show biz

SINGER Miguel has called out abuse and racist attacks on his partner and child in a furious online rant.

The record producer, 40, has been in a relationship with former Vogue China editor-in-chief Margaret Zhang for three and a half years.

The couple are parents to a son named Angel and are currently expecting their second child together.

However, the performer has claimed that he and his family have been subjected to racism and harassment.

Taking to his Instagram feed, he began: “Over the past year, my family and the people I love have been subjected to racism, harassment, stalking, invasions of privacy, and false allegations.

“Recent racist and anti-Asian attacks directed at my partner – including comments and DMs, as well as abusive comments about my child – crossed a line that should require no explanation.

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“People can have opinions about me, about the music, about the work.

“I accept the realities that come with doing anything in public but racism, threats, harassment, stalking, invasions of privacy, and targeting of children are abuse. not opinion.”

The Adorn singer continued: “It doesn’t become acceptable because someone dresses it up as criticism, fandom, speculation, or “concern.”

“Responsibility also lies with organizations and individuals that knowingly amplify or enable racism, harassment, or false allegations for attention and engagement.

“If you participate in this behavior, you are not supporting me, you are not part of this community.

“Where legal and ethical lines have been crossed, action has been and will continue to be taken,” he warned.

“To everyone who has treated my family with kindness, dignity, and respect: we see you. we deeply appreciate you,” Miguel signed off.

His loyal fans rushed to the comments section as one said: “This makes me really sad. People just need to let people LIVE!

“Praying for you and your family @miguel and continue to make great music!”

Another penned: “You have a beautiful family and no one deserves the hate ya’ll receive.

“Children are to be celebrated no matter their ethnic background. We love you Miguel and fam.”

He went on to write in the comments: “Overwhelmed reading your comments of support loved ones, thank you.”

Miguel and Margaret began dating in 2022 and quietly welcomed their son in 2024.

He was previously married to his high-school sweetheart Nazanin Mandi but they got divorced in 2022, shortly before he met Margaret.

DAVID Beckham kissed his wife Victoria on their “special” family holiday – without estranged son Brooklyn.

The former footballer, 51, took to his Instagram stories to give fans a sneak peek into the holiday as the Beckham clan visited Spain, France and Italy.

David and Victoria, 52, were joined on the trip by their children Romeo, 23, Cruz, 21 and 15-year-old Harper.

Also there were his mum Sandra, Victoria’s dad Tony and Romeo and Cruz’s girlfriends Kim Turnball and Jackie Apostel.

Their estranged son Brooklyn and his wife Nicola Peltz were of course noticeably absent from the trip.

In one snap that David uploaded, he and Victoria were seen enjoying a smooch while on a boat in Ibiza, Spain.

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Another showed the pair swimming in a stunning blue ocean as he penned: “Someone doesn’t love the ocean but she loved this moment.”

He posted individual pictures with Harper and his mum as he told them he loved them.

In one particular photo, the family are seen sitting around a table for dinner as David writes: “Family moments. Love you all.”

Brooklyn, 27, and his wife Nicola, 31, have been estranged from his family for the past three years.

While his family enjoyed their European holiday, he and Nicola posed up a storm in bed selfies as they were joined by their pet pooch.

The two were seen snuggled in their bed as they cuddled each other in one snap.

The chef released a bombshell statement in January and suggested public image and Brand Beckham was the biggest priority to his mum and dad.

He alleged that his mum cancelled making his wife’s wedding dress in the eleventh hour.

He claimed she was excited to wear one of Victoria’s designs and had to urgently find a new dress at the last minute.

He went on to say his mum called him “evil” for choosing to include his Nanny Sandra and Nicola’s Naunni on their table at the wedding because they didn’t have their husbands.

Brooklyn also claimed that his mum hijacked his wedding dance to dance “very inappropriately” on him and alleged she invited women from his past into his current life.

The former photographer said his parents cared more about keeping up with “Brand Beckham”.

Victoria said in an interview that when it comes to parenting, she has “always tried to protect” her children.

She told Emma Grede on her podcast: “Our children have had a very different upbringing to myself and David and I think the world is also a very different place now then to what it was when they were younger.”

The Beckham clan have made several attempts to lend olive branches to Brooklyn on social media, mentioning him on birthdays and special moments.

However, he’s remained firm on his decision to keep away from them as he continues his life in Los Angeles with Nicola.

Summer is nearly over and TV is gearing up for winter TV, and this Love Island star could be the new face of the jungle

Love Island favourite Chloe Burrows has been tipped to be heading Down Under after reportedly entering talks for this year’s I’m A Celebrity… Get Me Out Of Here!

The 30-year-old shot to fame on Love Island in 2021 and proved a huge hit with viewers, eventually finishing runner-up alongside her then-boyfriend Toby Aromolaran. Now producers are allegedly keen to sign her up for I’m A Celeb, with Chloe said to be enthusiastic about swapping her home comforts for life in camp.

She is said to have held a number of meetings with bosses behind the ITV jungle show ahead of its return to Australia later this year.

A source told The Sun: “Chloe is in advanced talks and they love her. She was hugely popular in Love Island. She made it clear she’d love a chance to go to Australia to be on the show.”

Her sizeable online following is also reportedly attractive to producers as ITV continues to bring social media personalities into the jungle.

The insider added: “She has a very big following on social media too, very much like Angry Ginge and GK Barry, and ITV bosses think she could bring in a younger audience.

“ITV moves with the times. They’ve seen the surge of popularity with influencers.”

YouTuber and streamer Angry Ginge was crowned King of the Jungle last year after securing 13million votes, while podcaster and social media star GK Barry finished fifth in the 2024 series.

Since leaving the Love Island villa, Chloe has successfully built a career away from the dating show. She now hosts her own podcast, Chloe vs The World, and can also be heard on Kiss Breakfast alongside Strictly Come Dancing star Tyler West.

