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Artificial intelligence music company Suno is going retro — eventually.

The Cambridge, Mass.-based AI company has announced Suno Vinyl, a service that will press users’ generated AI tracks onto vinyl records. It has not gone live. The company has started a waiting list, with the first pressing reserved for users who sign up. A Suno spokesperson said the company is exploring ways for people to turn their music into physical artifacts.

“Press a banger, because it’s too good to live on a screen,” Suno wrote on its website.

Users will be able to build a tracklist of up to 46 minutes from their Suno library, then either upload their own album artwork or generate it on the platform for the sleeve, labels and cover. Each record will be a 12-inch pressing made from PETG, a type of plastic. Pricing is estimated about $45 plus shipping. Suno has not said who will press the records.

Vinyl records have seen a major resurgence ever since millennials brought the format back into mainstream culture in the 2010s. Over the years, it’s become customary for major musicians to release several vinyl variants to help promote their latest album. Olivia Rodrigo most recently released roughly 10 variants of her new album, “You Seem Pretty Sad for a Girl So in Love,” in June.

Last year, vinyl record purchases accounted for more than $1 billion in U.S. sales, up more than 9%, according to the Recording Industry Assn. of America’s annual report. It was the first time vinyl revenue topped $1 billion since 1983.

The format sold 46.8 million units, against 29.5 million CDs in 2025.

Suno, founded in 2022, has established itself as a leader in AI music tech and maintains an office in Venice. In February, the company said it had surpassed 2 million paid subscribers and was on pace for $300 million in annual revenue. In June, raised more than $400 million in a Series D round led by Bond Capital, more than doubling its valuation to $5.4 billion from $2.45 billion less than a year earlier.

The growth has unfolded as the company fights on several legal fronts. Suno and its competitor Udio were sued for copyright infringement in 2024 by the RIAA on behalf of the industry’s biggest labels, including Warner Music Group, Universal Music Group and Sony Music Entertainment.

WMG was the first of the three to settle with Suno, reaching a deal last November that included a licensing agreement, Suno’s first partnership with a major label, and the sale of Warner’s Songkick concert platform to Suno.

The UMG and Sony litigation is ongoing, with a fair use hearing set for Massachusetts federal court and the labels seeking to expand their complaint. Suno also lost a case brought by German collecting society GEMA last week and is defending against legal actions from Denmark’s Koda.

Separately, class action suits against Suno and Udio have drawn support from more than 1,800 independent artists who say their recordings were used without permission to train the company’s models.

Suno has not said whether users will be able to press tracks that resemble copyrighted work, what rights users hold in the records they order, or whether the company takes a cut.

As AI creeps further into the music industry, copyright remains the sticking point — now on a format that fans seek precisely because a person made it.

MILLIE Mackintosh was visibly emotional as she moved into a rental home following her marriage split.

In February, it was revealed Millie and husband Hugo Taylor had separated after seven years of marriage and welcoming two daughters.

Taking to Instagram, she posted a video documenting bringing her belongings to the new rental house.

Millie captioned the update: “I filmed this a couple of weeks ago while getting the house all set up and cosy before we moved in.

“Box after box, room after room, there’s something oddly satisfying about putting together flat pack furniture with your own two hands.

“Especially when you don’t even own a screwdriver.”

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Continuing, the Made In Chelsea alum referenced the “new chapter” and “somehow finding a bit of strength” amid chaos.

Millie also thanked her friend Lucie Hirst for “holding her hand” throughout the process of finding a rental property.

One person commented: “Sending love. I’m sure it will feel like home in no time.”

Another wrote: “You got this and you dont have to heal on your own really. Just let the light shine through you.”

While a third penned: “I’m about to do the exact same thing with my two little girls.

“I’ve healed alone and sat in my grief not filled the void. It takes a lot of strength.”

An insider told the Daily Mail at the time of the split: “They have known each other for many years, and in recent weeks, have had serious conversations about their future, ultimately deciding it’s better for them both to part ways.

“Their main priority remains their children and family life, and separating is not something they ever hoped would happen.”

Both Millie and Hugo were original cast members on Made In Chelsea when the show launched in 2011.

Millie left the programme in 2013, while Hugo departed from the show one year earlier.

“Teenage Sex and Death at Camp Miasma” is a witty, gory slasher-romance that feels so personal to writer-director Jane Schoenbrun that they’ve essentially sliced out their soul and smeared it on the screen.

“Hacks’” Hannah Einbinder plays a rising director named Kris, a Sundance darling and Schoenbrun avatar of sorts who wants to convince a long-forgotten scream queen named Billy Presley (Gillian Anderson) to star in her next movie. It’s a resurrection of the fictitious “Camp Miasma” franchise, a hack-’em-up about hormonal camp counselors slaughtered by a gender-bending, spear-wielding killer called Little Death, who has an air-conditioning vent for a face. (The reason why sort of makes sense when you see his lair.) Billy played the final girl in the 1983 original film, then disappeared. And so Kris heads out to Billy’s snowbound hideaway — which just so happens to be where the movie was shot.

Young Billy (a riveting Amanda Fix) imprinted on Kris in a way she can’t articulate. Smoking weed with the real woman will hopefully help. Anderson’s Billy steps out of the shadows with a full face of femme fatale makeup and a syrupy Dolly Parton drawl, promptly serving Kris enough fried chicken to feed a bobsled team. Has Anderson ever had more fun onscreen? Her performance presents as camp, but her dynamic range of loud cackles and quiet glances is fabulous.

