered a template for spectacle in the young amphitheater, and the Los Angeles Philharmonic’s participation crucially reinforced a young orchestra’s early venturesome ambition following an avant-garde Bowl season the previous summer that nearly bankrupted the Bowl. Over the next decade this Salzburger’s influence on Hollywood dramaturgy would become legend.

L.A. has reciprocated by sending our visionaries to Salzburg, where director Peter Sellars and conductor Esa-Pekka Salonen, for instance, have been given the license and means to inspire a reinvention of musical and theatrical thinking. L.A. arts patrons Betty Freeman and Richard Colburn provided important support for Salzburg during their lifetimes that included commissioning new work.

Gustavo Dudamel conducts Strauss’ ‘Alpine Symphony’ with the Vienna Philharmonic at the Grosses Festspielhaus in Salzburg Aug. 25, 2024.

(Marco Borrelli / Salzburg Festival)

Gustavo Dudamel, L.A. Phil’s optimist these 17 seasons, has long been a Salzburg regular as well, and he arrived last week just in time to take up Kalesnikava’s challenge. Her proclamation of optimism comes on the heels of her having been released in December from a brutal Belarusian prison for supporting an opposition candidate running against the country’s authoritarian leader.

In Dudamel’s case, his life has been turned around by the recent earthquakes that devastated Venezuela just two weeks after his last concerts in Walt Disney Concert Hall as L.A. Phil music and artistic director. His activities this summer now revolve around partnering with the United Nations Development Program to gather global support for Venezuela’s recovery, which is estimated at $6.7 billion.

Although little noted, Dudamel’s buoyant World Cup halftime appearance with 20 members of the Simón Bolívar Symphony Orchestra and 20 from the New York Philharmonic was as a FIFA fundraiser supporting children affected by global crises, in this case earthquake relief in Venezuela. Dudamel has further turned his last Hollywood Bowl program as L.A. Phil music director into a benefit on Aug. 23.

Prophetically, Dudamel had months ago been invited to close this summer’s Ouverture Spirituelle by leading the Vienna Philharmonic in Mahler’s Second Symphony, known as the “Resurrection.” One way to think about Mahler’s extravagant 90-minute exercise in his search for life’s meaning is as an exercise in attaining optimism in the face of tragedy.

“Rise again, yes, you shall rise again,” Mahler extols in a final ecstatic climax, and it is with the “Resurrection,” which includes chorus and a pair of vocal soloists, that Dudamel began his “Gracias Gustavo” L.A. Phil season last fall. Raising roof, the message was clear: optimism is the native language of Walt Disney Concert Hall.

In Salzburg, where Dudamel’s two Vienna Philharmonic performances were dedicated to the people of Venezuela, those lines took on obvious new meaning. Earlier in the day, Dudamel gave a public talk with a lively German journalist, Marco Frei, in which he described himself as a “resurrectionist” in more ways than one.

The symphony has been a been a musical and spiritual guide for him since his boyhood. He became so excited about a new sense of freedom he feels in the second movement that he leaned back in his chair and kicked his white sneakers in the air.

After the talk, I walked with Dudamel back to his hotel as he displayed a different, more solemn passion describing the toll the earthquakes have taken on El Sistema, the Venezuelan youth program that has been behind his educational activism in L.A.

“At least 140 members of the El Sistema staff and educators were killed or are unaccounted for,” Dudamel said, and that’s not counting what may have happened to a great many children and their families. But remarkably, Dudamel noted, in places where few structures remain, the nucleos (the small El Sistema community schools) are surprisingly still standing. They have become centers for food, aid and shelter.

In Salzburg, Dudamel indulged the Vienna Philharmonic’s incomparable lushness, those plush strings, glowing winds, golden brass, voluminous timpani. The symphony received mixed reviews, with critics complaining of a lack of transparency, argument and depth. Had they been in Disney Hall, they would have had it all.

But here Dudamel became more simply an architect of awe, unfazed by Mahlerian uncertainty as he worked his way to an inevitable cosmic grandeur unfazed by uncertainty. An enthralled audience left opening its collective wallets. Ushers stood at all the exits of Great Festival Hall with baskets for donations for Venezuela. I did not see a single member of the audience leave without throwing in a bill or several.

Dudamel’s “Resurrection” might also be read as a message from L.A. to Salzburg. In the spring the festival board dismissed its artistic director of the past decade, Markus Hinterhäuser, saying there is a difference in vision. Hinterhäuser’s penetrating and uncompromising vision is what has made the modern festival matter. Hinterhäuser has implied political meddling.

It is a huge festival, with more than 200 performances. Last year’s audience exceeded 200,000, with visitors from 88 countries. The arts as a vehicle for coming together can be cliché. In Salzburg, sharing becomes essence, not the kind of narcissism that appears to be adopted by our upcoming LA28 cultural Olympiad, in which Angelenos are invited to submit entrees that show off our goods rather than a cultural exchange.

Over 100 artists have protested Hinterhäuser’s removal, including two Nobel Prize laureates. Hinterhäuser is also an insightful pianist, and he joined baritone Matthias Goerne in a chilling performance of Schubert’s existential song cycle, “Winterreise.” Hinterhäuser got thunderous ovations.

Salzburg’s future is anyone’s guess, but even with Hinterhäuser on the sidelines, this summer is still his festival, meaningful as ever.

A new production of “Carmen” could not be darker, nor more brilliant. It is the latest project of conductor Teodor Currentzis, who has worked extensively with Peter Sellars in Salzburg and elsewhere, and who brings electricity to every moment with his Utopia Orchestra and Choir. Argentine choreographer Gabriela Carrizo makes her debut directing opera and utilizes her alarmingly vibrant Belgian dance company, Peeping Tom. Performing in a vast empty space, two gripping singers — Asmik Grigorian plays an understated Carmen as a survivor in a hostile society, while Jonathan Teltelman’s Don José is unable to cope with that society — turn Bizet’s opera into revelatory existential theater in which survival is toleration.

A scene on the moon in director Yuval Sharon’s magical new production of Janacek’s neglected opera “The Excursions of Mr. Broucek to the Moon and the 15th Century” at the Bregenz Festival.

(Daniel Ammann / Bregenz Festival)

Something similar happens in “Faust, Part 1,” in which the actors spend the entire four hours in a new production by German director Ulrich Rasche walking against the direction of of a revolving disc. To remain in front of the audience, they must remain in motion. They’re dressed in modern business attire, but as they bare their souls, they bare their torsos as they step against forces that prevent progress. The backdrop is brightly illumined screens that hurt your eyes.

This, however, can serve as a reminder of a “Faust” staged by Reinhardt at the Pilgrimage Theater (now John Anson Ford Theater) when it was designed to look like the gates of ancient Jerusalem in 1935. Practically all of Hollywood celebrity showed up for what was the theatrical event of the season.

I asked Lukas Crepaz, who directs the Salzburg Festival’s administrative and business operations, whether it would be possible and whether there still is time for the Salzburg and L.A. to collaboration on an opera production. He said yes, if funding could be found. In fact, the L.A. Phil will mount in February “One Morning Turns Into an Eternity,” a Salonen/Sellars essay in intensity from Salzburg last summer.

Another option: The Bregenz Festival, also in Austria, has just staged a new production by Yuval Sharon of Janacek’s little-known opera, “The Excursions of Mr. Broucek to the Moon and the 15th Century.”

Sharon — who was responsible for the fabulous excursions of his L.A. experimental company, the Industry — supplies his characteristic wit, imagination and insight into a hard-to-please opera about a beer-besotted philistine landlord, who comes to no good in his drunken dreams of going to the moon and back in history, as he does as an angry old man stumbling home from the bar or sitting watching TV (Sharon’s invention).

L.A. optimism may matter more to Austria this summer than it does to L.A. We have two years to step up and act, even in the face of uncertainty.

PRINCE HARRY has given his royal seal of approval to 2024 Britain’s Got Talent winner Sydnie Christmas.

He told Syd he “felt every word in the back of his throat” after she performed Tomorrow from Annie and Frank Sinatra’s My Way in front of him at David Foster’s charity gala in Canada over the weekend.

Both tracks have poignant lyrics about overcoming difficulties and being beaten down, which is rather apt for Harry, who has endured setback after setback recently.

Speaking from Canada, Syd told me: “When I was on stage, I joked about meeting his dad before adding, ‘Sorry he couldn’t make it. He sent me instead’.

“Oh my god – I say such silly things when I’m nervous, but Harry started laughing.

“When I got down off stage he just came forward and gave me a big cuddle.

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“And he went, ‘Sydnie, I felt every word. I really felt that in the back of my throat’.”

Revealing how the fifth-in-line to the throne ditched royal protocol, Sydnie continued: “He just went in for the hug and I was like, ‘Why not?’.”

Next week, the singer drop her new single Spirit, taken from her second album The Artist, which is due out on October 2.

Teasing the record, Syd said: “This is going to be different from what people know me for.

“I’m just trying to progress and make music that hopefully people like.

“The dream is just to continue touring and making music.

“It’s sounds so simple, but it’s difficult in this day and age.”

Denise has a Tiny secret

DENISE WELCH has revealed that US band Tiny Habits soundtracked Matty Healy and wife Gabbriette Bechtel’s first dance at their wedding last month.

The folk-pop trio were joined by Matty’s mum, Loose Women star Denise, during their show at London’s St Pancras Old Church on Friday when she let slip the news.

Clearly she’s a big fan now too, as she stayed for the gig and posed for a photo with the group afterwards.

The band, made up of Judah Mayowa, Cinya Khan and Maya Rae are good friends with The 1975 frontman Matty, who provided background vocals on their recent single, Anything He Was.

It will feature on their second studio album, Keepers, which is due out on August 28.

Tiny Habits met while at university in Boston and have since gained more celebrity fans in Marcus Mumford, Noah Kahan and Phoebe Bridgers.

They’re clearly doing something right.

Madge and Kylie set for 102nd top ten hit

POP legends Madonna and Kylie Minogue are on course for a big hit with their new single, Love Sensation.

