show biz

Willie Colón, a legendary trombonist and pioneer of salsa music, has died. He was 75.

His death on Saturday was confirmed in a Facebook post by his longtime manager, Pietro Carlos.

News of the singer’s condition circulated on the web in recent days. Yonkers Voice News reported Colón was admitted to NewYork-Presbyterian Westchester hospital in Bronxville, N.Y., on Tuesday with respiratory problems and he appeared fragile.

:

Born William Anthony Colón Román on April 28, 1950, to Puerto Rican parents in New York City, Colón first picked up the trumpet in school. It seemed like a natural choice for the former bugle-playing Boy Scout, who attended the youth program at the suggestion of his grandmother.

“So I could learn how to be a good boy,” said Colón in a 1988 interview with Associated Press.

By age 13, Colón had started a band and played at some weddings and in the bustling nightclubs of New York City. At one point, he forged a cabaret card, a mandated ID for musicians and entertainers between 1940 and 1967 who worked in establishments serving alcohol, which required individuals to be 18 years and older.

The thrilling 1960s Latin music scene in New York consumed Colón, who was deeply inspired by Latin jazz pioneer and bandleader Eddie Palmieri, once part of a main act at the Palladium Ballroom who went on to form La Perfecta, a Cuban conjunto that revolutionized the New York Latin music scene with its inclusion of two trombones, played by Barry Rogers and Jose Rodriguez, instead of the costly four-set trumpets.

But Colón’s instrumental preference changed once he heard the bodied timbre of Mon Rivera’s all-trombone brass lineup marching to a bomba beat. “It would knock my socks off,” said Colón in a 1988 interview with Associated Press, leading the singer to teach himself how to play the instrument.

By age 15, Colón was signed to Fania Records. Two years later at age 17, he went on to release his debut album, “El Malo,” a record that defined the fierce sounds of New York’s salsa scene, which Colón later described as the Latin equivalent of rap.

According to his former label, the name of “El Malo” was bestowed upon Colón by older musicians who sought to mock his trombone range at the time, though the young bandleader would find a way to use the label to his advantage.

On the LP, Colón’s sound moved away from the polished mambo sounds of orchestral bands decades prior, in large part due to Puerto Rican singer Héctor Lavoe, whose vocals can be heard in tracks like the gritty “El Malo” that vows to knock out any wanna-be street phony.

The pair would go on to record a total of 14 albums through 1973, with Lavoe’s talents for improvisation complementing Colón’s raw, aggressive trombone.

“Salsa came from the same kind of situation that rap does,” Colon said in a 1992 interview with The Times. “It was kind of a hybrid of a bunch of different elements. Hector had just come from Puerto Rico and didn’t speak English. I didn’t speak much Spanish, I was a little New York kid. We got together and just started with the same kind of irreverent, rebellious attitude, writing songs about the baddest guy on the block, drugs and sex. Before that, the lyrics and whole attitude of Latin music was, ‘Look at me dance, listen to those drums, I’m cutting sugar cane.’ It was a rural, folkloric emphasis; we changed it to an inner-city kind of culture.”

Colón’s impact went beyond live music. The album cover of “El Malo,” which showed two serious profiles of Colón, depicted the singer as a sly bad boy, and ultimately gave rise to his gangster persona, which would be a throughline in future projects, including his sophomore 1968 album, “The Hustler” which featured the band with fitted suits, smoking cigars and placing bets in a pool hall. His 1970 album “Cosa Nuestra” featured Colón smoking a cigar while overlooking a dead body in broad daylight in Manhattan’s East River Bikeway. Most famously, his 1971 album, “La Gran Fuga,” depicted the singer on a fake FBI “Most Wanted” poster.

These mob-like depictions occurred long before cult-favorite films like Francis Ford Coppola’s 1972 “The Godfather” and Brian De Palma 1983’s “Scarface” became the prominent gangster storylines various male acts venerate in their music.

By 1973, Colón and Lavoe split — allegedly due to Lavoe’s drug addiction leading to many missed concert performances — although the two would remain frequent collaborators until the latter’s death in 1993 due to complications of AIDS.

The Nuyorican musician would introduce Blades as the new singer of his orchestra, whom he had met years prior while visiting Panama during carnivals. They collaborated briefly on Colón’s 1975 LP “The Good, the Bad, the Ugly,” cementing their partnership in the 1977 album “Metiendo Mano,” which delved into socio-political themes, notably in their track “Pablo Pueblo,” which shares the story of a working class man with broken dreams halted by toils of daily life. Other tracks like “Plantación Adentro,” detailed the story of Camilo Manrique, a fictionalized enslaved character who died at the hands of a Spanish colonizer in 1745.

Many considered this album Colón’s first foray into intellectual salsa — in large part because of Blades, who had a knack for storytelling and political interests (he unsuccessfully ran for president of Panama in 1994) — that addressed colonialism and class disparities. Together they released three albums, including their 1978 “Siembra,” one of the bestselling salsa albums at that time; from the start, their track “Plastico” fused the popular disco music of the moment while addressing superficial beauty standards and colorism in Latin America.

According to 1996 reporting by The Times, “Siembra” delivered pulsating salsa rhythms that “carried messages of freedom at a time when most of Latin America was oppressed by military dictatorships.”

By 1982, Blades and Colón parted ways, but they collaborated again on projects like their 2005 LP “Tras La Tormenta” — which led the bandleader to sing for the first time in his career, “I had to start from zero, and it took me many years to feel comfortable,” Colón said.

This newfound independence gave rise to some of Colón’s most famous songs, including his 1995 track “Talento de Televisión,” an upbeat song with his signature trombone wailing in the backdrop as he sang about an attractive woman with a lack of talent.

Many across Latin America might be familiar with his 1989 song “El Gran Varon” — which narrated the story of a trans woman who is rejected by her father and presumably dies of AIDS — a landmark salsa song that brought awareness to LGBTQ+ themes during the AIDS crisis. Colón would later serve as a member of the Latino Commission on AIDS. “El Gran Varon” is an anthem to this day.

Colón released more than 40 albums in all.

He also acted, taking roles in films including 1982’s “Vigilante,” the 1983 sports drama “The Last Fight,” as well as one-episode stints in TV shows like “Miami Vice” and “The Cosby Show.” He was even featured in Bad Bunny’s “Nuevayol” music video, cutting a slice of cake; the 31-year-old superstar pays homage to the singer in its lyrics: “Willie Colón, me dicen el malo, ey. Porque pasan los años y sigo dando palo”/ “Willie Colón, they say I’m bad, because the years come and I’m still hitting.”

In his later years, he became more involved in politics. In 1994, he unsuccessfully went up against U.S. Rep. Eliot Engel of the Bronx in the Democratic primary. He also ran as a Democrat for Public Advocate in 2001, focusing on community issues, education and AIDS awareness, but failed to gain the popular vote. In 2008, he endorsed Hillary Rodham Clinton over Barack Obama in the primary election.

On May 26, 2014, after graduating from Westchester County Police Academy, Colón was sworn in as a deputy sheriff for the Department of Public Safety, later becoming deputy lieutenant.

As President Trump took office in his first term, Colón’s politics shifted in support of the right-wing candidate, and he said he would be open to performing at his inauguration in 2017.

Billboard magazine named him one of the most influential Latino artists of all time in 2018.

Colón is survived by his wife, Julia Colón, and his four sons and grandsons.

Youtuber KSI is the newest judge to the Britain’s Got Talent panel, joining the show permanently this year after a successful guest stint covering for Bruno Tonioli last year

KSI‘s first episode as a permanent member of Britain’s Got Talent’s judging panel didn’t get off to the best start, as a rule-breaking act led the audience to boo him.

During the show, one wowed the audiences and three of the judges, but not KSI. Dom and his dog Ninja were a parkour double act, and while their opener to the act – a video in which they did flips and jumps off of the Blackpool benches and landmarks – impressed KSI, he was unhappy with the rest.

The other judges were happy with the performance, and as such, KSI was the only one to say no to Dom and Ninja. When it was revealed that KSI has cats, the audience started to boo.

READ MORE: Britain’s Got Talent fans have the same complaint minutes into the first episodeREAD MORE: Bruno Tonioli’s Britain’s Got Talent exit explained after judge quit after two years

Ensure our latest headlines always appear at the top of your Google Search by making us a Preferred Source. Click here to activate or add us as your Preferred Source in your Google search settings.

This got the YouTuber riled up, and he began to shout back at the audience, loudly telling them: “Don’t boo my cats!” Meanwhile, Dec Donnelly, one half of the hosting duo Ant and Dec, said KSI had broken an unofficial rule on the show. “You don’t say no to dogs on Britain’s Got Talent, KSI,” he said to a camera. “It’s the rules.”

KSI is the newest judge on the panel, as this year is his first on the show. He filled in for Bruno Tonioli last year and has now taken over following Bruno’s departure.

Another guest judge on the show last year was Stacey Solomon, who filled in for Simon Cowell after he had a fall and injured his head. Judge Amanda Holden, who took over as the head judge when Simon was off, was thrilled to welcome Stacey to Britain’s Got Talent, praising her for bringing a great deal of warmth to the panel and drawing on her past experience from The X Factor in 2009.

“She’s so lovely, and I think we’ve got quite a similar style of judging,” Amanda reveals. “She’s warm, she’s super funny, she has a great understanding of what it’s like to be on the other side, because she obviously auditioned for The X Factor all those years ago.”

However, she was less pleased to be a head judge. “I must admit I hated sitting in that seat,” confessed Amanda. “I’ve been on the show the longest, so I understand why I probably need to sit in that seat, but when I was there, I felt very outcast on the end.”