Acting in a film within a film, Fix’s version of teenage Billy is so nervous it seems impossible she’ll become Anderson’s diva. You can practically hear the girl’s heart beating so loud that it breaks your own. The two Billys almost snatch the movie from under its lead. But then toward the climax, Einbinder has a powerful close-up that puts the film back in her pocket. (Metaphorically, that is — by then, her character isn’t wearing any pants.)

Kris’ breakout movie was a high-concept inversion of “Psycho” told through the shower curtain’s POV. Yet she’s well aware that the studio hired her to rescue the “Camp Miasma” franchise not for her genius but because she’s queer and the internet has deemed Little Death “problematic.” The satirical scenes of Kris’ agent (Sarah Sherman) getting annoyed that her client can’t pitch a four-quadrant movie are hilarious while also ringing of truth.

Likewise, Schoenbrun specializes in zeitgeisty fables about 21st century isolation. Their own debut, the 2021 micro-budget internet thriller “We’re All Going to the World’s Fair,” was simultaneously mesmerizing and tedious, a mental breakdown that burrowed so deeply inside its own world that several COVID-era high schoolers I know felt like it had been made just for them.

A strange thing about Schoenbrun is that even when I haven’t liked their work, I’ve left the theater certain that I just watched what will be someone else’s favorite film of all time. (The affectless disassociation of 2024’s “I Saw the TV Glow” drove me bonkers.) Yet “Camp Miasma” finds Schoenbrun bravely opening up and getting vulnerable. It’s not just a lament about loneliness; it’s a challenge to change your perspective and maybe your life.

I suspect Schoenbrun could deliver a five-hour TED Talk on the pop cultural kitsch of “Friday the 13th’s” Jason Voorhees. They’re so fluent in how Hollywood squeezes the fun out of a franchise that they can convey “Camp Miasma’s” descent into schlock in a sprightly opening montage that sees Little Death become a trading card, a bobblehead, an 8-bit video game, an anti-drug spokesman and a novelty rapper. Over 13 sequels, the character’s trail of nubile corpses stretches from Manhattan to Mars to Quibi.

Kris pops in a disc of “Camp Miasma’s” tawdry 2008 reboot, which cinematographer Eric Yue makes look as flat as the discounted DVD. As that movie’s disposable bimbo strips off her top, the score cranks up a porno-chic song and Kris scribbles the word “desire” in her notebook in all caps. But the contrast between that sham seduction footage and a 35mm reel of the original “Camp Miasma” is like night and day — or rather, trash and art. Kris and Billy watch that one together in an intimate sleepover, sinking into the murky texture of a scene in which the virginal actor allowed a jerk to take off her clothes.

Schoenbrun loves the movie-ness of movies. You can see their devotion in outdoor backdrops that are deliriously false, in sight gags that reference Cronenberg and Carpenter or in production design that includes the perfect nostalgic ’90s video store carpet. Inside Billy’s private movie theater, the projector beams down on the back of Anderson’s head like that infamous Nicole Kidman AMC promo. Maybe I’m loopy, but I’d even swear the entrance to Billy’s screening room has a handmade mural of the Roku City screensaver. Watch for clues when the storyline we’re watching becomes its own nested narrative.

Horror fans waiting for jump scares will be thwarted. At least there are several sequences of macabre murder-comedy with blood geysers shooting up to the sky and a tracking shot through a killing spree that’s a riot. The soundtrack sets a more accurate tone right away with a gentle cover of R.E.M.’s “Nightswimming” that segues into Alex G’s dreamy synths. Yet Schoenbrun’s needle drops also seem to have been chosen to make the audience chuckle. A massacre set to the Counting Crows’ piano-and-accordion ballad “A Long December” is bizarre. (The only excuse I can think of is that Little Death hibernates at the bottom of a frozen lake?)

It feels like a magic trick when the film finally reveals where it’s going. “Teenage Sex and Death” is about climbing out of your head, admitting what you want and allowing yourself to enjoy it. Sexually, yes — that’s right in the title — and creatively, too, as Schoenbrun wants us to keep loving movies that make us squirm.

Lately, it’s been hard to talk about difficult art, with culture warriors deeming entire filmographies unworthy of enjoyment. People have gotten so used to preemptively apologizing for what they like that their mea culpas feel as reflexive as a sneeze. But Schoenbrun sticks up for the right to forgive a movie’s flaws. Here, when Kris anxiously whispers that a scene in the first “Camp Miasma” is transphobic, Billy gives her a shush.

We’ve all got our kinks, including ones for canceled flicks. (I still adore “Revenge of the Nerds” despite its god-awful rape joke.) Kris can intellectualize her “Camp Miasma” fandom all she wants. But Billy counters that the appeal of “Camp Miasma” is simple: “It’s flesh and fluids,” she says. And since she’s still living in it, we believe her.

Every now and then a rom-com comes along with an absolutely ludicrous premise that we just sort of accept because it creates the unique conditions for watching a pair of budding movie stars fall in love. This year’s entrant is “One Night Only,” written by Travis Braun, directed by Will Gluck and set in a pretty familiar if spit-shiny New York City. The catch is that America, for some reason, has outlawed premarital sex, with the exception of one night a year, when singles can get their freak on. It’s like “The Purge” but for sex, so the Sex Purge.

Braun’s script was on the Black List, a collection of the best unproduced screenplays in Hollywood, which tends to reward hooky, high-concept projects, often to mixed results. That is most definitely the case with “One Night Only,” a film that exists on the vapors of a bizarre plot and the appeal of hot actors.