Official Charts has revealed the track is currently at No8 in the midweek update.

If its popularity continues, it will become the 102nd Top Ten that the pop stars have scored between them – Madge’s 65th and Kylie’s 37th.

They debuted the tune, a remix of a song from Madonna’s Confessions II album, at WorldPride in Amsterdam earlier this month, right.

Meanwhile, Sam Fender and Olivia Dean are set to stay at No1 for a 21st week with Rein Me In, with only Shakira’s Dai Dai challenging them for top spot.

Usher: ‘I don’t do doubles’

USHER has been forced to hit back at claims that he had a body double perform on stage for him during his MetLife Stadium show in New York.

The Burn singer’s fans were up in arms after his concert, claiming the man on stage singing was not Usher.

Posts about the claims started to go viral yesterday, with Usher forced to clarify it was him, writing: “How y’all come up with this? AI ain’t that advanced.”

It’s not the first time we’ve seen this recently.

Last month, a Blue fan got in touch to complain they didn’t think Simon Webbe had been performing with the band during a gig in London.

After a quick – and comical – conversation with their manager, we managed to clear up that it was the real Simon on stage.

Specsavers, anyone?

Taika moment to go offline

TAIKA WAITITI’S upcoming sci-fi film, Klara And The Sun, is set in a world with no internet.

But the Hollywood director admits he struggles to limit his time online – despite his best efforts.

Taika, below, told us: “When I’m writing, I tend to hang out too much on it, but you’ve got to really make an effort and go somewhere where there is no wi-fi – or just unplug the router and force it upon yourself.”

He added of the film, based on the best-selling book by Kazuo Ishiguro: “It’s set in the near future where we’ve ended up abusing our power with the internet and technology so much that they actually had to turn it off.

“No internet or AI – all the robots are analogue and not connected to anything at all. Basically, robots that are dumb.”

I’d love some internet breaks at times, but alas showbiz never sleeps.

Fans’ joy at long Weeknd

THE WEEKND has done a U-turn on his announcement early last year that he plans to retire – insisting he will keep performing “for ever.”

The Blinding Lights singer, inset, whose real name is Abel Tesfaye, had said he wanted to put his alter-ego to bed, but in Stockholm on Saturday, he made it clear his current tour has reinvigorated his love for music.

Ad-libbing during one of his tracks, he sang: “I’ll never disappear. I love this too much to ever disappear.

“I tested retirement a little bit, and I don’t like the way it feels. Imma be here for ever with you.”

That will be music to the ears of fans who didn’t manage to get tickets for his five Wembley Stadium shows and two concerts at Dublin’s Croke Park in the next fortnight.

HE is the most controversial man in music, and banned from the UK.

But Brits are now throwing their support behind Kanye West, with hundreds flying out to his latest show in Portugal on Friday.

After then-Prime Minister Keir Starmer led the charge by saying Ye couldn’t enter the country due to past antisemitic comments — which the star has apologised for, blaming a mental health episode — only a handful of his European shows have gone ahead.

Before the ban, he had been lined up to headline Wireless in ­London’s Finsbury Park last month.

Now many supporters are speaking out against his exclusion. One pair, mother and daughter Lauren and Kate, jetted to Portugal and queued for hours holding a flag backing the rapper which read: “F*** Keir Starmer, Scotland loves Ye.”

Lauren, who said they had spent £3,000 on the trip, explained: “He was banned from the UK and it’s shocking because he wasn’t well and he’s apologised for it. Some people are given grace and others aren’t. But we get to come here and it’s beautiful.”

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The concert drove an extra influx of tourists to the area — with barely a single free hotel room left in the region.

Amy, from Ayr, said she booked her ticket a week after Wireless was cancelled in April.

She said: “There’s so many British folk here — so many, just because they can’t go to Wireless.

“To see Kanye in London would have probably been better because British crowds are just better.”

Fans Kane and Kate, who travelled from Portsmouth, said they queued for two hours just to buy merchandise before the gig, while another fan, Alfie, also attended Kanye’s show in Madrid, Spain, the previous week.

He described the concert as “the best show you’ll ever go to in your life,” adding: “My mum loves Michael Jackson and she was like, ‘I can’t believe you’re going to Portugal to see him again.’

“I said, ‘If it was Michael Jackson, you’d do the same’.”

And celebrity fans are sticking by Ye, too — supermodel Naomi Campbell and Real Madrid’s Trent Alexander-Arnold attended his show the previous week.

As for the concert, I can confirm it’s ­absolutely remarkable.

He performed atop a hemisphere-shaped stage in the centre of the Estadio Algarve, with a spinning globe and other projections being beamed on to it throughout the night.

It meant he was “on top of the world” during the majority of his epic 39-song set, which included everything from songs like Jesus Walks and All Falls Down from his 2004 debut, to King and Father from his latest record Bully.

And there was even a surprise showing from his daughter North, who joined him to perform her song H0w Sh0uld ! f33l and their collaboration Talking.

Kanye was on his best behaviour during the show, with no rants or missteps, clearly determined to let the music do the talking.

Now Brits who flew out will hope the UK takes note — and lets him back in.

FORMER Strictly pro James Jordan secretly lived apart from his wife Ola for months prior to their split.

Pals said he moved into a flat earlier this year close to the five-bedroom house the dancers once shared.

James, 48, is said to have “needed space” as he and Ola, 43, embarked on a trial separation after 22 years of marriage.

A source explained: “It was James’s decision to move out, he needed some space. It happened months ago. He has been holed up in a small flat in Kent.

“These past few months have been tough for James but he is trying to keep moving forward. Ola has been supporting him as best she can but their decision to end their marriage has been incredibly difficult for both of them.”

James was photographed looking downcast as he walked close to his flat last week, minus his wedding ring.

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We revealed on Saturday how the couple, who have not been photographed together since last year, had split.

James, originally from Gillingham, and Polish-born Ola, who have a daughter, Ella, then released a joint statement confirming their break-up.

It read: “We’re taking some time apart as we work through very difficult personal challenges.

“James moved out of the family home some time ago. This has been an incredibly painful and emotional journey for us both and it certainly wasn’t an easy decision.”

It said James’s mental health “hasn’t been in a good place for quite some time”.

James added: “I’ve been struggling more than I’ve let people see and I’m taking the time I need to focus on getting myself into a healthier place, both for myself and for Ella.

“Neither of us is in a good place right now. We’re both doing our best to navigate one of the hardest chapters of our lives.”

James and Ola both joined Strictly in 2006.

James quit in 2013 with Ola leaving two years later, after winning the trophy in 2009 with Chris Hollins.

Gary Lineker’s production company, Goalhanger, is said to be looking at ‘exciting new formats’ which may include a food programme potentially starring a huge celebrity chef

Gary Lineker is set to go head-to-head with the BBC as he plans a new cookery show that could rival MasterChef, it has been claimed.

According to reports, the broadcaster’s production company, Goalhanger, which currently produces The Rest Is.. series is looking at “exciting new formats” which could include a new food programme. Gary, 65, has been passionate about food since the coronavirus lockdown, and regularly cooks for friends and family, a source said.

Amid claims he might work on a new food show, a few names have been floated around as potential hosts – including Jamie Oliver. However, currently any details of a potential show are under wraps as no plans have yet been confirmed.

Speaking to The Sun, a source claimed: “Since lockdown Gary has become a massive foodie, and is regularly in the kitchen conjuring up feasts for friends and family. Doing a food show has long been his dream, but he didn’t know if he could.”

The insider added: “Last week the board held meetings to discuss new formats, and a brilliant new cookery show was front and centre. A few names, including Jamie’s, were thrown around, and an ad has now gone up looking for an experienced producer.

“Food content is absolutely massive on TikTok and Instagram, and this would be a natural extension of this – giving people what they want in a new, longer-form way, but with brilliant, hugely clippable moments being pushed online. Everyone is really excited.”

According to the publication, however, Jamie’s “incredibly busy schedule” means he may not be able to host the show. Currently, it’s not clear which platform a potential show by Gary would air on, but since he left the BBC last year, his The Rest Is Football podcast moved to Netflix.

It comes weeks after Gary managed to find his way on to the latest BBC high earners list despite officially working for just two months in the past financial year. The corporation revealed its annual report for 2025/26, and published its annual list of earnings of some of its highest-paid stars.

He still managed to earn £325,000-£329,999 in his final months. Gary was previously the highest paid presenter on £1.35 million a year. Other top earners at the BBC last year included Greg James, Stephen Nolan, Laura Kuenssberg, Vernon Kay and Alan Shearer. Since leaving the BBC in May last year, the TV presenter went on to sign new contracts with ITV and Netflix.

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

HAILEY Bieber licked her pal’s thong at Kylie Jenner’s birthday party before slipping into a sexy bikini.

The model, 29, took to her Instagram stories on Saturday evening to share a sneak peek into the festivities for Kylie’s birthday.

In one snap, the Rhode skincare founder licked her pal’s lower back, which had a pink G-string poking out next to it.

Hailey was seen wearing a princess tiara on her head as well as some pink feathers around her neck as she poked her tongue out for the picture.

Kylie is all set to turn 29 on Monday but decided to throw herself a party at home on Friday evening.

Her sisters Kim and Khloe Kardashian were in attendance as well as Hailey’s husband Justin Bieber.

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As well as her behind the scenes look at Kylie’s birthday, Hailey shared an August dump on her feed.

In one picture, she slipped down to a striking yellow bikini as she posed for a selfie.

She showed off her toned body and bronzed skin in the snap as she tied up her hair in a chic bun.

Hailey also posted a video of herself working out as well as a photo of a meatball dish loaded with cheese.

She simply captioned it: “August so far.”

Her followers flocked to the comments section to compliment her as one gushed: “The prettiest girl ever.”

Another loyal fan enthused: “She just gets prettier and prettier everyday, it’s insane.”

While a third added: “Justin is seriously the luckiest man alive.”

Last week, Hailey once again showed off her enviable figure as she posed in a tiny pink bikini.

She shared snaps from a recent getaway as she was seen sitting on the floor in the barely-there two-piece.