Amanda concedes she felt vulnerable without a fellow judge on either side. “It’s OK if your team are sitting to the left of you – Simon’s got dozens of staff and family watching from the side and communicating with him.

“Mine all decided to eat my snacks and sit in the dressing room, paying no attention to the show or me whatsoever!” Amanda quipped.

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

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 sparkly pink electric guitar hangs on a wall of the recording studio where Hilary Duff made her new album. The cozy, gear-filled joint near the Van Nuys Airport belongs to her husband, Matthew Koma, who produced “Luck… or Something,” the singer and actor’s first LP in more than a decade. But as Duff points out on a recent afternoon, the paisley-print guitar is all hers.

“I got it for my 16th birthday,” she says proudly — a gift from the Fender company. “I found it in the storage unit and Matt was like, ‘Oh, that’s going up there.’”

Before Miley Cyrus, before Sabrina Carpenter, before Olivia Rodrigo, Duff arrived in the early 2000s as a Disney kid with pop-idol ambitions. She broke out in the endearingly awkward title role of the Disney Channel’s “Lizzie McGuire” then went on to star in family-friendly movies like “Agent Cody Banks” and “Cheaper by the Dozen.” By the time she received that guitar, she’d topped the Billboard 200 with her album “Metamorphosis,” which sold 4 million copies and spawned hit singles like “So Yesterday” and “Come Clean.”

Duff stepped away from music for most of her 20s to focus on acting and starting a family. (An attempted comeback album in 2015, “Breathe In. Breathe Out.,” didn’t really go anywhere.) Now, at 38, she’s returned with a bracingly honest record full of the texture and detail of her life as a wife, sister and mother of four.

In frank yet wordy songs that layer guitars and synths over shimmering grooves, Duff sings about trying to overcome old habits and about her fear that her best times are behind her. “We Don’t Talk” appears to address her estrangement from her older sister, Haylie, while “Weather for Tennis” describes her tendency to keep the peace as a child of divorce. In “Holiday Party,” she recounts a recurring dream in which Koma cheats on her with her friends.

“I wake up in a rage and he’s like, ‘I didn’t do anything!’” she says with a laugh. “And I’m like, ‘But you want to.’ A lot of this stuff came out of the hormonal boom of: I’ve just had a baby and I’m nursing and I’m trying to get my two feet back on the ground again.” (Duff and Koma have three daughters aged 7, 4 and 1, while Duff shares a 13-year-old son with her ex-husband, former hockey player Mike Comrie.)

Asked how he hopes the album fares commercially, Koma says, “I don’t [care]. Public perception or sales, that’s all cool, but it’s a separate experience from why we did it.” The producer, who’s known for his work with Zedd and Shania Twain, adds, “The whole purpose was to make something that Hilary could feel good about stepping into.”

Yet early-2000s nostalgia led to a recent run of sold-out theater gigs, and this summer it’ll carry her into arenas around the world, including Inglewood’s Kia Forum on July 8 and 9. (Less happily for Duff, it also made a viral sensation of an essay in the Cut by her fellow millennial Ashley Tisdale in which Tisdale wrote about leaving a “toxic mom group” that allegedly included Duff and Mandy Moore.)

Curled on a sofa in the studio’s control room, Duff says, “I’m finally at this place where I’m zero percent ashamed of my past and any of the things that used to embarrass me” — one reason she made the bold choice to open her set at the Wiltern last month with two of her biggest hits, “Wake Up” and “So Yesterday.”

After those songs came “Roommates,” perhaps the most vulnerable track on Duff’s new album. It’s about navigating a dry patch in a marriage, and the language is as vivid as it is unsparing: “I only want the beginning / I don’t want the end,” she sings, adding that she longs to be in the “back of a dive bar, giving you h—.”

A surprising word choice.
How would you have said it? Sometimes you need to make the lyrics fit — you need it to rhyme with something. [Laughs] It’s meant to be polarizing because it’s such a desperate plea. I can say I haven’t actually given h— in the back of a dive bar. But it’s just trying to capture the feeling of a time when you felt alive.

Like all teen stars, you had to figure out how to grow up and talk about sex as a public figure. Now there’s the idea that it’s better left to the young.
I finally feel like I know a lot about sex. My whole 20s, sex was not always enjoyable — it was so much to figure out. Now I finally understand it. Maybe that’s a female thing, but I’m not ready to be put out to pasture. People come up to me all the time and they’re like, “Wow, you aged really well.” I’m like, “I’m only 38! Just because you’ve known me since I was 9…”

You’re handling senior citizenship well.
When do I start getting the discounts? I feel like 38 is not old, although when I thought about my parents at 40, they looked so different than we look now.

I always stop at those TikToks where it shows what 35 looked like in 1982.
I don’t think anyone drank water back then. They were, like, dusty-crusty.

Hilary Duff, left, and Matthew Koma at Apple Music Studios in Los Angeles in December.

(Amy Sussman / Getty Images for Apple Music)

You borrow the chorus of Blink-182’s “Dammit” for your song “Growing Up.” Why?
Blink is one of my favorite bands. I remember getting my driver’s license, and that was what was playing on my iPod. “Growing Up” is such a deeply personal song to me, talking about sitting in the backyard with one of my best friends and just needing to drink too much wine and unload about life. But it also feels like a love letter to my fans. I don’t like saying that word, but I genuinely feel like I’ve had fans for 25 years, and getting to see them now in adulthood — I didn’t know I was going to have this opportunity.

What’s the problem with “fan”?
It puts me on a pedestal that makes me feel uncomfortable. If you were to talk to Matt or someone close to me, they’d probably say, “Hilary doesn’t understand what she’s meant to some people.” And I think that’s true. When I think of myself, I’m not like a grand pop star — I feel more like a woman of the people.

A woman of the people?
Am I allowed to say that? [Laughs] Is that offensive in any way? My feet hit the ground in the morning, and I’ve got a million things to do. Sometimes my baby’s still sleeping. And I have a teenager to get ready for school that we’re always all waiting on.

Why do you have four children?
I know — we’re sick.

Did you expect to have four?
I thought I would have at least three. I always wanted a big family because I come from a super small family and I always wanted more siblings. I had Luca obviously pre-Matt, and then we had Banks before we got married. Then the pandemic hit — we had a pandemic baby like everybody else. The fourth was just a crazy-a— decision. Matt was like, “Everybody’s gonna think we’re really Christ-y if we go for No. 4.” We also have three dogs, two cats and eight chickens.

As two artists, how do you sort out the work of child-rearing?
I don’t know if I’ve actually said this out loud — to Matt I have for sure — but I think that part of my wanting to make a record was coming out of having my fourth child. I love motherhood, obviously — I wouldn’t have four kids if I didn’t. But I think I felt really jealous that he got to go to work every day and just be alone with his thoughts. I was like, I need to stretch. That’s what it felt like after the fourth baby: I’m either gonna lose myself completely and just become a stay-at-home mom and wait for the phone to ring, or I’m gonna go make something that moves me.

You don’t need me to tell you that our culture is always happy to make moms feel guilty. Was it a journey to accept that it’s OK to do something for yourself?
That’s what the healthy part of the brain says. But the other part that’s wired to be with the children you birthed — sometimes that part overshadows it. And it’s very hard to fight that. I could probably cry right now thinking about all the things I’m gonna miss this year.

Hilary Duff in the studio where she recorded her new album.

(Jay L Clendenin / For The Times)

You’ve got a line in “Roommates” where you say, “Life is life-ing and pressure is pressuring me.” At the shows you just played, did you think of your audience as being at the same place in life as you?
For sure. When they were scream-singing it back to me, I was like, “Oh, you know.” That doesn’t mean you have to be a parent. “Life is life-ing” is the bills and the monotony and the traffic and the family — it’s all the things. I knew that if it’s bumping around inside my head, and I’ve been living a pretty normal life for 10 years — normal as I can get — then people would see themselves in it.

Twenty-five years ago, you were playing to 10-year-olds. Would a 10-year-old today be interested in your new songs?
I don’t think so. But I mean, I used to sing Natalie Imbruglia’s “Torn” all the time, and I had no idea what it was about.

The last decade has been a golden age for young female songwriters: Taylor Swift, Billie Eilish, Olivia Rodrigo.
You forgot Chappell Roan.

“Luck… or Something” feels aligned with that deepening craft. But maybe your early stuff felt sophisticated to you.
I don’t think the intent back then was sophisticated songwriting. There was no Taylor Swift yet — it’s like before Christ and after Christ.

She changed the game?
On all the levels.

How’d you end up on Atlantic Records? I wondered whether this was a product of personal friendships — the Elliot Grainge and Sofia Richie and Good Charlotte of it all.
We’re more personally friends with them now. I finished making the record and for the first time ever was like, “It’s done — do you like it?”

You weren’t looking for notes from the label.
I’m not saying I didn’t have meetings with A&R. But pretty much the record was created, and that was that. I didn’t go shopping anywhere else, which was fantastic because I hate a dog-and-pony show.

Did you feel like you’d been chewed up by the record industry in any way?
After “Breathe In. Breathe Out.,” it was very easy to be like, “RCA forced me to lead with this song when I knew it should’ve been this song.” But that was me not having [courage], you know what I mean? It was a joint effort of [messing] it up. But I learned a lot from that. I don’t think I would’ve made this record if I hadn’t fumbled the ball a little.