You probably have a lot of questions, and “One Night Only” is only going to satisfy some of them. How does the government police the premarital sex? With bio-sensors, of course, as explained by a drunken tech bro (Nicholas Braun) in an exclusive lounge. Singles receive small tattoos that turn from red to green during the 12 hours that premarital sex is permitted, body modifications that measure things like oxytocin and dopamine and whether one sensor is in close proximity to another. Sexual acts that are solo, distanced or parallel are permitted, yet many questions still remain about the kinds of hookups that can be had during the mandated ban.

The why of it all is much less satisfactory. An upbeat news report explains that rates of teen pregnancy are down, which is a very 1980s justification. The whole gambit feels dated and underexplored, both conceptually and politically — so you’re saying single straight people are an oppressed sexual minority? Maybe that idea should have been unpacked a little bit more.

On the night of the Sex Purge, the streets are flooded with attractive, thin, largely heterosexual couples making out all over the place. Perish the thought of being single and vulnerable, as they say on “Love Island,” on such a night, which is how we find our two winsome protagonists, Owen (Callum Turner) and Allie (“A Complete Unknown’s” Monica Barbaro). Owen’s a pizza maker whose girlfriend (Maya Hawke) wants to explore someone else; advertising jingle singer Allie has been ditched by her best friend (King Princess) for a prince.

These two strangers are both despondent and desperate. When they bump into each other on the street, a meet-cute turns into a meet-puke, and so the story follows an enemies-to-friends-to-lovers track, as they spend one crazy night continually running into each other on their increasingly urgent sex quest. The script does a good job of throwing up plausible obstacles and sticky situations for these two to navigate: price-gouged condoms, police raids, catfishing, injuries, parental ambushes, etc.

Turner and Barbaro have charm up the wazoo, and Gluck does a fair amount of key-jangling to distract from the nagging issues of the premise itself. There are repeated gags about Allie’s job singing covers of popular songs reworked for pharmaceutical companies and almost too many celebrity cameos. Every time a celeb’s face pops up it’s essentially an “ooh, shiny thing!” moment so that we stop thinking about the intricacies of the world where Sex Purge happens. Allie’s hopeless romanticism isn’t well-established, and there’s a whole complicated climax (no pun intended) involving the Empire State Building that could have been a lot smoother and more intuitive.

Allie’s most impressive feat is making it 12 hours in New York City in spike heels and a sequined micro-mini, but rom-coms are the stuff of fantasy anyway. Yet “One Night Only” doesn’t present us with fun escapism but, rather, a misguided, underbaked and very straight-guy fantasy of what something like this might look like, which is essentially … lots of people kissing in public? It’s tame and weirdly conservative.

Turner and Barbaro give it their best, but not even their charisma can reliably bolster the inherent structural flaws of this concept and its execution. “One Night Only” feels purged of a brain.

Katie Walsh is a Tribune News Service film critic.

Perez Hilton’s family has revealed that his children were home when his mental health crisis began to unfold, and now they’re asking the media for space so the family can safely return home.

In a statement published on the celebrity blogger’s website on Thursday, Hilton’s family said the events of the last several days had been “nearly unbearable.”

“Just minutes before the public livestream incident, Perez’s children, niece, and sister were inside the home,” the statement read. “When it became clear that Perez was experiencing a severe mental health crisis and harming himself, they immediately fled to protect the children from witnessing any further trauma.”

On Tuesday night, Miami police responded to an influx of calls after a disturbing video was livestreamed on TikTok in which a bloodied Hilton harmed himself repeatedly with a box cutter and knife. Frightened fans and moderators from the social platform were among those who called authorities.

After surrounding Hilton’s Miami residence, the Miami-Dade Sheriff’s Office said around 9 p.m. that he had been “safely recovered and transported by Miami-Dade Fire Rescue to a local hospital, where he is receiving medical attention.”

In the family’s statement on Thursday, they said that their highest priority right now was helping Hilton’s three children and niece “begin to heal from what they experienced.”

“An important part of that process is allowing them to safely return home and begin rebuilding a sense of security and normalcy,” the statement continued. “For the children’s safety, privacy, and well-being, we respectfully ask members of the media, paparazzi, content creators, and the public to leave the area surrounding the family’s home and not return. Please allow his children the privacy and space they need during this unimaginably difficult time.”

Hilton’s family also shared that, although very little information on Perez’s condition has been provided to them, they had been able to confirm that he “is able to communicate,” which they say has given them hope during “this heartbreaking time.”

Earlier Thursday, conservative political commentator Sean Hannity released an episode featuring Hilton that was recorded in recent weeks. During the “Hang Out” podcast episode, Hilton expressed regret over disparaging attacks he made on the celebrities he covered over the course of his career.

“I have a lot of regrets,” he told Hannity. “Attention is like a drug, and I was definitely an attention addict back then. I mean, I still am, but I think now I do a better job of keeping it in check. And when you’re an addict, you don’t care if you’re hurting people.”

The “OG influencer” said that he attempted to make amends with some of the celebrities he targeted, including Britney Spears and Khloé Kardashian, whom he said were receptive to his apologies. He also privately approached Neil Patrick Harris to apologize for aggressively trying to out him as a gay man in 2006, before the actor had spoken about his sexuality publicly. Harris also accepted the mea culpa.