The mum-of-one appeared to be fresh from taking a dip as she went make-up free, with her brunette hair looking slightly damp. 

Hailey showed off her rock hard abs as she posed for the selfie with her orange iPhone.

ROD Stewart has become a grandfather for the sixth time as his daughter Ruby has welcomed her second child with fiance Jake Kalick.

She took to Instagram to share the special news alongside a series of pictures of her newborn son.

Ruby posted adorable pictures of her older son Otis meeting his sibling for the very first time.

She captioned it: “We welcomed our little (big) Levi Rhodes Kalick at 6:58pm on 8/4/26 at 9lbs 20inches….

“His name Levi means My Heart and his arrival has grown our hearts to 10 times the size… seeing Otis and Levi meet for the first time might have been the greatest experience of my life so far…

“Otis is already the best big brother and we are already so in love with this sweet boy… Welcome sweet Levi!”

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In one snap, Ruby’s mum Kelly Emberg could be seen smiling as she held her newborn grandson along with Levi’s paternal grandmother.

Rod has eight children in total with five different women.

He shares daughter Sarah with ex Susannah Boffey, who he dated for one year back in the 60s.

The pair put her up for adoption and she was raised by her adoptive parents.

She reconnected with Rod later in life and works in the health and care sector.

He’s also dad to Kimberly and Sean, from his marriage to Alana Collins, from 1979 to 1984.

He and ex-girlfriend Kelly Emberg are parents to daughter Ruby while his second wife Rachel Hunter and he share daughter Renee and son Liam.

Finally, Rod is a father to his two sons Alastair and Aiden, from his third and current marriage to Loose Women star Penny Lancaster.

He and Penny, 55, met back in 1999 at The Dorchester Hotel in London when a friend dared her to go up to him and ask for an autograph.

They dated for several years before tying the knot in a lavish ceremony in Italy in 2007.

Aside from Ruby’s sons Otis and Levi, the singer is also a granddad to Delilah, Louie, Elsie and another one of his daughter Kimberly’s children, whose name she hasn’t disclosed publicly.

Despite some of his eight children having different mothers, he has successfully cultivated a large, blended family.

He has a good relationship with his former girlfriends and ex-wives, with the huge clan often posing together at family celebrations.

A TV boss has broken his silence on Ariana Grande quitting a hit drama show – after revealing her plan to step back from public life.

Ariana was originally annouced to be on series 13 of American Horror Story but she later exited the project to prioritise her Eternal Sunshine tour.

This comes at the same time she revealed she would be stepping back from fame at the end of her tour.

The AHS creator, Ryan Murphy, has now discussed her exit and told The Hollywood Reporter: “I love Ariana Grande. We’re great friends.

“I had an idea and I came to her and she, very immediately, said, ‘I’m not sure because I think I’m going on tour.

“I don’t think the tour had been announced, and she had obviously just finished the Wicked movie.”

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Ryan also revealed that he welcomed the star to appear in another season which she gladly accepted.

He added: “You have to be respectful. Who is busier than Ariana Grande? No one. She had told me at the time, ‘I have this album that’s dropping.’ It was really, truly a scheduling conflict.”

Ryan also revealed that Ariana is a big fan of horror and did Scream Queens for him and explained that he would always want to work with her.

He said: “I love her, and I support her. It was a very big swing, but I might bring that back for another season, per Ariana’s availability. I think the world of her.”

Last week, a rep for Ariana shocked fans by releasing a statement confirming she was stepping back from public life.

The announcement followed her pulling out of the starring role in a West End adaptation of Sunday In The Park With George, alongside her Wicked co-star Jonathan Bailey.

A representative had told People Magazine: “Ariana will be taking a step back from visibility after she completes the Eternal Sunshine Tour.”

However, Ariana has one last surprise in store for fans as she prepares to kick off her ten-date residency at the O2 Arena next weekend.

We were told the Thank U Next singer will film the London shows for a concert special, to be released at a later date.

It’s due to spark a bidding war with streaming giants battling it out for the rights.

Ariana’s last album, Eternal Sunshine, was born out of heartbreak and written as her marriage to American estate agent Dalton Gomez broke down.

Following the split from Wicked co-star Ethan in June after three years, Ariana has headed back to familiar ground and is dating her ex, dancer Ricky Alvarez.

In this week’s episode of The Envelope podcast, “The Pitt’s” Noah Wyle reflects on 25 Emmy nominations for the series, responds to criticism of casting decisions, and previews Season 3 of the HBO Max medical drama, now in production.

Kelvin Washington: Hello, and welcome back to The Envelope. It’s been a little while. Kelvin Washington alongside Yvonne Villarreal. We also have Mark Olsen. Good to see you. This is one of my favorite things, because I learn so much from you two. And by the way, I got a big shout-out from somebody at the other job that I do —

Yvonne Villarreal: You have another job?

Washington: Which one do you want to talk about? I have 17 of them. But she was saying how she was listening to something and then she said, “I want to hear more about it.” So she Googled, we came up and she was blown away to see it, and we did such great jobs. So she’s a big fan of you two. Shout out to Larissa if she watches again. But let’s get into, of course, Emmy nominations. You have surprises, you have ones you kind of expected, snubs, the whole nine. Let’s start with you, Yvonne. Anything jump out?

Villarreal: Leading the pack was “The Pitt,” which I think everyone expected, and coming in close second was “Hacks.” But I think the third most-nominated show that was thrilling to see have a big showing was “Widow’s Bay.” It was this latecomer to the race, and it’s just this show that has taken people by storm. The word of mouth has really grown. And I know, Mark, you got Matthew [Rhys] in an upcoming episode here. It’s just nice to see how that show’s performed.

I was a little bummed that we didn’t get a [big] showing of “The Comeback,” the third season. That was maybe my snub mark.

Mark Olsen: Not that it’s a causal thing, but I was excited to see a guest from the [podcast], Riz Ahmed, was nominated for the show “Bait,” [which is] kind of like a meta-psycho-emotional biography of an actor caught in conflict between his community and his career. And then also, I have to say, Meg Stalter from “Hacks,” I thought was exciting. For no other reason than to have her on that red carpet, to maybe get a little time on the telecast and the chaos that that just promises.

Villarreal: I want to know who she’s going to come dressed as. She always stuns on the red carpet with who she is sort of making fun of.

Washington: You need a little bit of that, a little chaos. That’s what makes those things interesting. For me, I was just thinking about, again, how we’ve had so many folks who were known for films now all of a sudden becoming television stars. Seems a little weird to say it, but Jason Bateman being one of them, nominated for a couple of shows. So it’s just been incredible to see some people’s transition into that, where 15, 20 years ago, it‘d almost be the downfall of your career to do so much TV. Now it’s a cool addition to your career. Let’s get into it. You mentioned “The Pitt,” Yvonne. And Noah Wyle, you had a chance to have a chat with him. Tell me a little bit more about it.

Villarreal: They got the big news about their 25 nominations while on set. They’re in production on Season 3. And when we caught up with Noah, he had just wrapped filming the episode that he wrote and directed this season, Episode 3. And it was really fun to catch up with him, especially considering how much he’s shouldered in portraying Dr. Michael Rabinovitch, a.k.a. Dr. Robby. You know, this is a character that’s had a really deep mental health journey the past two seasons. Season 2 picked up with him on the eve of a three-month sabbatical, and we think he’s finally going to get this break that he needs to deal with some of the things he’s been going through. But as the season progresses, we see him really confronting just how much of a mental breakdown he’s at right now. And we talked about that. He shared a lot about what’s coming up in Season 3. And we also get into some of the advocacy efforts he’s been involved with.

Washington: You know what I find interesting about that is, when you look at the folks from “Law & Order: SVU” and some other shows, [they’re] just a character, but all of a sudden folks really look at you as this advocate and they’ve turned around and become very passionate about those things, and I can see how that would be the case [here] as well. All right, let’s get into it. Yvonne and Noah, here’s their conversation.

Wyle on the Warner Bros. lot in Burbank in June.

(Christina House / Los Angeles Times)

Yvonne Villarreal: Noah, thanks so much for taking the time. We’re on the Warner Bros. lot inside an office space because you are deep in the throes of production on Season 3 while navigating the awards circuit. Tell me what that’s like. What is your headspace right now? Have you learned anything from last year?

Noah Wyle: It feels like we’ve just come back, even though today we started shooting Episode 4 already, which is amazing that we’re almost a third of the way through the season. It feels really good to be back. It’s odd that this is Season 3. It still feels like a new show. Everybody’s still energetic and excited to be there. The awards stuff hasn’t really kicked into overdrive yet, so it hasn’t been too much of a distraction. It’s just been really exciting, especially for our cast and crew who are so well represented in the nominations.

Villarreal: It was really staggering. Is there a moment from the last award season that stands out? An interaction or an experience going through that?

Wyle: The first one that comes to mind was an impromptu meeting I had with Stephen Graham after the Emmys where we bumped into each other on the street and he said some lovely things to me, and I said some lovely things to him. It was the first time I’d ever met him, then Keith David walked by, who was an old friend. It was a very collegiate moment. That was the time I actually took a breath that night and was like, “Hey, look at this — oh, my God, look at all of this.”

Villarreal: Where are the trophies?

Wyle: They’re on the mantle at the moment, at home.

Villarreal: Next to the Golden Globe made by your daughter?

Wyle: Yep, it’s right there in the center.

Villarreal: I want to review the show’s chart. “The Pitt” leads this year’s Emmy nominees with 25 nominations overall. You are nominated in the lead actor category, as well as directing. Do you feel like you’re better equipped or prepared to deal with the spotlight and attention that the show’s receiving now versus when you were doing “ER” at the height of its moment?

Wyle: Oh, I thought you were going to compare it to last year. Comparing it to 30 years ago, yes, I’m way better equipped.

Villarreal: Tell me.

Wyle: Just older, wiser. You’ve been to the dance before, know it for what it is. There’s nothing that’s going to be shocking about the process. Also, I have enough life perspective to just be extremely grateful and present for it and just be really excited about it.