The story about the toxic mom group blew up just as you were launching this album. Did that experience give you pause about reentering the pop world?
I mean, this is not new for me. I’ve had this since I was maybe 15 and starting to get followed around by paparazzi. Everything starts getting documented and everyone knows my life and all the players in it. So the stories that get news pickup — it’s not what happens to a normal person who maybe became an actor as an adult. And now it’s escalated by the talking heads on TikTok that need clickbait. It’s hard because you’re like, “Wait, whoa, that person kind of got it right,” and “Whoa that person doesn’t know what they’re talking about.” I saw something that was like, “None of the moms at school actually like her and neither do the teachers,” and I was like, “First of all…”

Is it hard or easy for you to tune out —
By the way, the women at school are lovely and I’m obsessed with all of them.

But can you ignore the chatter about you on social media?
It just depends on the day. Knowing that I get to open up the backdoors and play soccer as a family and take a hot tub and go get our chicken eggs — that’s the purpose of life. On the days when crazy s— happens, I go home and quiet the noise.

Imelda Marcos’ fetish for fiendishly expensive shoes was a running gag in the 1980s. But did you know that she was also something of a disco queen?

The image of a jet-setting Marcos in her Beltrami pumps boogieing with arms dealers at fashionable New York nightspots is one of the inspirations of David Byrne’s musical about the notorious former first lady of the Philippines, who sang on the campaign trail for her husband, Ferdinand E. Marcos, and ruled with an iron fist alongside him after he declared martial law and plunged his nation into a brutal dictatorship.

“Here Lies Love,” which is having its Los Angeles premiere at the Mark Taper Forum, traces the political power couple’s rise and fall through a series of dance cuts that capture the irrational hold charismatic leaders can have on a public — at least while the music is blasting.

Byrne, the ingenious Talking Heads co-founder, conceived the show and wrote the music and lyrics. Fatboy Slim, a Grammy Award-winning DJ, musician and record producer, contributed to the music. The score, a mix of lush disco and synth pop with hints of island breezes and karaoke camp, brings a club-like energy to the stage.

Aura Mayari and the company of “Here Lies Love” at the Mark Taper Forum.

(Jeff Lorch)

I first saw “Here Lies Love” at New York’s Public Theater in 2013, when the production, directed by Alex Timbers, was staged as an immersive dance party. Audience members moved along a shifting dance floor as the love story between Imelda, a beauty queen from the provinces, and Ferdinand, an ambitious senator accustomed to getting what he wants, sourly played out amid the backdrop of a traumatic national story.

This sung-through musical pulled off something of a coup of its own. As Ferdinand, now president and philandering husband, and Imelda, his embittered wife dripping in compensatory luxury, shore up their “conjugal dictatorship,” theatergoers discovered that, while partying to the seductive beat, a political dystopia was solidifying around them.

Imagine if, in “Evita,” audience members were invited to sing back up on the balcony as Eva Perón belts out “Don’t Cry for Me Argentina,” accompanying her in her last manipulative hurrah. “Here Lies Love” seemed to want its audience to leave with an aftertaste of cognitive dissonance.

Audiences don’t usually like being duped. But voters need to be continually reminded that when they go to bed with a strongman, they’ll likely wake up without healthcare or voting rights.

“Here Lies Love” at the Taper doesn’t follow the Public Theater’s staging or the similarly immersive Broadway production by Timbers that followed in 2023. It’s a more straightforward presentation that keeps audience members in their seats, except for a moment when uprising is in the air and a few theatergoers are conscripted to join the ecstatic rebellion.

Jeff Lorenz Garrido, from left, Joshua Dela Cruz, and Garrick Goce Macatangay in “Here Lies Love” at the Mark Taper Forum.

(Jeff Lorch)

Snehal Desai’s direction is politically clear-eyed and scrupulous. Corruption, authoritarianism and censorship, as we’re learning firsthand, scandal after constitutional scandal, are no laughing matter. The question is whether “Here Lies Love” can bear the scrutiny of a more traditional musical.

There’s not a traditional libretto, so the story is transmitted mostly through song lyrics. But stump speeches, rallying cries and the theatrical guidance of Imeldific (Aura Mayari, alum of Season 15 of “RuPaul’s Drag Race”) help flesh out the chronicle.

This emcee figure, a Taper innovation, replaces the DJ role of previous productions and establishes the show’s metatheatrical frame. The opening number, “American Troglodyte,” underscores the American imperial role in the story and provides Imdeldific with a satiric banner that doesn’t let a smiling superpower off the hook.

William Carlos Angulo’s choreography is unfailingly kinetic, but participating in a party is more energizing than watching one at a remove. Yet the political case of Ferdinand and Imelda Marcos, a tale of celebrity and tyranny marching in lockstep, speaks so directly to our own time that I found myself gripped by the object lesson of this public saga, even if it’s not always easy to connect all the fragments, never mind distinguish between hard fact and fictional license.

I was particularly fascinated by the portrayal of Imelda (Reanne Acasio), whose political character seems to be shaped by personal disappointments and run-of-the-mill humiliations. Imelda is wounded not only by the philandering of Ferdinand (Chris Renfro) but by an even more painful injury inflicted by her first love, Ninoy Aquino (Joshua Dela Cruz), a politician determined to become the voice of his people.

Ninoy recognizes an essential incompatibility between them. Imelda lives for love while he has political work to do. He bids her adieu in the song “Opposite Attraction,” though fate will bring them together after Imelda and her husband gain power and Ninoy, as the leading opposition figure, becomes their prisoner and eventual victim of the chaos unleashed by their regime.

Joan Almedilla and the company of “Here Lies Love” at the Mark Taper Forum.

(Jeff Lorch)

Unfolding under the theatrical auspices of Imeldific, “Here Lies Love” retells the history of the Marcos years as a musical pageant. Imelda’s transformation, from shy, lowly country girl to “Iron Butterfly,” covering up her shame with jewelry from Tiffany and revealing a will every bit as hard as the diamonds she flaunts, is presented with music so catchy and compulsive that it has the force of historical inevitability

The grooves supplied by Byrne and Slim take not just the characters but the audience on a ride through a brutal anti-democratic period. Does the disco spectacle aesthetic treat this history too lightly?

The production seems wary of this criticism. A program note from dramaturg Ely Sonny Orquiza, attuned to the sensitivities of the large Filipino diaspora in Los Angeles, notes that the production, “featuring an all-Filipino cast and majority-AAPI creative team, is not intended as a definitive or comprehensive history, but as an entry point for dialogue and inquiry.”

The scale of damage perpetrated by the regime is still being collectively processed. One victim, Estrella Cumpas (Carol Angeli), makes the mistake of confronting Imelda, a childhood friend, and is taken into custody. She will have to stand in for thousands of others.

The design scheme certainly doesn’t want to spoil anyone’s good time. Arnel Sancianco’s sets, Marcella Barbeau’s lighting and the more glittering of Jaymee Ngernwichit’s costumes seem to place us in a retro Euro-style disco world, where fun is typically a function of the strength of the cocktails consumed.

But there’s a countermovement in the show, the People Power Revolution that gains momentum after the assassination of Nimoy. The funeral speech of his mother (Joan Almedilla) is turned into the galvanizing protest song, “Just Ask the Flowers,” in which something as basic as maternal love wakes the country to the madness around them. Desai, whose directorial work at the Taper thus far has brought together rave and rebellion, smoothly merges the Dionysian frenzy of the music with the nonviolent revolution that ended Ferdinand Marcos’ protracted dictatorship in 1986.

Dela Cruz’s stirring Ninoy standing tall against the patriarchal savagery of Renfro’s Ferdinand and the petty vindictiveness of Acasio’s well-drawn Imelda is a powerful call to action. Byrne and Slim’s score insists that not even death can stop the beat of this democratic spirit.

The production points out at the end that another Marcos, Ferdinand “Bongbong” Marcos Jr., Ferdinand and Imelda’s son, is now president. Perhaps the show’s final number can shed light: “God draws straight, but with crooked lines.”

Britain’s Got Talent returns on Saturday night – but without former Strictly star Bruno Tonioli as he quit the show in 2025 after just two years of service

Britain’s Got Talent fans will notice Bruno Tonioli is missing from the line-up when the show returns to ITV on Saturday night. The former Strictly Come Dancing judge exited the series after just two years.

Head judge Simon Cowell will be joined as usual by presenter Amanda Holden and singer Alesha Dixon as the long-running series returns for a 19th season. And the Bruno-shaped hole has been seamlessly filled by YouTube sensation KSI, who BGT fans will recall appeared on the 2025 season as a guest judge.

Fans of the ITV talent show were surprised when Bruno ditched rival BBC show Strictly to join the panel in 2023, replacing controversial judge David Walliams, who appeared on the panel from 2012 until 2022. After just two years and three seasons of red and golden buzzer bashing, Bruno decided it was time to vacate his Got Talent chair – but reportedly left the show on good terms. Here is a look back at the reason Bruno quit Britain’s Got Talent.

Ensure our latest headlines always appear at the top of your Google Search by making us a Preferred Source. Click here to activate or add us as your Preferred Source in your Google search settings.

READ MORE: Man who struggled to lose weight sheds 7 stone and gets abs after spotting Instagram ad READ MORE: Amanda Holden breaks silence on Celeb Traitors and ‘boring boring’ Strictly names

Why did Bruno Tonioli quit Britain’s Got Talent in 2025?

Despite appearing on BGT for three seasons, Bruno Tonioli is arguably still best known for being a judge on the BBC’s Strictly Come Dancing from 2004 until 2019. The Italian TV star is also a judge on the American version of Strictly – Dancing With The Stars – and has appeared on the panel across the Atlantic since 2005.

While Bruno had been able to balance judging both Strictly and DWTS, the filming schedule for Britain’s Got Talent proved to be too challenging – with clashes ultimately forcing Bruno to walk away. In a statement released last year, Bruno explained why he was leaving the ITV show – and threw his support behind his replacement.