It wouldn’t be her first experience of being pushed outside her comfort zone on reality television either. Last year, she signed up for Celebrity SAS: Who Dares Wins, although her time on the gruelling Channel 4 programme was short-lived. She chose to leave the process during the second episode after struggling with its demanding challenges.

If she does sign on the dotted line for I’m A Celeb, Chloe is expected to fly to Australia’s Gold Coast ahead of filming beginning in November.

She isn’t the only famous face being linked with this year’s line-up. Paralympian and television presenter Ade Adepitan, 53, and Gavin & Stacey actress Joanna Page, 49, have also reportedly been approached about taking part. It’s worth nothing, however, no contestants have yet been officially confirmed.

After The Mirror reached out for comment, ITV said, “Any names suggested for I’m A Celebrity…Get Me Out Of Here! are just speculation.”

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

A special type of indie film teaches you how to see it as you watch it — not as an instructor might a student, but as an ally would a new acquaintance. Shatara Michelle Ford’s sophomore feature, “Dreams in Nightmares,” about a road trip, a friendship and a Black queer landscape anchored by care, has that quietly confident appeal, like being invited into something intimate, then let free when your curiosity is at its zenith.

Ford made their name with the micro-indie, micro-focused “Test Pattern,” an act of upending as it dissected an interracial relationship’s fault lines in a moment of crisis. (It’s on the Criterion Channel now.) This time, with the drive of a born iconoclast, Ford sheds plot even further — save the loose construct of three besties in search of their absent fourth. What emerges, as the plot spans a North America whose inviting (or alienating) textures are attentively captured by cinematographer Ludovica Isidori, is an ode to the centering of chosen family when the realities of life, especially for people of color, always seem to demand soul-crushing acquiescence.

For creative writing professor Z (Denée Benton), recently let go from her Los Angeles-based university and uncertain about her future, a recurring dream featuring black-and-white imagery, a door and an enticing expanse of nature puts her in a journeying state of mind. Hopping to Brooklyn to connect with Tasha (Sasha Compère), a nervy consultant also recently shorn from her job, and Lauren (Dezi Bing), an emerging poet, this close-knit trio first decides to go dancing, then to seek out their celebrated artist pal Kel (Mars Storm Rucker), last heard from in the Midwest and who’s cut off all communication.

That framework, though, isn’t treated like some act-structured gauntlet in Ford’s telling. This is a road trip, after all, in that having a direction — to Pittsburgh, then Iowa City, Kansas City, Santa Fe and across the border — allows for some directionlessness, for different speeds, artful touches (conversations that become camera-facing interludes) and delicate epiphanies of feeling. The trio stops for a lively trans poetry reading. There’s a comically weird dinner with Kel’s ex, Sabrina (a scintillatingly eccentric Jasmin Savoy Brown). A stopover to see Kel’s parents (Regina Taylor and Robert Wisdom) illuminates, for better or worse, where some of these friends have come from and why moving forward matters.

In not adhering to the expected rules of conflict-based drama, “Dreams in Nightmares” can confound. But when you realize that this is exactly the point of Ford’s open-ended exploration, you begin to understand why Ford would rather create a roving, sensorial continuum that feeds intrigue (kudos to composer Ohyung) instead of cornering you. The performances bear that out, from Benton and Bing’s steady inner light to Compère’s coiled, watchful Tosha, a compelling portrait of skepticism inside this cocoon of warmth.

Yet of course, just when Tasha appears to be a fulcrum for narrative revelation, Ford re-balances everything, in waves of grace and gentleness, to remind us that sometimes the less we label, the more we’ll observe about the abiding importance of love and belonging. Ford has internalized the humanity of filmmakers like Mike Leigh, Hou Hsiao-Hsien and Jim Jarmusch. Even the most awkward parts of the film feel uniquely alive. But as “Dreams in Nightmares” wends its way to a close, it’s also easy to believe you’re witnessing a percolating virtuosity that’s all Ford’s own.

The back-to-back news this week of the deaths of Dolly Parton and Tim Curry — both at age 80 — felt like an unfair and twisted threat to our peace.

Both were extraordinary cultural forces whose screen and stage work lit up and shaped our lives, so its no wonder the emotional whirlpool led to one large group chat on social media, with fans posting favorite performance clips and interview soundbites. I took comfort in many, including Parton singing “Jolene” at the Grand Ole Opry in 1988 and eight minutes of Curry in the frantic “how it was done” climax in “Clue” (1985), which he reportedly performed so intensely he had to be taken to the hospital for high blood pressure.

Our writers captured the depth of the legacy each leaves behind.

Greg Braxton reflected on Curry’s significant contribution to the twisted image of clowns with his terrifying portrayal of Pennywise in “It.” Robert Lloyd took on highlighting the actor’s most memorable roles on TV. And in his appreciation of Curry, Steve Appleford praised how Curry’s roles “turned out wilder and more varied than he might have expected but his seriousness and sense of fun never faded, pushing boundaries and himself. No one was ever bored watching Tim Curry onscreen.” (Appleford spoke with Curry in 2025 for his final interview published in The Times; I encourage you to read it.)

Meanwhile, Mikael Wood waxed on Parton’s storytelling prowess in her music. Lloyd looked at her legacy on the small screen, where she appeared in variety shows (two of her own), specials, TV movies, guest shots, interviews and music videos — contending it’s where “much of America met Dolly.” Mary McNamara explored Parton’s unexpected persona as a feminist icon. And Emily St. Martin reminded us of Parton’s contributions to literacy.

The country music superstar’s performance in 1982’s “The Best Little Whorehouse in Texas,” which earned her a Golden Globe nomination, is one of our streaming recommendations this week. (For those seeking community while celebrating the life of Parton, AMC Theatres announced screenings for the film, as well as “Steel Magnolias,” in select locations through Sept. 2.) Our other streaming suggestion, if you need a life vest to keep afloat through the tears, is a series featuring veteran fashion police partners reuniting again — this time, to dole out critiques of fictional characters.

