show biz

THIS is the moment Katie Price’s marriage to Lee Andrews was finally legalised – after weeks of rumours.

The new couple got hitched again in a secret ceremony just five days ago.

Katie and Lee could be seen holding hands and gazing into each other’s eyes as they repeated their wedding vows.

Towards the end of the ceremony, instead of sealing the marriage with a kiss Lee leaned and embraced the mum-of-five.

It seems it was a very casual second ceremony with the pair opting to wear jeans, jumpers and trainers.

Katie and Lee faced have faced concerns about the legitimacy of their wedding last month, but The Sun can now reveal Katie and her fourth husband’s real marriage certificate.

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The 47-year-old officially said “I do” again inside Abu Dhabi’s judicial department despite her family and friends voicing their fears over Lee.

Self-proclaimed businessman Lee, 41, and former glamour model Katie signed on the dotted line to formally register their marriage on February 17.

Katie’s whirlwind marriage to the Dubai-based Lee marks the fourth time she has walked down the aisle after her marriages to Peter Andre, Alex Reid and Kieran Hayler.

In the exclusive snaps obtained by The Sun, Katie and Lee appear to be the only ones present for the ceremony – no one attended their first wedding either.

It’s believed that podcaster Katie wanted the official marriage documents ahead of her return to the UK for a shock third ceremony.

Reality TV star Katie married Lee in a quickie ceremony last month after shocking the world with her unexpected engagement that came just weeks after she split from her long-term boyfriend JJ Slater.

Katie been spending time in the UAE on honeymoon following a brief return to the UK since their wedding – despite warnings from her pals.

And it’s been far from smooth sailing for the ex-glamour model.

After meeting up with close pal Kerry Katona and her boyfriend Paolo Margaglione in Dubai, the day descended into chaos following a row.

It led to Lee punching Paolo in a shock bust-up.

Katie was then seen slurring in a video hours after claiming she’s having Lee’s baby .

It triggered a reaction from her sister Sophie Price who shared an emotional post about “pain” and “coming to your senses” amid Katie’s out of the blue marriage.

The video dived into the complexities of family relationships, following claims their once close relationship is strained.

After the dramatic Dubai trip, which saw Kerry and Paolo leave early, Katie and Kerry’s friendship is also said to be on thin ice.

Katie’s pals say they are deeply worried for the mother of five who launched a verbal attack on Lee’s ex-fiancee Alana Percival in a damning Instagram statement.

In the aftermath, Katie’s partnership with domestic abuse charity Woman’s Trust was terminated – despite those close to her insisting she did not write it.

Another of Lee’s exes, Crystal Janke, claimed he took £123,000 from her as an investment, but had failed to give her any money back.

He said he denied all the claims made by the women.

This Disney+ crime thriller is a must-watch for fans of Netflix’s You, with one standout difference that sets this stalker series apart from the rest.

With streaming services flooded with thrillers, crime, and mystery programmes, the storylines can occasionally feel repetitive and formulaic. There hasn’t been a riveting thriller that has captured the nation’s attention quite like Netflix’s You (2018).

However, Disney+ is venturing into this sinister realm with its new stalker thriller entitled Watching You (2025). The series delivers a nerve-wracking, gripping narrative packed with twists and shocking revelations. Audiences can anticipate intricate characters whose hidden truths gradually emerge, maintaining the tension throughout.

Yet, there’s one distinctive feature that distinguishes this programme and renders it essential viewing for thriller devotees.

What is Watching You about?

Protagonist Lina has a one-night stand, which is secretly filmed by a mystery person. However, Lina is engaged to someone else, meaning this one night of passion is an affair.

Lina is subsequently blackmailed by this enigmatic individual who appears to be monitoring her every action. Intent on exposing the stalker threatening her existence, she quickly discovers the peril may be considerably nearer than she ever suspected.

There’s murder and domestic violence in this thriller with layered characters. Whilst it may not feature the most twists and turns, the programme expertly keeps you on edge as secrets steadily emerge, given that no character is entirely blameless.

Similarities to Netflix’s You

Both programmes portray domestic violence, threats against women, stalking and murder. The villains in both shows conceal their true identity while manipulating women.

The only difference is that in Netflix’s You, stalker Joe is the main character and more charismatic than the villain in Watching You. Spoilers ahead.

However, both men are completely unhinged and will do anything to keep their secret whilst convincing themselves they are relentlessly, madly in love with the women they are obsessed with.

One reason you should watch

Watching You does a brilliant job of addressing domestic violence. Unlike Netflix’s You, this show is from the perspective and follows the actions of Lina. Though she is flawed, the show does not excuse what happened to her as a victim.

Her fight against the abuser is fierce, intense and complicated, but it is well written and delivered. Netflix’s You has been criticised for the “romanticisation” of male violence against women, as seen from Refinery29, Our Wave, and feminists.co, but Watching You intensifies the feeling of danger and suspense.

Early ratings

Commenting on IMDB, one person said: “It’s a refreshing and paychpatic watch. All the characters are stupid and follow questionable and illogical choices. But haven’t we all been there? The series reminds me of ‘You’ to a certain degree.

“It’s the plot of stalking someone and manipulating them into loving you. That’s about it with the similarities. The acting could be better; there’s some nudity, which I am not appalled by, but sometimes it makes no sense. Anyway, it’s not vulgar or anything. All in all, it’s a good show. But judge for yourselves.”

Another viewer commented: “I was very entertained by the first 3 episodes. Steamy show, interesting relationship dynamics, good performances. Despite the plot being more than obvious, I enjoyed watching the story unravel.”

They continued: “After the fourth episode, the story started getting more and more ridiculous. Characters were making one stupid decision after another, and the final episode was a letdown, the way it ended. Was that even justice being served? I doubt so.

“Overall, it’s a nice show for a binge, easy to follow despite being predictable. The finale just wasn’t to my taste. It wouldn’t hurt you to watch it.”

ACTRESS Alexandra Daddario has split from her hubby after their marriage “fizzled out”.

The White Lotus star, 39, has a 15-month-old son with film producer Andrew Form, 57.

New York court records show she filed for divorce on Friday.

Her rep said: “They have made the decision to end their marriage.

“The decision was made with love and respect.”

Insiders claimed their marriage started “hot and heavy” but cooled due to work schedules, eventually suffering a “consistent loss of love”.

A source said: “Alexandra and Andrew slowly grew apart.

“Raising a child was a reason to carry on but they weren’t even doing that together often and their married life slowly disintegrated.”

Alexandra was nominated for an Emmy for her role in The White Lotus alongside Sydney Sweeney.

She has also appeared in Baywatch and True Detective.

She and Form met by chance in New York before marrying in 2022.

Form’s movies include Friday the 13th, The Texas Chainsaw Massacre, Teenage Mutant Ninja Turtles, The Purge and A Quiet Place.

Alexandra slammed critics of her acting last year, saying: “Sometimes I’m lit poorly, but I’m not a bad actress.

“I got an Emmy nomination.”

OLIVIA Attwood has begged fans to put her in touch with a higher power as she’s convinced her new London flat is cursed, amid the shock split from her ex Bradley Dack.

It was revealed back in January that ITV’s Olivia and her footballer husband Bradley, 32, had split over what was called “a breach of trust” on his part.

The stunning blonde recently moved in to a very stylish new pad in the wake of the split.

Olivia showed off her incredibly spacious home to fans as she begun a new life chapter.

She captioned the Instagram video: “2026.. a new home in the city I was born in.”

But now, despite her jaw-dropping open plan kitchen, pine oak floors and sensational floor to ceiling mirrors the star is convinced her new home is cursed.

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After having one too many accidents in the London abode, Olivia took to social media to get advice on whether she needed to move out.

The Loose Women panellist moved in just weeks ago however it seems she may already need to pack her bags.

Olivia asked her 2.5 million fans on Instagram: “Can someone who is contacted by a higher power talk to the universe and tell me if I need to move out of this apartment pls lol.

“Since I moved in something breaks EVERY single day, I actually feel like it’s cursed.”

Olivia appears to be having a string of bad luck in her new place and has now turned to fans for a helping hand.

This comes amid the stars sad split from her ex Bradley Dack. The pair had been on and off before they married in June 2023.

Olivia and Bradley married in a lavish affair at the luxury five-star hotel Bulgari in Knightsbridge.

The pair started dating before former model Olivia’s stint on Love Island in 2017 – which she has confessed she joined as revenge for his cheating on her.

Olivia recently dropped a huge hint she’s formerly divorcing her ex as she sat down for a chat with celebrity hairstylist Chris Appleton.

Chris Appleton joked on her podcast Olivia’s House: “There’s nothing like a marriage to grow an ass, and nothing like a divorce to lose it, right?”

Olivia agreed: “Yeah and now I’m like whoop [flat] from the front to the back.”

Despite pals telling The Sun she was talking about divorce and it was all feeling very final for her, this was the first time the TV presenter has publicly acknowledgment a potential divorce.

“LINDA looks so beautiful, so cool,” says Paul McCartney.

He’s just been watching a film about the decade of his life after The Beatles broke up — and it is filled with images of his much-missed first wife.

“The Linda stuff was very emotional,” he admits at the Man On The Run launch event in London.

“Linda, the kids, me and John [Lennon] — all these memories. It’s like my life flashing in front of me.”

Macca is talking to an intimate gathering that includes his daughter Stella, son James, superfan Noel Gallagher and the actor who will play him in a forthcoming biopic, Paul Mescal. Oh, and me.

He continues: “Seeing me and Linda interacting is special because, you know, she’s not here.

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“So is seeing the kids when they were little, because they’re not little any more. They’ve got kids of their own now.”

The film stirs memories of forming his own band, Wings, with Linda in 1971, prompting this from McCartney: “We tried to follow The Beatles — it’s mad!”

It also brings into sharp focus his relationship with Lennon, which broke down in the wake of The Beatles split but, as we see, they reconciled shortly before John’s death.

Directed by Oscar-winning Morgan Neville, Man On The Run is a masterpiece of ­documentary storytelling.

Rich in source material, partly because Linda was a professional photographer who also shot home movies, it is raw, heartfelt, funny, poignant and, crucially, not remotely sugar-coated.

Before the screening starts, Sir Paul, looking fit and well for his 83 years, strolls on to the stage and quips: “I just want to say thank you to Morgan for keeping in all the embarrassing moments that I asked him to take out.”

But let’s get back to the big ­question: How DO you follow The Beatles?

It was a conundrum that weighed heavily on McCartney as the ­Swinging Sixties drew to a close.

As he puts it himself in the movie, the first thing he did was “escape” and then he had to learn how “to grow up”.

He had married American Linda Eastman in March, 1969, at Marylebone Town Hall, London, and soon afterwards adopted her daughter Heather from a previous marriage.

McCartney was still only 27 when, on April 10, 1970, he told the world that he, John Lennon, George ­Harrison and Ringo Starr were going their separate ways.

The announcement came amid acrimony over the band’s crooked business manager Allen Klein, favoured at the time by John and the others but later described by Paul as “a sort of demon”.

It was all over for the band of four likely lads from Liverpool who changed popular culture for ever.

In private, McCartney had known for months that his songwriting partner Lennon was leaving.

“John broke up The Beatles,” Macca affirms in Man On The Run. “But I got the rap. And that’s a bit of a weight to bear.”

Around the same time as ­Lennon’s bombshell, in late 1969, there were rumours across the US and around the world that “Beatle Paul may be dead”.

There’s a hilarious moment in the film when his younger brother Mike is asked whether it’s true.