Hilton said that he had changed his ways. “I realized what I was doing was wrong — that I could still be fun — but I don’t have to be so cheap, and I don’t have to be so cruel. It was cruel, and it’s something that I carry with me.

“It’s like my scarlet letter, and it’s very heavy baggage.”

In March, Hilton was hospitalized for severe sepsis for 21 days. During the ordeal, he said that God presented himself to him. Perez claimed that he’d changed dramatically since the health scare. In recent months, he’s posted about the Bible, launched a religious merch line and spoken about his religious awakening on the podcast circuit.

The Chase Around the World contestants went up against each other in Paris in the latest instalment

The Chase fans all said the same thing as the ITV show’s spin-off arrived in France.

New series The Chase Around the World started last month and sees six pairs of contestants on a global adventure, where they are tasked with solving a series of questions and challenges in different countries to try and track down the Chasers and host Bradley Walsh. The pair who arrive last in each place will then have to face the Chasers in a quiz.

In the latest instalment, the hopefuls were in Paris, where they had to answer a series of French-themed questions. In one segment two of the pairs had to stay at a classic French brasserie and answer food and drink questions before they could continue on with the race.

However, some viewers felt it wasn’t a fair comparison as one duo was offered snails and the other was offered garlic.

Mother and daughter Nicola and Maddie were first and were told: “Here you’ll need to answer three multiple choice questions correctly. Get one wrong, and you’ll be frozen out of the game for five minutes.

“But there’s a shortcut. Wrong answers can be removed if you have the stomach for it.” They were then told they could “eat a snail or clove of garlic to remove a wrong option”.

Maddie looked horrified, exclaiming: “I am never ever in my life going to try a snail. The thought of it makes me genuinely nauseous.”

But when Nicola decided that she wasn’t confident about the question they’d been given, she decided to tuck in. “It was vile… it was gritty,” she said afterwards.

However, when father and daughter Ashwin and Nikita entered the restaurant, they had a choice of garlic and onions.

“Nikita and Ashwin are vegans – snails are off the menu, replaced by raw onion and garlic,” the voiceover explained.

Some viewers weighed in on X as it aired, with one insisting: “Can’t compare onion to snails.”

“Raw onion is much easier to eat than a snail…. probably,” someone else posted on the platform, which was formerly Twitter.

“Raw onions instead of snails… not a fair comparison,” said someone else. Another likened it to a scene from I’m a Celebrity… Get Me Out of Here, joking: “This snail eating is like watching a Bushtucker Trial.”

The Chase Around the World is airing on ITV.

It may be summertime, but Karol G is unapologetically leaning into her sadness.

On Friday, the Colombian pop star released her sixth studio album “No Me Arrepiento de Sentir Tanto,” a 14-track project that details the depths of heartache one can only access when finally tuning out the world.

Tinged with dream-pop accents and acoustic instrumentation — though still fringed with her signature reggaeton-pop flair — it is a dramatic departure from her previous album, “Tropicoqueta,” a lofty, genre-rich album that envisioned a Latina-led utopia as a tropic floral paradise.

Now, with “No Me Arrepiento de Sentir Tanto” — which in English translates to “I Don’t Regret Feeling So Much” — Karol G swaps her vibrant, tropical facade for a soft blue vulnerability. Her special new brand of perreo melancolía features guest vocals by Drake (who sings in Spanish), Bruno Mars, Greg Gonzalez (of Cigarettes After Sex), as well as Spanish stars Judeline and Rusowsky.

The melodrama begins early on with the opening track, “Te Llevas To” — a moody EDM elegy that explores the loss of one’s self after a relationship ends. In an interview with Elle magazine, the hit maker shared that she spent a lot of time alone when creating this project, following her split from Colombian singer-songwriter Feid late last year — long before headlines caught wind of their breakup in January.

“Everything started when I went to Hawaii [last November]. I did a lot of hiking alone. I would climb the mountains alone. I would stand there gazing at the sky. I learned a lot about enjoying my solitude in this industry — we are really, really lonely. Compared to the rest of the world, you’re very isolated,” said Karol G in the Elle interview.

Rumblings of the new project first surfaced in April when Karol G performed at the 2026 Coachella Valley Music and Arts Festival as its first Latina headliner. There, she debuted “Después de Ti,” a shoegaze ballad joined by Greg Gonzalez, frontman of the indie-pop band Cigarettes After Sex; the song expressed profound grief after Karol experienced a loved one’s death.

“I cry a lot. I’m super sentimental and I’ve hated myself a lot for that,” Karol G revealed to Elle in her July cover story. “But at the same time, I’d rather suffer because I lived too much — because I loved too much, because I had too much fun — than to not have had those experiences, you know? I’m inviting everyone to be a little more dramatic, a little more extra.”

Although her classic bichota essence — a term Karol G frequently uses to describe herself, as a female counterpart to the Puerto Rican bichote, or “big shot” — is still heavily present in the new LP. Earlier this summer, Karol teased the song “Matadora” during the opening night of her international stadium tour in Chicago; produced by reggaeton pioneer Tainy, the sultry track is hallmarked by a muffled jazz trumpet and suggestive verses for an unknown paramour.

Her longtime collaborator, Colombian record producer Ovy On The Drums, also returns to incorporate elements of Karol’s the Grammy-winning 2023 album, “Mañana Será Bonito,” which followed her public breakup with ex-fiancé Anuel AA and grew into a massive commercial hit. With Ovy, Karol revived the shadowy timbre of her joint Shakira track “TQG” into the new “Bebiendo Lágrimas,” a reggaeton song that adamantly rejects the notion of love.