Also in this week’s Screen Gab, we spoke with actor Kristen Johnston about the Season 2 return of “Leanne.” Best known for her role as Sally Solomon in the hit ’90s sitcom “3rd Rock From the Sun,” Johnston has built a career bringing laughs to comedies like TV Land’s “The Exes” and CBS’ “Mom.” Lately, she’s been bringing her seasoned comedy skills to Netflix’s multi-cam sitcom, which captures the messy (and funny) experiences of women navigating midlife — like dealing with menopause or the horrors of the modern dating scene. Stand-up comedian Leanne Morgan stars as the titular character, while Johnston plays her brutally honest sister, Carol.

“Not every show has to be, you know, medieval dragons,” Johnston says. “There’s room for a couple of silly women in their 50s trying to figure it out.” Read more from Johnston in Guest Spot. In the meantime, I’m off to mix and bake a cuppa flour, a cuppa sugar and a cuppa fruit cocktail with the juice at 350 till it’s gold and bubbly. See you next week. — Yvonne Villarreal

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Dolly Parton as Miss Mona in the 1982 movie “The Best Little Whorehouse in Texas.”

(Universal Pictures)

“The Best Little Whorehouse in Texas” (VOD)

Dolly Parton cemented her movie star status with her feature debut “9 to 5” alongside Jane Fonda and Lily Tomlin. But outside of the irresistible title song, Parton did not sing in the film. She makes up for it with her second film, 1982’s “The Best Little Whorehouse in Texas.” Adapted from the Broadway musical, the country superstar dazzles as Miss Mona Stangley, the proprietress of the popular “Chicken Ranch” brothel. With her characteristic down-home charm, she makes her place of business seem as wholesome as apple (“There’s lots of goodwill and maybe one small thrill, but there’s nothing dirty going on,” she sings in the opening number). Parton also contributed two extra songs to the soundtrack alongside the original Broadway score, including her hit “I Will Always Love You.” — Greg Braxton

Clinton Kelly, left, and Stacy London in “Why’d They Wear That?”

(Jordan Petsy / Simple Alien)

“Why’d They Wear That?” (YouTube)

Stacy London and Clinton Kelly are back with a third “Wear” show, after “What Not To Wear” and last year’s “Wear Whatever the F You Want.” This one’s for the Stacy and Clinton fans, as it removes the clients and makeover elements and sits the hosts on a bed together in front of a TV as they critique what characters wear in the movies, viewing film through the lens of clothing, hair and makeup. (It’s very smart.) The films and actors they highlight are meaningful to one or the other — they don’t always agree — which is to say they broadly represent the tastes of people born in 1969. The range of subjects encompasses “Meatballs,” “Poltergeist,” “Best in Show,” “Gentlemen Prefer Blondes” and “The Empire Strikes Back,” in which episode you will learn that London views Darth Vader as “the Karl Lagerfeld of outer space” (“monochromatic dressing … quiet luxury and he doesn’t change — he invests in his pieces”). One episode is a tribute to Catherine O’Hara. With no one’s feelings to dance around, they can be as critical as they like, but snark isn’t the point so much as celebration and the delight of old friends sharing their own, often self-deprecating stories. Come for the analysis, stay for the laughter, or vice versa. — Robert Lloyd

Guest spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

Leanne Morgan, left, and Kristen Johnston in Season 2 of “Leanne.”

(Patrick Mcelhenney / Netflix)

In “Leanne,” Kristen Johnston plays the ultimate ride-or-die sister you want in your corner — she turns chaotic moments into fun, tells the hard truths and provides unwavering emotional support. The Netflix sitcom stars comedienne Leanne Morgan as a woman trying to rebuild her life after her husband of 33 years left her for someone else. Helping her navigate the emotional rubble is her family, including her fiercely loyal, unfiltered, twice-divorced sister, Carol (Johnston). As Leanne confronts more change in Season 2, like turning 60 and coming to terms with aging parents that require more care, Carol remains a blunt support system. Over the phone, Johnston discussed her connection to the themes explored in the comedy and the genre of TV that has her hooked these days. — Y.V.

Change continues to be a theme in Season 2. It opens with Leanne resisting the idea of turning 60 and still not ready to be alone with herself. Carol is there to remind her that she’s capable. Tell me about your 50s, Kristen. How are you feeling about this stage of your life and the prospect of turning 60?

Oh my God! Honestly, I never even thought I’d make it to my 50s. So, the fact that I’m still here is a pretty big miracle. My 50s has just continued to be about trying to figure out my place in the world and deepening my friendships with my friends, my family. That’s about it.

Are there things you used to worry about that now you’re like, “I can handle that”?

I used to worry about everything, and now I really couldn’t give a s—. I don’t live for other people’s opinions anymore, and that was probably something I lived for for a long time. When you get fame really early, you just condition yourself to not make anyone upset and not get found out by the tabloids or be stalked. I don’t know. I do enjoy really just trying to live. Other people’s opinions matter to me, but they’re not the reason I do or don’t do anything.

You and Leanne both get a chance to play with the idea of getting older early in the season with a daydream sequence about being in the retirement home. What was that like? It hits at such a big topic that many people come to grips with at some point, which is the idea of caring for aging parents.

That’s a huge topic this season, and it one it matters to me because my mom is still here — thank God. But it’s stuff that really comes up a lot. When it’s time to get them into a home, it’s so hard, and of course, they never want to go. Who would? But literally doing that scene was so great because I’m so into prosthetics and makeup. We had a lot of fun coming up with what each of us would be.

Kristen Johnston, left, and Leanne Morgan in “Leanne.”