“It’s a hoax, it’s a con,” he exclaims, before being asked when was the last time he saw his brother.

Mike replies: “The last time? It was his funeral, I think!”

It turned out that McCartney had the perfect bolthole, in an archetypal middle of nowhere, to hide away and reset his life.

In 1966, he had bought High Park Farm, a 183-acre sheep farm on the Mull of Kintyre (yes, that explains the song) in Argyllshire, only reached via a “long and winding” track.

With its corrugated iron roof and general state of dilapidation, it was, as someone in the film points out, the sort of place a poor farm labourer might baulk at accepting.

But, as the Sixties ebbed to a close, Paul, Linda, their daughters, Heather and baby Mary, plus their Old English Sheepdog ­Martha decamped to the Scottish wilds.

In the movie, McCartney suggests, “We got up there to escape”, and ponders whether he would write “another note of music” before confessing to drowning himself in one wee dram of Scotch after another.

But, with the responsibility of supporting a young family on his shoulders, he realised that “it was a question of HAVING to grow up”.

At the Man On The Run launch, McCartney reflects: “With The Beatles, we were just lads. Everyone, all our management, used to call us ‘the boys’.

“Then I got married and then there was a baby [Mary] on the way.

“I had to grow up. I thought, ‘We can’t just be these ‘boys’ any more’. It was time to think about stuff.

“Even though the film is kind of madcap and you see all our insane decisions, in the background there were some sensible decisions, too.”

He remembers how Linda was his guiding light through those years.

“If there was an idea that was a little bit crazy, I’d say, ‘Should I do that? Could I do that?’ She’d say, ‘It’s allowed’. It was a brilliant philosophy in life.”

Director Neville picks up on this theme: “I looked into the questions Paul was trying to ask of himself, questions that I felt were universal.

“How do you deal with your own legacy and the expectations people have of you? How do you balance your career with your family?

“In Paul’s case, he made them one and the same. And that, I thought, was completely inspirational.”

Though Kintyre provided a necessary respite from the dazzling glare of publicity, Macca has never been far away from making music. It’s in his blood.

In 1970, he released his debut solo album, simply titled McCartney, with its intimate DIY aesthetic and featuring at least two songs with his beloved partner in mind — The Lovely Linda and Maybe I’m Amazed.

In 1971, he formed Wings with ex-Moody Blues musician Denny Laine and, controversially, Linda, who until that point had little or no experience, as core members.

Rehearsals for their debut album Wild Life took place at Macca’s converted barn in Scotland, dubbed Rude Studio.

It felt to him as if he was starting over, at the bottom of the pile.

“It was so impossible to do something like that,” he says today.

“Just go back to square one, show up at a university, don’t book hotels, take the dogs in a van. For some reason, we thought it was a great idea!”

If Wings took time to take flight, everything changed in 1973 when they released third album Band On The Run, loaded with classic tunes such as the title track, Jet and Let Me Roll It.

Recorded in extraordinary ­circumstances at EMI’s studio in Lagos, Nigeria, not far from where Paul and Linda were mugged at knifepoint, it paved the way for ­stadium-sized shows in America.

Without the McCartneys’ sojourn to Scotland, there would have been no Mull Of Kintyre, which, at the time of its release in 1977, became the biggest selling single of all time.

A “love song” to that remote idyll, it featured Great Highland bagpipes played so passionately by the local Campbeltown Pipe Band.

Yet, interwoven with stories of Wings’ upward trajectory, there are musings on McCartney’s strained relationship with Lennon during the Seventies.

We’re reminded of John’s caustic song How Do You Sleep?, directed at Paul with its line, “The only thing you done was yesterday”.

And there’s his old buddy left thinking, “Aside from Yesterday, what about Eleanor Rigby, Lady Madonna, Hey Jude, Let It Be and the rest?”

Macca says: “As it shows in the film, I knew John from a very early age — we were just a couple of rock and roll fans.

“We enjoyed hanging out together and we started writing little songs round at my place.

“My dad had a pipe in his drawer. So we thought we’d smoke it. We couldn’t find any tobacco so we smoked tea! We had all those ­memories in common.

“Then we went through the whole trajectory of The Beatles. But John was always just that guy to me, even when he was being really mean and I was having to take it.

“At the same time, it was like, ‘Yeah, it’s just John, he does that’. He’d always done that — so that made it a little bit easier.

“But I loved him, you know. I loved all the guys in The Beatles.

“I try and think of how else it could have been, but with just me, John, George and Ringo, it was a magic grouping. And we did OK!”

Near the end of Man On The Run, you see McCartney being confronted by camera crews about the shocking death of Lennon, who had been shot the day before outside the Dakota Building apartment he shared with partner Yoko Ono in New York.

Macca was criticised at the time for a rather cool, unemotional response — but one look in his eyes reveals his utter devastation.

As for the aforementioned “embarrassing moments” on display in the film, they are what make it so refreshing and endearing.

Hence you see McCartney singing Mary Had A Little Lamb wearing a red clown’s nose with Wings guitarist Henry McCullough looking as if he wants the earth to swallow him.

There’s a moustachioed Paul in a baggy pink suit performing the cabaret-style Gotta Sing Gotta Dance, complete with dancing girls, for his 1973 variety show.

And what about him getting ­busted by Japanese cops in 1980 for having 219g of cannabis in his luggage, spending nine days in custody before being booted out of the country?

McCartney was supposed to be embarking on a Wings tour of Japan but, as it turned out, they never played together again.

He says: “So many bits are embarrassing. The look on Henry McCullough’s face! He’s not happy.

“I was thinking, ‘Maybe we could cut those bits, the dance routine, cool out my image’.

“But Morgan said, ‘No, let me keep them in. You’ll see all that stuff but because you overcame it all and found yourself, you won in the end’.”

Finally, McCartney takes a long hard look at himself — at the ­person “growing up” in Man On The Run and the man he is today.

He says: “You start to see yourself, not just in the mirror, but to realise what your character is like.

“It’s natural for me to be enthusiastic so I don’t always see pitfalls, With me, it’s, “Nah, nah, just do it’.”

Kylie Jenner did not look very impressed with one of Alan Cumming’s jokes at the BAFTA Film Awards, at which her boyfriend Timothee Chalamet lost out on the Best Actor award

Kylie Jenner was left squirming at a joke Alan Cumming made about her at the BAFTAs. The reality TV star did not look impressed with the awards’ host’s X-rated gag.

During the ceremony, Alan walked through the audience, offering them snacks. When he stopped by the seats that Kylie and her boyfriend Timothee Chalamet were sitting in, he asked the star: “Kylie, have you ever had your gums around a giant Jammie Dodger?”

Kylie shook her head and took the snack, looking visibly uncomfortable as she did so. She did not appear to be impressed by the double entendre, which earned only a few laughs from audience members.

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Viewers at home also seemed to be unamused by Alan’s jokes. One wrote on X, formerly known as Twitter: “Alan Cummings’ jokes falling flat.” Another added: “Not funny. Not a good presenter. It’s just painful to watch and hear.”

“There is absolutely nothing funny about Alan Cumming? This whole opening monologue is toe-curlingly awkward,” a third fan said. A fourth added: “Alan Cumming is making me cringe already.” While a fifth said: “Will someone purleeze get Alan Cumming off the stage.”

The 60-year-old actor, writer and presenter – known for hosting the US version of The Traitors and starring in American drama The Good Wife – hosted the event at the Southbank Centre’s Royal Festival Hall in London for the first time on Sunday.

Others said it was likely not Alan’s fault but that of the scriptwriters. “I’ve got a funny feeling Alan Cumming might have been lumbered with the same scriptwriter David Tennant had when he hosted- oh dear,” said one.

Though no more jokes were made about Kylie, the night did not improve for her boyfriend, as Timothee lost out on the Best Actor award. He had been nominated for his role as the titular character in Marty Supreme, but the award ended up going to Robert Aramayo, who won for his role as John Davidson in I Swear.

Robert also won the Rising Star award for the same role. That award is the only one voted for by the public, and by winning both that and Best Actor, Robert was the only actor of the night to win more than one award.

The other acting awards went to Jessie Buckley, who won Best Actress, Wunmi Mosaku, who won Best Supporting Actress, and Sean Penn, who won Best Supporting Actor but was not present to take home his award.

Though Kylie attended the awards, she was not seen on the red carpet and instead snuck in separately. The Kardashians star, 28, has been in a relationship with the actor, 30, since 2023. The couple have made a series of appearances during this year’s award season, including the Golden Globe Awards and the Critics’ Choice Awards.

It is believed Kylie often skips red carpets to avoid stealing her partner’s spotlight and also to keep their relationship private, opting instead to support him from the audience or enter through alternative, quieter, or back entrances. Last year, a source told Grazia Daily that another reason why the pair avoid walking the red carpet together could be that they want to keep their work and their personal relationship separate.

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LEONARDO DiCaprio treated his model girlfriend to a private pre-Bafta shopping trip.

The Hollywood legend, 51, and Vittoria Ceretti, 27, were given exclusive late-night access to the Princes Arcade shopping district in London’s Mayfair on Saturday.

Bosses made the special arrangement so the couple could browse independent designer store Segun Adelaja away from fans.

It is a fancy independent designer store where shirts start at £140.

Leo attended last night’s Baftas with his 83-year-old mum Irmelin Indenbirken.

At one point he lost her on the busy red carpet — and refused to go inside until he found her.

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An onlooker said: “Leo got cut off from his mum.

“He asked his team, ‘Where is my mum?

“‘Is she OK?’.

“She’d hurt her leg.

“So he waited to help get her up the stairs.

“It was really sweet.”

With Gordon Ramsay’s new Netflix docu-series accused of being a “sanitised” version of the celebrity chef’s family life, there are some key parts of his past that were completely missed out

Following the release of Being Gordon Ramsay on Netflix, the celebrity chef has been accused of portraying a ‘sanitised’ version of his life.

And although the six-parter mainly follows the opening of his ambitious 22 Bishopgate venture, the Hell’s Kitchen star does delve into parts of his past – including the “mess” he was born into, and his abusive father.

But there are some murkier elements of Gordon and his family’s history that were glossed over in the documentary. The docu-series is described by Netflix as “unflinchingly honest” – but some have criticised the absence of some major incidents from the Ramsays’ past.

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Prison sentences

The Ramsay family was rocked by a devastating betrayal in 2017, when it was revealed that certain members of Tana’s family had attempted to hack into multi-millionaire Gordon’s business accounts. Christopher Hutcheson, 77, and his sons, Adam and Christopher, admitted they had plotted to access his emails and finances almost 2000 times over a five-month period from October 2010 to March 2011.

It came after Tana’s dad was sacked as CEO of Gordon Ramsay Holdings Ltd, leading to a public fallout with his son-in-law. Between the three of them, they had managed to obtain information – including claims of a hair transplant and a fishing trip – which then later appeared in newspapers. After their crime was uncovered, Hutcheson Sr emailed his son saying: “Guess we have been rumbled. Bit late though..

Despite the family making up and Tana and Gordon not supporting the court case, the judge still deemed a prison sentence necessary. Tana’s dad was handed a six-month sentence, while Adam and Chris Jr. were each sentenced to four months suspended for two years.

Affair claims

It’s been widely reported that Sarah Symonds, claimed she was seeing Gordon for seven years, after meeting in 2001. Something he has always denied. Sarah, now 56, was was once dubbed a “professional mistress”, having had affairs with other married men, including politician Jeffrey Archer.