Mexican American producer Edgar Barrera — who previously worked with Karol on her merengue smash “Si Antes Te Hubiera Conocido,” as well as “Mi Ex Tenía Razón” and “Gucci los Paños” — reprises his role as a música mexicana connoisseur, aiding in Karol’s synth-doused Tejana-style cumbia, “Alguien Que Te Amaba.” (The track was also written with legendary songwriter Pete Astudillo, who co-wrote many of Selena Quintanilla‘s greatest hits.)

In the anguished “Con Quien Andara,” the singer pays tribute to the Spanish singer-songwriter Jeanette and her hazy, sentimental pop ballad from 1976 titled “Porque Te Vas?” And if that’s not enough of a nostalgia bomb, there’s the dream-pop reggaeton track “Bby Wow,” which features Judeline and Rusowsky and was inspired by the popular 2003 dancehall track, “Coolie Dance Rhythm” by Cordel “Scatta” Burrell. (Millennials may also recall echoes of this sample in popular tracks like Nina Sky and Jabba’s 2004 “Move Ya Body.”)

A word of advice for the Karol G fans — tropicoquetas and bichotas alike — this is an intimate record that’s best heard alone for the first time. So light up that candle, lock the doors and bring the tissues if you have to — just don’t be ashamed to feel all the feels, or shake your booty if the mood strikes.

Vogue Williams and Luke Mabbott are helping homeowners with their difficult renovations

A heartwarming tribute was aired after a special renovation.

After launching in 2024 as one of Channel 4′s biggest new lifestyle titles, Renovation Rescue has returned for a second series with two brand new hosts.

Armed with a degree in Construction Design and Management and another in Quantity Surveying, presenter Vogue Williams has taken charge of proceedings alongside trained heating and plumbing engineer and former Love Island star Luke Mabbott.

The series follows ambitious renovations as Vogue and Luke share money-saving skills, offer design inspiration, and demonstrate simple DIY techniques that anyone can try.

During the latest episode on Thursday (August 6), Vogue and Luke helped retired artist Penny in Shoreham-by-Sea in West Sussex.

After losing her partner of 20 years, Penny planned to make a fresh start near her daughter and grandchildren by the seaside.

“He died very suddenly of septicaemia, virtually overnight. He was climbing trees one minute and the next minute he was gone. I woke up one day and said, ‘Look, Penny, he’s dead. You’re alive, so get on with it and make the best of the time you have here,'” she said.

But after Penny fell for a house that needed a total overhaul, the plans were put on hold as the renovation went badly over budget and behind schedule.

“I don’t think I’ve ever experienced this level of anxiety and stress,” Penny revealed.

To make Penny’s remaining budget go further, Vogue showed her clever ways to achieve the artistic aesthetic she loves without spending a fortune, including helping to create some beautiful cupboard doors with a lozenge-shaped detail.

Meanwhile, Luke showed Penny how to tackle DIY tasks including blockwork in the courtyard and creating a garden gate.

Later in the episode, Penny showed Vogue a picture that her late partner, Martin, had drawn years before – which has become one of her most treasured possessions.

“To me it’s quite important because I haven’t been able to show any of his work. He was very proud of this piece of work, actually,” she said, before Vogue added: “I think this should be the last thing that you put on the wall.”

Penny agreed: “Yeah and I will feel that Martin’s finally found a place,” leading Vogue to share how pleased she was that Penny could start looking to the future.

After all the work had been done on the property, Vogue and Luke paid Penny a visit and were stunned by the transformation.

Penny had even put Martin’s “beautiful” framed picture in the centre of her living room, flanked by a pair of floor-to-ceiling alcove cupboards that the hosts had made.

“It looks amazing,” said Vogue, with Penny concluding: “I feel as if I’ve got past the grieving stage where I’m not crying at the drop of a hat. Now, I can look at it and feel pleased that it’s there. He was very pleased with that piece of work.”

Renovation Rescue is available to stream on Channel 4

Ruby Franke is at the heart of tonight’s BBC true crime doc The Devil in the Family.

A BBC true crime doc investigates the truth behind the case of Ruby Franke.

The Devil in the Family: The Fall of Ruby Franke aired this evening, Thursday, August 6, on BBC Two, with the three-part special investigating the life and crimes of Franke.

Speaking to those who knew the 44-year-old best, this third episode delves into the truth which “proves far worse than anyone imagined”.

Who is Ruby Franke?

Ruby Franke is an American former family vlogger who ran the controversial YouTube channel 8 Passengers.

She started the channel in 2015 and ran it with her then-husband Kevin, documenting their lives with their six children with 8 Passengers attracting almost three million subscribers.

While it was popular, 8 Passengers received plenty of online criticism as it promoted strict parenting rules and harsh disciplinary tactics. When the channel started to decline, and was eventually suspended, Franke teamed up with mental health counsellor Jodi Hildebrandt.

Together, they launched their joint Instagram profile and podcast Moms of Truth which similarly talked about extreme parenting but also the idea that children who didn’t follow their rules were possessed or acting under dark influences.

Franke and Hildebrandt were also business partners who ran an online life-coaching service named ConneXions.

In August 2023, Franke was arrested after her 12-year-old son escaped a home in Utah, now known to be Hildebrandt’s, and asked a neighbour for help.

Police discovered that her two youngest children were extremely malnourished with physical injuries and bondage wounds.

Franke pleaded guilty to four counts of aggravated child abuse and was sentenced to four prison terms of one to 15 years each to run consecutively.