Villarreal: How aware are you that the spotlight is on you? What does that feel like?

Wyle: I’m not that aware of it because I feel mostly cloistered once we start production on Soundstages 21 and 22. Occasionally the tours go by and I see [people] get all excited. But for the most part, I live a pretty hermetic life when we’re working. So except for when I Instagram scroll or one of my kids brings me news from out there, I don’t really get out much.

Villarreal: Your mom is a nurse. What does she think of this moment? Does it feel any different than during your “ER” days?

Wyle: Yes. I think back then it was just a novelty that she was working in a hospital and her son was on this extraordinarily popular medical drama at the same time. Now we’ve had an opportunity, especially the last couple years, through the [medical apparel] company Figs, to go to Washington and do some lobbying together, which allows her career, my career, to sort of work hand in hand. And for me to have a different perspective on who she was as a woman while she was a nurse working, because I only really saw her as Mom through those years. To answer your question, how was her perspective different? I think she’s, dare I say it, maybe a little more proud of me than she used to be. She’s said as much. I think in the old days she was proud of me being successful in having my dream of becoming an actor come true. Now she’s proud of me because she feels that I’ve used that platform to do some humanitarian good works outside of personal aggrandizement.

Villarreal: How many times is she visiting the set?

Wyle: Oh, I don’t let anybody visit this. By design, we keep a very closed set. In fact, if you come as a visitor, you have to put on scrubs so you fit in — and you feel really uncomfortable and you can’t wait to leave. That’s how we roll.

Villarreal: I want to dig into Season 2. When we pick up with Robby, it’s the eve of his three-month sabbatical, and we think maybe it’s this much-needed break. But as hour by hour goes by, it becomes clear that he’s maybe viewing this as a death sentence. What intrigued you, what worried you, about what he was facing in Season 2?

Wyle: Once we decided that we wanted to put, at the center of this medical drama that was an exposé and sharp look at the medical world, in 2026, a mental health journey of one particular person and have as part of that mental health journey be suicidal ideation, which speaks to a lot of the prevalence of that in this profession, once we committed to that idea, it was really exciting to walk it through. And to play the first half of the season as a guy going on vacation to get his head clear and play the second half of a season as a man buttoning up every aspect of his life in the event that this was a one-way trip. And leaving that almost to the Fates to decide as the day unfolded, looking for signs and signals to determine which way that should go. And increasingly as the day goes on, to be met with both the increasing desire to make it a one-way trip and the community that desperately don’t want him to, and ultimately keep him on this side of that edge.

Villarreal: You wrote two episodes in Season 2, and in “8 p.m.” we really see Robby’s mental health journey come to a head. What was that like, to put dialogue to what he was feeling internally, for you as the actor playing him?

Wyle: That particular dialogue was gifted to me by a doctor who shared with me that that was exactly what he said to his wife one morning when he was going through something very similar. And the way that it resonated with me when he said it, the way it went straight to my heart, I knew if I spoke it as simply, it would speak to other people. And rather profoundly, I got a letter by a young man who said that exact dialogue was so reminiscent of what was going inside his own head that it kept him from harming himself and was the catalyst for having him reach out to get help. Because it was so truthful, because it came from such a truthful place, it had a multiplier effect when we put it on TV. So to get to voice it to the world, that was extremely significant to me. It was the masks just really starting to fall to the point where you can no longer keep it in. And the Duke character [played by guest actor nominee Jeff Kober] is the only person who he felt he could share it with, because it’s enough objectivity, away from the hospital, without any kind of preconceived history. And it’s obviously somebody who’s been down a very bumpy road himself and won’t judge the decision one way or the other. He’ll just sit there, almost Buddha-like, and absorb it.

Villarreal: I know during the pandemic — this was sort of what was the impetus for the show — you were getting a lot of messages during that time, people messaging you about “ER” and what that did for them. How do you shoulder those types of interactions?

Wyle: That one made me cry. My hands started shaking. … You always want your work to have impact, you want it to have meaning, you want people to glean something from it that’s relevant to their own lives. And I’ve been very fortunate in my career. I remember back in the “ER” days, when Carter got sober, people would write me and say, “You helped me deal with my drug addiction.” When I was on “Falling Skies” and played the grievous loss of a spouse, people reached out to me. I’ve been a lightning rod for pain a couple of times in my career. And you asked me, how do I shoulder it? I think I sort of see it as a gift. When you have that connection to somebody, when they respond that way, it’s the ultimate compliment. And you’ve built a bridge where there didn’t exist one before. It’s even better if you build them between two strangers that don’t know each other, that now have commonality that has nothing to do with you.

Villarreal: Not to compare the two professions, but does it make you see the work you do as an actor a form of public service? We see how, when people are at their lowest moments in the hospital, they’re watching TV, they’re connecting with characters, with their family members, in these rooms. And then also what you just described, the interactions that you’ve had with these people [who were] inspired to become healthcare workers, shows you how they connect with the characters.

Wyle: As you’re saying that, that’s what birthed “The Pitt.” I was getting letters from people telling me that my work had meaning to them at the very moment when I didn’t feel like my work had meaning at all, because it had no relevance, because we were in the middle of a pandemic. Who wants to see a guy jump around in a costume while people are out there really being sick? And suddenly, I felt like I didn’t have a skill that actually could hurt or help anybody. It was only sort of a frivolous skill. Then those letters turned into the DNA that the show became.

Villarreal: Seeing what Robby is facing, how do you establish boundaries for yourself in terms of taking it in — dealing with the burnout, and overwhelming emotion of it?

Wyle: It’s a process. I am engaged in several modes of therapy to offload this and be able to surf it from both an artistic curiosity perspective and a need for balance. It’s interesting work, this work, and I do it with the full support of a loving wife and family who understand that this is different than what most people do for a living.

Villarreal: You seem to be giving yourself a lot of work these days in addition to acting in this hit show. As the No. 1, you’re writing and your directing. Do you like stress, Noah?

Wyle: I know it sounds odd, but my brain works really fast and it works nonstop. I don’t know what to do with myself most of the time. But when I’m engaged in [creative work], especially directing, it is a full-course meal for me. I feel totally alive and in my happy place. This last week, getting to direct a piece that I wrote, was even more fun because I’d pictured it already in my mind when I was writing it, which is a form of prep. But then you get to give it to everybody else to see what they want to do with it and what you’re creating communally suddenly becomes the third version of it, which I think is really great.

Villarreal: We like a tease here. Is there a note from this recent episode that you wrote and directed that was interesting to give that won’t make sense to us until we watch it?

Wyle: A directorial note? More glitter!

Villarreal: The episode you directed in Season 2, you had the interesting job of dealing with vomit.

Wyle: Yes. Vomit is hard. We’ve been making movies for a long time and we still haven’t come up with a decent vomit rig. I’m not selling Rob Nary, our special effects supervisor, down the drain here with this comment, but it is really hard to come up with a piece that doesn’t look like it’s on the side of a guy’s mouth when he’s throwing up. And you can put stuff in a guy’s mouth and have him spit it out, but to really get a good projectile vomit, you need to have some sort of cannon apparatus. And it has to come from a place that looks localized to the mouth, and it has to be the same diameter of the actor’s mouth. We went through, I don’t know, five designs on that thing and still ended up with something I thought was passable but not impressive — not “Pitt”- level impressive.

Villarreal: Interesting. Do you feel like you’ve upped the ante —

Wyle: I feel like I’ve put a challenge out there to somebody to come up with a decent vomit [effect]. It’s not as easy as it sounds.

Villarreal: It was also the episode where we get the passing of Louie [guest actor nominee Ernest Harden Jr.], and it was such a heartfelt moment and a reminder of the people that are there day-to-day or frequently, and the humanity that you still want to show them.

Wyle: Valerie Chu wrote a hell of a script. Valerie is a wonderful writer, and that episode just dramaturgically was a little different than the other ones because it did put more of an emphasis on the nursing staff than it did the doctors. Usually, we walk into a room and walk out of a room with a doctor. This time, we walked into rooms and out of rooms with the nurses, and we really tried to highlight the whole range of services that nurses give — pushing medications, double-checking doctor’s orders, holding hands, bringing blankets, wiping asses; all of the dirty work that goes into palliative care and treatment. That was the thesis. How do we exemplify those actions? Then, of course, at the center of it was Louie’s passing and the conferring of dignity to somebody after they’ve died was the theme I wanted to focus on. In the beginning, he’s a bloody mess, almost unrecognizable, and certainly not dignified. Then, through the cleaning and the preparation and then eventually the service — that’s on a clock because we’ve got other Louies to treat — we confer him his dignity. We fill in the backstory of his narrative. We give context to his life and honor the man. That was the lens progression we were going for and heart progression we were looking for.

Villarreal: What did it say to you that Robby committed those life details to memory from those interactions?

Wyle: To me, that is what you carry with you. It’s odd, the things you remember about somebody. It’s odd, the things that land with you. Usually, they resonate with something that you’re vulnerable to or have experienced. But with Robby, who never had a family and always seemingly wanted one but never allowed himself, the idea of somebody who had one and lost one is particularly profound. And as we get into subsequent episodes that we’re dealing with now, we see that Robby’s sense of loss predates Louie and his mentor, Adamson, and it goes back to almost an original sin.

Villarreal: A lot of people wanted you to take home Baby Jane Doe to heal and deal with some of your stuff.

Wyle: I don’t think you should throw a drowning man a baby. It doesn’t seem like a good, logical thing to do for either one of them. I think Robby went home and wished that he had the capacity to be someone who could have taken that baby home for a little while. And that was probably one of the things that nagged at him along that trip. If you wish you were better, then why wouldn’t you come back and try? And as we watch him begin to try to evolve and work through some of the things that have been stumbling blocks for him in becoming a fully evolved human, that’ll be one of them, hopefully.