(Patrick Mcelhenney / Netflix)

The bond between Leanne and Carol is such an important element of the show. What do you think this show really gets right about sisterhood?

It feels very real. You have one who’s a black sheep and always blamed for everything, then you’ve got one who’s the Goody Two-shoes and got married at the right time and had kids. Carol did none of that. But throughout that, and much more important than the rivalry and being mad at each other or whatever, is just this absolute unending love. And I feel very sisterly towards Leanne. I get really emotional about her because I feel like she’s my sister. They’re pretty easy scenes to act.

You’ve worked in multi-cam sitcoms across broadcast, cable and streaming. Do you feel a difference?

I don’t know if it’s as much that they’re different, but the times sure have been different. I’m from the era where we would have the head of the studio come to every taping and send us cards and thank you or call you to come over to his house for his 60th birthday or whatever. That doesn’t really happen anymore. I’m from this other era, which really felt more personal and felt more one-on-one. Now it really just feels like, “Don’t look at me. I just want thanks for the paycheck.”

And it seems hard to even gauge how well the shows are doing.

Exactly. Leanne was so nervous about all that at first, and I just said, “Look, all we can do is our our best. Let’s just be funny and have fun, and everything else is above our pay grade.” So she went with that. That’s how we kind of roll.

OK, tell me — how often are you asked about the “Splat!” episode of “Sex and the City”? How often do people come up to you about Lexi?

It’s crazy. It’s all anybody wants to talk about, any podcasters or anything. Really, I would say 80% of the conversations I’ve had in the last few weeks are focused mainly on that.

What does that tell you that a role that was a one-off could have that kind of lasting impact?

It’s the shock of what happens in that scene more than almost anything. There was kind of this angry “I’m gonna live no matter what” vibe to her. So to watch her fall to her death out of her own hubris, it’s just a perfect little encapsulation of a moment in New York City, and I think that’s why people love it. It’s also probably one of the bigger, bigger acting choices I’ve ever made. That was Michael Patrick King. I can’t believe it still matters to people, but obviously, I’m thrilled it does. I did like three takes [of the fall]. And it could have been the stunt woman [who made the cut]. I honestly don’t know who they cut to for what.

Because when people say, “Are you a Carrie? Are you a Charlotte?” A lot of people say, “I’m Lexi.”

They tell me that all the time. I just go, “Oh, babes.” I wouldn’t really want to cling to her as like an inspiration for your character, but I think what they mean is they’re probably bawdy. There are worse things to be in life.

What’s the most recent thing you watched that you’re obsessed with?

I’ve gone down the K-drama rabbit hole. And something I loved is this C-drama called “Pursuit of Jade” on Netflix. It’s so well-done, really good and very thrilling. A period show. Love it. I’ve been sucked into that. Oh, for K-drama — “Bon Appétit, Your Majesty.” That’s pretty much where I’ve been living.

What’s your go-to comfort watch?

I like spooky, weird stuff like “True Detective,” “Broadchurch.” I just did a rewatch. I can’t believe “Broadchurch” is my comfort show. Anything with really good character development, fantastic acting. I love it.

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John Slattery is leading the cast in US legal thriller, The Rainmaker, which starts on ITV tonight

The Rainmaker starts on ITV tonight.

The ‘one of the best’ legal thriller, which first aired in the US back in 2025, will be airing on Friday, 28 August, at 9pm on the broadcaster. The star-studded show will also be broadcast weekly and also be accessible to stream on ITVX.

A synopsis reveals about the legal thriller: “Based on the best-selling novel by John Grisham, Rudy Baylor, who is fresh out of law school, goes head-to-head with courtroom lion Leo Drummond as well as his law school girlfriend, Sarah.

“Rudy, along with his boss, Bruiser, and her disheveled paralegal, Deck, uncover two connected conspiracies surrounding the mysterious death of their client’s son”.

Mad Men legend John Slattery will be playing Leo Drummond in the drama. John, 64, is also known for Sex and the City, Desperate Housewives, Spotlight, Avengers: Endgame, Captain America: Civil War and Ant-Man – to name just a few.

Away from his impressive acting career, John is married to actress Talia Balsam with the two tying the knot in 1998. They have a son together, Harry, 27.

Much like John, Talia is famous in the acting world too. The actress, 67, who was previously married to George Clooney from 1989 to 1993, has an impressive career with shows such as Happy Days, Dallas, Taxi, Hill Street Blues, Family Ties, The Larry Sanders Show, and Magnum, P.I.

Other roles include Without a Trace, Homeland and Divorce. In a funny life imitating art twist, John and Talia played husband and wife Roger and Mona Sterling in hit series Mad Men.

Elsewhere, John and Talia, as well as their son Harry, all appeared in the drama The Subject Was Roses.

John previously gushed about his wife in a sweet interview in 2019, telling Closer Weekly: “I just found the right person, you know, I lucked out.

“I guess marry someone you like. We get along well, we always have, and I guess being in show business, some people say it’s difficult.”

He added: “I don’t know. We understand the rhythms of this life, which aren’t easy sometimes and there’s insecurity. You’re not sure where you’re going to be. So I don’t know. I got lucky.”

The Rainmaker is available to watch on ITV and ITVX from Friday 28 August

CARMEL Electra has gone topless under just pineapple slices as she enjoyed breakfast al fresco style.

The actress, 54, took to Instagram to share some racy snaps from her vacation in Berlin.

In the pictures, she could be seen enjoying an outdoor breakfast, complete with a fruit platter, pastries and a Coca Cola.

In one snap, she pulled her bikini down as she covered her boobs with two pineapple slices.

She showed off her toned body in a blue and yellow underwear with tassels as she posed on a rooftop for the suggestive picture.

Carmen sported a heavy make-up look, complete with eyelashes, a dark eye shadow and a nude lip.

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O-M-PEE!