Sarah, who published the book Having an Affair? in 2007, ranted to the Daily Mail: “The title of the docu-series ‘Being Gordon Ramsay’ is totally fake – just like him.

“It’s misleading and disingenuous. A travesty in fact, as nothing about it was ‘Being Gordon’ at all.” She added the show is a “glossed over” version of Gordon, who she describes as a “bully, cheat, liar and serial philanderer”. Sarah said that the Netflix description of the show as “unflinchingly honest” makes her want to scream, adding that she is “trying to heal” from the trauma of her affair. Ramsay has denied ever having had an affair.

Ramsay’s brother

Gordon Ramsay was born in Glasgow, and lived on different council estates in the city, in Birmingham and in other areas of the UK. He does mention his younger brother Ronnie in the series, telling viewers when pressed that he is a heroin addict, but we don’t meet Ronnie.

He says: “We shared a bunk bed together. He’s 15 months younger than me, and he’s been an addict for the last four decades. I’ve gone to hell and back with him, and so I have a guilt complex. That could have been me. It could’ve been switched.”

Gordon has spoken more about Ronnie previously. It was revealed that back in 2007, he was arrested in Bali, after 100mg of heroin was reportedly found in his pocket, landing him a 10-month jail term. Speaking in the early 2000s to Waitrose Food Illustrated magazine, Gordon said: “I feel the pain, I feel it big time. I don’t think that my mum at 60 should still be putting up with it.

“It is hard dealing with Ronnie. He is a major responsibility. It is like having an 18-year-old to look after.” He also revealed, prior to the documentary, to the Mail that Ronnie had asked to perform at his daughter Holly’s wedding.

Gordon explained: “It was tough. It still pains me. He said: ‘Hey, have you got a music gig for the wedding? I’m free.’ I put down the phone and I said to Tana, ‘F**king hell, here we are in the house we sleep in and there’s my little brother still with two pit bulls in a council flat in Birmingham, busking.'”

Holly and Adam Peaty’s family feud

Gordon’s eldest daughter, Holly, and her new husband, Adam Peaty, were embroiled in a bitter family feud with the groom’s family in the lead-up to their wedding in December. The couple sensationally ended up uninviting all of Adam’s family, except for his sister Bethany, who was one of Holly’s bridesmaids.

The Netflix documentary makes no mention of the tension, although it does show scenes from the couples’ engagement party. According to Adam’s family, they were all cut from the show, despite being there to celebrate Adam’s proposal to Holly.

His mum, Caroline, and his cousin, Krystal, have claimed they were removed from scenes from Adam and Holly Ramsay’s engagement party. They reportedly made a number of touching speeches as part of the event, but these weren’t shown.

The pair vented on social media, with Krystal sharing a photo of her watching the engagement party scene on the doc. She said: “I was here in person, guess I didn’t make it on Netflix for my minute of fame.”

She sarcastically added: “How will I sleep at night?” And Adam’s mum Caroline shared a response in the comments section, asking: “Did they film my speech Krystal?”

She went on: ““I bet they didn’t because it was 100% full of love and positivity x.” Krystal replied: “I haven’t watched it all to be honest but no I haven’t see you and you look blurred out xx.”

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A one-size-fits-all sartorial approach is out of the question for the showmen of “Sinners,” “Hamnet,” “Frankenstein” and “Marty Supreme.” But whether the arena is theater, music, science or sports, all wear garments that accentuate their emotional states and prodigious talents — and leave an enduring mark. Here, Oscar-nominated costume designers Ruth E. Carter (“Sinners”), Malgosia Turzanska (“Hamnet”), Kate Hawley (“Frankenstein”) and Miyako Bellizzi (“Marty Supreme”) discuss defining menswear statements with The Envelope.

In Carter’s third collaboration with Ryan Coogler, Michael B. Jordan’s sharply dressed twins Smoke and Stack return to the Mississippi Delta in 1932 to open a juke joint, tapping their gifted blues musician cousin, Sammie (Miles Caton), to perform. “You see this style that [old blues players] embodied, whether it’s two-tone shoes, the hat, vest, shirts; all of that was laced into the storytelling,” says Carter. He might be a preacher’s son, but Sammie wears his passion on his blues-infused clothing in the record-breaking “Sinners.” “The vest is patched to show the wear from the guitar strap.”

Before the night goes to vampire hell, all eyes are on Sammie in earthy and gold tones as he sings “I Lied to You.” Artists spanning centuries and continents (including an electric-guitar-playing rocker and a Zaouli dancer) add to the mesmerizing sequence before returning to Sammie. “When we come back to him, we’re coming back to his own force and look,” Carter says.

A sketch of Sammie’s bluesman-inspired costume in “Sinners.”

(Ruth E. Carter)

A final scene set in 1992 shows Sammie (played by musician Buddy Guy) still beguiling audiences. Carter incorporates Guy’s real-life signature polka dots to highlight “this is a real story of the blues, and this is a real bluesman.” Stack’s authentic Coogi sweater (a nod to Biggie Smalls) contrasts with Sammie’s classic tailoring, which doubles as a memorial to his other cousin: “The color blue was an homage to Smoke and the flat cap.”

Clothing is also for remembrance in Chloé Zhao’s “Hamnet,” in which a grieving William Shakespeare (Paul Mescal) turns to a meaningful shade in paying tribute to his son during the inaugural run of “Hamlet” at the Globe Theatre in London. “Will, in my head, was imagining, remembering and holding on to the memory of Hamnet,” Turzanska says. “And in a super crude, simplified way, putting the paint and the colors that he remembered onto Hamlet’s character with those brushstrokes.”

Turzanska constructed the players’ costumes from raw linen, using slightly enlarged, period-accurate shapes combined with contemporary latex paint. Using this stage language, Hamlet’s (Noah Jupe) jerkin is “quilted and painted flat,” to conjure Hamnet (Jacobi Jupe): “It was a memory of the vertical stripes.”

There are echoes among the costumes for William Shakespeare, Hamlet and Hamnet in Malgosia Turzanska’s costumes for “Hamnet.”

(Malgosia Turzanska)

Offstage, growing slashes in Will’s leather doublets depict “emotional turmoil.” Still, his turn as Hamlet’s murdered father (the Ghost) is the most overt example. The off-white cloak caked in clay is deliberately drained of all color. Turzanska tested the symbolic shroud (“You put this little harness on”) to ensure Mescal could move freely. Catharsis comes after Will exits the play: “The clay is cracking and falling off. Finally, when he washes it off, we see him break down for the first time and actually cry.”

Not every stage has a paying audience. In Guillermo del Toro’s “Frankenstein,” Victor Frankenstein (Oscar Isaac) reanimates a corpse during a disciplinary hearing demonstration. Clad in red, white and black, the renegade scientist’s sartorial inspiration is not bound to a single era.

“That was the first note from Guillermo [about Victor]. He goes, ‘Dandy, rock star. Look at David Bowie. Look at Prince,” says Hawley. “When we started talking with Oscar, he came in with his Prince stuff. When you look at his performance, you see all those subtleties, the physicality, the swagger.” Piping on the waistcoat is “a kick” to stand out against judges in black.

Hawley embraces “wonderful peacock” 1850s menswear shapes: Victor’s puffed-out chest accentuates the “wasp waist” likening him to a matador. An exaggerated period heel adds flair. “Shoes are what root the actor to the ground and their character,” Hawley says. “It elevates every gesture from there.”

Victor Frankenstein’s costumes in “Frankenstein” were inspired by musicians like David Bowie.

(Kate Hawley)

“Marty Supreme’s” Bellizzi is equally mindful of footwear. Bellizzi “worked with Keds to find the shape” resembling a narrow 1950s sneaker for Timothée Chalamet to wear as ambitious table tennis player Marty Mauser. “When he was training, I would give him a few different sneakers to see what looked good but also what felt good,” says Bellizzi. “Because he had to wear them all day and play in them.”

Marty switches from a sedate black polo shirt and high-waisted wool pants while playing at Wembley in London to an eye-catching pink satin set on tour with the Harlem Globetrotters during a lighthearted interlude in Josh Safdie’s propulsive comedy-drama. “We overexaggerated the pants and the sleeves in the body so it is big and flowy,” says Bellizzi.

By the time Marty arrives in Japan, his everyday suit “has been through the wringer.” Luckily, a rigged ping-pong exhibition match allows Marty to embrace his theatrical talents. “It was an opportunity to show him as someone else. He’s undercover,” says Bellizzi. “He has the cap and the jumper.” Ever the showman, Marty relishes ditching the pretense and his wardrobe onstage, embracing his competitive streak. “He turns it into a bigger situation than it should have been, and maybe part of the surprise is that he’s derobing,” Bellizzi says. “It shows how much passion comes out.” Across venues and centuries, each man’s attire is ovation-worthy.

SINCE my exclusive story broke about Kim Kardashian and Lewis Hamilton, everyone wants to know how long they’ve been together.

And now I’ve been given a little more insight into their top-secret romance.

While it was thought that Kim and Formula 1 star Lewis started growing closer over Christmas, I can reveal it was a lot earlier than that.

My moles tell me Kim visited Lewis in Las Vegas in the days before the Grand Prix there on November 22.

From what I know, they went all-out to keep it hush-hush.

One insider said: “Lewis invited Kim to be his guest inside the garage over the week. That included for the preparation and the race itself.

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“She was there when the race happened and was alongside him, talking to him and hanging out with him before he took to the circuit.

“Nicole Scherzinger did that back in the day when they were together.

“People saw it and didn’t think much of it — but now it all makes sense.”

A second source in the F1 world added: “Three days before the race, Kim was spotted coming out of a garage where Lewis’s car was.

“She headed to his trailer. That was one of the few times Kim was seen.

“Something was definitely happening between them then. Why else would she have been there?”

Why, indeed?

I revealed Kim and Lewis enjoyed a night at posh Estelle Manor in the Cotswolds on January 31, before heading to London for a second date and Paris for a third.

Lewis then flew back to Los Angeles with Kim on her £100million private jet, and days later they made their first public appearance together at the Super Bowl on February 8.

Since then, the A-list couple have been apart, with him flying to Bahrain, where he spent time last week doing pre-season testing in his Ferrari F1 car.

Lewis said he had a new-found vigour ahead of the season, adding: “I’m reset and refreshed.”

I’m sure that Kim has helped boost his drive . . . 

ESTEEM DREAM

SELF ESTEEM will be in Manchester this Saturday for the Brit Awards – and she may have a very special man by her side.

I’ve learned the singer-songwriter, who is nominated for Artist of the Year at the ceremony, is dating actor Wilf Scolding.

And I’m told they have been seeing each other since 2023, when they were cast in West End show Cabaret together.

The singer, whose real name is Rebecca Lucy Taylor, hinted they are an item when Wilf appeared in the video for her song The Curse in August.

A source said: “Rebecca and Wilf have been together for a while – they live together and even have a dog.

“But they aren’t showy with their personal lives so haven’t flaunted the relationship in the public eye.

“She’s had bad dating experiences in the past but Wilf is a good guy. He has the seal of approval from her mates.”

Wilf, who starred in Game Of Thrones and BBC One drama The Passing Bells, is a sea-change from the singer’s last boyfriend, who she has never publicly named but said was “a real nasty bastard”.

Self Esteem referenced her “current male lover” in an interview back in November.

When asked how often she has sex, she said: “Oh, often. That is one thing I don’t compromise on.”

Good on them both.