Villarreal: I want to return to an earlier point, which is, you’ve done a lot of advocacy work. Even before “The Pitt,” you were arrested in 2012 in Washington, D.C., alongside 100 activists from the disability rights group ADAPT during a demonstration urging Congress not to cut Medicaid. Recently, you joined healthcare workers along with your mom at a rally on Capitol Hill. You also spoke at a congressional hearing focused on declining entertainment jobs in L.A. and the push for federal production tax incentives. How has using this spotlight and your voice for causes that are important to you deepened your experience with “The Pitt”?

Wyle: Well, that’s a very apropos question because I wrote into Episode 3 [of Season 3] a character based on a guy I was with when I was arrested with back then. A really wonderful guy, sort of a self-advocate and kind of a grump, total badass activist who has muscular dystrophy and has a tracheotomy. And so I thought, why don’t we put that character on the show and put him as a patient? And then I thought, “Well, who the hell is going to play that guy?” I called this guy and said, “Hey, I got a part for you, man. I need you to do it for me.” And we flew him out with his aide. And he came in, shot two days last week. He was phenomenal. The representation that we are going to give people in that community is going to be unprecedented, but it comes from a 30-year friendship I’ve had with this guy from some of the wars we fought together through the years, so it all dovetails together. I’m using one to feed the other at the moment and seeing where it’s applicable and where I think it could do the most good.

It’s just an amazing confluence of events. I’m an Angeleno who thinks there should be work here. I have an opportunity to bring a show here and employ 300 people nine months a year and be an advocate for other shows to follow a similar economic model to try and take full advantage of the generational talent that’s here. That’s just an alignment of my values and opportunities that seems almost blessed at the moment, but it’s not effortful. When you read it like that, it makes it sound like Mr. Smith.

Villarreal: Well, so many choose not to put their voice out there in those ways, but you’ve decided to do it

Wyle: I’ll speak up for my city.

Villarreal: What’s so great about a show like “The Pitt” is we get to watch regular, decent people doing competent work. Some call it competency porn. What do you think is our attraction to that?

Wyle: I think it’s twofold. I think on one hand, it’s wish fulfillment. You want to believe that there’s really competent, smart people in those jobs, so that, God forbid, if anything happens to you, that’s what you’re gonna encounter. And then I just read an article, I forget who wrote it, I wish I could cite it, that talked about this other aspect of watching people do work that has meaning, that actually makes a difference, touches a vacuum that we feel we don’t have in our lives and it’s a different kind of wish fulfillment. It’s almost like, “I want to be doing something more with my life that has absolute physical and tangible connection to another human being that makes a difference, that has a net positive.” And I think that’s interesting.

Villarreal: Sort of what you were feeling during the pandemic.

Wyle: It’s exactly what I was feeling during the pandemic: “How can I make more of this time on Earth and serve more than myself?”

Villarreal: I want to talk about “The Pitt” fandom because they are passionate and vocal. Has anything surprised you about their response to the show?

Wyle: Only everything. The embracement, the passion, the creativity, the advocacy, the identification, the continued support. It’s really been incredibly gratifying. It’s exactly what you hope, you know, that your work will do, spark a conversation and maybe a bit of change. But you certainly, you never anticipate reaching the levels that this one has where people are just gaga for it.

Villarreal: Recent cast departures have obviously drawn some criticism. As the No. 1 on the show and an executive producer, how do you navigate fan response when it’s negative? What are you learning about how to take that in?

Wyle: It’s nuanced. It’s new for me, new for all of us in a way. You try to put it in perspective, and it’s relatively small in relation to the overall [response], in terms of the more vocal critics. But at the same time, this is who’s watching. This is why you’re telling a story. If it’s touching a nerve that’s unintended, address it. Figure out a way to do it more sensitively, to come at it from a different point of view. We’re certainly doing the best that we can in there, but it’s impossible to anticipate what’s going to resonate and why. And I can’t tell you how many times I was surprised at what people thought was funny or what people thought was horrific or offensive. And it’s an interesting barometer of where we are as a country. It’s an interesting cross section of where the population’s at. But in terms of how it affects the creative work, it becomes a slippery slope if that’s the tail that wags the dog. So every year, we come in and we sort of have to gut-check ourselves and do a postmortem on the season. What worked well, what didn’t work well. And what is going to be part of this narrative as we go forward? Cast changes are gonna be part of that. That’s inevitable.

Villarreal: How about in relation to your character? Some of the discussion about what’s playing out onscreen, it’s been interesting to see how people look at Robby and maybe some of his flaws that come out. What do you see as his blind spot?

Wyle: Well, can we start with [we’re] watching a guy who’s going to kill himself? The guy is going to kill himself today, most likely. He’s going to leave and not come back. And as that reality gets increasingly clear to him, he acts continually beneath his grace. He doesn’t necessarily want people to miss him. He doesn’t necessarily want [them] to overidealize him because he doesn’t want them to mythologize him. So some people he was really tender with, and some people he was really harsh with, and some he will carry regret with, and some he probably wishes he had gone further. But all of that pathology was on display as a cry for help for anybody that was really looking to see it, more than I felt it was indicative of how he felt in a normal frame of mind in those relationships. I think he pushed Abbot [Shawn Hatosy] so far away. He pushed Dana [Katherine LaNasa] so far away. He was overly harsh with Mohan [Supriya Ganesh]. He was almost paternal with Javadi [Shabana Azeez]. He had a different vibe and energy with everybody. But ultimately, it was to sort of say goodbye in a way that he felt would be most appropriate. And I’m glad people felt that it wasn’t appropriate, because it was a man setting fire.

I did say in casting, I was like, “Can we cast some guys that are like my size that I could yell at that so people feel like it’s a good, fair fight?”

Villarreal: And you were vetoed?

Wyle: No, no, we’re going to sort of figure that out because it’s nice to show volatility in character, but if it’s a character that’s surrounded by women, it’s very difficult thing to depict without it seeming disproportionate in power. So it’s something I was conscious of when I came back this year. I was like, “It‘s difficult to show this character’s rage when it would be super inappropriate to express it with every single person in this room.” So, bring somebody in that can handle it and match it a little bit. And for my money, that’s what Al-Hashimi [Sepideh Moafi] was. She gave as good as she got, and those scenes between us were terrific.

Villarreal: Season 3 will be taking place on Nov.r 12, 2026, right? A lot of that had to do with the anticipation of and preparation for the ramifications of the Big Beautiful Bill on people’s lives. Tell me about that.

Wyle: It’s Thursday, November 12th, which means that tomorrow is Friday the 13th. And there was something fun about playing with the eve of a day that is usually fraught with peril. But this day is fraught with peril for all sorts of reasons. And it isn’t Friday the 13th. It also is coming into the holidays and it’s getting colder. A lot of the social issues that Pittsburgh and a lot [of places] with colder climates deal with are going to come up. People are turning on their heaters for the first time, if they can afford to turn on their heaters; people that don’t have access to housing are gonna be feeling the pinch even more than that. All of that goes into our narrative. And then, as I think you were alluding to, this is in preparation for what’s gonna take place in January [2027] with [provisions of] the Big Beautiful Bill [going into effect], which is gonna throw a lot of people off the rolls in a lot of states and cause a whole ripple effect through the healthcare industry. In anticipation of that happening, people are gonna have to make some very hard choices. They’re going to probably want to hoard medication if they can. They’re gonna try and load up on as many treatments as possible, put as many things into place as they can for that eventuality. And we wanted to highlight what some of those struggles are gonna be because I don’t know that they’re gonna be reported in January.

Villarreal: How fast, when that decision came through, were you getting outreach from healthcare professionals wanting to meet with you, with the writers room, about how can they can help you think about what’s going to happen?

Wyle: We have a great organization that’s an adjunct to the Norman Lear Foundation called Hollywood Health. And they broker all sorts of meetings for us in the writers room with experts from every aspect of the healthcare spectrum you can imagine. And so we really were curious to find out from those experts what the statistics were going to be. And they run models on best-case scenario to worst-case scenario and tell us pretty much with a high degree of certainty what the bandwidth is gonna be. And then we take that data and try to figure out the storyline that would be most effective to tell it. But it starts with trying to get it as accurate as possible in our crystal ball, looking forward to where we’re gonna be.

Villarreal: If you could give one word to Dr. Robby’s mental state in Season 3, what would that word be? Or what would the song he’d be listening to at that moment, walking back into work?

Wyle: I don’t want to tip the bit on a song that we might use and the ones that are in my head are so corny and cheesy that I don’t want anybody to suddenly start cutting memes to it. [Looks at camera.] Because you know you will.

Villarreal: Come on, Noah. Give us a ’90s throwback.

Wyle: “Scar Tissue” [by the Red Hot Chili Peppers].

Villarreal: Oh, that’s a good one. OK, before I let you go, is there any PSA you want to give folks right now about whether they should be consuming lettuce? Is Dr. Robby consuming lettuce?

Wyle: Oh, my God, don’t ask me. My wife and I have huge fights about produce every night. I don’t know what the hell’s going on.

Villarreal: I’m always like: What would Dr. Robby do?

Wyle: I don’t know that Dr. Robby eats a lot of vegetables. I think all of your canned vegetables are safe, says Dr. Robby.

Gillian Anderson was once a young person experimenting.

“I don’t even know if I was questioning my sexuality but there were a couple of moments during my teen years where I was with women,” Anderson tells me candidly on a recent afternoon at a Beverly Hills hotel. “I haven’t really spoken about that very much.”

Though she won’t go into details about those early interactions, she remembers the isolation that plagued her. “In interviews, I’ve alluded to a relationship that I had later in my post-college life, but not about that particular time and how not even confused, but just alone I felt and how different I felt to the rest of the kids in my high school,” she adds.

For some time now, the once and forever “X-Files” star has leaned into episodic television (Netflix, she says, has become a great partner). She earned her second Emmy in 2021 for her blistering turn as polarizing British Prime Minister Margaret Thatcher in “The Crown.” Yet a major shade of her public persona has become her activism around sex positivity, encouraging women to open up about their needs and wants, both in the bedroom and as individuals in every aspect of their lives.

“It seems to still be an important topic for women to hear other women speak about,” she says. “I have come to love talking about it in the context of women’s empowerment, finding ways to embrace their own integral agency.”