Carmen Electra flashes her bare bum as she sits on toilet for VERY racy shoot

The bottom of her blonde locks were dyed red as she wore her hair in a straight hairstyle.

Another photo showed her sitting down in front of the fruit as she popped her bra back on and held a strawberry in her hand.

Carmen shared a clip of herself taking a bite of a banana as she seduced the camera.

Yet another snap saw the model showing off her perky bum as she put one knee on a chair and looked directly into the lens.

She captioned the feed post: “Breakfast in Berlin.”

Her fans flocked to the comments section to compliment her as one said: “Breakfast of champions.”

Another follower enthused: “What a beautiful morning.”

Somebody else commented: “A hell of a breakfast.”

Yet another penned: “Hottest breakfast I’ve ever seen!!!!”

While a fifth added: “How is this possible, god damn.”

Her posts come after she modelled for Playboy, three decades after she first graced the magazine.

The sex symbol stunned in a new photoshoot in July as she stripped down for the Summer 2026 issue.

One shot showed her positioned on all fours on a green leather couch, wearing skintight black leather lingerie and fishnet tights.]

The outfit left little to the imagination as the cut-out tights exposed her bare backside, which she directed at the camera.

Carmen completed the look with black sky-high platform heels, heavy black eye makeup, and her long, blond-highlighted locks flowing straight down.

When it comes to romantic comedies, it’s not where it’s going — that’s a foregone conclusion — but how it gets there. The way the central couple navigates the twists, turns, roadblocks and unforced errors that entangle their budding relationship is the beating heart of these films. It’s what sets each one apart and delivers its entertainment value. That’s the test: pass or fail.

Which brings us to “Finding Emily,” a sweet new entry from Working Title Films, the producer of such gold-standard rom-coms as “Four Weddings and a Funeral,” “Notting Hill” and “Love Actually.” It may not be destined for a place alongside those favorites, but “Emily” has a wonky charisma all its own that just might satisfy fans of those British charmers.

Or not.

That’s because the film’s journey, which follows Owen, a struggling musician (Spike Fearn) searching for his vanished dream girl with a hand from a cynical psychology student (Angourie Rice), may not feel quite captivating or propulsive enough to carry its pie-in-the-sky story to its inevitable finale. As someone behind me at the end of the film’s screening said, “Well, that plane took a while to land.” I can’t fully disagree.

Fortunately, the movie, inventively directed by first-time feature helmer Alicia MacDonald, is anchored by a pair of winning performances by Fearn (“Alien: Romulus,” “Ella McCay”) and Rice (2024’s “Mean Girls” musical). Their quirky, endearing moments and oddball chemistry often patch over — or at least divert us from — the contrivances and bits of filler in Rachel Hirons’ busy script.

Owen, who works as a sound engineer at the Manchester City University student union, falls headfirst for an enchanting redhead (wearing fairy wings, no less) named Emily (Sadie Soverall), whom he meets at a party. But when he tries to text her the next day, he realizes the number she gave him is missing a digit. Was that on purpose or an accident?

No matter, Owen is obsessed with finding her, even if he doesn’t know her last name and there are 318 Emilys in the campus directory. A false lead misdirects him to one of those women, Emily Raine (Rice), a psych major writing her thesis on the “self-sabotaging madness” of romance. It’s a theory clearly waiting to be blown to smithereens.

Their meet-cute develops into an offbeat friendship when the “wrong Emily” (is she really?) offers to help lovestruck Owen track down the “right Emily” (is she really?), secretly using him as a real-life case study to nail her dissertation. If she succeeds, the Iowa transplant will be able to secure the work visa she needs to stay in her adopted England.

It’s a device that adds to the character’s urgency, if not her likability. Though in true rom-com fashion, this Emily is appealing in other required ways — and is also adorable. The plot kicks into high gear when, again to fuel her thesis, she deviously provides Owen with a contact list of every Emily in the college database and suggests he mass-email them to locate the elusive, fairy-winged Emily.

This goes all kinds of wrong, setting off a viral brouhaha and turning the hapless Owen into an unwitting pariah. The loud-and-proud gang of Emilys brands him a stalker and a “toxic incel” (as well as the jauntier “Email Guy”). The mania is compounded by Owen’s stab at damage control when he appears on a campus podcast hosted by a savvy button-pusher (Nadia Parkes, pitch-perfect), unaware the show is going out live on video. Oh, and none of this results in a response from his desired Emily.

Amusing and brightly satirical as this turn of events is, it begins to feel more like a tempest in a teapot than the sustainable story engine Hirons was aiming for.

The film hits its predictable highs and lows as the mismatched Owen and Emily get closer and romantic complications mount. The search for “Fairy Emily” yields some anticlimactic results.

Still, there’s a kind of hip, comfort food aspect to the entire enterprise that keeps it an easy, if slightly cluttered and overlong watch. (See plane-landing comment.) MacDonald makes superb use of the story’s Manchester backdrop. The city’s vibrant neighborhoods and residents, along with its dynamic music scene, practically form their own character.

The vivid, at times overly kinetic supporting cast includes Prasanna Puwanarajah as Emily’s egotistical psych professor, Timothy Innes as her oblivious crush and Cora Kirk as her supportive, strong-willed flatmate; Jack Riddiford and Isabella Laughland as Owen’s brother and his better half; and Kat Ronney as a take-no-prisoners student body president — also named Emily. Minnie Driver is sadly underused as the school’s detached dean.

So does “Finding Emily” pass the aforementioned rom-com test? Flaws aside, it’s ultimately a pleasant enough way to beat the heat, grab a few laughs, take in a fine soundtrack and find yourself in some good company. But even if your name happens to be Emily, you won’t be fully swept away.

Yayoi Kusama, the Japanese artist known for her hypnotic, repetitive polka dot artworks, died earlier this week at the age of 97. Hers was the third in a string of deaths this week that left me feeling quite melancholy. First Dolly Parton, then Tim Curry and finally, Kusama.