This means she will serve a total prison sentence of four to 30 years which was the maximum penalty under Utah law. Hildebrandt also received this sentence for her involvement in the abuse.

The Devil in the Family: The Fall of Ruby Franke is available to watch on BBC iPlayer.

JUNGLE are bringing Sunshine to summer – and entering their most confident era yet.

Following the unexpected global success of their 2023 album Volcano, the Brit-winning band return with a warmer, more organic fifth album, blending Brazilian rhythms, effortless grooves and nostalgia.

And the trio — Tom McFarland, Josh “J” Lloyd and regular contributor turned full-time member Lydia Kitto — might have called their fifth album Sunshine, but its warmth comes with a distinctly melancholic edge.

“It’s not about the weather or a season,” Lloyd explains. “It’s about relationships and distance and regret, and hope and longing for a better time.”

McFarland adds: “Everyone feels nostalgic about that summer when they were 16. Those emotional memories linger with us.

“Even the idea of memory is quite melancholic, because these great things happened, but they’ll never happen again.

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“You can recall them and remember how you felt, but that moment has gone.”

It’s day one of live rehearsals for Jungle when I join them at their studio in South West London.

Lloyd and Kitto have not long flown in from LA while dad-of-three McFarland is telling stories about his kids.

Despite the jet lag and the busy day ahead, the trio are as warm and easy-going as the title of their new album suggests.

Their new confidence follows the unexpected success of Volcano and its breakout song, Back On 74, in particular.

“That song was a big surprise,” says McFarland with a smile. “It went far bigger than we expected.

“We thought there was a certain level we could reach, but what happened with Back On 74 opened up a whole new dimension for the band.

“It brought so many more people to the music, and that has been a really cool thing to see.

“When we were in the middle of it, we didn’t pay too much attention. We don’t chase our own tails wondering whether we’re popular.

“You give the song away and hand it over to the public.

“The more you listen to the noise, the more you start to be directed by it.

“We were very keen not to think, ‘People like Back On 74, so let’s make a whole album like that’, because that’s where bands lose their way.”

Dance and striking visuals have always been central to Jungle’s story, with their cinematic, intricately choreographed videos becoming as distinctive as the music itself.

Their dazzling performance of Back On 74, which brought the celebrated video to life with a full dance troupe, was one of the highlights of the 2024 Brit Awards.

Their Group Of The Year win that night came as a genuine surprise, and Kitto says: “We didn’t have a clue.

“Loads of people were acting a bit fishy, so we were thinking, ‘Have we won? Haven’t we?’

“We thought we should probably write a speech just in case, but then decided there was no way we were going to win.

“So we sat down, had a bit of a drink and suddenly we’d won.”

McFarland adds: “We had a great night — we met Green Day, we got quite drunk and had a party.

“When you’re touring, you miss out on so many things, so being able to get family and friends in the same room and just have a dance was special.”

Lloyd adds: “Winning was a surprise as we don’t really pay that much attention to it.”

Jungle’s visual influence has proved equally powerful.

“What’s been really nice is seeing people make the choreography their own and connect with the visual side of the band,” says Lloyd.

“We’re obviously not a TikTok-generation band, but watching it blow up online was really cool.

“Seeing young kids dancing to our music in their living rooms was such a lovely thing.”

Lloyd co-directs the band’s distinctive, intricately choreographed videos with long-term visual collaborator Charlie Di Placido.

He adds: “You can see people, especially in advertising, starting to copy the band’s aesthetic.

“We’ve seen plenty of imitations of our videos and visual style, but I suppose we take it as a form of flattery. It shows that people have been inspired by what we do.”

Carry On was chosen by the band’s manager as the first single from Sunshine.

Lloyd says: “Once you’ve finished an album, you lose all perspective. You have so many different favourites, so you need an outside opinion to guide you through that final stage.

“Carry On has an old-school Motown, almost Sixties sound.

“It’s almost Jungle’s folk song, but it has a sadder emotional heart.

“Back On 74 is nostalgic, while Carry On is about overcoming heartbreak, rebuilding trust and finding the self-belief to push through difficult times.”

McFarland says affectionately: “My daughter loves this song — she walks around the kitchen singing it.”

Central to Jungle’s recent evolution has been Kitto, whose gorgeous, soulful vocals have become increasingly prominent across their music.

Having contributed to the band since their 2021 album Loving In Stereo and taken a leading role on Volcano, she is now an official member of the trio and steps further into the spotlight on Sunshine.

“Joining the band fully made sense,” she says. “I already felt so involved that I was sort of in Jungle anyway, so it was a natural progression.

“It’s like getting into a relationship with somebody — you hang out for a while and then think, ‘Oh yeah, this works’.” Lloyd — Kitto’s partner and her bandmate in music side project Loaded Honey — adds: “I don’t think people realise how long Lydia has been working with us.

“We’d been doing sessions and writing with her since before the third album, and then she joined the live band.

“Jungle had been built around group vocals for so long, but we were yearning for an emotional lead vocalist who could take these verses and connect with people.

“Lydia has that ability. She’s got a generational voice — an amazing soul vocal that takes our music to the next level.”

McFarland says: “We’ve always tried to create a universal message through the stories we tell.

“We were never going to be a band that told extremely personal stories.

“For us, it’s about giving people something they can hold on to and make their own. We want the music to have a global sound

that anybody can connect with. From day one, when we were making the first Jungle music, it was all about visiting imagined places we’d never been to.