Clad in a sleeveless bright green dress, Anderson, 57, radiates an ageless grace, undeniably sophisticated yet unpretentious in her demeanor. Her hair in a braid evokes the look of a figure from ancient Rome. When speaking in her unmistakable throaty voice, her expressive body language (hand movements often complement her sentences) reveals her assertiveness. That confidence makes it difficult to imagine she ever was a fragile teen.

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

(Mubi)

In Anderson’s latest movie, the horror-tinged, dreamlike “Teenage Sex and Death at Camp Miasma” (in theaters Friday), Anderson plays Billy Presley, a reclusive former scream queen who was one of those “final girls” from a popular 1980s slasher horror franchise in which the killer was aptly called Little Death (a nickname for an orgasm, derived from a French phrase). Now Billy spends her days alone living in the woodsy location where her breakout movie was filmed long ago.

That is until auspicious indie filmmaker Kris (“Hacks” star Hannah Einbinder) comes to visit Billy with the intention of persuading her to act in a reboot. The two develop a friendship that empowers Kris to dive into her unspoken sexual yearnings — desires drenched in fear, violence and curiosity — with Billy as her mentor and, eventually, patient lover.

On top of her ability with accents (she does a Southern one here), Anderson physically commands the screen from the moment she makes an entrance worthy of a timeless diva. Her regal aura contrasts with the grotesque sensuality of a scene where fried chicken and dipping sauces take on an almost pornographic lure. Her Billy, a woman who can fluctuate between a loud cackle and an introspective speech about the lust-inducing “flesh and fluids” of horror movies, feels equal parts otherworldly and tethered to earthly urges.

“I knew on a deep level that I wanted to be a part of it, but it’s only in retrospect that I completely understand why it was so meaningful to me,” Anderson says. “It feels like such a salve for so many.”

“She put everyone at ease during those moments in a really beautiful way,” says director Jane Schoenbrun of Anderson’s work with Einbinder on their most daring scenes. “She is so physically tapped into her own abilities.”

(Mubi)

Einbinder, with whom Anderson shares scenes of blood-soaked eroticism, describes the veteran star as meticulous and diligent while also having a “lot of access to spontaneity.”

“I was a fan of her from, of course, ‘The X Files’ and a lot of her other work, so she just held this significance to me as an artist,” Einbinder tells me over the phone, “but meeting her, my expectations were surpassed because she’s really cool.”

“I didn’t want Billy to come across as a predator,” Anderson says. “I didn’t want her to be creepy or too maternal and so there were moments where she shows care, and it was a really fine line of how to play those beats. Even our first kiss and our sex scenes were very specific so that it didn’t feel not OK to be witnessing or representing.”

To Jane Schoenbrun, the movie’s writer and director, Anderson has the “elegance of old Hollywood, a classic mystique.” The filmmaker describes meeting her as a “strange coming home feeling,” since her “X-Files” character Scully held a special place in Schoenbrun’s formative years. “I spent as much time with her as I did with my siblings,” they add.

Schoenbrun credits Anderson as a “calming and nurturing presence” during the sex scenes between her and Einbinder — the first sex scenes the filmmaker had ever directed.

“Gillian had such an elegant, serious, professional but also caring perspective on how to talk about it and how to guide through it in a way that felt like it was going to be very present and alive on screen,” Schoenbrun recalls. “She put everyone at ease during those moments in a really beautiful way. She is so physically tapped into her own abilities.”

Anderson, seated with director Schoenbrun on the set of “Teenage Sex and Death at Camp Miasma.”

(David Astorga / Mubi)

Anderson found her way into playing Billy through the character’s distinct accent. Having played the tragically romantic Blanche DuBois from “A Streetcar Named Desire” on stage in the past, she aimed for a different version of Southern. “What I liked about it was this particular pitch that holds strength and vulnerability in it, which I think is very much where Billy lives at all times, from minute to minute,” she says.

Other recent TV roles have steered Anderson in the direction of an unabashedly queer storyteller like Schoenbrun. Jean Milburn, Anderson’s humorously matter-of-fact sex therapist from the series “Sex Education,” represented a watershed beginning in 2019.

It was because of the success of that show that she was approached to write “Want,” a 2024 book that collected the sexual fantasies of anonymous women (a follow-up, “More,” is out in September from Abrams Press).

“Sex Education” also inspired Anderson to launch her own brand of soft drinks cheekily called G Spot (they are caffeine-free and infused with vitamins and minerals). Some retailers, she says, have refused to use the drink’s name. “We’ve had so much pushback on the name and I refuse to be cowed, to be shut down, to be told that it’s a dirty word or that it shouldn’t be in public spaces,” she says.

“The strange thing is I don’t identify with Scully in the same way I do with other characters that I played for much less time,” Anderson says. “Part of that is because of how square she was. I have such an intrinsically rebellious nature.”

(Ian Spanier / For The Times)

For Anderson, humor is an important component of the conversations she wants people to have about sex and sexuality. During her time on “Sex Education,” she started posting pictures on Instagram of props on set that resembled both male and female genitalia. Some of her posts kept getting blocked.

“There were all these amazing things, from chess pieces that were phallic to a soap holder that was a yoni,” she says, smiling. “We started to call them ‘penis or yoni of the day.’ Then fans started posting back to me pictures of penises or yonis of the day they would see in nature.”

Anderson doesn’t quite understand the swath of Gen Zers who deride sex in movies and is, in general, uncomfortable with the subject of physical connection.

“For my younger kids, who are late-teens, the thought of picking up a phone to [call] somebody that they’re interested in feels so intimate,” Anderson says. “If a phone call is intimate and your conversations on a regular basis are snapshots of your face making funny images, then the idea of going into deep intimacy must be absolutely terrifying.”

She’s hopeful that young people might start to turn toward in-person activities to bond. But while the subjects of pleasure and open-mindedness captivate her, on screen Anderson is not letting the industry pigeonhole her.

Anderson’s recent output includes playing a shadowy operative with icy conviction in the thriller “Animals” opposite Ben Affleck, and a Nazi guard in the limited series “The Boys From Brazil,” both coming to Netflix in the near future. And in last year’s “Trespasses,” another TV show, she became a Northern Irish alcoholic mother. “I wouldn’t have guessed that at my age I would be having so many different and varied opportunities,” Anderson says.

In the aftermath of her time on “The X Files,” Anderson moved to London, both because she longed for the city where she partially grew up and for a chance at reinventing herself professionally.

“I’d never had my own publicist before that,” she says. “Had I had one, they probably would’ve tried to convince me that moving to London was the worst thing I could do for my career.”

For a long time, Anderson’s relationship with Dana Scully was complicated. “I felt like everything that I did was in an effort to get away from Scully,” Anderson admits. “Then when people would bring it up or I would do a 45-minute interview and they would ask one question about ‘The X-Files,’ they would use my refusing to talk about it as an excuse to make it the headline.”

It made it challenging for her to be considered for film roles and even for TV projects of a different vein.

“Now you have A-list actors, the Nicole Kidmans, moving between TV and film,” she says, “but back during ‘The X-Files,’ if you were on telly, it was the B, if not C version of what an actor’s life could be.”

In England, though, the likes of Judi Dench, Maggie Smith or Glenda Jackson had always navigated effortlessly between the big and small screen and the stage. “That’s the life that I wanted,” Anderson adds. “The minute I moved there, the quality of the stuff and also the range of characters that I was being offered was so different from what I’d been doing for almost 10 years as Scully.”

“The House of Mirth,” Terence Davies’ 2000 period drama based on the satirical 1905 novel by Edith Wharton, represented a breakthrough. “At the very beginning, I remember I was so surprised that there were other people who thought that I might be able to do something else other than Scully.” (When I tell her how extraordinary she is in “Mirth” as a socialite caught between stability and something more passionate, Anderson replies with a bashful, whispered “Thank you.”)

And while she can now think of “The X Files” as the “blessing” that it signified in her career, Anderson is clear that she has more often seen herself reflected in other women she’s inhabited, such as Blanche or Stella Gibson, the detective she played in the series “The Fall” starting in 2013.

“The strange thing is I don’t identify with Scully in the same way I do with other characters that I played for much less time,” Anderson confesses. “Part of that is because of how square she was. I have such an intrinsically rebellious nature. I can, obviously, play square, but I think because of that, she didn’t necessarily get her hooks inside me in the way that some of these other characters that really push against the establishment did.”

Anderson is not entirely opposed to appearing on Ryan Coogler’s just-announced “X-Files” reboot, but she is far more excited about several sci-fi projects she is currently developing (one of them she describes as “huge” in scale). They will bring her back to similar territory, but this time on her own terms.

“It’s the first time that I’m properly going into the genre and embracing it and instigating that work,” Anderson says. “I’m very excited about those but no doubt when it comes time to do press around them, there’s going to be a lot of ‘X Files’ talk, inevitably.”

She’ll be ready for it. At once pragmatic and playful, Anderson seems to be taking on the world these days like someone who’s unraveled a deeper mystery.

IT is one of showbiz’s most famous moments – Tom Cruise leaping on a sofa while telling Oprah Winfrey about dating Katie Holmes.

“I’m in love,” the Mission: Impossible actor yelled, giddy with excitement as he flailed his arms about.

It was May 2005 and Tom, who divorced fellow Hollywood A-lister Nicole Kidman in 2001, had been dating Dawson’s Creek beauty Katie for just a month.

It seemed the love was mutual, with Katie revealing she was taking lessons in Scientology, a controversial religion founded by science fiction writer L. Ron Hubbard and beloved by her husband.

“I’m really excited about it,” she said, while Tom emphasised: “She makes her own decisions.”

And it seemed TomKat, as they were nicknamed, were flourishing.

Just 11 months after his dramatic declaration of love, their daughter Suri was born.

Katie and Tom wed in November 2006, but after five and a half years of marriage, she apparently blindsided her husband when she unexpectedly filed for divorce in June 2012 because of Scientology and its impact on her daughter.