JUSTIN TIME FOR UK GIGS

JUSTIN BIEBER is set to embark on his biggest tour in more than a decade.

I’m told the Baby hitmaker will announce a string of global dates after playing two headline slots at US festival Coachella in April, as well as plans for a new pop album.

A source said: “This year is set to be a huge one for Justin.

“He kicked things off with his Grammy performance earlier this month and bosses hope his Coachella sets will remind the world why he became one of the most successful singers on the planet.”

As part of his upcoming world tour, Justin is expected to announce a show at BST Hyde Park in London.

He previously played BST in 2017 – but hasn’t done a full concert on UK soil since then.

ANTI’S EURO VISION

LOVE Island fans might spot a familiar face at the Eurovision Song Contest in the spring.

While the UK will be represented by YouTuber Look Mum No Computer, Cyprus’s act is Antigoni, who starred in the ITV2 series in 2022.

She wore this striking red dress in the video for her entry song, Jalla – and eagle-eyed viewers might recognise someone else in the promo.

Antigoni, who was born and raised in London but is of Greek-Cypriot descent, managed to get Stavros Flatley star Demetri Demetriou to make a cameo.

Currently, Antigoni is tenth favourite to win, while Look Mum No Computer is 14th.

I’ll keep my fingers crossed for them both.

KEEP an eye out for LA-based singer Amelia Moore, who has just completed a UK tour supporting Ashnikko.

She has been getting rave reviews off the back of her latest EP He’s Still Just Not That Into You! and I’m expecting big things in the coming months.

FOO FIGHT FOR GIGS

FOO FIGHTERS have announced a set of surprise shows this week – leading to thousands of fans queuing in the streets for a ticket

Tonight they will play The Academy in Dublin, before a show on Wednesday at the O2 Shepherd’s Bush Empire and the O2 Ritz in Manchester on Friday.

Tickets were released yesterday but fans had to queue at the venues’ box offices in a bid to stop online touts ripping people off.

The gigs come ahead of the release of their 12th album Your Favourite Toy on April 24.

I’ll be in Manchester to see the band – I can’t wait.

THE SEX PISTOLS BACK ON ROAD

THE SEX PISTOLS ft. Frank Carter have announced a brand new tour celebrating 50 years of punk.

Anarchy In The UK will see them play five shows at the end of the year, kicking off in ­Ireland at Dublin’s 3 Arena on December 7.

They will then play Edinburgh’s Corn Exchange on December 9, before hitting Glasgow’s O2 ­Academy the following evening.

Frank and Co will then head to London to play the Brixton Academy on December 18 and the Eventim Apollo in Hammersmith two days later.

MARGOT IS SHEER DELIGHT

MARGOT ROBBIE skipped the Baftas and headed Down Under for Tropfest 2026 in Sydney.

The film festival, which celebrates the best short films and new rising stars of the industry, enlisted Margot as the president of this year’s jury.

Next year, I know Margot will be front and centre at the Baftas in London – with her new film Wuthering Heights expected to pick up a raft of nods, including Best Actress for her star turn.

Emerald Fennell’s adaptation of Emily Brontë’s 1847 novel has caused a storm among cinema lovers, with Margot’s co-star Jacob Elordi expected to be shortlisted for Best Actor.

Jennifer Hudson raised more then a few eyebrows in 2022 when she was close to realizing her dream — becoming a daytime talk show host.

At the time, she had just become the youngest member of the small elite group of artists who are EGOT — Emmy, Grammy, Oscar and Tony award — winners. She was also aware that the highly competitive daytime talk show arena had been a notorious minefield for several top stars, leading to quick failure.

But she was unfazed. Just days before the premiere of the “Jennifer Hudson Show,” she called it the perfect birthday present.

“This is going to be such a gift,” she said near the set of the show at Warner Bros., which produces the series. “If I were not working on my birthday, that is what I would be wishing for — performing on a stage or a platform … I love a challenge … It is a difficult arena. You will always see me try.”

The entertainer expressed even more excitement Thursday after her syndicated show was renewed for a fifth season, bringing some welcome sunlight to the afternoon landscape which has been shaken in the last several weeks by the upcoming departures of popular hosts Kelly Clarkson and Sherri Shepherd.

Hudson and Drew Barrymore, who has hosted her own eponymous show since 2020, are now the sole survivors in the celebrity-oriented afternoon talk genre. (The talk show hosted by Tamron Hall is more focused on topical issues and trends.)

Insiders say the continuing economic difficulties in Hollywood and the explosion of video podcasts hosted by stars such as Amy Poehler, Conan O’Brien, Dax Shepard and the “Smartless” trio consisting of actors Jason Bateman, Will Arnett and Sean Hayes has substantially crippled the traditional daytime talk format.

Shock waves have resonated through the daytime TV industry since early February when Clarkson said she would be ending her Emmy-winning talk show at the conclusion of its current seventh season for personal reasons. Just hours later, producers of “Sherri” announced they were pulling the plug on that series, attributing the cancellation to “the evolving daytime television landscape.” Shepherd in recent days has said she was fighting to save the show.

Rumors about the future of Hudson’s show have been circulating since those announcements. Although some insiders considered Hudson an unlikely entrant in daytime, she has established herself as an engaging and warm host, connecting with her enthusiastic studio audience and highlighting the show with musical performances and duets with her guests.

The show has also aggressively employed social media to promote its “Spirit Tunnel,” where staff members lining a corridor greet celebrities with chants on their way to the stage. Producers say the ritual has surpassed 6 billion views.

“The Jennifer Hudson Show” replaced Ellen DeGeneres’ talk show, which ended in 2022, had run for nearly 20 years and was produced by Warner Bros.

Experts say the current landscape is indicative of the cyclical nature of daytime talk, recalling the era of “trash talk” during the 1990s when afternoon talk shows such as “Sally,” “Jerry Springer” and others emphasized fierce confrontations and provocative, often sexually oriented topics.

“Daytime has always gone through these cycles, so this is nothing new,” said Rachel Schwartz, head of the Daytime Emmys and Children & Family Emmy. And video podcasts appear to be part of this latest cycle.

“Now audiences are proving that they are really hungry for podcasts, which is impacting the landscape of daytime TV,” she said. “The podcast can be narrowly focused on one celebrity. It’s like the listener is sitting down with a friend. And the guest can be more comfortable.”

Pamela Rutledge, director of the Media Psychology Research Center, which explores the psychology of human interaction with media and technology, said that while daytime talk shows offer familiarity with the same host, tone and daily presence, podcasts give celebrities more control, intimacy and influence without the constraints and pressures of broadcast TV.

“Podcast hosts tend to be partners in conversation, not ‘hosts’ or moderators,” she said. “Talk shows are in the middle of the voyeurism spectrum — too curated by time, pacing and commercial interruptions to feel really intimate and too restrained to be thrilling.”

Rutledge added that maintaining TV studios, crews and accommodating large audiences is becoming increasingly costly for producers, who are looking more to other types of digital and social platforms that are more attractive to advertisers.

Despite the string of storms that have hit the Los Angeles region in recent days, the skies cleared up long enough on Wednesday for thousands of aspiring actors to swarm a beachfront in Marina del Rey and take their shot at landing a role in the upcoming “Baywatch” reboot.

The open casting call brought old Hollywood magic to Los Angeles, as the show intensified its search for raw and local talent, reminiscent of how original “Baywatch” stars were discovered, said Brittainy Roberts, the vice president of casting at Fox.

The soapy drama series, which premiered in 1989 and ran for 11 seasons, followed the lives and relationships of lifeguards who patrolled L.A. County beaches (and later Hawaii). It was not only a hit stateside — internationally it was a success, becoming the most-watched show in the world at the time. A film adaptation starring Dwayne Johnson and Zac Efron was released in 2017, and despite negative reviews, it was considered a commercial success, signaling an appetite for more.

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The casting team has “big bathing suits to fill,” Roberts said. The show famously created a slew of stars, including Pamela Anderson and Carmen Electra, who got their start on the show, and catapulted David Hasselhoff to new heights of fame.

Uncommon in a post-pandemic era of self-tape auditions, the open and in-person auditions attracted actors hungry for their big break and locals hoping to leave with a fun story to tell. Many donned “Baywatch” visors and sweaters while others sported bright red bathing suits, popularized by the original show. It was “an opportunity to really get people in the room in a large-scale way,” and allow “people an opportunity that maybe they aren’t getting in this new landscape of auditioning,” Roberts said.

The casting team saw live auditions from about 2,000 “Baywatch” hopefuls, and about 14,000 applications were submitted, said Joseph McGinty Nichol, known as McG, the reboot’s executive producer who will direct the first episode. His past projects include the “Charlie’s Angels” movie and “The O.C.”

Pat “The Jaguar” Uland, 31, of San Francisco, on the red carpet at the “Baywatch” open casting call.

(Allen J. Schaben / Los Angeles Times)

Beach-ready candidates filed in and out of a Marriott hotel in Marina del Rey for the in-person auditions. The casting call, which ran late into the night, embodied the joy of Hollywood, McG said.

Bri Ana Wagner, a 29-year-old living in Los Angeles, has been pursuing acting for around a decade. The open casting call was a reminder that the Hollywood “dream is alive,” she said.

“It’s like the way it used to be and the way it should be,” McG said. “You can come to a Marriott in Marina del Rey and change your life and blow it wide open.”

Hopefuls try to catch a break

David Chokachi hadn’t acted much before auditioning for “Baywatch” in the 1990s. Douglas Schwartz, one of the show’s original creators, and his wife, Deborah, had seen just about a thousand auditions for the role of Cody Madison. None of the actors matched the couple’s vision for the character, until Chokachi strolled in.

“It’s one of the most surreal things that’s ever happened in my life,” said Chokachi, the only actor from the original series confirmed for the reboot.

David Chokachi, who was on the original “Baywatch,” is reprising his role as Cody Madison.

(Allen J. Schaben / Los Angeles Times)

The aspiring actors who auditioned Wednesday hoped to get their chance at a big break similar to the one Chokachi got decades ago. Casting for the reboot began late last year, Roberts said, and people “have come out of the woodwork” since, with some messaging her directly on social media.

“The fact that we’re shooting in L.A., it’s certainly ignited a flame for a lot of agents and managers in town hoping to get their clients working here,” Roberts said.

The casting executive was hopeful that Wednesday’s auditions would bring together a talented pool of actors that the show can continue to pull from.

Massiel Taveras was among the many in attendance at the casting call: “I belong to this group. I belong to the show. I just feel it.”

(Allen J. Schaben / Los Angeles Times)

Massiel Taveras was crowned Miss Dominican Republic in 2007 and has pursued acting since, finding success in the Latino market. She arrived to the Marriott hotel sporting a bright red sports bra and leggings, paired with a large fur coat to shield her from the beach chill.

“I just love the show so much … It’s iconic. It’s something that everybody loves,” Taveras said. “I belong to this group. I belong to the show. I just feel it.”

Meanwhile, Dominique Lopez, a broadcast student from Monrovia, had never been to an audition before her boyfriend Colin Bolick, an actor, convinced her to attend the casting call together. The experience was “super easygoing” and intimate, she said as she walked out of the audition room.

“It’s making the industry exciting again. It’s putting people in the mind space of … ‘Let me put myself out there,’” said Lopez, 25. “Just for that, I feel like a better person, that I went and did something new.”

Could ‘Baywatch’ could help revive Hollywood?

Marko Dobrasinovic, 24, who made the trek from Chicago to audition, bumped into an old high school classmate, Alyssa Frey, while in line to check in. The pair attended the same high school as Hasselhoff, who played Mitch Buchannon on “Baywatch,” one of the actor’s best-known roles.