The 70-year-old star said: “After three incredible series, I’ve sadly had to walk away from a job which has opened my eyes to so much incredible talent and step down as a judge on BGT.

“And whilst I look forward to filming a new series of Dancing with the Stars in the US, I will miss the chaos and joy that BGT brings, as well as all the wonderful people I’ve had the privilege of working with. They truly are a brilliant team who make brilliant television, and I know KSI will be a fantastic judge too, as he’s already proven this year.”

Bruno previously opened up to the Daily Mail about the strain the constant travel between the UK and the USA was having on him. He revealed: “There is no animosity, it was a mutual decision with both of us saying, ‘Listen, this is not going to work like it used to.’ I just couldn’t do the flying anymore. I don’t know how I survived that schedule. To be honest, it’s a miracle.”

What has KSI said of replacing Bruno as a BGT judge?

Britain’s Got Talent fans will recall seeing YouTube star and rapper KSI – real name Olajide Olatunji, 32 – filling in for Bruno at certain points during the 2025 season as his busy schedule kept him away from the UK. After wowing audiences as well as the fellow judges, KSI seemed like an obvious choice to take over from Bruno full-time.

The rap star has been enthusiastic about his promotion as a full-time judge – and vowed to help the panel uncover more undisputable talent via the ITV show. He said in a past statement: “I’m so grateful and happy to be a part of Britain’s Got Talent team for another season.”

He added: “I had such a good time last year, and I can’t wait to see some more top talent. I’m full of energy, ready to go, and can’t wait to make this the most entertaining BGT season ever. Let’s do this.”

What has Simon Cowell said about losing Bruno as a judge?

While head judge Simon Cowell, 66, has not explicitly commented on Bruno’s BGT exit, it has been reported that he supported the dance expert’s decision to leave – and consulted his young son Eric, 12, before announcing KSI as a replacement. A source told The Sun last year: “Simon’s been friends with Bruno for over 35 years and loved working with him on BGT.

“It was really tough knowing he had to let Bruno go because they couldn’t get the filming dates to work out with his commitments on Dancing with the Stars. Simon is always looking for new ways to keep the show evolving and loves to get the opinion of his young son. Eric was a big influence for Simon in choosing Bruno’s replacement. He’s obsessed with him and adores him. KSI is Eric’s favourite influencer. Plus, he’s been such a hit as a guest judge, and Simon recognises they need to keep the show different by moving forward to keep attracting the younger audience.”

The source added: “Bruno was popular with the grannies, but KSI is for the youngsters. KSI has a huge social media presence and Simon knows how important it is to keep the show more modern.”

Britain’s Got Talent returns to ITV and ITVX on Saturday night at 7pm.

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

Our present podcast era has bred a new generation of interlocutors from the public sphere, veteran interviewees turned journalists. Harper Simon is among the many pro musicians who have taken on the role of insatiably curious interrogator. The singer-songwriter, who is the son of Paul Simon, has made four solo albums and toured the country both as a solo artist and sideman, but it wasn’t until he was tapped by music manager Michael Lustig in 2016 to host an internet series called “Talk Show” that Simon found his new avocation.

The cream of Simon’s interviews have now been collected in “Thinking Out Loud,” which is published by L..A. imprint Hat & Beard Press. I chatted with Simon about the art of the interview, Pink Floyd and Ed Snowden.

✍️ Author Chat

I have found that people who have been interviewed a lot are good at interviewing others. They know how to avoid the banal and obvious questions.

I’m not a trained journalist, so the conversations were closer to what Andy Warhol’s “Interview” magazine used to be. More of a casual back-and-forth, rather than me trying to ask questions or having someone promote their product. So the book is really a combination of folks that I’ve known my whole life and others that I just asked to interview.

Interviewing public figures can be a very stilted experience. And then you wind up not getting much of anything.

Interviews with journalists are a funny thing. There is always this weird, uncomfortable hierarchical relationship, where the journalist might feel superior, or the subject feels that way. It creates this strange imbalance. The journalist might feel the need to wrest some hot information from the subject, or find some aha moment and then the subject gets their guard up. I feel like the interviews in my book are very relaxed. You’re going to get some truth, even if it’s a modest truth. There were some interviews I left out of the book because the subjects seemed too media trained or too guarded.

Some of your interviewees, like Eric Idle and Buck Henry, are people you’ve known your entire life, having grown up with your dad in that kind of very stimulating artistic milieu. Does that help or hurt?

I think I might get better material from folks like that. There’s a warmth there, but I’m also a huge fan of their work, so I want to hear about Eric Idle’s work with Monty Python, or Buck Henry hosting “Saturday Night Live.” There are still plenty of stories that I’ve never heard.

Harper Simon, the artist and son of Paul Simon, has released three solo albums and toured the country. His latest project is a collection of interviews.

(Demme)

Someone like Pink Floyd’s David Gilmour has been interviewed hundreds of times in his career. What is there left to ask?

It’s kind of like my father, where the legacy is so familiar and well-known, what is there left to be said? What is there left to say about “Dark Side of The Moon”? But it turned out to be a really good interview. He had some great things to say about [Pink Floyd founder] Syd Barrett, how Gilmour felt like the other members had behaved callously towards him at times. He also speaks with great warmth about his own family.

Harry Dean Stanton is in the book, and I have to empathize. He was by far the most difficult interview subject I’ve ever had to deal with. A man of few words.

It’s funny, because I wound up doing some projects with Harry Dean, like this big tribute event to help raise money for Vidiots in Eagle Rock, but even after all of that, we didn’t get any closer. He was a very hard person to know.

You interviewed James Woolsey, and you guys were definitely not on the same page, but the tone remains civil. Don’t you think it’s important to have a reasoned discourse with someone you don’t agree with politically?

Absolutely, but that was one that definitely became contentious at times. James Woolsey had been the former head of the CIA under Clinton. So I came into the interview feeling very outgunned. I’m not a trained political journalist. But somehow I had gotten it in my head that I was Abbie Hoffman and he was J. Edgar Hoover or something. This was 10 years ago, and Edward Snowden was the big story in the news. So I led with that, and Jim Woolsey, being a good CIA man with very strong convictions, felt that Snowden was a traitor. But then he said he would like to see him hung by his neck, which felt aggressive. Then things really went off the rails when we somehow got locked into a discussion about Israel and Palestine. I remember him saying to me, “You’re just parroting the talking points of the Muslim Brotherhood.” Now I found those words echoing in my thoughts when I listen to some people discuss the current situation. I respected him and enjoyed the conversation but it was intense. I thought I held my own reasonably well but he was a tough guy to get in the ring with.

(This Q&A was edited for length and clarity.)

📰 The Week(s) in Books

“‘Second Skin’ is more sociological than sexy; more anthropological than animalistic,” writes Meredith Maran.

(Los Angeles Times illustration; book jacket from Catapult)

Meredith Maran thinks Anastasiia Fedorova’s book “Second Skin” does a great job of busting open the taboo of what is commonly regarded as deviant sexual desire. The book “advocates for a person’s right to like what they like and to get it consensually,” writes Maran.

Victoria Lancaster has a chat with Emily Nemens about her new novel “Clutch” and the challenges of writing about midlife among a clutch of close female friends. “I was cognizant of balance and understanding the lazy-Susan of it,” says Nemens. “Making sure I was spinning all the way around the table and touching each piece in each storyline.”

Two new novels about game-changing women in history — Janet Rich Edwards’ “Canticle” and Paula McLain’s “Skylark” — find favor with Bethanne Patrick. What these books “get right about their very different heroines and time periods is that change doesn’t happen overnight. … [But] change can and does happen, one determined woman at a time.”

Finally, on the occasion of the new screen adaptation of “Wuthering Heights,” six authors weigh in on their love of Emily Brontë’s enduring romance novel.

📖 Bookstore Faves

Skylight Books on Vermont is a staple of the Los Feliz literati.

(Joel Barhamand/For the Times)

Let us praise Skylight Books, which for over 30 years has remained a pillar of its Los Feliz community, with the main shop and the arts annex just a few doors away from each other on Vermont Boulevard. Store manager Mary Wiliams tells us what her customers are sweeping off the shelves right now.

What is selling right now?

“Vigil” by George Saunders is our biggest seller right now. Aside from that, it seems like great recent fiction in paperback is dominating the bestseller list — “Rejection” by Tony Tulathimutte, “The City and Its Uncertain Walls” by Haruki Murakami, “Martyr!” by Kaveh Akbar, and “All Fours” by Miranda July all are books that keep on selling really well for us, month after month.

Do you sell more fiction than nonfiction, or is it a tie?

We sell a good amount of both, but fiction is the bigger seller. Especially literary fiction, which is our bread and butter. On the nonfiction front, “Everything Now” by Rosecrans Baldwin is a perennial bestseller out of our Regional section — it’s a great collection of essays about Los Angeles. And everything Patti Smith touches turns to gold, so her book “Bread of Angels” is also a hit here.

Your arts annex is unlike anything else in L.A. I suppose there is still a market for cool periodicals and expensive art books that the internet hasn’t knocked out?

Our goal with the annex is for it to be a place of discoverability — where you can find the weird cool art book, comic or magazine you didn’t know you needed. We hope even our customers who are well-versed in art books find something new every visit. A fair amount of what we carry isn’t widely available online in the U.S., so when we put it on our website in our Annex Picks section and advertise it in our newsletter, we get orders from around the country.

Skylight Books in Los Angeles is located at 1818 North Vermont Ave.

(Please note: The Times may earn a commission through links to Bookshop.org, whose fees support independent bookstores.)