And Suri, now 20, appears to have made up her own mind about her dad, dropping his surname in favour of her mum’s middle name, Noelle.

The move emerged after she publicly registered to vote in Pennsylvania, where she studies under the alternative name.

It is also reported she has been estranged from Tom, 64, since she was ten, while remaining close to Katie, 47, who is no longer a Scientologist.

Suri, an aspiring actor and drama student, is currently appearing in a re-imagined performance of Shakespeare’s A Midsummer Night’s Dream at the Edinburgh Festival Fringe.

And she seems to have inherited her father’s talent for acting, with critics saying the Carnegie Mellon uni student “stole the show”.

Journalist Tony Ortega, who has investigated the workings of Scientology for three decades, said of the family breakdown: “When Katie split with Tom, any normal Scientologist would be told she is an SP, a suppressive person — an enemy of the church.

“And Suri, being connected to Katie, would be considered a PTS — potential trouble source.

“Tom would be expected to disconnect from them and not have anything to do with them.”

The church says: “A suppressive person (SP) is a person who seeks to suppress other people in their vicinity.

“A suppressive person will goof up or vilify any effort to help anybody and particularly knife with violence anything calculated to make human beings more powerful or more intelligent.

“The suppressive person is also known as the antisocial personality.

“Within this category one finds Napoleon, Hitler, the unrepentant killer and the drug lord.

“But if such are easily spotted, if only from the bodies they leave in their wake, antisocial personalities also commonly exist in current life and often go undetected.”

Tom does seem to be in contact with his two other children, Isabella “Bella” Cruise, 33, and Connor Cruise, 31, who are both Scientologists.

Bella and Connor were adopted by Tom and Nicole in 1992 and 1995 respectively.

As youngsters, the pair divided their time between Sydney and Los Angeles, although they also lived in Hertfordshire for three years.

When their parents split up, the stars would initially spend their time between the children.

With dad Tom, they visited Scientology sessions at the church’s main hub in Clearwater, Florida, where followers spoke about attaining “spiritual freedom”.

In 2004, instead of seeing their mum, they were packed off to a Scientology summer camp.

The next year, they were living full-time with their dad.

In 2019, Bella told in a promotional email for Scientology how she was “drowning in problems” before training as an “auditor” — which is basically a counsellor who helps other believers shed “spiritual distress” using an “E-meter”.

The device is similar to a lie detector and delivers low-voltage electricity to the subject.

The email said: “This is what I had been searching for. The missing piece. Thank you to my dad for everything. We all need to do this. Wow. What an accomplishment. It’s hard work. It’s a lot of effort.

“It’s a few meltdowns and running to the bathroom to have a mini- episode, but it is worth everything because you will get through.

“This is a gift to yourself and so many others. It doesn’t matter if you aren’t going to be an auditor or aren’t going to join staff. If you are going to make it as a being for the long run, you need this.

“That’s the truth. So stop messing around and get going.”

However, despite her support of Scientology, Bella has not stayed living near her dad. Instead, she has switched the bright lights of Hollywood  for the far less glitzy Croydon, South London.

She lives in an ordinary semi-detached house with her British husband, Max Parker, 34, an IT consultant she met through friends and married in 2015.

She works as an artist, selling trendy tote bags and T-shirts with her prints on, and posts Instagram pictures and videos of her artwork and trips to Brighton.

Previously, neighbours told The Sun: “I wouldn’t have known her if she’d come up and smacked me in the face. I don’t keep up with celebrity culture.

“They have a reptile of some kind — we can see the red light of the tank. That’s all anybody seems to know. She’s very mysterious.

“I don’t know why she’s chosen Croydon, poor child!”

Former Scientologist and US actress Leah Remini, 56, wrote a book about her time in the church called Troublemaker: Surviving Hollywood And Scientology.

In it, she said she asked Bella if she saw her mum often and claims Bella replied: “Not if I have a choice. Our mom is a f***ing SP.”

Nicole, who left Scientology around the time of her divorce from Tom, has previously said: “I’ve chosen not to speak publicly about Scientology. I have two children who are Scientologists and I utterly respect their beliefs.”

She reiterated this in 2018, saying: “They are able to make their own decisions. They have made choices to be Scientologists, and as a mother it’s my job to love them.”

Bella does follow her half-sister, Sunday Rose, 18 — from Nicole’s marriage to country singer Keith Urban — on Instagram as well as both parents.

However, neither Nicole nor Keith attended Bella’s wedding reception in London, and it’s said she turned down her dad’s offer of a £324,000-a-month rented penthouse when she first moved to the UK capital.

Connor, understood to live near Clearwater, Florida, has been pictured with Tom at various sporting events.

A source told People magazine in 2019: “Connor has been able to remain close with Tom because of Scientology.”

On Instagram, he has shared pictures of him with his father, writing: “Watching the Yankees beat the Dodgers a couple years back with my dad.”

Scientology has two major centres in London, and its UK base is at the Grade II-listed Saint Hill Manor in East Grinstead, West Sussex.

And while Bella is in Croydon, it is unclear if she will travel north to Edinburgh to see her half-sister Suri, who is busy making a name for herself on stage.

EXCLUSIVE Emmerdale boss Laura Shaw told the Mirror about the fallout to Sarah Sugden killing Dr Todd on the ITV soap, teasing Sarah could soon find out another big secret

There could be another big shock for Sarah Sugden on the way on Emmerdale, in the fallout to her killing Dr Todd.

Speaking exclusively to the Mirror, soap boss Laura Shaw teased another huge secret would rock Sarah at some point. While fans are already in the know about a big twist that will no doubt derail her life, Sarah is yet to discover something rather huge.

On Sunday night we saw Sarah accidentally kill Todd, after a showdown with Charity Dingle. Charity had confronted her rapist, wanting a confession after the police closed the case.

Sarah walked in to the house and heard the accusation, realising Todd had raped Charity. It was just before Todd was about to expose Charity’s baby to Sarah that disaster struck.

Sarah pushed Todd, causing her to slip and fall. As she fell, Todd slammed her head on the table and died almost instantly, with Sarah and Charity watching on in horror.

Of course this was shocking, but for Sarah it’s not over it seems. Laura told us that another big shock was still to come for the character, as both Sarah and Charity deal with the aftermath of Todd’s demise.

She explained: “They are locked in a secret and that’s going to be long-lasting and going forward, that’s going to affect their relationship. Obviously, there’s still the baby secret to come out at some point.”

As we pointed out that the baby reveal was inevitably going to be exposed at some point, Laura agreed. She said: “It’s going to, it’s got to happen at some point.

“And how that will affect the story with regards to the murder and Todd, you’ll have to wait and see.” So, Sarah WILL find out about baby Leyla, meaning another huge shock is set to rattle her after she’s just turned killer.

We will see the turmoil threaten to rip Charity and her granddaughter Sarah apart, so will Charity’s betrayal regarding Leyla end their bond for good? It seems, according to Laura, this killer twist will impact the pair for a while yet.

As for the immediate fallout, the soap is keeping coy about what happens next. Very vague spoilers have revealed that in the fallout to Sunday’s death twist, Monday will see Sarah’s life turned upside down.

Charity will be desperate to cling onto her secret, meaning the baby lie. Whether Sarah could be exiting the soap after her killer actions remains to be seen for now!

Emmerdale airs weeknights at 8pm on ITV1 and ITVX. * Follow Mirror Celebs and TV on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .

AARON Chalmers’ ex Talia Oatway has revealed she’s had to rush her son Oakley to hospital after he was left vomiting blood and “green liquid”.

The four-year-old was born with Apert syndrome, a rare genetic disorder that causes the bones in the skull, hands and feet to fuse together.

As a result, he lives with complex medical needs and is regularly in and out of hospital.

Worried mum Talia, 34, took to TikTok from the hospital to share news of the scary incident with her followers.

She began: “What a bloody day we’ve had. So two o’clock this morning, Oakley’s been vomiting since.

“Basically the back story is, Oakley had some PH testing done in hospital where they put a little device, attach it to the esophagus and you have to follow him around for two days with his bag.

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“You can’t be more than two metres away from him.”

She went on to reveal that the device should have come out through him when the procedure happened three weeks ago.

“In the morning, he was covered in green sick and I found this little device in his bed,” Talia explained.

“So I phoned the hospital and they told me I need to bring him down, so I brought him down, he’s been vomiting ever since we got here.

“Oakley’s got a feeding tube in the belly, they attach a bag to the tube so instead of him vomiting orally, it’ll come out through the bag and through his belly and it was just pure green and blood. It was horrific.”

Talia said that Oakley was taken for an x-ray because the device could have damaged a part of his bowels.

However, he was required to have another x-ray to investigate further before they consider taking the surgery route.

Talia held her hand over her face and expressed: “I just don’t know what’s going on, it’s just horrific.

“I just feel like it’s one thing after another for this baby and I feel so sorry for him. It’s just awful.”

It comes after his previous hospital dash last month which resulted in him having to have the device put inside him initially.

In March, Talia revealed Oakley had undergone more than 20 operations related to his condition.

Speaking previously, the brave mum said: “Every hospital admission. Every surgery. It never gets easier. The fear, the waiting, the helplessness – it never goes away.

“But you keep going because your child needs you to be strong when they can’t be.”

Talia is also mum to three other children – Oakley’s siblings.

She shares Oakley, Romeo, six, and Maddox, four, with former Geordie Shore star Aaron. She also has an older daughter from a previous relationship.

Talia has previously claimed Aaron has limited contact with Oakley and has said she considers herself a single mum.

She said: “Oakley’s here every single night, he has been for over a year and the fact that this person can just go online and start talking about his medical care when he doesn’t attend any appointments, doesn’t attend hospital, is mind-blowing.”

EXCLUSIVE: The series will end after the 11th run and a plan to go out with a funeral got vetoed, despite many attempts to make it work

Grantchester’s producers planned to kill off Robson Green’s character in a tear-jerking series finale of the TV drama. But in the end they got cold feet and decided viewers would prefer a happier ending.