The impromptu reunion felt like a full-circle moment, said Frey, who moved to Los Angeles to pursue acting about two years ago. She landed in the city just as the actors’ and writers’ strikes froze Hollywood. Wednesday’s casting call was “one of the few opportunities to get in front of someone,” she said.

It was one that almost slipped away from the city. Showrunners were eyeing Australia as an alternative to filming in L.A., until Gov. Gavin Newsom and state legislators granted the production, along with 16 others, California’s film and TV tax incentive in November. Hollywood has struggled to return to its former status as a production mecca after the COVID-19 pandemic and 2023’s dual strikes. The wildfires early last year, coupled with studio spending cuts, added another blow to L.A.‘s waning film and TV industry.

The open casting call was a rare event in Los Angeles, as the TV and film industry struggles to recover.

(Allen J. Schaben / Los Angeles Times)

Chantal Groves left a stable job in international relations around two years ago, setting her sights set on Los Angeles. The 25-year-old, originally from the Dominican Republic, said acting was always her true passion. The career change has been fulfilling, but navigating such a fraught industry is difficult, she said.

“It’s basic laws of supply and demand,” Groves said. “There’s not a lot out there. There’s not a lot casting, and so just in general, it’s a really hard time to start in the industry.”

The “Baywatch” reboot received a $21-million credit, aimed at revamping the state’s entertainment industry.

“This was about keeping an iconic, world-famous brand right here in L.A.,” said Traci Park, a councilmember for District 11 who helped lead efforts to secure the tax incentive and attended the event. “We have the talent, we have the resources, we have the sets … it is exactly why we are fighting so hard to keep these productions in Los Angeles.”

A love letter to Los Angeles

“Baywatch” showrunner Matt Nix was in the middle of fighting off the wildfire that ravaged his Altadena neighborhood and got dangerously close to his home when he first got the call to lead the reboot. His house survived the fires, and he says a show like “Baywatch” felt like exactly what the city needed after such tragedy.

“This is a show about paradise and the people who keep it that way,” Nix said. “There’s something fundamentally earnest and positive about ‘Baywatch,’ the idea of heroes on the beach taking care of each other and the people that they protect.”

Others can relate to that sentiment. “Baywatch” was “right up my alley,” said Ava Cherlyn, a 19-year-old from Newport Beach. The aspiring actor, who moved to Hollywood six months ago, was a lifeguard growing up and played water polo competitively.

“I’m surprised that I haven’t been nervous,” Cherlyn said as she posed for photos in a red bathing suit.

Aspiring actor Ava Cherlyn, 19, in a red swimsuit made iconic in “Baywatch.”

(Allen J. Schaben / Los Angeles Times)

The original show attracted a worldwide audience because of its focus on “heroic people with complicated and interesting lives” while still feeling like an easygoing “hour-long vacation,” Nix said.

That nostalgic magic won’t be lost in the upcoming season, which Nix said is more of a continuation rather than a reboot. It will follow Hobie Buchannon, Mitch’s son, a character featured in the original series, played by “Arrow” protagonist Stephen Amell.

Hobie’s life will be derailed when he meets Charlie, a 21-year-old daughter he never knew he had who’s eager to continue the family’s legacy by becoming a Baywatch lifeguard. Hobie, now a Baywatch captain, will navigate the familial troubles throughout the season, Nix said.

“I don’t want to imply that ‘Baywatch’ is going to save the world or save America,” Nix said. “But, at the same time, I think it’s a good time for an unapologetically heroic show about people who care about each other and the people that they’re trying to save.”

RAPPER Wiz Khalifa filmed himself punching his son in the stomach 13 times in a sick birthday tradition that he shared on Instagram.

In the shocking clip shared to his stories, the 38-year-old lands a series of blows on his son Sebastian who grimaces and tries to grab the wall behind him to brace for the impact.

His father repeatedly tells him to raise his arms above his head for each punch – one for every year of his life.

“We still doin’ birthday licks in this house!” he wrote in a caption with the video.

“Took it like a g tho.”

Just before the second blow, Sebastian can be seen lowering his arms and grabbing the wall behind him before his dad tells him “hands up,” looks directly at the camera and punches him in the stomach before laughing.

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Meanwhile, his son puts his hands on his stomach and grimaces.

“You’ve got to take it like a G, you’re 13 years old,” Khalifa tells him.

“That’s only four, tighten your stomach,” he later told his son who groaned and fell away from the wall on the fourth punch.

He gave his struggling son bizarre and twisted advice, telling him, “every time you get hit, breathe out,” as he continued to hit him.

Wiz, whose real name is Cameron Jibril Thomaz, shares Sebastian with his ex-wife and model Amber Rose.

The pair celebrated their son’s 13th birthday on Saturday night with a basketball-themed bash packed with friends and family.

“He’s officially a teenager. We are so proud of you and we love you,” his dad said during a speech shared by Amber on her Instagram stories.

More to follow…

“That’s my pot dealer!” exclaimed Michelle Phillips in a crowded movie theater in 1977. Months earlier, the Mamas & the Papas singer had only known Harrison Ford as a stoner-carpenter with a few bit parts to his credit. Now he was Han Solo in “Star Wars,” directed by a young upstart, George Lucas. Clearly the world was changing.

How much, though? Conventional wisdom about the Hollywood renaissance of the ‘60s and ‘70s suggests that starting with “Bonnie and Clyde” and “Easy Rider,” a batch of emerging auteurs shook the studios out of a rut and transformed American film. There’s plenty of truth to that: Francis Ford Coppola’s shift in 10 years from a director-for-hire on an old-hat musical, “Finian’s Rainbow,” to the auteur behind “Apocalypse Now” is just one of the era’s most remarkable achievements.

A pair of new books, though, suggest that the overall shift was only so modest, ultimately shoring up not just the old-school studio system but the social norms the interlopers were supposed to be upending.

Paul Fischer’s lively history of the new wave of California directors, “The Last Kings of Hollywood,” concentrates on Lucas, Coppola and Steven Spielberg. (New York contemporaries like Martin Scorsese and Brian De Palma are present but relatively off-screen.) Fischer has a gift for highlighting the ways that moments that we now accept as inevitable were often the product of dumb luck, pyrrhic victories and tough decisions. Coppola made “The Godfather” out of financial desperation, averse to adapting a mob novel; Spielberg’s “Jaws” was beset with mishaps, from a foolhardy attempt to train a real shark to its malfunctioning mechanical one; only when Lucas learned that the rights to Flash Gordon were unavailable did he pursue a space-opera concept all his own.

Their brashness and can-do spirit were worth cheering for: As the trio delivered films that broke box office records — ”The Godfather,” “American Graffiti,” “Jaws” and more — there were reasons to believe that big-budget films could operate outside the studio system. Lucas in particular was driven as much by resentment of the old as passion for the new. He never forgot how Warner Bros. manhandled his debut feature, “THX 1138” and was driven to muscle “Graffiti” into existence to spite the suits who said he couldn’t. In 1969, Coppola and Lucas launched their own studio, American Zoetrope, in San Francisco, with a passel of scripts in progress (including “Apocalypse Now” and “The Conversation”) and a $300,000 investment from Warner Bros. But Coppola wasn’t much of a businessman, and he had an easier time putting the office’s fancy espresso machine to work than the suite of state-of-the-art editing bays: “He ran his business like he ran a film set — on vibes,” Fischer writes.

A decade later, both Coppola and Zoetrope would declare bankruptcy, and he would split with Lucas, who’d used the success of “Star Wars” to cut his own path as a Hollywood kingmaker via his own production company, Lucasfilm. It allowed him to indulge his love of classic cliffhanger serials, and he tapped Spielberg to direct “Raiders of the Lost Ark.” But Fischer frames Lucas’ career arc as a disappointment, despite all those dollar figures — Lucas wanted to return to artsier “THX”-style fare, but needed cash flow. “If George was ever going to be independent from Hollywood, he thought he wouldn’t get there by making abstract mood poems,” Fischer writes. By the ‘80s, with two “Star Wars” sequels done, Lucas was out of the mood-poem business entirely.

While “Last Kings” focuses exclusively on directors’ relationship to movie economics, Kirk Ellis’ “They Kill People” considers “Bonnie and Clyde” and the New Hollywood from a variety of angles — filmmaking, the social turmoil of the ‘60s, America’s complex relationship with outlaws in general and guns in particular. It’s a meaty yet accessible book that captures the lightning-in-a-bottle nature of the generation’s ur-text, capturing the unlikely nature of its creation and the somewhat dodgy nature of its legacy.

“Bonnie” was such a provocation — nakedly, almost giddily violent — that its studio, Warner Bros, all but willed it not to exist. It was given a shoestring budget, was mocked by studio chief Jack Warner (who sarcastically referred to director Arthur Penn and producer-star Warren Beatty as “the geniuses”), and initially released largely in Southern drive-ins. “They figured the redneck kids would like the guns,” Penn said.

Everybody liked the guns. A few scolding critics lamented the film’s violence, especially its then-shocking bloody finale, but Beatty and co-star Faye Dunaway were deeply seductive onscreen. (Ellis notes that the two are always the best-dressed characters in the film.) And its outlaw sensibility resonated with young audiences in the late‘60s. Moreover, writes Ellis (a historical-drama screenwriter best known for “John Adams”), it represented the culmination of decades of American culture that equated American gun culture with freedom — a notion that would’ve baffled the founding fathers, who dwelled little on gun-rights matters in the Federalist Papers and other constitutional drafting documents, but gained traction thanks to gun manufacturers. “In the printed legend of American history, guns and freedom have become synonymous,” Ellis writes, but it was a new legend — stoked in part by “Bonnie and Clyde” — not America’s origin story.

It’d be a mistake to reduce the New Hollywood to the filmmakers highlighted by these two books — though, focused as they are on white men, they echo the way women and people of color were largely shut out of the system, or relegated to more marginal blaxploitation work. Artists looking to operate outside the system have plenty of inspiration to draw from in the ‘70s. Yet the books also expose how commerce does what it always does — take provocations and sand the edges off of them, then look for ways to make them profitable. In the early ‘80s, a decade after Coppola and company stormed the barricades, Paramount chief Michael Eisner shared a fresh and contradictory vision, such as it was: “We have no obligation to make history. We have no obligation to make art. We have no obligation to make a statement. To make money is our only objective.”

It would take another decade — and auteurs on the East Coast — to launch another attack on that sensibility, via films like “Do the Right Thing” and “sex, lies, and videotape.” They would help usher in the Miramax era — but that’s another story, with its own problematic twists.

Athitakis is a writer in Phoenix and author of “The New Midwest.”

The cast of “Scrubs” knows that the show’s creator, Bill Lawrence, has a habit of building communities with his series, which include “Ted Lasso” and “Shrinking.” But the “Scrubs” crew knows they are the closest.

“Since I work on all those shows, I can say that we’re the tightest-knit group,” says Zach Braff on a video call with his fellow fake doctors Sarah Chalke and Donald Faison. “We vacation together.”

Lawrence, just a day later, has to concede that Braff has a point. “It’s annoying because I have to admit that they are right,” he says. “We’ve stayed the tightest because we all still spend way too much time together.”