“We’ve been lucky enough to visit many of them since, but at the start we’d ask, ‘What would it sound like if a band were playing on Cola Beach in South Goa?’

“We’ve always had that vision of putting ourselves — and therefore the listener — into a physical space.

“The Wave is a perfect example of that. You’re instantly on a beach.”

Lloyd adds: “We tend to see certain songs as brothers and sisters.

“The Wave harks back to Loving In Stereo and has something of Beat 54 from the second album in it.

“It has that sampled feel, although we created the sample ourselves. Originally it was much faster, before we slowed it down.

“It was actually the last song made for the album and was almost squeezed in at the end. There was something spiritual about it.

“The Wave represents the idea that you only get one life, so you have to be careful what you do with it.”

Romeo II is another one of those sibling songs, following Romeo from Loving In Stereo and again featuring Dreamville rapper Bas.

Lloyd says: “Romeo II was Bas’s idea. The track originally had a much longer title, but we wanted something more interesting.

“He suggested Romeo II, which felt great because it creates a sense of nostalgia for people who know the original.

“I think he was also referencing the tradition in hip-hop of songs having sequels.

“It gives the track an instant familiarity — people think, ‘I remember that Bas song from the third album, so I want to hear this one’.

“In some ways, Romeo II is actually even more Romeo in its subject matter than the original.”

And he jokes: “Bas has been on the last three albums — he’s going to join the band at some point.”

Lloyd continues: “We have always been inspired by Gorillaz and the way their collaborators became part of the family.

“You look at Del the Funky Homosapien on that first Gorillaz record and he appears across a couple of tracks. We’ve never viewed features as a way of gaming the system or chasing streams.

“For us, it’s always been about asking who’s good, who’s our friend and who feels like they genuinely belong within the collective.”

Talk turns to bands who put out greatest-hits albums.

Kitto says: “We could just do the same thing again and again and call it a greatest hits, like The 1975 do. They put out all their old songs and call it The 1975 At Their Very Best. There are no new songs at all.”

Jungle’s recent single Someday, Somewhere might just be the best song they have released, with its sun-soaked vocals, irresistible disco-funk groove and bittersweet blend of optimism and longing.

“I love that song,” says Kitto. “I can put it on at any point, and it changes your mood.”

For McFarland, Reflection is a favourite. “I love that song,” he says. “What I connect with is the way a song can transport you. When I’m driving in the sunshine, I’ll listen to Crosby, Stills and Nash radio and classic Laurel Canyon songs.

“Reflection does that for me. It takes me very vividly into a particular physical and emotional space.”

Lloyd says: “It depends on the day. We become very emotionally attached to the songs while we’re making and delivering them, but once they’re out, I tend to detach myself.

“Where Are You Now? was one of my favourites. I like the bouncier side of Jungle, but I also tend to choose the song that other people aren’t picking.

“If everyone likes one track, I’ll go for the other one.”

Soon it’s back to rehearsals for the trio’s world tour, beginning in the States next month, then heading to Europe and South America next year.

What matters most in a Jungle live show?

“The arc of the show is really important to us,” answers McFarland. “We want to build the audience up, pull things back again and create intimate moments alongside the more euphoric ones.

“I don’t think I’d ever get bored of playing Busy Earnin’ because it’s so much fun watching people have a great time.

“You see grandparents, their children and then their grandchildren, sometimes as young as six, all there together. It’s fun watching loads of people having a great time.”

Lloyd adds: “We want to be in control and make things according to our own vision.

“We’ve done well within the industry by not having to play by other people’s rules.

“Other artists have looked at what we’ve done and built careers from it.

“But we’ve only ever written our own narrative, and I think that’s really important as an artist to have the ability to fully be in control of your own story.”

• The album Sunshine is out on August 14. The band’s UK tour begins in Leeds in November.

JUNGLE

Sunshine

★★★★☆

LOVE Island winners Julia Majchrzak and Lorenzo Alessi have kissed and made up on a night out with their fellow villa friends.

The ITV2 dating show winners came to blows after he was clocked fawning over other female’s sexy pics on social media.

The champions were joined on a night out at London’s 100 Shoreditch.

Former Casa bombshell Julia looked stunning in an all-black dress made up of mesh and lace panelling.

With her hair slicked back, she looked every inch a TV star as she smooched her man.

Lorenzo looked slick in an open shirt with a blazer and slacks.

swiped off

Love Island’s Lorenzo FINALLY deletes dating app & Julia says she’s ‘humiliated’

INSTA SHAM

Love Island’s Julia accuses Lorenzo of ’embarrassing her’ by liking girls’ pics

Joining them for the reunion night were ex islanders Ellie Chadwick and Finley Maddock.

Ellie looked summer ready in a short yellow outfit with a feather bottom as she held hands with her fella.

It comes after the couple were grilled about the online drama on Capital XTRA.

Julia, 26, admitted she found his online wandering eye ‘not funny’ and was ’embarrassed’ by his behaviour.

She told the hosts: “Guys, this is not funny. He’s already embarrassed me online.

“He had no time to arrange a date in five days, but was sat in bed liking other girls’ Instagram pictures.”

It comes after a clip of the couple’s appearance on This Morning went viral last week, with fans left unconvinced by their relationship.

Joining Josie Gibson and Paddy McGuinness in the studio, Lorenzo and Julia were quizzed about their future plans.

But an unimpressed Julia grilled Lorenzo over why he had failed to organise a date and had barely seen her since they won Love Island together.