The silver lining in the death of an artist, whether they be musician, actor, writer or visual artist, is that they leave a trail of comfort for fans through their work. I can (and did) sit in my breakfast nook weeping to the sound of Parton’s voice in songs including 1971’s “Coat of Many Colors.” When it comes to mourning Kusama, I am planning a trip to the Broad museum in downtown L.A., which houses two of her famous Infinity Mirror Rooms.

“Longing for Eternity” (2017) is on view on the third floor and can be accessed with a free general admission ticket. “Infinity Mirrored Room —The Souls of Millions of Light Years Away” (2013), however, requires a separate free reservation. A rep for the museum said reservations are currently available through September with many time slots already completely full. The museum is also accommodating as many walk-ups as capacity allows — and these walk-ups have increased in the wake of Kusama’s death.

In an email to The Times, Broad founding President and Director Joanne Heyler wrote that Kusama’s Infinity Mirror Rooms, “have been among the most beloved works at The Broad since we opened in 2015.”

Heyler noted that the Broad’s 2017 exhibition, “Yayoi Kusama: Infinity Mirrors,” “was an incredible moment in the museum’s early history. It was a beautiful show, and unprecedented operationally: the only time our ticketing system broke down due to demand, minutes after release. Her work is both wildly popular and conceptually rigorous; her journey as an artist is complex, full of resilience and a refusal to be limited. Visitors have found deep connection inside the Infinity Mirror Rooms at The Broad — smiles, tears, even marriage proposals. We’re grateful to be one of the places where people can go to spend time with her work and remember her, and we’ll keep working to ensure her art is experienced as she intended: by everyone, infinitely.”

This is welcome news, and the devoted interest makes sense. In many ways, these physically small but emotionally vast rooms encapsulate the essence of Kusama’s practice throughout her life. Built in a distinctively analog way, the rooms create the illusion of endless space through the use of light, mirrors and splashes of color. Kusama incorporated hand-sewn cloth, and later, multimedia video projections, but at their core the rooms remained largely technology-free.

The irony being that a decade ago they emerged as social media sensations, and were ubiquitous in selfies across the internet as they traveled from blockbuster show to blockbuster show.

It’s a pity because all the people who stepped into those rooms with their cellphone cameras at the ready missed a profound opportunity to inhabit a floating dreamscape of true peace and quiet — the kind we rarely grasp in our digital-notification suffocated world.

I can still remember the first time I had the opportunity to experience one of Kusama’s Infinity Mirror Rooms. It was dark and glittering with tiny pinpricks of colored light. I felt as if I were suspended in a deep, black pool of energy that extended beyond me in all directions. I could hear my blood rushing in my ears and briefly wondered if this could be what it felt like in the womb.

I got dizzy and recovered, and then — for what felt like a long time but was only a matter of seconds — I was free.

I’m Arts editor Jessica Gelt taking moments of solace where I can get them. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Babatunde Akinboboye
The baritone fuses classical opera with hip-hop on “Toreador,” “Funiculi, Funicula,” “O Sole Mio” and more.
8 p.m. Friday and Saturday. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org

Director Richard Linklater at the 2023 Toronto Film Festival.

(Jay L. Clendenin / Los Angeles Times)

Richard Linklater
A three-movie American Cinematheque tribute featuring Q&As with the Texas filmmaker. In a recent interview, Times film writer Mark Olsen asked Linklater what it’s like to reflect on his work: “What resonates with me in my mind is the experience of making the movie more than the movie itself — all the people you worked with and the cast and all those good feelings.”
“Boyhood,” 7:30 p.m. Friday; “Waking Life,” 4 p.m. Saturday. Aero Theatre, 1328 Montana Ave., Santa Monica; “Dazed & Confused,” 7:30 p.m. Saturday. Directors Village, 961 Broxton Ave. Westwood. americancinematheque.com

Pericles
Boston Court, in partnership with Play On Shakespeare, presents the West Coast premiere of Ellen McLaughlin’s modern verse translation of Shakespeare’s rarely performed adventure tale. Directed by Margaret Shigeko Starbuck.
Through Sept. 27. Boston Court Pasadena, 70 N. Mentor Ave. bostoncourtpasadena.org

Romeo & Juliet
A site-specific, immersive, queer adaptation of Shakespeare’s tragedy.
7:30 p.m. Friday and Saturday; 1 p.m. Saturday and Sunday. Sassafras Saloon, 1233 Vine St. eventbrite.com

SATURDAY

Place Is the Space
A four-hour immersive performance experience created by artist Edgar Arceneaux and co-creator Frank Lawson employs live jazz improvisation, theatrical storytelling and multimedia design inspired by Sun Ra’s philosophy and his film “Space Is the Place.” Presented by CAP UCLA, the event includes an audience procession to the Hammer Museum in conjunction with the current exhibition, “Space Is the Place,” for a final performance.
1 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu

Joshua Smith Untitled (Yellow Heart), 2026 Acrylic on canvas 14 ¾ x 14 ½ in.