And now the gang is back together for a new, nine-episode season of the beloved series premiering Feb. 25 on ABC, and the next day on Hulu. When “Scrubs” debuted in 2001, narrator J.D. (Braff), his best friend Turk (Faison) and on-again, off-again love interest Elliot (Chalke) were interns at Sacred Heart Hospital. Now, J.D. is a concierge doctor, while Turk and Elliot have advanced to leadership positions at Sacred Heart. There’s a new batch of interns, a new cheery hospital representative (Vanessa Bayer) whose job involves making sure no one gets offended, and a new doctor (Joel Kim Booster) who is not too fond of J.D. But there are also other familiar faces including John C. McGinley as J.D.’s begrudging mentor Dr. Cox and Judy Reyes as nurse Carla, who also happens to be Turk’s wife.

“Scrubs” then and now: Sarah Chalke, Zach Braff and Donald Faison in the original series, left, and in the ABC revival. (Chris Haston/NBC) (Brian Bowen Smith/Disney)

In the Season 8 finale — before the show reset with a medical school setting — J.D., always prone to elaborate fantasy sequences, sees a vision of how his life is going to turn out. His reality doesn’t exactly resemble that.

“We say midlife crisis or whatever, but it’s a time of questioning, a time where you take stock of your life,” says showrunner Aseem Batra. “That’s really a cool time to catch up with our characters because when we saw them last, they were in their quarter life.”

Batra herself has followed a similar path to the characters. After working as an assistant at ABC, her first writing gig was on “Scrubs.” Now she’s in a position of authority. “Truly, it was the best job I had and it was my first job and I’m doing it again out of pure love,” she says. (Longtime “Scrubs” writer Tim Hobert was originally announced as co-showrunner but departed the project.)

Lawrence, who serves as executive producer on the new incarnation, can also see a parallel between his path and that of his fictional creations. “I’m only good at writing about stuff that’s at least tangentially part of my life and the idea that of those young goofballs who are the students now being the teachers, it’s very much part of my life right now,” he says.

“Scrubs” creator Bill Lawrence has handed the reins to Aseem Batra, who is the showrunner of the revival. “Truly, it was the best job I had and it was my first job and I’m doing it again out of pure love,” she says.

(Christina House / Los Angeles Times)

Still, Lawrence says the reason the revival of the show was able to work is because of the closeness of the original cast. Faison and Braff are still constantly collaborating whether that’s on a podcast or commercials, and even though she’s decamped from Los Angeles to Canada, Chalke makes a point to keep in touch. On a boisterous Zoom call, we spoke about returning to their beloved characters.

What were your reactions coming back to this world?

Donald Faison: Please. Please. Revive it. Do me that solid and revive it.

Sarah Chalke: I manifested it. A couple years ago, I was like, “Oh, I miss ‘Scrubs.’ I want to do a comedy like ‘Scrubs’ that shoots in Vancouver, and then it all happened.”

Zach Braff: To be honest, I was very surprised when it actually started happening that ABC was going to put it in prime time. I thought it might be something on Hulu. That felt like a giant audience with Hulu the next day and a really big scale and really a belief in the project. That was really exciting.

Why do you think the show’s legacy is so strong that there is that belief?

Braff: I think that it’s Bill’s unique mix of comedy and pathos and emotion and fantasy. It’s such a unique recipe. But in execution, as he did with the first pilot, it was undeniable. It was so groundbreaking at the time. No one had done that in the network space. It was also at a time when there was no streaming. So, the show was on at 9:30 and Bill was trying to push what you could still do on network [television]. That’s why it was a more risqué version of what we’re doing now. I think now the goal was — well, there’s streaming for that. What’s a show that we can have on at 8 that pairs with “Abbott Elementary” that parents can watch with their kids? Maybe some jokes will fly over the kids’ heads, but it’s not trying to compete with what people are doing on streaming.

What do you remember about getting cast? You were all in your 20s.

Faison: I was the oldest one. Still the oldest one. I remember how big of a deal it was. This was the pilot of the season. I remember everybody and their mama was talking about how great the script was and how they wanted to be on the show. I remember my agent telling me, “This is a big one. The creator of the show really likes you. Let’s see what you can do.”

Chalke: I didn’t know this until two days ago. Our casting director came up to set to visit, and she said I was the first person to audition on the first morning of casting. In the character description, it said she moves and talks at a faster pace than normal humans. And in every single job, I’ve been told, “Slow down.” It felt like the luckiest thing; I’ll never forget when Bill called me and said that I got it and I truly couldn’t believe it. And the experience far exceeded any expectation I could have had about what it was going to be.

When I think back on it, what I remember is what that felt like to be at work every day, genuinely laughing so hard to the point where it would get late at night and there was one sound that Zach and Donald could make that would make me laugh.

Sarah Chalke on being cast in “Scrubs”: “I’ll never forget when Bill called me and said that I got it and I truly couldn’t believe it. And the experience far exceeded any expectation I could have had about what it was going to be.”

(Christina House / Los Angeles Times)

What was the sound?

Faison: It’s almost like a fart.

Braff: No, it’s not a fart.

Faison: I’m not trying to make a fart joke. But do you know how when you fart, it always sounds like a question mark. So, that’s the sound.

Braff: Esther, do not use this, please. It’s a high-pitched noise like this [does noise]. We would do it quietly enough that no one would hear we were doing it. And then she would break down laughing and ruin the take and we’d be like, “Sarah, what are you doing? It’s late. We want to go home.”

Zach, what were your initial thoughts about the project?

Braff: I was waiting tables at a French-Vietnamese restaurant called Le Colonial at Beverly and Robertson [in L.A.]. And I had to wear a tunic, which I put into “Garden State.” I’d been auditioning for so many things and not really getting much traction in the sitcom space, but I read this and I thought it was so funny. I was like, “Oh, I think I could really sell this because I find it so funny.”

How did you know the chemistry between the three of you was going to work?

Braff: When we were shooting the pilot, I was just like, “Wow. I really love these people.” I was obsessed with Sarah. I thought Donald was the funniest person I’d ever met. And then Bill was legitimately the funniest person I’ve ever met. I just felt in really good hands.

Chalke: We were all so excited to be there and we’d just hang out and watch the other scenes that we weren’t in. And I remember just being by the monitor, watching everybody else work and just being so blown away.

Braff: We would hang out after we were wrapped, which Sarah still does occasionally. This time Donald came early because there’s this really weird coffee robot in the production office that Donald seems to think is amazing coffee. So, I caught him a few times coming in early for the coffee robot.

Faison: That’s not why I came in early. I was notoriously late and unprepared the first go of “Scrubs.” I heard Tom Hanks talking about how he was a young actor and a very established actor kept forgetting their lines. And the director finally goes, “Ah, come on, come on guys. Three things. Show up early, know the text, have an idea. Let’s take 10,” and walks away. And Tom Hanks goes, “Oh, if that’s what it takes, I can do that s—.” So, I took that to heart and this is the second opportunity.

Braff: I thought it was the coffee robot.

Zach Braff on his co-stars: “When we were shooting the pilot, I was just like, ‘Wow. I really love these people.’ I was obsessed with Sarah. I thought Donald was the funniest person I’d ever met.” (Christina House / Los Angeles Times)

But Sarah would hang out after you wrapped?

Chalke: We are all executive producers on this. Zach is producing and directing and editing and writing and doing all of the things, and that’s been really neat to watch. I legitimately do want to learn. Obviously, there’s a balance of that with also going back into work full-time and having two kids.

Braff: Sarah gave me this whole speech at the top of the show. She’s like, “Hey, I really do want to learn this stuff. I want to sit by your director’s chair. I want to ask you questions. I want to learn to genuinely [executive produce], genuinely direct.” And I was like, “Great.” The first week I was like, “All right. Sarah, we’re going on a big tech scout. It’s probably going to be about…”

Chalke: “In a van for seven hours.”

Braff: I go, “You’re going to learn more on the tech scout than you could in film school.” And she’s like, “No, I won’t be able to do that.” And then by the end of the nine episodes, Sarah was like, “I think my EP thing is morale.”

Faison: I want to piggyback on something Sarah said though. Zach has done a lot, these nine episodes. For this revival, he’s done so much and has worked so hard on this. And that’s made us all feel very safe and secure also because we know we have the No. 1 guy on the call sheet who cares about the show completely putting in 100% to make sure that we’re coming out the gate with something very, very, very, very strong and undeniable for the fans.

What were your conversations about where your characters would be after all these years?

Braff: One of the big conversations we had was we wanted to reground the show because the show got really broad over the years and we wanted to dial it back and go back to where we started, where it exists in a real place. We have the luxury of the fantasies where we can be super silly. And obviously, we dip our toe over the line sometimes and stuff is a little broad. But for the most part, the new show is back to Season 1 and grounded again.

As we all know, especially when you reach 50 years old, a lot of things in life don’t turn out the way you hope they would. And that’s why we opened the show with J.D. living this fantasy that he is this heroic trauma ER guy when in fact he’s fixing toes in the suburbs. Also, I think with regard to me and Donald, [Lawrence] said, “I want them to be silly as those two guys are in real life, but … when they drop in and they’re teachers, they’re really good teachers.”

Donald Faison on returning for the revival: “When we did the table read, I laughed so hard when the first voice-over kicked in, when Zach read the voice-over.”

(Christina House / Los Angeles Times)

Was it easy to fall back into your rhythms?

Faison: When we did the table read, I laughed so hard when the first voice-over kicked in, when Zach read the voice-over.

Braff: The whole room did. It was really funny because no one had heard me do that voice in 20 years.

Chalke: One of the coolest things that helped with the show was Bill would just write to everybody’s strengths or write to their quirks or write to their personalities and weave it in. That happened this season, but it happened all through the first eight years. And so, to a certain extent, the lines blurred sometimes between ourselves and our characters. So, stepping back into them, there’s a reason why it felt so comfortable.

Braff: Sarah is a fast-talking klutz.

Chalke: I am. We met all the interns and Zach said, “So, guys, Chalke’s going to come in every day and something’s going to be broken. Every day there’s going to be a story.” And then I proceeded the very next day, which was the day before filming, to fall and break my finger. So, I did have to come in on the first day and say, “So, I broke my finger.”

How did you break your finger?

Braff: Walking.

Chalke: It’s part of who I am, but it’s also part of who Elliot is.

Braff: I think if we put in the show how really klutzy you are, people would think it’s too much.

Was there anything you were nostalgic for that wasn’t in the new incarnation?

Chalke: Sam Lloyd.

Braff: Sam Lloyd who played the lawyer was such a big part of the show and not only a fan favorite, but our favorite. He was just the funniest, nicest man. And Bill calls people like Sam Lloyd “comedy assassins.” They come in and they have one line and you’re laughing. And he was one of the greats.

Faison: It’s not the same “Scrubs.” And I kind of miss a little bit of that. There are so many new stories to tell. And you get nostalgic when you see the stuff that we’re doing in it, but I do sometimes miss some of the stories that we told in the past. It’s like capturing lightning in the bottle again, and I feel like we did it. I really do hope we have that opportunity again. I really do hope that this isn’t just nine. But it’s important for the audience to know that we’re definitely older. That’s just real talk. I’m not a 26-year-old man anymore. I’m 50.

KELLY Osbourne has penned an emotional message about grief seven months after her father Ozzy’s passing.

The Black Sabbath singer died aged 76 at home with wife Sharon, 73, and his kids by his side, back in July.

Ozzy passed away weeks after he took to the stage one final time with his bandmates at Villa Park in Birmingham.

Kelly, 41, has been candid in opening up on the difficulties of processing her tragic loss.

She previously told how she slept in her late father’s bed along with her mum Sharon as they dealt with their grief.