Jesy Nelson’s documentary has brought the X Factor winners back into the spotlight – but what are they up to these days?

Little Mix’s unexpected split has come back into conversation following Jesy Nelson’s recent admission that another band member tried to walk away first.

Fans of the iconic group were left heartbroken when Jesy announced she was quitting the band in 2020, citing mental health reasons.

She left her bandmates Leigh-Anne Pinnock, Perrie Edwards and Jade Thirlwall to continue carrying the torch, but they soon went on a hiatus in 2022.

The X Factor winners’ legacy is still carried by their catchy tunes, which still attract over 16 million monthly listeners on Spotify.

In light of Jesy sharing behind-the-scenes truths about the band, let’s take a look at where they are today.

Jesy Nelson

Jesy has recently opened up about her life since leaving the band in a new Prime Video docuseries, Life After Little Mix.

The 34-year-old had a short-lived solo music career because her first single sparked backlash. She released ‘Boyz’ featuring Nicki Minaj in 2021, and followed it up with a music video.

Fans accused Jesy of ‘Blackfishing’ in the video, which featured her wearing makeup and fake tan that they claim made her appear Black or mixed-race. This scandal caused so much headache for the star that she vowed to never return to music in her new documentary.

Outside of music, Jesy was in a long-term relationship with ex fiancé Zion Foster, which came to an end earlier this month. The former couple welcomed twin daughters Ocean Jade and Story Monroe in May 2025.

Following their birth, the singer discovered they had a life-threatening condition called Spinal Muscular Atrophy (SMA) Type 1. The rare genetic condition causes progressive muscle weakness. Jesy is now campaigning to raise awareness about the condition.

Perrie Edwards

Perrie focused on her family life following the group’s hiatus in May 2022, as she had just welcomed her first son Axel months prior.

The 32-year-old has since welcomed daughter Alanis with footballer fiancé Alex Oxlade-Chamberlain. But she hasn’t forgotten about music. The mum-of-two released her debut album ‘Perrie’ last year and dropped new single ‘Woman in Love’ earlier this month.

Her first album featured the ballad ‘Same Place Different View,’ which is widely understood to be about her former bandmate Jesy.

The lyrics delve into the pain of losing a close friendship and how these losses can be just as devastating as romantic break ups.

For the latest showbiz, TV, movie and streaming news, go to the new ** Everything Gossip ** website.

Leigh-Anne Pinnock

Leigh-Anne also married a famous footballer named Andre Gray. The couple share twins but have kept their identities private.

As for her music career, Leigh-Anne has just dropped her first studio album ‘My Ego Told Me To’ and will be touring this April.

Announcing her tour to fans, she wrote: “I’m going on tour baby!!! I can’t tell you how excited I am to perform this album live for you! Get me back to my happy place nowww! This one’s going to be so special!”

Jade Thirlwall

Jade is also embarking on a tour, which spans across the UK, Europe and the US. It comes after her first album ‘That’s Showbiz Baby!’ dropped in September.

The 33-year-old bagged two BRIT Award nominations for Best Pop Act and Artist of the Year following her debut.

As for her personal life, Jade is in a long-term relationship with Rizzle Kicks members Jordan Stephens.

Jesy Nelson: Life After Little Mix is streaming now on Prime Video.

Ensure our latest headlines always appear at the top of your Google Search by making us a Preferred Source. Click here to activate or add us as your Preferred Source in your Google search settings.

KATIE Price appears to be planning to double down on defying her family’s warning about her husband – by marrying him for a second time.

The 47-year-old wed Lee Andrews last month in a whirlwind ceremony in Dubai just days after meeting in person.

However, concern was raised by her loved ones amid fears she’s being “conned for her fame and money”.

Despite this, Katie uploaded an AI generated image of a cartoon version of her in a wedding dress and asked fans: “Should this be my wedding dress?”

She then gave “yes” or “no” options in the poll alongside an emoji of the Union Jack.

It suggests she’s plotting a wedding back home – having had her five children missing from her first ceremony.

SLURRED SPEECH

‘Pregnant’ Katie Price slurs in video after Lee PUNCHED Kerry Katona’s man

ABUSE ROW

Katie Price dropped by women’s domestic abuse charity after rant at husband’s ex

The Sun revealed her self-proclaimed millionaire husband Lee punched Kerry Katona’s boyfriend in a dramatic fallout on their honeymoon.

And soon after, Katie – who claims she is pregnant with her sixth child – was heard slurring her way through a video message to a fan.

Pals fear it’s a “huge mistake” to be planning to have a child with Lee whose exes Alana and Crystal Janke claim they were hoodwinked by the businessman — branding him a lying swindler who preys on women.

Weeks after breaking up with Married At First Sight’s JJ Slater, Katie posted photos of her wedding proposal, with flowers spelling “Will you marry me?” at Dubai’s Burj Khalifa hotel. 

The pair had struck up a relationship on social media before their whirlwind wedding last month, days after they met in person. 

He has not yet travelled to the UK to meet her family or kids.

Katie Price’s relationship history

We take a look back at the highs and lows of Katie Price’s relationship history.

1996-1998: Katie got engaged to Gladiators star Warren Furman – aka Ace – with a £3,000 ring. But their relationship didn’t make it as far as ‘I do’.

1998-2000: Katie described Dane Bowers as ‘the love of her life’ but she broke up with the singer after he allegedly cheated on her.

2001: Footballer Dwight Yorke is the father of Katie’s eldest child Harvey. He has had very little to do with his son throughout his life.

2002: Rebounding from Dwight, Katie famously had one night of passion with Pop Idol star Gareth Gates, allegedly taking his virginity.

2002-2004: Katie was dating Scott Sullivan when she entered the jungle for I’m A Celebrity…Get Me Out Of Here!. He threatened to “punch Peter’s lights out” when chemistry blossomed between her and Peter Andre.

2004-2009: The jungle romance resulted in Katie marrying Aussie pop star Peter. They had two kids, Junior and Princess, before their bitter split in 2009.

2010-2011: Fresh from her break-up with Peter, Katie enjoyed a whirlwind relationship and marriage with cage fighter Alex Reid. They split 20 months after their Las Vegas wedding.

2011: Katie briefly dated model Danny Cipriani… but it ended as quickly as it begun.

2011-2012: They didn’t speak the same language, but Katie got engaged to Argentinian model Leandro Penna in 2011. He later fled home to South America.

2012-2018: Wedding bells rang once more after Katie met Kieran Hayler in 2013. They eventually called it quits after a rocky marriage.

2018-2019: Katie moved on quickly with Kris Boyson. They had an on-off romance for one year and even got engaged. They split for good in 2019.

2019: Katie was linked to Charles Drury during her on-off relationship with Kris. Charles, who also dated Lauren Goodger, has always denied being in “official relationship” with her.

2020-2023: Car salesman Carl Woods took a shine to Katie in 2020. Their relationship was up and down for three years. They broke up for a final time last year.

2024-2026: After weeks of rumours, Katie confirmed her relationship with Married At First Sight star JJ Slater in February 2024. The pair split in January 2026 after two years together.

2026: Katie shocked fans when she revealed she had married Dubai-based businessman Lee Andrews after a 48-hour engagement and only knowing him a week.

Disneyland Resort’s high percentage of California visitors has helped mitigate a dip in international tourists, an executive said Thursday.

More than 50% of the Anaheim theme park’s audience has typically been from California, Thomas Mazloum, president of Disneyland Resort, told reporters during a media event at Disney’s Grand Californian Hotel and Spa. As a result, the company has been able to quickly shift marketing focus to that audience, as well as its ongoing efforts to boost out-of-state attendance.

Walt Disney Co. had previously indicated a slowdown in international visitation at its U.S. theme parks in its fiscal first-quarter earnings call earlier this month.

Company executives said they expected to see “modest” growth in its operating income for its experiences sector — which includes Disney’s theme parks — due to “headwinds” in foreign visitation trends to its domestic parks, as well as pre-launch costs for its new cruise ship and a “Frozen”-themed land in Disneyland Paris.

And as Disneyland Resort hit its 70th anniversary last year, the park is looking to grow and find new audiences to stay relevant for the future.

Because of the large number of California visitors, the company recently expanded its traditional deal for Southern California locals to all residents of the Golden State. Disneyland Resort has also made its lowest-price entry ticket of $104 available year-round to active-duty members of the U.S. armed forces, and introduced a new summer promotion pricing a one-day, park-hopper kids’ ticket at $50 a day.

The theme park is also looking to attract more young families. To that end, Disneyland Resort will open an immersive theater experience called “Bluey’s Best Day Ever!” on March 22 at the Fantasyland Theatre, a nod to the massive appeal of Australian animated show “Bluey.”

“I continue to say how critical it is to expand the audience,” Mazloum said. “I still see a lot of opportunity for people who haven’t discovered Disneyland yet.”

Disney California Adventure’s Monsters, Inc. Mike & Sulley to the Rescue! ride will also stay open into 2027, Mazloum said. The ride was originally scheduled to be retired this year to make way for an “Avatar” ride and experience, but after some planning from the engineering and operations teams, it can now stay open without negatively affecting construction and project progress, he said.

The park is also looking to increase spontaneity for visitors, and will eliminate the current 11 a.m. start time for park-hopping later this year, allowing guests to move back and forth between the parks at their leisure, Mazloum said.

The plans for growth at Disneyland Resort come as Disney recently named theme parks chief Josh D’Amaro as its new chief executive. The theme parks sector he previously oversaw is Disney’s economic engine, providing the majority of the company’s operating income in the last few years.