(839 Gallery)

Joshua Smith: Hearts and Triangles
The artist’s first Los Angeles solo show includes brightly colored monochrome paintings on shaped canvases.
Opening reception, 5-8 p.m. Saturday; exhibition continues through Oct. 17. 839, 839 N. Cherokee Ave. 839gallery.com

Winter’s Bench
The world premiere of Mike Kenny’s play about a woman who returns to a park where she thinks a tree once spoke to her. Starring Anne Gee Byrd and Shih-wei Wu. Directed by Debbie Devine. All performances will feature Spanish supertitles.
Previews, 8 p.m. Saturday; 2 p.m. Sunday; 7:30 p.m. Wednesday, Thursday and Sept. 4; 8 p.m. Saturdays, 2 p.m.; Sundays, 8 p.m.; Sept. 7 and 14; through Oct. 25. 24th Street Theatre, 1117 W. 24th St. 24thstreet.org

SUNDAY

Element Band
Led by Ara Dabandjian, the ensemble features 12 musicians and vocalists, including Soseh Aramouni Keshishyan and Natalie Avunjian, in a celebration of Armenian heritage, creativity and live music.
7:30 p.m. The Ford, 2580 Cahuenga Blvd. East. theford.com

TUESDAY

Dvořák & Bruch
Conductor Anja Bihlmaier and violinist Bomsori join the Los Angeles Philharmonic.
8 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

THURSDAY

Amadeus in Concert
The Los Angeles Philharmonic, led by conductor Norman Huynh, conductor, and the Pacific Chorale perform live to Milos Forman’s 1984 Oscar-winning best picture starring Tom Hulce and F. Murray Abraham.
8 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

The Arsonists
Max Frisch’s 1953 absurdist satire, translated by Alastair Beaton and directed by Luke Harlan.
8 p.m. Thursdays through Saturdays; 5 p.m. Saturdays; 2 p.m. Sunday; through Sept. 20. Skylight Theatre, 1816 1/2 N. Vermont Ave. skylighttheatre.org

Under the Oaks
A weekly salon series featuring performance and music: “Currents: Composers in Concert” (Sept. 3); “Beer! A New Musical-in-Development” (Sept. 10); “Cabaret Theatricum Sings Marvin Gaye” (Sept. 17); and “The Voice of Dr. King” (Sept. 24.
7:30 p.m. Thursdays through Sept. 24. Will Geer Theatricum Botanicum, 1419 N. Topanga Canyon Blvd. Topanga. theatricum.com

Arts everywhere

Sarah Bareilles in the documentary “Sarah Bareilles: Good Grief.”

(A Group Effort Films / Naked Edge Films)

Sara Bareilles: Good Grief
The Grammy-winning Broadway star and pop singer’s return to the recording studio for the first time in seven years is captured in this intimate documentary directed by Josh Alexander receiving a one-night-only theatrical release. The film looks at Bareilles’ experience of channeling her own pain to create art and the healing journey that accompanied it. Bareilles will perform at the Dolby Theatre, Oct. 12-14.
7 p.m. Wednesday. Laemmle and AMC theaters. sarabmusic.com

Culture news and the SoCal scene

Dolores Huerta photographed at Dolores Huerta “Help Wanted/Leave Now” exhibit at California Museum.

(Beth Baugher / California Museum)

Dolores Huerta has prioritized involving herself in projects relating to labor and women’s rights in the wake of going public with sexual abuse allegations against former labor leader Cesar Chavez. One of those projects can now be seen at the California Museum in Sacramento in an exhibition called “Help Wanted/Leave Now: ‘Operation Wetback’ and the Revolving Door of Mass Deportation,” which, according to a story by contributor Isa Farfan, “examines decades of the federal government’s deportation campaigns against Mexican immigrants even while it recruited millions of these farmworkers and rail workers to fill labor shortages during and after World War II.”

Contributor Leah Ollman reviews a new Eileen Cowin retrospective called “Between Panic and Paradise” at Los Angeles County Museum of Art. Labeling Cowin a “wry disruptor,” Ollman notes that over the artist’s nearly six-decade career, she has toyed with time in a novel way: “By deviating from straightforward chronology, the installation resonates smartly with one of Cowin’s key operating principles — that we don’t experience time as a continuous line moving in one direction, but as episodic, fragmented, interrupted, layered.”

Gustavo Dudamel at the end of the first half his show at the Hollywood Bowl on Aug. 20.

(Jason Armond / Los Angeles Times)

Gustavo Dudamel is really leaving — although it feels as if the city has been mourning the eventuality for years. Times classical music critic Mark Swed was, of course, on hand to bear witness to Dudamel’s final farewell: a four-night Hollywood Bowl extravaganza. “Dudamel addressed the audience, sounding very much like he had 17 years ago at the Bowl, extolling in our being a crowd of many types together for many musics. L.A., he said, made him an Angeleno,” Swed wrote.

Swed also attended a Tuesday night show at the Hollywood Bowl after the Dudamel farewell extravaganza and found it rather empty and a bit “forlorn,” a situation, he writes in a review, that “left Anna Handler, who becomes the Los Angeles Philharmonic’s conductor-in-residence this fall, with the trickiest conducting assignment of the summer anywhere.”

Theater Director Bart DeLorenzo on the set of “Enemy of the People” at the Odyssey Theatre on Friday, Aug. 21, 2026.

(Ariana Drehsler / For The Times)

Times theater critic Charles McNulty recently sat down for a lunchtime conversation with Bart DeLorenzo, “L.A.’s most playfully provocative theater auteur,” about his decision to direct (and adapt) Henrik Ibsen’s “Enemy of the People” at Odyssey Theatre. “If ever there was a moment to revive ‘An Enemy of the People,’ it’s now,” McNulty writes. “The demoralizing spectacle of the U.S. Senate’s inquisition of Dr. Anthony Fauci last month, led by Sen. Rand Paul (R-Ky.) in unapologetic witch-hunt mode, was yet another reminder that Ibsen’s drama about a public health crusader being targeted by politicians and business leaders when his medical advice goes counter to their interests hasn’t lost its punch.”

The drama never stops at the beleaguered Kennedy Center as it deals with the continued tumult resulting from President Trump’s takeover early last year. Most recently the Justice Department claimed in a recent court filing that Trump’s “efforts and prestige provide the sole hope for the Center’s financial survival, and structural renewal.” If the center isn’t shut down for the two-year renovation Trump demands, it may need to be demolished, the filing reads.

Visitors line up outside the Japanese American National Museum for a 2022 event recalling World War II incarceration camps.