The mum and daughter duo also broke down in tears this month at a Grammys tribute to Ozzy.

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Now Reality TV star Kelly has taken to her Instagram post for a lengthy message pouring out her feelings.

She wrote in white text on a black background: “Some grief doesn’t end. It changes shape.

“It becomes the quiet weight you learn to carry, the ache woven into your days.

“Making it through doesn’t mean leaving it behind.

“It means finding the strength to live and love and keep going even with forever resting in your heart.

“When grief feels endless and disastrous, like it’s unmaking you from the inside out, surviving isn’t about conquering it.

“It’s about enduring it.

“It’s about standing in the wreckage of our own heart and whispering, ‘I am still here,’ even when every part of you feels shattered and like you don’t want to be here!”

Ozzy died at home in his stunning mansion in Welders, Buckinghamshire “surrounded by love”.

Sharon, his wife of 43 years and mum to their children Aimee, Jack and Kelly, was by his side.

A statement from his family said at the time: “It is with more sadness than mere words can convey that we have to report that our beloved Ozzy Osbourne has passed away this morning.

“He was with his family and surrounded by love. We ask everyone to respect our family privacy at this time.

“Sharon, Jack, Kelly, Aimee and Louis.”

Ozzy became known as the “Prince of Darkness” in his six-decade career thanks to his on-stage antics that attracted a legion of heavy rock fans.

He last graced the stage this July when he reunited with his bandmates Geezer Butler, Tony Iommi and Bill Ward and played a five-song set in a farewell to music.

The gig was touted as “the greatest heavy metal show ever,” with Ozzy grinning to chanting fans as he thanked them for all they had done for him.

Over the weekend, we told how removal boxes have been seen outside Sharon’s £13million LA mansion as she downsizes following her spouse’s passing.

Former Death in Paradise star Ardal O’Hanlon has opened up about his time on the BBC crime drama

Ardal O’Hanlon has revealed how much he misses former co-star Don Warrington since his departure from Death in Paradise.

The comedian and actor, who portrayed DI Jack Mooney in the popular BBC crime drama, exited the show in 2020 after a three-year stint, reports the Express.

During an appearance on ITV’s Love Your Weekend with Alan Titchmarsh on Sunday (February 22), he reflected on his time on the series after Alan asked whether it had been “emotional” to leave the island and long-time co-star Don, who portrays Commissioner Selwyn Patterson.

“He’s just brilliant, he’s brilliant,” Ardal enthused. “I miss him more than anything, actually. I loved Don and we’re still very good friends, but yeah that was kind of a bromance actually.”

He continued: “It always starts off the new detective and you know very, very wary around the inspector but eventually the inspector softens by the end.”

Although the programme is set on the fictional Caribbean island of Saint Marie, most of the filming takes place in Guadeloupe.

The star said he did “love it” but also acknowledged it was “a commitment”, as it involved being away for months of the year for filming.

“I’m kind of in one way glad I don’t have to do it now because it’s like, it’s gruelling, but I look back at it very fondly,” he shared. “It was just a great adventure apart from anything else, as well as being like a, you know, a challenging acting job.”

He also shared how he enjoyed having a variety of different actors join the cast every few weeks.

“All these great great people… these people I adored,” he said. “And then you’d also get the hot shots, the up-and-coming people who have gone on to Hollywood now. We got them raw.”

Ardal, who is also known for his portrayal of Father Dougal McGuire in Father Ted, went on: “Because you take great pride in the island, because I’ve been there for a few years and you get to love it and you can’t wait to show it off to them.

“So on the rare days off you’d bring them to some waterfall that only you know about or some boiling hot part of the sea like, right where the volcano heats the water, you know, that side of it I really, really loved.”

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Death in Paradise broadcasts on the BBC and Love Your Weekend with Alan Titchmarsh is on ITV.

Aston Merrygold of JLS fame has opened up about the devastating toll of his recent ankle injury during an appearance on Sunday Brunch

JLS star Aston Merrygold has gotten candid about his recent leg injury, admitting the emotional toll is “killing me”.

The Peterborough-born boyband icon, 38, underwent surgery late last year after suffering a painful injury on his ankle during rehearsals.

However, Aston has continued to perform with the band, which also includes Marvin Humes, Oritsé Williams, and JB Gill, either seated or using crutches.

During an interview with Simon Rimmer and Tim Lovejoy on today’s (22nd February) edition of Channel 4’s Sunday Brunch, Aston shared some more insight into his injury and recovery.

“I broke everything in my ankle, apart from the bone,” he shared. “So, I’m still here.

“Basically, jumping off a platform to end the show, I vanished through the stage and landed on some crash mats. Obviously, I got excited and probably jumped a bit too high, trapped my leg between the crash mats and my body kept going.

“So I had to have full ankle reconstruction surgery.” Tim quipped: “Got a team of lawyers on that?”, prompting laughter from Aston.

After revealing he had continued with the tour on crutches, Aston was asked about his history playing football and how his injury has affected his exercise regime.

“You used to be a good footballer years ago, didn’t you?” Tim asked. “So this must be killing you.”

Aston agreed: “It’s killing me. But everything, even in the week, going away with the kids for a few days is lovely.”

Tim interjected, “Can you do anything?” and Aston revealed: “I can’t run yet. So that’s kind of the extent of it. Stairs are good now, for the ankle progression.”

The presenter then mused: “You know what they say, and this is so true, a well man has 10,000 wishes and an ill man has one.”

“100 percent,” Aston agreed. “And the worst, worst part of the whole thing was that I had to be bed-bound at one point.

“Then, when I could stand up, it had to be no weight. So no picking up the kids, no kind of running around.

“Obviously I didn’t listen,” he then confessed. “You can’t have those special moments just taken away fully, so I was a bit like, ‘No, there are some things…’”

Simon then asked when Aston will be fully recovered, with the JLS star explaining: “The operation was in December. December 5th. And he said over six months.”

Sunday Brunch airs Sundays from 10am on Channel 4.

KATE Hudson led the fashion pack in a glam corset dress at the Bafta Film Awards Nominees’ Party.

Anticipation is building for the prestigious awards ceremony – honouring the best British and foreign films of 2026 – which will air on the BBC tonight.

Previously, the Bafta 2026 nominations were revealed with Leonardo DiCaprio flick One Battle After Another leading the nominations in 14 categories.

Hollywood veteran Leo, 51, now shares an all-time Bafta record with the likes of movie legends Michael Caine, Daniel Day-Lewis and Laurence Olivier for seven Best Actor nominations.

However he has won the award just the once, for The Revenant in 2016. 

Yet while the stars get set for tonight’s proceedings, a swanky shindig at the National Portrait Gallery ramped up the anticipation last night.

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Song Sung Blue actress Kate oozed elegance in her trendy frock, which paired a black corset top with a flowing white skirt.

She left her blonde hair flowing over her shoulders and kept her make-up fresh, accessorising with statement silver earrings.

The beauty was seen posing with fellow actress Chase Infiniti, who she is pitted against in the Best Leading Actress category.

One Battle After Another screen star Chase opted for a delicate pink lace bodycon with long sleeve.

Ruffle detail around the waist and wrists added extra glam, and she finished off her look with silver high heels.

Hamnet’s Jessie Buckley and Bugonia’s Emma Stone are among others in the pair’s hotly contested category.

Meanwhile, Star Wars actor Warwick Davies flashed a huge smile as he stepped on the Red Carpet.

Wimbledon actress Kirsten Dunst cut a glam look in a longline black coat with matching handbag while her Fargo star husband Jesse Plemons wore a stylish grey blazer and matching trousers.

He is nominated for the Best Actor role for flick Bugonia.

Big Brother anchor AJ Odudu stood out for all the right reasons in a purple halterneck dress with a side split.

Marty Supreme actress Odessa A’zion, who is nominated for Best Supporting Actress, went for an all-black attire with striking yet sophisticated silver detail cuffs.

GRAMMY-nominated salsa legend Willie Colón has died aged 75.

Heartbreaking tributes have poured in for the musical pioneer – with Bad Bunny calling the star “one of the legends who contributed to this beautiful and legendary genre”.

The iconic artist passed away on Saturday surrounded by loved ones, his manager confirmed.

Colón was a trombonist, composer, arranger, singer and social activist.

Over his decades-long career, he produced more than 40 albums that sold more than 30 million copies worldwide.

His manager Pietro Carlos said: “Today, we’ve lost an architect of the New York sound, a trombonist who made metal his banner and wrote eternal chapters in our musical history.

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“Willie didn’t just change salsa; he expanded it, politicized it, clothed it in urban chronicles, and took it to stages where it hadn’t been heard before.

“His trombone was the voice of the people, an echo of the Caribbean in New York, a bridge between cultures.”

He added: “Today we say goodbye to a master, but his legacy lives on.”

Meanwhile, Grammy-winner Bad Bunny said on Instagram: “Today, one of the legends who contributed to this beautiful and legendary genre passed away.”

The star continued: “So, on behalf of myself and Los Sobrinos, we wish Willie Colón peace.

“Much strength to his family.

“The inspiration of so many of these great musicians who left their mark on this earth will never die as long as there are talented young people like those here, keeping the music, salsa and all Caribbean rhythms alive.”

Colón’s cause of death has not been confirmed, but Saturday’s tragic news follows reports from last week claiming that the star had been hospitalised for respiratory problems, according to TMZ.

A pivotal architect of urban salsa music, Colón collaborated with a long list of fellow icons, including the Fania All Stars, David Byrne and Celia Cruz.

His critically acclaimed collaboration with Rubén Blades, Siembra, which touched on social issues in salsa, became one of the bestselling albums in the genre of all time.

The musician, born to Puerto Rican parents, was nominated for 10 Grammys and one Latin Grammy.

Colón was born in the Bronx, New York, before being raised by his grandmother and aunt, who from a young age nurtured him with traditional Puerto Rican music.

When he was 11 years old he ventured into the world of music, first playing the flute, then bugle, trumpet and finally trombone.

His interest in trombone was sparked after experiencing Barry Rogers playing it on Dolores, Mon Rivera’s song with Joe Cotto.

He recalled in 2011: “It sounded like an elephant, a lion … an animal.

“Something so different that, as soon as I heard it, I said to myself: ‘I want to play that instrument.’”

Colón’s main musical traits included the fusion of rhythms.

The genius harmonized jazz, rock, funk, soul and R&B with the old Latin school of Cuban son, cha-cha-cha, mambo and guaracha.

His style also encompassed traditional Puerto Rican sound including jíbara, bomba and plena music.

A passionate advocate for civil rights, he fought mostly in the US for the Latino community among others.

In 1991 he was awarded the Chubb fellowship from Yale University, a public service recognition also awarded to John F. Kennedy, Moshe Dayan, the Rev. Jesse Jackson and Ronald Reagan.

And he even served in politics – working as a special assistant to David Dinkins, New York’s first Black mayor, and an adviser to Mayor Michael Bloomberg.

Colón had his own stints running for public office too – but had little luck challenging the then-US Rep. Eliot Engel in the 1994 Democratic primary.

In 2001 he also came in third in the Democratic primary for New York’s public advocate.

The late star also appeared in films such – taking roles in Vigilante, The Last Fight, and It Could Happen to You.

On TV, he featured in Miami Vice and Demasiado Corazón.

The icon also appeared in Bad Bunny’s music video for NuevaYol.

Colón is survived by his wife and four sons.

Christopher Nolan gave him a noogie.

Denis Villeneuve wore his movie’s swag.