The final series of the ITV smash – starring Robson and Rishi Nair as crime fighting duo Det Geordie Keating and The Rev Alphy Kottaram – will air in the UK next year.

But viewers in the US have already the eleventh and last-ever series and got a shock when Keating was shot and left fighting for his life. Now screenwriter Daisy Coulam has revealed how she wrestled with the idea of killing him off altogether.

She confessed: “I mean the amount of times we tried to be like, ‘He should die. He should definitely die’. I mean he died probably about four times in the story meeting and we just couldn’t do it. It would just be too big.

“You’re like ‘No, because you need that moment at the end’. You need hope and you need joy because it’s a (platonic) love story and you need your two lovers alive at the end, I think.”

Instead fans will see Keating survive the shooting and decide to retire from the force. But he hands ‘the baton’ over to fellow officer Larry Peters (played by Bradley Hall) to carry on sleuthing with the help of The Rev for future cases.

And in a touching moment, Keating leaves his protégé his hat – which he has kept with him since the start.

Daisy added: “The hat moment … it was randomly filmed the day James Norton came to set for a little visit. We were sitting and we said to Robson ‘What kind of thing would you like to do? You know, what scene do you want?’

“And he said ‘I think you should give Larry the hat’. We were like ‘Yes’ because Emma and I are obsessed with Indiana Jones and it’s basically Indiana Jones, isn’t it? It’s ‘the putting the hat on’. So we were very happy and I just think Bradley acted his socks off and he doesn’t say anything but you really, really feel his pride. It’s so sweet.”

During filming of his final scenes on a hospital trolley Robson, 61, decided to lighten the mood. He sneaked in a sign which read ‘Available for panto’ – as the cast knew they needed to start looking for new projects now Grantchester is ending.

When the hospital porters wheeled him in and the cameras started rolling he held up the sign and made everyone burst out laughing.

Afterwards he told The Masterpiece Studio podcast: “I’m going to miss that feeling of when you look at a schedule, you’re going to a certain location. And in this case, it was Grantchester. I’d always look at the schedule and go, ‘When are we going to Grantchester?’ Because it’s like going on holiday with lots and lots of friends. That’s what I’ll miss.”

Plotlines for the final series will see The Rev Alphy question his faith in God and new fashion boutique owners Cathy Keating and Mrs C (Kacey Ainsworth and Tess Peake-Jones) get caught up in a murder.

Grantchester launched back in 2014 and has run for 11 series. It has had three vicars helping Keating along the way including James Norton as The Rev Sidney Chambers and Tom Brittney as The Rev Will Davenport.

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Ruth Madeley is currently taking on lead role, Dr Gabrielle Fox, in BBC’s thrilling new series The Rapture

BBC viewers have been left hooked with new thriller show The Rapture.

The five-part psychological series is adapted from Liz Jensen’s bestselling novel. A synopsis teases of the show: “As temperatures rise, a convicted murderer foretells apocalyptic disaster – is she a manipulative psychopath or does she know the truth? High-stakes thriller crackling with danger.”

In the show, Ruth Madeley plays Dr Gabrielle Fox, who starts a new job at a psychiatric hospital where she is assigned 17-year-old inmate Bethany Krall, played by India Amarteifio.

As talented actress Ruth, 39, takes on the lead role, viewers have been keen to learn more about the actress’ life off-screen, especially as she recently appeared in BBC’s Who Do You Think You Are?

Huge family discovery

On Ruth’s episode of Who Do You Think You Are?, the genealogy team uncovered what turned out to be a huge family secret on her dad’s side.

The family discovered that Ruth’s grandmother, Beatrice, was adopted and no one else knew, including her father, Geoff, as his mother Beatrice never told him this fact.

Talking about the discovery on the show, Ruth said: “No one knew. My dad had no idea. So that was a huge shock. As far as, like, we’re concerned, we’re all just born, raised, died in Manchester.”

Meanwhile, while talking to her father, he responded over the bombshell: “When I got that phone call, I thought, ‘what’s going on?’ You could have knocked me down with a feather” to which Ruth replied: “Wow!”

Her dad continued: “I’m dead surprised that my grandma never said anything. That’s the only thing that I can’t get my head around.”

On the show, Ruth revealed that she and her family – her parents and sister Liz – are “really close, like, shockingly close”. The actress joked: “We are quite a stubborn, determined family, so it wouldn’t surprise me if we had traits of that here, there and everywhere.”

‘Epic’ wedding

Away from the TV sets and shows, Ruth is loved-up with her husband Joe Lawrence, whom she has known since they were five-years-old.

Unlike his wife Ruth, Joe doesn’t work in showbiz or the acting world. He is the owner of a company that trains people to operate cranes and for many years he was also a motorbike racer.

In 2024, after 12 years together, Ruth and Joe made things official and tied the knot. Talking about their wedding on Who Do You Think You Are?, Ruth revealed they had their wedding reception at fully accessible theatre, 53two in Manchester, which Ruth is a patron of.

Ruth said: “It is like my special place. I feel very at home here. And the best bit, so we had our wedding reception here and it was epic. It was so good.”

The actress previously said: “We were friends forever, we were always going to end up together, and obviously now he thinks that what I’m doing for a living is absolutely hysterical. He’s not an actor, he’s very grounded, it’s nice to be able to go home and not talk about it.”

The couple have two fur children – a cat and an adorable Bulldog, who both made an appearance of Who Do You Think You Are?

Acting career

Ruth, who has spina bifida and uses a wheelchair, underwent many spinal operations throughout her childhood. Opening up, Ruth said: “In my secondary school years, those teenage years were really, really hard, but it was never seen as a reason to not achieve or not be happy.

“I never grew up seeing anyone who looked like me on screen. I really didn’t. Oh, acting was a complete accident. I was doing some work experience at the BBC and a producer I met was casting something for, I think it was a children’s drama.

“Yeah, I landed my first role and it developed in a very wonderful way, thank goodness.”

The actress joked: “I absolutely love my job. I feel so privileged to say that I do what I do for a living. I mean, I would do it for free. Actually, don’t say that on camera!”

Filming for the new series of the popular crime drama is officially in full swing.

The series first broadcast back in 2021.

Since its debut, Irish drama KIN has been a huge hit with viewers over the years and features the likes of Aidan Gillen, Charlie Cox, Clare Dunne and Ciaran Hinds.

It also features Emmett J Scanlan, known for his roles in Peaky Blinders, Hollyoaks and Fool Me Once. The 47-year-old plays the role of Jimmy Kinsella in the hit show.

KIN follows a fictional Dublin family who are at war with a drug cartel. The second series aired back in 2023 with fans eager to see more of the tense moments and gripping scenes.

The programme, which was originally broadcast on RTÉ One and RTÉ Player in Ireland before it was acquired by the BBC, is currently filming it’s third series, which is expected to air next year.

Actor Emmett Scanlan shared an update on his social media, sharing that they are currently in production, reports Belfast Live.

In a video, he confessed that it had been ‘years in the making’, before sharing how ‘utterly grateful’ he was that the programme was back in production.

He shared that it was ‘day one’ of season three, before adding, “the feeling is good”.

It wasn’t long before people commented on the post, with many thrilled that series three was on the way.

One person said: “Yess!!!!!!!!!!!!!! Finally!” Someone else wrote: “I absolutely loved kin.. I’m so ready for season 3”

Another fan added: “Have to rewatch seasons 1 & 2. Bl**dy loved both and can’t wait for 3!”

Someone else wrote: “Bro, is this real. Don’t play with my emotions like this…… I have been praying for season 3. The best of Irish tv hands down. What a cliffhanger season 2 was.”

He captioned the post: “Day 1. KIN. Season 3. As you were.”

While the official cast list is yet to be revealed, it looks as though Emmett will be reprising his role as the villainous Jimmy Kinsella.

Kin seasons one and two are streaming on BBC iPlayer in the UK.

A HOLLYWOOD icon looks incredible as she dances in a swimsuit with a bottle of rosé in her hand – but would you have clocked her?

The legendary actress, 80, has been spending some quality time with her family while on holiday across Europe.

In the short clip, Goldie Hawn is seen pulling out some dance moves while wearing the black bathing suit embroidered with silver crystals.

Her daughter Kate Hudson took to her Instagram feed to share a video of her mother being as fabulous as ever.

Stylish Goldie wore a grey cardigan over the top and accessorised with a silver necklace and a clip in her hair.

The Overboard actress held a nearly-finished bottle in her hand as she sashayed her way out of the shot.

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Kate, 47, also shared a whole host of other snaps and videos as the family were pictured having the best time.

She captioned it: “A few love letters from Europe.”

Her followers flocked to the comments section to compliment Goldie in particular.

One person gushed: “Omg your Mom!! I love her energy!!”

Another Instagram user enthused: “I want to be @goldiehawn in my next life.”

Somebody else commented: “Love you and your mom!! I’m sure your kids are just as amazing.”

While a fourth added: “I love your mum. She’s always dancing and being happy.”

Goldie started out in Hollywood back in 1966 with her career spanning over six-decades.

Her most famous roles include The First Wives Club, Private Benjamin, Overboard and Death Becomes Her.

Goldie has won several awards over the years, including an Academy Award and a Golden Globe Award as well as nominations for a BAFTA and two primetime Emmy Awards.

She married musician Bill Hudson in 1976, before welcoming daughter Kate and son Oliver into the world.

However, the pair got divorced after just four-years of marriage.

Goldie began dating actor Kurt Russell in 1983 and although they never got married, they welcomed son Wyatt in 1986.

Kate began her own career in 1996 and has become a staple in Hollywood in her own right.

She’s appeared in iconic films including How To Lose A Guy in 10 Days, You, Me and Dupree, Bride Wars and Raising Helen.

Kate is mum to three children, with her eldest son Ryder, 22, from her former marriage to musician Chris Robinson.

She shares 15-year-old son Bingham with ex-fiance and Muse frontman Matt Bellamy.

The Hollywood star is also mum to seven-year-old daughter Rani with her fiance Danny Fujikawa.

She and Danny first met in 2016 and got engaged in 2021.