Director Sang-il Lee sets his epic-scaled “Kokuho” in the vivid world of kabuki theater, but it’s not just the movie’s milieu that distinguishes it. Spanning 50 years and running nearly three hours, “Kokuho,” which has become Japan’s biggest live-action hit ever, evinces intensely mixed feelings about its two main characters’ quest for greatness. Kabuki is presented as an art form of balletic skill, but it can never fully redeem or repair the film’s central figures, who once were friends before ambition got in the way.

In 1964 Nagasaki, 14-year-old Kikuo (Soya Kurokawa) performs at a New Year’s event, impressing Hanjiro (Ken Watanabe), a beloved kabuki legend. But after Kikuo’s father, a yakuza crime boss, is murdered, Hanjiro takes the grieving teen under his wing. Soon, Hanjiro is training Kikuo and his own son Shunsuke (Keitatsu Koshiyama) in his Osaka studio to become “onnagata” — male kabuki actors who portray female characters. Both sweet and bashful, Kikuo and Shunsuke quickly grow close, enduring Hanjiro’s exacting requirements as he shapes them to be graceful, disciplined performers.

“Kokuho” then fast-forwards to the early 1970s as we meet the grown-up versions of Kikuo (Ryo Yoshizawa) and Shunsuke (Ryusei Yokohama). Now practically brothers, the young men are making their name as a well-regarded kabuki duo, but their personalities have begun to diverge. Kikuo remains soft-spoken, while Shunsuke is more of a partier and big talker, dominating their interviews with local journalists. Hanjiro still thinks highly of them both, although each pupil faces disadvantages. Kikuo is more gifted but in this nepotistic art form, being part of a respected kabuki lineage is crucial, something this yakuza scion doesn’t possess. Shunsuke, meanwhile, lacks his friend’s formidable technique, but because he’s Hanjiro’s son, his future prospects are practically assured. Kikuo and Shunsuke complement one another as performers but a shocking turn of events will sever their bond.

Adapting a novel by Shuichi Yoshida, Lee maps the arc of a friendship while exploring the minutiae of kabuki, both on stage and behind the scenes. (The movie’s Oscar-nominated makeup is an acknowledgment of the blinding-white face paint and bright red lipstick that kabuki actors wear to transform into their roles.) Much like ballet, kabuki necessitates precise choreographed actions: Not only does “Kokuho” provide generous samples of different kabuki pieces but also includes captions that list the title of the individual works and a brief synopsis. Rarely do these pieces directly echo the two men’s interpersonal drama, but the information adds context to the actors’ enchanting movements, which are backed by gorgeous outfits and striking set design that accentuate the mythical tales being played out.

Kikuo and Shunsuke’s fortunes shift over the decades — one of them will literally be kicked when he’s down on two separate occasions — but Lee doesn’t let us settle on a definitive impression of either performer. Our sympathies change as we witness both men’s failings as well as their enduring virtues. “Kokuho” is a hearty melodrama with a little bit of everything — sex scandals, betrayals, unlikely comebacks, health scares — but the film’s gaudy plot twists (which shouldn’t be spoiled) belie the filmmaker’s unsentimental attitude regarding stardom’s perils. Refreshingly, “Kokuho” is that rare film to be un-awed by talent alone. Both Kikuo and Shunsuke will enjoy high highs and low lows, but it’s their perseverance that ultimately means more than arbitrary benchmarks like “genius” or “brilliance.”

The film’s title translates to “national treasure,” another clichéd term thrown around when trying to categorize greatness. Kikuo and Shunsuke revere kabuki’s bygone giants, who are affixed with that moniker. But as “Kokuho’s” characters seek such an accolade for themselves, they come to realize how misleading it is. Yoshizawa and Yokohama bring abiding tenderness to their characters’ friendship while refusing to allow either protagonist to be reduced to a simple set of qualities. Kikuo’s delicate features suggest a pure soul, but Yoshizawa gradually reveals other sides to this gifted, haunted performer. And Yokohama ably depicts a privileged young man who rightly views his good fortune as both blessing and curse.

Their lives intersect, then disentangle, then return to each other’s orbit again. That elegant dance matches what we see on stage, the kabuki performances melding melancholy and beauty, anguish and catharsis.

The former Top Gear presenter admits he was blindsided by what he now sees as one of the gravest dangers facing young people, confessing “I simply had no idea”

Jeremy Clarkson has confessed he was caught off guard by what he now considers one of the greatest threats to young people today, admitting, “I simply had no idea.” In his column for The Sun, the former Top Gear host revealed that while he previously worried about conventional teenage dangers, he overlooked the fact that the most damaging influences were already accessible through their mobile phones.

Looking back on his time as a father, Clarkson explained: “When my kids were teenagers, I worried about them taking drugs and going on motorbikes, and I simply had no idea that the real danger was lurking in their telephones.”

His remarks follow the Government’s plans to strengthen laws targeting the distribution of non-consensual intimate images online. Earlier this week, Sir Keir Starmer announced intentions to bolster legislation requiring tech firms to delete such content within 48 hours of being flagged.

However, Clarkson maintains that the rapid pace of online sharing renders that timeframe impractical. “This is laughable because if someone uploads a topless picture of you, all your friends will see it within 48 seconds,” he stated. “Forty-eight hours on the internet is about four million years,” reports the Express.

The Prime Minister has positioned the proposed reforms as a key element of a wider effort to tackle online abuse directed at women and girls. Through an amendment to the Crime and Policing Bill, social media companies that don’t meet the two-day deadline for removing content could be hit with substantial fines or potentially banned from operating in the UK.

Starmer, who previously held the role of director of public prosecutions, said his past work gave him insight into the “unimaginable, often lifelong pain and trauma violence against women and girls causes.” He added: “As Prime Minister, I will leave no stone unturned in the fight to protect women from violence and abuse.”

Characterising the internet as an emerging frontline, Starmer stated: “The online world is the front line of the 21st century battle against violence against women and girls. That’s why my government is taking urgent action: against chatbots and ‘nudification’ tools. Today we are going further, putting companies on notice so that any non-consensual image is taken down in under 48 hours. Violence against women and girls has no place in our society, and I will not rest until it is rooted out.”

Clarkson, 65, doesn’t question the gravity of the problem. In fact, he believes it goes even deeper than politicians realise. He highlighted the HBO drama Euphoria, featuring Zendaya and Sydney Sweeney, as a stark illustration of the challenges confronting today’s teenagers. “What Starmer needs to do is watch a TV show starring Zendaya and Sydney Sweeney. It’s called Euphoria and God knows what possessed me to tune in — teenage angst and a lot of male nudity is not my thing normally — but Lord, I’m glad I did,” Clarkson remarked. “I know it’s a drama but if only half of the issues are real, society has a serious problem.”

For Clarkson, the programme highlighted how online culture has amplified adolescent experiences. He outlined the troubling aspects he believes have become widespread: “The bullying. The d*ck pics. The revenge porn threats. And a very real sense that if you say or do something that is considered out of line by an ‘unseen woke police force,’ that’s you done.”

While he acknowledges that Starmer is correct to concentrate on social media’s effect on teenage girls, he doubts whether a 48-hour takedown requirement is adequate in reality. “Starmer is right to be thinking about the effect social media has on teenage girls. But suggesting that a platform must take down revenge nudes and deep fake pictures within two days demonstrates he does not understand the scale of the problem.”

SCOTTY T relies on money from his mum to stay afloat – as his lawyer calls the new dad’s bank balance “bleak”.

The finances of former Geordie Shore star – real name Scott Timlin – were laid bare as he appeared at Southwark Crown Court yesterday alongside Towie star Yazmin Oukhellou and Love Island star Jamie Clayton.

They all pleaded guilty to communicating an invitation or inducement to engage in investment opportunities.

The court heard Timlin has 2.7m followers on Instagram but he relies on nightclub appearances and his income from OnlyFans to make £34,000 a year.

Laura Miller, representing Timlin, said: ‘His post was scripted and he said what he was told to say. He accepts he was reckless.

“Mr Timlin is not a man of extensive means. He earns money via an agent but also does receive other money for example an OnlyFans.

CELEB SCAM

Towie & Love Island stars admit plugging dodgy investments in ‘finfluencer’ plot

SCOTTY’S HELL

‘I was out 7 days a week doing drugs’, says Scotty T as he opens up on arrest

“For the last 12 months his yearly income was around £34,000.

“As often said there is the Instagram world and the reality. Mr Timlin’s bank statements make it very clear the lifestyle he lives in the public eye is not the lifestyle he actually does lead.”

She said he relies on extra money sent by his mother.

She continued:”He made his name on Geordie Shore and won Celebrity Big Brother but that was as far back as 2016.

“Although he’s done some TV work since Geordie Shore ended in 2019 those were the programmes he made his name from.

“He now relies extensively on the promotional world being paid to attend bars and nightclubs for events.”

She said his opening and closing balances for the last three months “make for bleak reading”.

Timlin has recently become a father, and opened up to The Sun about how his son has changed his life.

He joined Geordie Shore in 2012 and gained himself the nickname Turbo T for his womanising ways.

Admitting he was out seven days a week doing cocaine as he opened up about his drug-drive arrest for the first time, he told us: “I felt like I was just getting drunk and I was on coke and all sorts,” he admits.

“It was just like every night getting drunk, waking up and then going out again.”

Timlin, 37, was fined £938, Oukhellou £975 and Clayton was given a £820 fine. All the celebs will pay a £1,000 contribution to prosecution costs.

Welcome to Screen Gab, the newsletter for everyone who is feeling mighty nostalgic about the ’90s and early aughts.