Elle Fanning looked into the future and saw him winning the Oscar.

Is there anyone out there who doesn’t love Timothée Chalamet? I mean, besides the old-timer Oscar voter who recently told me he doesn’t like the young man’s “shenanigans.”

I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter. Calico Mine Ride or Timber Mountain Log Ride? That’s a 1A / 1B ranking decision. It all depends if I’ve just eaten a slice of boysenberry pie.

Now … back to Timothée …

Did you catch any of the screenings during the American Cinematheque’s recent eight-film retrospective celebrating Chalamet’s career? Or perhaps you landed at the motion picture academy’s Samuel L. Goldwyn Theater on Monday when Chalamet was mobbed following a Q&A after a showing of “Marty Supreme” for guild voters.

If you witnessed a moment during this weeklong celebration — this Chalamania, if you will — you saw a young man whose talent as an actor is matched only by his genius at promotion.

You probably also came away knowing what has been a foregone conclusion since “Marty Supreme” opened in December: Chalamet is winning the Oscar for best actor.

And yet, there has been a lot of postulating that maybe one of the other nominated actors — Leonardo DiCaprio (“One Battle After Another”), Michael B. Jordan (“Sinners”), Ethan Hawke (“Blue Moon”) and Wagner Moura (“The Secret Agent”) — has a chance. You know … if things fall just the right way, there’s a path!

I get it. This year’s awards season has felt endless, and the Oscars are still more than three weeks away. Stories must be written, possibilities explored, no matter how remote.

But c’mon. Chalamet has this Oscar locked, just like “Hamnet” lead Jessie Buckley has owned the lead actress trophy since her movie premiered at Telluride in September. Admittedly, the lack of drama isn’t fun or exciting. Pine for an upset if you must, though it might be more fun to just surrender and celebrate Chalamet, a gifted actor and certified movie star who has stockpiled a remarkable body of work over the last decade.

This isn’t to say that you can’t make the case about who should win. DiCaprio continues to be one of our great comic actors and deserves attention just for the master class in phone acting he gives in “One Battle.” Moura carries “The Secret Agent” with an intense, brooding charisma that, one year shy of his 50th birthday, should push him to even greater recognition. Playing the desperate, despairing lyricist Lorenz Hart, Hawke empties his soul and his vocabulary, venting his way through the entirety of “Blue Moon.” And Jordan connects on the biggest swing of his career, playing twin brothers in “Sinners.”

So why is Chalamet winning in a walk? It’s a process of elimination. DiCaprio and Jordan are out as “Sinners” and “One Battle After Another” are ensemble films. (Even with the dual roles, Jordan is only in half the movie.) Moura’s work in “The Secret Agent” is sublime, but the Oscars rarely reward subtle acting. (This is a category that has gone to Rami Malek in “Bohemian Rhapsody,” Brendan Fraser in “The Whale” and Joaquin Phoenix in “Joker” in recent years.) And Hawke’s nomination is but one of two for “Blue Moon.” Not enough. Even the execrable “The Whale” managed three.

Chalamet already won the Golden Globe for performance by a male actor in a motion picture musical or comedy for “Marty Supreme.” Our columnist predicts an Oscar is next.

(Allen J. Schaben / Los Angeles Times)

Meanwhile, Chalamet is Marty Supreme, the undeniably talented, relentless self-promoter careening toward his goals of fame and fortune with little regard to the damage he is inflicting on others. (That’s Marty, not Timothée.) Marty’s despicable, but also, as played by Chalamet, winningly charming.

No, you’re not supposed to like the guy, which, for voters who, say, blanched at supporting DiCaprio in “The Wolf of Wall Street,” might be a problem. But the academy has changed a lot since Scorsese’s wildly entertaining movie screened for academy members at the Goldwyn and an unnamed screenwriter, seeing Scorsese, DiCaprio, Jonah Hill and writer Terence Winter emerging from an elevator afterward, ran over to them and started screaming, “Shame on you!”

It’s true that not everyone embraces the anxiety-inducing cinema that is the brand of “Marty Supreme” co-writer and director Josh Safdie. Not everyone embraces Safdie himself, after a noisy tabloid story resurfaced allegations of a toxic work environment on the set of the 2017 film “Good Time,” which Safdie directed with his brother, Benny.

But that has nothing to do with Chalamet, who did not work on the movie, or his ferocious, frenetic work in “Marty Supreme.” The biggest knocks against Chalamet seem to be the unorthodox ways he goes about promoting his movie (and himself) and his age (he just turned 30). Historically, the lead actor Oscar goes to men with a few more miles on the odometer. Adrien Brody is the youngest winner, taking the trophy in 2003 for “The Pianist” when he was 29.

But, as noted earlier, things have changed since the film academy began greatly expanding its membership over the past decade. This new academy gave its best picture and three acting prizes to “Everything Everywhere All at Once,” a bonkers movie that embraced chaos, fingers made of hot dogs and sex toys used as weapons. The new academy just crowned indie auteur Sean Baker king of the world for “Anora,” a Cinderella story about a stripper and a Prince Charming who knows where to score the best ketamine in Vegas.

You think these voters are going to care that Chalamet hasn’t “paid his dues,” an idea that’s patently silly on its surface anyway as this is his third Oscar nomination? He’s the youngest actor to earn three Oscar nominations since Marlon Brando did it, at age 30, in 1954.

By the way, Brando won the Oscar that year for “On the Waterfront.”

Chalamet has got this.

Paul Fischer showed “Jaws” to his daughter when she was 10. She wasn’t scared. In fact, she loved it so much that she dressed as Richard Dreyfuss’ Hooper for Halloween. To Fischer, who watched “Raiders of the Lost Ark” at age 4 (“I remember the melting heads but I don’t think I was traumatized”), it shows the staying power of some of the ’70s blockbusters.

“It’s the flip side of how these franchises became so massive and had such a long tail,” he said in a recent video call with The Times, discussing how each generation still finds “Star Wars,” “Raiders,” “E.T.,” “Jaws” and “The Godfather.” “They’ve created films that endured and that overshadow others.”

That is part of the impetus behind his new book, “The Last Kings of Hollywood: Coppola, Lucas, Spielberg—and the Battle for the Soul of American Cinema.” The book, Fischer’s third about film history, starts before the trio were “big mythical names” and instead were just a bunch of guys setting out to fulfill their dreams.

The narrative then follows their journeys from the late ’60s through the early ’80s, filling in the “ecosystem” the trio came up in and how they wanted to change the system to gain creative autonomy. Spielberg worked within the system, Coppola spent lavishly and even ostentatiously to build his own studio and Lucas found his independence through a quieter, more conservative and technology-driven route.

(Martin Scorsese, who was friends with the three and “the most interesting human being of that generation of filmmakers,” gets plenty of ink but was not a titular character, Fischer said, because he remained an outsider who just wanted to make movies, not change the system.)

“I’m not going to pretend I can tell you what was going on in their heads but I tried to make people feel like they were there when it happened,” Fischer said.

While none of the three men would be interviewed, Fischer had decades of quotes and conducted his own interviews with hundreds of people in the filmmakers’ orbits to get a fuller and more honest story. (He added that their representatives were uniformly helpful with fact-checking and providing photos. “There was never a door closed on me,” he said in an accidental reference to the final scene of “The Godfather.”)

Coppola, “who changed quite a bit, was the hardest one for me to pin down,” Fischer said. “There are layers of complexity to him and his willingness to treat the creative life as if it’s an experiment.” Blending that with his self-indulgent philandering and spending of money, he added, “you can change your mind about that guy every five minutes.”

During that era at least, Fischer said Lucas and Coppola seemed ”completely devoid of any self-awareness.” He chronicles how Coppola pressured Lucas to accept changes to his first feature, “THX 1138,” so the studio would release it while Lucas viewed that as Coppola pushing him to sell out. Meanwhile, Lucas was pushing Coppola to do a studio film for hire to keep his fledgling Zoetrope Studio afloat, making Coppola feel pressured to sell out. (That movie was “The Godfather,” so it worked out OK for Coppola.)

“They keep giving each other advice about how to do things and then betray that same advice when it applies themselves,” he said, although he added that he doesn’t “whip them for 300 pages for having giant egos,” and said it’s part of the recipe to be a visionary filmmaker, especially in the Hollywood studio system.

Ultimately, the book depicts Lucas as more of a sellout, acting like the studio suits he once detested as he pressures “The Empire Strikes Back” director Irvin Kershner to make changes, often based on budget and then focusing more on profitability as he conjured up characters like the Ewoks for “Return of the Jedi.” Fischer doesn’t believe Lucas would recognize that version of himself in the book. “He’s someone who lost his BS detector and has drunk his own Kool-Aid.”

In Fischer’s telling, the creative and business sides are interwoven and inseparable from each other and from the personal relationships — their friendships and rivalries with each other but also their relationships with those who worked for them or loved them.

“They were all able to do what they did because of wives or partners or friends or college classmates, who did a lot of the work without being household names,” he said. To fully tell the story, he devotes plenty of narrative space to Coppola’s wife Eleanor, and his most prominent mistress, Melissa Mathison, who later wrote “E.T.,” producer Kathleen Kennedy, who co-founded Amblin Entertainment with Spielberg, and Lucas’ wife, Marcia, who edited the first “Star Wars” trilogy (and Scorsese’s “Taxi Driver”).

“How did these guys break through? Well, they were middle-class white dudes and these women looked after some of this stuff they couldn’t,” Fischer said. “Those aren’t the only reasons these guys became who they did but without that, they probably [wouldn’t have].”

Fischer celebrates the three men’s vision and talents — he calls “The Godfather” “a perfect film” and says Spielberg “speaks the language of a camera better than anybody else”— but the book makes clear how often they got lucky or were saved from themselves.

If Coppola had spent his money more judiciously, he might not have done “The Godfather;” Lucas resisted hiring Harrison Ford to play Han Solo as well as Ford’s creative contributions; and if someone had bankrolled the first feature film Spielberg pitched before latching onto “Jaws” — “a sex comedy San Francisco Chinese laundry riff on Snow White” — it could have sunk his career.

Additionally, Lucas and Coppola’s friendship frayed when the latter snatched back the directing gig for a film he had long ago promised to his buddy. “But imagine George Lucas making some weird low-budget, ‘Battle of Algiers’ version of ‘Apocalypse Now’ in the back streets of Sacramento,” Fischer said. “That sounds pretty crappy. And we would have lost one of the great, novelistic experiential movies that we have.”

Lucas, meanwhile, dangled his idea for “Raiders of the Lost Ark” before Spielberg’s eyes, then told him that Philip Kaufman had dibs. “He’s a fine director but we would have lost something there too,” Fischer said. “There are these crossroads there but still there has got to be something special about these three or they couldn’t have had repeated successes like they did.”

Writing about their failures, foibles and frustrations did not lessen the hold that these three men and their movie magic have on Fischer. He recounts a story of his own connection to one film with undisguised delight and enthusiasm. After graduating film school at USC, he was producing a documentary (“Radioman”) in New York when he learned that “Indiana Jones and the Kingdom of the Crystal Skull” was doing some filming in Connecticut. “Obsessed,” he finagled his way onto the set and into a job. “All I did was turn off the air conditioning,” he said. “‘Roll camera,’ I flip it off. ‘Cut,’ I turn it on. I did that for four days. But when Harrison Ford walked by wearing that jacket, I was 5-years-old again. That was cool.”

Miller is a freelance writer in Brooklyn who frequently writes about movies.