(Genaro Molina / Los Angeles Times)

After closing in early January, 2024, the Japanese American National Museum has announced it will reopen its newly renovated Pavilion on Jan. 23, 2027. Renovations include a new main entrance and new first-floor galleries for a brand new exhibition titled “In the Future We Call Now: Realities of Racism, Forging Democracy.” The special exhibition galleries on the second floor have also been updated and will feature the inaugural exhibition, “Pictures of Belonging: Miki Hayakawa, Hisako Hibi, and Miné Okubo.”

The Broad has announced its next fall exhibition, “Has the myth been shattered,” opening Nov. 21. The exhibition is set to include recent acquisitions by Guadalupe Rosales, Hank Willis Thomas and Mickalene Thomas. “Gathered together, works in the exhibition create unexpected connections across six decades, prompting an examination of how media has shaped history, memory, and collective experience,” a news release notes.

— Jessica Gelt

And last but not least

A little rare bird is making people happy, and I’ll take the moment of levity.

Fans of Beyond Paradise will love the BBC detective drama created by Robert Thorogood

A BBC detective drama written by Death in Paradise creator Robert Thorogood is airing tonight.

The Marlow Murder Club returns tonight and will air at 9pm on BBC Two. Part one of two of the adaptation of Robert Thorogood’s novel will be shown, starring Samantha Bond, Cara Horgan, and Jo Martin.

The synopsis for the episode reads, “Retired archaeologist Judith Potts’s peaceful evening in Marlow is shattered when she witnesses the murder of her neighbour.

“With the local police, led by newly promoted DS Tanika Malik, reluctant to believe her story, Judith starts her own investigation, enlisting the help of the vicar’s wife, Becks Starling, and local dog walker Suzie Harris.”

Fans can tune in to watch the repeat as they eagerly await the fourth series of the crime drama’s return.

Series four is set to return on free-streaming service U in 2027, and will feature an adaptation of Sunday Times Best Seller Robert Thorogood’s novel Murder on the Marlow Belle, alongside brand-new original mysteries.

Returning to solve more complex and intriguing murders in Marlow are meticulous crossword-setter Judith Potts (Samantha Bond), pillar of the community and vicar’s wife Becks Starling (Cara Horgan), and no-nonsense dog walker Suzie Harris (Jo Martin).

Working tirelessly alongside DI Tanika Malik (Natalie Dew) and her police team, the crime-solving trio put their unconventional methods into practice to catch the killers across three brand-new stories.

Series four begins with the discovery of a body in the river, soon linked to the Marlow Amateur Dramatics Society and a homegrown Hollywood star.

The team must also unravel the truth behind a man’s sudden death at his mother’s wake. He appears to have died from an allergic reaction, but is there more to it than that? And when the co-owner of a vineyard is found dead, drowned in his own wine, the women work to make sense of this seemingly unmotivated murder.

Masterpiece Head of Scripted Content and Executive Producer Susanne Simpson shared about the new series: “The Marlow Murder Club has quickly become one of our most popular Mystery! series.

“The strong female characters with unique skills and a special bond that resonates with our audience. And who doesn’t like to solve a good puzzle?! The fourth season is sure to deliver on everything the fans have come to love about the show.”

The Marlow Murder Club airs tonight at 9pm on BBC Two.

The ITV reality star was shown falling from a horse while riding in Meet the Owens.

Former Love Island star Gemma Owen’s horror horse riding accident has been aired in her new show Meet the Owens on Prime Video. The six-part programme follows former England footballer-turned-horse breeder Michael Owen and his family, including his feisty eldest daughter Gemma.

In a harrowing episode on the show, Gemma, 23 is shown falling from a horse and appearing to hit a railing while she is training to compete in the charity race the Magnolia Cup. Gemma, who represented Team GB in Dressage at youth and junior levels, is an experienced horse rider and the fall came as a shock to her family.

Luckily, Gemma escaped the fall without any broken bones, however she did get whiplash and sustained cuts to her face, as well as being covered in bruises. Gemma was riding her father’s horse He’s A Gentleman when she suffered the accident, after the horse appeared to bolt.

Audiences were shown images of Gemma’s huge bruises and she could be seen sporting a cut on the left side of her face, near her chin. The accident came six days before she was due to compete.

Speaking about the incident, her father Michael, 46, said Gemma was “tough as nails” and got back on a horse the day after. Meet the Owens then showed Gemma competing in the Magnolia Cup, despite being hardly able to move her neck.

Despite the accident, Gemma ended up coming fourth in the race after being initially stuck in 12th position when she was boxed in early on in the race. Michael later commented in a VT: “She came fourth but it’s just the start” as he knew Gemma would be gearing up to race another day in the future.

Reflecting on the fourth-place position, Gemma said she was “beyond gutted” and confirmed she would be doing it again, saying, “because I need to b****y win!” She also conceded that her father Michael had been right when he’d encouraged her to try horse racing.

She’s initially been skeptical about becoming a jockey, but over the course of training Gemma realised that this was what she wanted to do. Gemma was previously a contestant on season eight of Love Island back in 2022 and was a runner-up in the dating series.

Along with focusing on Gemma, Meet the Owens also delves into Michael and his wife Louise’s sweet marriage after the pair grew up together and attended the same primary school. They also touched on a tough point in their marriage during Michael’s move to Real Madrid, which had left new mother Louise isolated and without a support network.

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Michael’s only son, James, and his degenerative eye condition are also spotlighted in another episode. James was born with the genetic condition Stargardt disease, which means he is clinically blind.

Despite this, James showed his ambitions to become part of Michael’s family business, Manor House Stables and help to get potential investors on board. At one point, Michael and James even went to Bahrain together in the hopes of securing some more potential buyers and money for the stables.

Meet the Owens is streaming on Prime Video now