On Thursday night, we learned that Eric Dane died at 53 after a battle with ALS, also known as amyotrophic lateral sclerosis or Lou Gehrig’s disease. The actor was known for his mid-2000s role on ABC’s medical drama “Grey’s Anatomy,” where he earned the moniker “McSteamy” as Dr. Mark Sloan, a plastic surgeon. Coincidentally, yesterday marked the 20th anniversary of his first appearance on “Grey’s.” More recently, he appeared in HBO’s teen drama “Euphoria” as Cal Jacobs, a very complex father to Nate (Jacob Elordi), one of the central characters. The actor will appear posthumously in the show’s third season when it returns in April. Dane remained busy in the past couple of years, having also appeared in the one-season action series “Countdown” on Prime Video and in an episode of ABC’s “Brilliant Minds.” If you want to go further on Dane, Netflix announced this morning that an episode of the docuseries “Famous Last Words” featuring the actor was available. The show consists of an interview with a notable subject, and is only released posthumously.

If you want another trip down memory lane, last week saw the arrival of FX’s “Love Story: John F. Kennedy Jr. & Carolyn Bessette,” which takes a closer look at the famous couple who unexpectedly met a tragic end. The show fully immerses you in the culture of New York in the ’90s, complete with Calvin Klein ads, tabloid magazines with zany headlines and partying at the Roxy nightclub. Connor Hines, the creator of “Love Story,” spoke to us about the show, which you can read below.

Also in this week’s Screen Gab, we recommend an Irish series on Netflix from the creator of “Derry Girls” and another nostalgic docuseries about “America’s Next Top Model.”

ICYMI

Must-read stories you might have missed

Grace Van Patten and Jackson White of “Tell Me Lies” at American Quick Start & Gas Inc. in Brooklyn, N.Y.

(Dutch Doscher / For The Times)

On ‘Tell Me Lies,’ Grace Van Patten and Jackson White’s toxic (onscreen) relationship ends: After three seasons, “Tell Me Lies” comes to an end. Creator Meaghan Oppenheimer unpacks the series finale alongside stars Grace Van Patten and Jackson White.

Missed ‘Scrubs’? They did too, and now they’re back making the rounds: Donald Faison, Zach Braff and Sarah Chalke spoke about reuniting for the revival of the beloved medical comedy created by Bill Lawrence and now helmed by Aseem Batra.

‘Baywatch’ casting call brings back ’90s with in-person auditions, red suits and ripped bods: About 2,000 people flocked to Marina del Rey on Wednesday in hopes of landing a role in the upcoming “Baywatch” reboot, which the production hopes will be a boon for Hollywood.

How ‘The Pitt’ portrayed a rape kit exam sensitively with the help of experts: To portray the exam shown in Episode 7 accurately, the show’s writers and actors consulted with experts from the UCLA Health Rape Treatment Center and Pittsburgh Action Against Rape.

Turn on

Recommendations from the film and TV experts at The Times

Bronagh Gallagher, back left, as Booker, Shauna Bray as Midwife, Saoirse-Monica Jackson as Feeney in “How To Get To Heaven From Belfast.”

(Christopher Barr / Netflix)

“How to Get to Heaven From Belfast” (Netflix)

Lisa McGee, whose “Derry Girls” was the toast of 2018, returns with another comedy of Irish women in a mad place. Three friends since school travel to a one-taxi, one-hotel town for the wake of an estranged fourth: Saoirse (Roisin Gallagher), an award-winning television writer who can’t seem to keep her engagement ring on her finger; Robyn (Sinéad Keenan), a busy, bored rich wife and mother; and Dara (Caoilfhionn Dunne), who has been stuck, or has stuck herself, caring for her mother. All share a dark secret they hope to keep buried, but which has begun to poke its head above ground. What, and who, they find, and don’t find, kicks off a manic mystery, served with a side of car trouble, hangovers, a storm, a blackout, oddball supporting characters and a little romance, not necessarily in that order, with sharp, funny dialogue driving it along. And that’s just the beginning. — Robert Lloyd

A still of “America’s Next Top Model” contestants, clockwise from far left, Nicole Panattoni, Adrianne Curry, Elyse Sewell, Kesse Wallace, Robbyne Manning, Giselle Samson, Shannon Stewart and Ebony Haith as featured in “Reality Check: Inside America’s Next Top Model.”

(Courtesy of Netflix)

“Reality Check: America’s Next Top Model” (Netflix)

“We were all rooting for you!” was the cry heard ‘round the world from Tyra Banks, the host and creator of the reality TV series that aimed to find the next fresh face of magazine covers and fashion runways. But viewers learn in this docuseries that what we saw on screen didn’t tell the whole story. From allegations of sexual assault to discord among the judges, “America’s Next Top Model” had a lot of problems, many of them relating to the fact that a show like it hadn’t been done and producers were inexperienced in handling serious issues on set. “Reality Check” features candid interviews with former contestants including Shandi Sullivan, Keenyah Hill, Tiffany Richardson (recipient of that famous “rooting” speech) and Banks herself. — Maira Garcia

Guest spot

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

Sarah Pidgeon as Carolyn Bessette Kennedy and Paul Kelly as John F. Kennedy Jr. in “Love Story: John F. Kennedy Jr. & Carolyn Bessette.”

(FX)

The latest anthology series produced by Ryan Murphy dramatizes the true-life romance between John F. Kennedy Jr. and Carolyn Bessette that gripped the culture in the ’90s. Nearly three decades after their tragic deaths, FX’s “Love Story” revisits the tumultuous seven-year relationship between the pair. JFK Jr. (Paul Anthony Kelly) spent his life navigating the public spotlight as the son and namesake of an assassinated (and beloved) president, and Bessette (Sarah Pidgeon) was a publicist working at Calvin Klein. Inspired by Elizabeth Beller’s book “One Upon a Time: The Captivating Life of Carolyn Bessette-Kennedy,” the nine-episode series chronicles the couple’s whirlwind romance and their struggle to maintain their relationship under intense media scrutiny before their deaths in a 1999 plane crash. The first four episodes are streaming now on Hulu and Disney+, with new episodes released weekly on Thursdays. Connor Hines, who created the series, stopped by Guest Spot to discuss what intrigued him about the couple’s plight and the early aughts rom-com that he admires. — Yvonne Villarreal

You were a child when the love story of John F. Kennedy Jr. and Carolyn Bessette — as well as that fateful flight — generated intense media attention. What do you remember about their story? What stood out then?

My father commuted into Manhattan every day for work and always brought home the New York Post. I have vivid memories of seeing photos of them splashed across the cover. I knew about the Kennedy family, of course, but I couldn’t fully grasp the choke hold John F. Kennedy Jr. had on the country at the time. The scale of the fascination was something I only truly understood later.

Why does this story feel worth revisiting now? And did any modern couples in the spotlight become reference points as you unpacked questions about public fascination while weaving together this story?

We’re living in an attention economy, so a couple beset by obsession and scrutiny feels especially resonant right now. There are, unfortunately, far too many examples of women who marry high-profile figures only to be harangued for expressing anything other than gratitude and graciousness. That dynamic hasn’t disappeared — it’s simply evolved.

The series grapples with the media invasion that swirled around them. Some critics contend that dramatizing their story for television reignites it. How do you see it? And how did that inform your approach to telling this story?

They’ve been memorialized as these beautiful, one-dimensional fashion figures whose marriage buckled under immense pressure. The series felt like an opportunity to course-correct a dated and misogynistic narrative, especially surrounding Carolyn — and to add dimension to two people who were far more complex than the images and tabloid stories written about them.

You seemingly had a lot of material to draw from and public moments in their relationship timeline to focus on. What was a moment that most fascinated you?

I was personally drawn to Carolyn’s rich life before she became a public figure. She was incredibly sharp, savvy and dynamic — she ascended from folding sweaters at a Calvin Klein store in the mall to becoming a muse and trusted advisor to Calvin Klein himself. I don’t think people fully appreciate how much she gave up to be with John.

What have you watched recently that you are recommending to everyone you know?

“Dying for Sex” [Hulu, Disney+]. “Adolescence” [Netflix].

What’s your go-to “comfort watch,” the movie or TV show you go back to again and again?

“Something’s Gotta Give” [Tubi], or anything by Nora Ephron. I’m also an unapologetic champion of the Bravo network.

Eric Dane said he first shut down emotionally at just 7 years old, when navigating his father’s sudden death from a gunshot wound in a bathroom at his family’s home.

It wasn’t until his diagnosis with ALS decades later that the seasoned actor felt his own spirit return, Dane said in an interview released Friday on Netflix. The actor died Thursday at 53 following a public battle with the disease. The nearly hour-long interview, filmed in November, is part of the docuseries “Famous Last Words,” which features posthumous interviews with notable figures — the first centered on conservationist Jane Goodall and released two days after her death.

The actor spoke candidly about his debilitating disease, saying it “made me a little bit softer, a little bit more open.” The intimate conversation was conducted by television producer Brad Falchuk, who executive produces “Famous Last Words.”

“All I’m left with is me,” Dane said. “It’s kind of a f— up way of realizing that you were enough the whole time, when everything gets taken away and all you have left is this person.”

In the episode, Dane’s speech is noticeably slurred, and he sits in a motorized wheelchair while speaking to Falchuk. He’s thoughtful and responsive throughout as he reflects on his life and career, which spanned more than three decades.

“I didn’t think this was gonna be the end of the road for me. This was never part of the story I created for myself,” Dane said.

The actor described himself as a complainer during the interview, adding that he’s “always historically been the guy that would b— and moan on his way to doing anything, but my spirit has been surprisingly pretty buoyant throughout this journey.”

A final message to his daughters

Dane stared straight into the camera in the last few minutes of the Netflix special, his voice wavering when tears welled up in his eyes. He directed his parting words to his two daughters, Billie, 15, and Georgia, 14, sharing four lessons he’s learned from ALS.

“Billie and Georgia, you are my heart. You are my everything. Good night. I love you. Those are my last words,” Dane said.

Dane married Rebecca Gayheart, the mother of his children, in 2004 and the couple separated in 2017, though the divorce was never finalized. They maintained a friendship after their separation, though, and Dane said he had “never fallen in love with another woman as deeply as I fell in love with Rebecca.”

Dane said he spent most of his life “wallowing and worrying in self-pity, shame and doubt.” But with ALS, he was “forced to stay in the present,” he said, which he encouraged his daughters to do.

Eric Dane, left, in conversation with Brad Falchuk on “Famous Last Words.”

(Courtesy of Netflix)

“I don’t want to be anywhere else. The past contains regrets. The future remains unknown, so you have to live now,” Dane said. “The present is all you have. Treasure it. Cherish every moment.”

Dane also encouraged his daughters to fall in love, not just with people, but with something “that makes you want to get up in the morning,” he said. For Dane, that love was acting, which “eventually got me through my darkest hours, my darkest days, my darkest year,” he said.

The actor, who was open about his struggles with addiction, had been sober for nine years before slipping back into drug and alcohol use during a writer’s strike that halted “Grey’s Anatomy” production in 2007.

Dane told his daughters they inherited his resilience and urged them to “fight with every ounce of your being, and with dignity.”

Dane added: “This disease is slowly taking my body, but it will never take my spirit.”

ALS diagnosis brought peace

Aside from throwing a few punches to people who “deserved it,” Dane said he had no crazy confessions to make as the interview came to a close.

“I’ve never murdered anyone, Brad,” the actor joked to Falchuk.

The actor assured he lived a life full of fun, whether healthy or unhealthy. His fruitful career took off with his role as Dr. Mark “McSteamy” Sloan in “Grey’s Anatomy.” The gig started as a one-time guest role but “ignited a fan hysteria so intense,” Falchuk said, that the show was rewritten to make Dane a leading man.

Dane further cemented his legacy when he portrayed Cal Jacobs in “Euphoria,” a complicated character who leads a double life, which Dane said he related to. “I know what it’s like to not have my inside match my outside,” he said, referencing his long-standing battle with drugs and alcohol addiction.

His ALS diagnosis freed him from a constant state of self-judgment, Dane said, and helped him realize that he was always “absolutely more than enough.”

“I hope I’ve demonstrated that you can face anything. You can face the end of your days, you can face hell, with dignity,” he said.

IT was the long, hot summer of 1995, John Major was in No10 and Blackburn Rovers were Premier League champions.

The music charts had been dominated by acting duo Robson and Jerome, until one crazy week in August when Britpop’s heavyweights began slugging it out.

Oasis and Blur released their new singles Roll With It and Country House on the same day in a race for the No1 spot — and the nation was absolutely mad for it.

It was an era-defining, pop culture moment, billed as North v South, working-class v posh boys and sing-along anthems v lyrical sophistication.

Yet even their most ardent fans would have struggled to imagine that 30 years down the line the rivalry in all its boozy, sweary glory would be transformed into a theatrical production.

The Battle — which opened at the Birmingham Rep theatre this week — is a comedic caper that tries to recreate the 90s vibe.

Girlband star says group were ‘banned from eating carbs and called ‘fat w****s’

‘LESS INSECURE’

Stepping back was key to finding our confidence says Mumford & Sons’ Marcus

So Oasis frontman Liam Gallagher — played by George Usher — is seen snorting lines of coke, swigging champagne and threatening to knock Blur singer Damon Albarn’s block off.

And the production includes more uses of the C word than have been uttered in much of the rest of British stage history put together.

The play’s writer, best-selling novelist John Niven, tells me he had to explain the context of the expletive-laden script to the actors.

He said: “The young cast found some of the language challenging at first.

“I had to say that that was just the way people spoke back then. It was more full-on and a much more unfiltered time.

“There’s five or six c***s in it but I guess that’s a lot for the theatre.

“But there’s no way you could accurately reflect those musicians over a five-month period without a few C-bombs dropping. It wouldn’t be authentic.”

John, 60, said he took inspiration for the narrative from a comment by Oasis manager Alan McGee about the rise of his band from a tough Manchester suburb.

He recalled: “Alan said, ‘The thing is, Blur think this is all good media fun but you’ve got five lunatics off a council estate in Burnage who actually want to f*****g kill them’.

“Blur moved the release date of their record to coincide with the Oasis single, so Liam thought, ‘Right, they’ve offered us out’.”

With actor George, 21, successfully aping Liam’s loping gait, he also gets to deliver the most one-liners.

John, who spoke to Blur’s bassist Alex James while writing the play, added: “Someone like Liam is so seductive to write for.

“Noel and Liam are both very funny in completely different ways.

“Noel is really dry and has got great timing, like a stand-up comedian, while Liam is much more surreal, random and unfiltered. He’s a delight to write dialogue for.

“Sometimes you think, ‘F***, have I gone too far there?’

“And then you could go online and find an interview with Liam where he said something ten times crazier.”

John — who began writing the play in 2023, long before the triumphant Oasis reunion last year — also had to explain to the young cast how the Britpop battle came to dominate the national conversation.

He said: “It was such a big cultural phenomenon. The whole country, from six-year-olds to 60-year-olds, knew about it.

“It went from the music papers to the broadsheets to the tabloids to News At Ten. Back then, things spread via radio, TV and the Press, whereas now the culture is so atomised.

“I’ve got teenage kids and you can have acts with a billion TikTok followers who play Wembley Stadium and I’ve never heard of them.”

After a blast of Blur’s Girls & Boys, the play begins at the February 1995 Brits, where Blur won four awards to Oasis’s one.

Collecting the prize for best British group, Damon insisted: “I think this should have been shared with Oasis.”

Interviewed later, Noel Gallagher said: “As far I’m concerned, it’s us and Blur against the world now.”

But the love-in didn’t last. Later that year Noel said of Blur: “The bassist and the singer, I hope the pair of them catch Aids and die because I f***ing hate them two.”

(The guitarist would later appologise, insisting he was “f***ed” on drugs when he made the remark).

When John began writing the play, he recalled the resentment that had built up between the bands in a few short months.

The former music company executive who was at the Brits that year, added: “I thought. Now there’s a dramatic arc.

“Back in February they had all been mates with Noel giving an interview saying, ‘It’s us and Blur against the world now’.

“Now he was saying he hoped they died.”

Then, in August Oasis’s record company Creation announced their new single Roll With It would be released a week before Blur’s Country House.

John added: “Blur’s manager Andy Ross was worried that Oasis would have a massive No1.

“Back then a single could top the charts for a month so Andy was worried the Blur would be stuck at No2.”

Andy, played by Gavin and Stacey star Mathew Horne, decides to move Country House’s release date forward to coincide with Oasis and all hell was unleashed.

The then influential music magazine NME produced a front cover with the headline, British Heavyweight Championship, Blur v Oasis.

A then 29-year-old Clive Myrie reported breathlessly for the BBC News At Ten on the brewing rivalry.

Like the Beatles and the Rolling Stones in the 1960s, the two bands divided friends and families into rival camps.

An exclusive in the The Sun revealed that Oasis-mad Mandy Vivian-Thomas had kicked out her husband Richard for being a massive Blur fan.

Richard said: “Mandy’s been a nightmare. She’s spent a fortune on trash about Oasis and the last starw was using my card to buy their record.

“I’m out on my ear but I’m hoping things will calm down.”

Headlined, You Blurty Rat, the Sun article takes centre stage in The Battle.

It’s cited by Blur guitarist Graham Coxon as a symptom of how the chart battle has seen his band drift away from their indie ideals and into the mainstream.

John explained: “It became apparent how different the two bands were because I think Noel and Liam loved being in the tabloids and wanted to be that big.

“They had no problems with having loads of reporters outside their door. They thought, ‘We want to be the biggest band in the world and this is part of it’.

“But I reckon Blur found it all much more uncomfortable, especially Graham. That when you get that big you’ve got the tabloids banging on your door.

“I think he thought, ‘This is getting crazy now.’”

In the end, it was Blur who would win the Battle of Britpop with Country House topping the charts but Oasis would go on to have a more stellar career.

John added: “Damon and Noel are pals now.

“When men are in their 20s and 30s and they’re really ambitious, they’re all claws and teeth, sharp edges and hustling.

“You hurt people trying to get where you want to be but I think as men get older in their 40s and 50s they get a lot nicer and they calm the f*** down a bit.”

John hopes the play will transfer to the West End after runs in Birmingham and Manchester.

“I don’t think we’ll see a time when two bands dominate the national consciousness in a way like that again,” he said.

“It’s almost impossible to imagine.”

TOUCH OF TARANTINO

EFFING and jeffing as he struts around the stage like a rampant chimp, George Usher has Liam Gallagher down to a tee.

I’m supping a lager in the stalls at the Birmingham Rep, where if you suck your gut in and comb your hair forwards, it could be 1995 all over again.

With blasts of their hits, and aided by newsreel and radio clips, the great Battle of Britpop is fought once again.

The dialogue is pacy, comedic and very sweary. Yet with two bands, assorted managers and girlfriends to cover, there is little time for character development.

However, just as the play seems to be running out of narrative, it plunges into a Quentin Tarantino-esque sequence.

It’s a fittingly surreal end to this parable of a drug-addled decade.

★★★☆☆