Viewers also claimed Lorenzo appeared distracted by former flame Jasmine, who was sitting just inches away with Kavan.

The 2026 matchmaking show champ, who scooped his share of a £50K cash prize during the final, has finally removed his profile from Hinge.

Also at the event were Priya and Aidan – who were dumped from the villa days before the final.

The reunion saw familiar faces return including pretty-in-pink Lola Deal and Seán Fitzgerald, Mica Harris and Samraj Toor, and hand-holding singletons Charleen Murphy and Martha Rothwell.

Julia and Lorenzo beat runners-up Jasmine Muller and Kavan Murphy, and third place stars Angelista Gunda and Simba Kudyiwa.

A federal judge blasted KTLA-TV Channel 5’s owner, the Texas-based Nexstar Media Group, on Thursday for violating a court order and for failing to disclose key information.

U.S. District Judge Troy L. Nunley found that Nexstar’s actions violated terms of an April preliminary injunction that was designed to prevent the media company from moving forward with its $6.2-billion takeover of rival TV station group Tegna Inc. and meddling with its management.

The judge called Nexstar’s actions “brazen.” He demanded the company begin submitting monthly reports and said a special master would be appointed to help manage the antitrust case and monitor Nexstar for compliance.

And Tegna’s recently constituted board — filled with high-level Nexstar officials — must be dissolved.

A Nexstar spokesman wasn’t immediately available for comment.

Nexstar unveiled its Tegna takeover a year ago. At the time, TV stations were lobbying the Federal Communications Commission to relax station ownership rules, a move that occurred Thursday in a split decision.

Last spring, California Atty. Gen. Rob Bonta and seven other state attorneys general challenged Nexstar’s proposed acquisition, alleging the roll-up of more than 250 local TV stations would violate a U.S. antitrust law intended to protect consumers and competitive markets.

Bonta and other plaintiff states argued the consolidation would lead to local newsrooms shuttering, particularly in smaller markets, such as Sacramento and Indianapolis, where Nexstar would own multiple network affiliates.

Despite Bonta’s lawsuit, Nexstar hurried the next day to finalize its purchase of Virginia-based Tegna and swallow the operation. Tegna disbanded, its shareholders were paid and top Tegna executives exited.

Nunley, who is based in Sacramento, is overseeing the case. He initially issued a restraining order, followed by a more lengthy preliminary injunction that ordered Nexstar to halt its integration while the court case was pending.

Tegna should continue to operate as a separate business unit — free from the influence of Nexstar, the judge ruled.

But on the day that Nunley issued the restraining order, Nexstar formed a new Tegna board filled with Nexstar officers, including Chief Executive Perry Sook, Chief Financial Officer Lee Ann Gliha, and later Mike Biard, a former Fox executive who joined Nexstar in 2023 as chief operating officer.

Nexstar countered that while Nunley’s order said Nexstar employees were restricted from serving as “officers,” it didn’t expressly say they couldn’t serve on Tegna‘s board as “directors.”

“Defendants cannot convincingly argue that having Nexstar executives serve on TEGNA’s Board complies with the preliminary injunction,” Nunley wrote in Thursday’s order, adding that Nexstar’s position was “entirely disingenuous.”

Nexstar now must dissolve the board.

“It is shocking that Defendants think installing a Board of Directors comprised primarily of Nexstar executives would not create influence over Tegna management,” Nunley wrote.

He also admonished Nexstar for not providing that information in any of the hearings or in its filings with the court. “Defendants have a duty of candor to the Court under California Rule of Professional Conduct,” Nunley wrote.

His order was designed “to preserve Tegna as a separate and distinct, independently managed business unit from Nexstar,” Nunley wrote. “Nexstar’s control of the Tegna Board will undoubtedly allow it to influence Tegna’s management and obtain access to Tegna’s confidential information.”

Bonta, in a statement, said: “We thank the court for its attention to this matter and look forward to arguing our case and blocking this merger.”

Marvel’s new X-Men team appears to be coming together.

“Heartstopper” star Kit Connor is reportedly Marvel Studios’ pick to play Scott Summers, the mutant hero also known as Cyclops, in its upcoming “X-Men” reboot. According to Deadline, the film’s director, Jake Schreier, and Marvel Studios President Kevin Feige had met with a number of candidates before landing on the British actor.

Marvel did not immediately respond to a request for comment.

Created by Stan Lee and Jack Kirby, Cyclops is one of the leaders and founding members of the X-Men. He needs to wear special eyewear — usually goggles or glasses — to control the beams of energy that blast from his eyes. The character was previously portrayed by James Marsden in Fox’s original “X-Men” film trilogy (2000, 2003, 2006) as well as in the 2014 crossover “X-Men: Days of Future Past.” Tye Sheridan played a younger version of the character in “X-Men: Apocalypse” (2016) and “Dark Phoenix” (2019).

Marsden is among the original “X-Men” actors set to reprise their roles in the upcoming “Avengers: Doomsday.”

Connor’s casting follows recent reports that Samara Weaving has landed the role of Emma Frost in the upcoming “X-Men” film. Created by Chris Claremont and John Byrne for the comics, the mutant-villain-turned-hero is a powerful telepath also known as the White Queen. The character has previously appeared onscreen in “X-Men: First Class” (2011) portrayed by January Jones.

With his “X-Men” casting, Connor would join his fellow “Heartstopper” and “Heartstopper Forever” star Joe Locke in the Marvel Cinematic Universe. Locke made his franchise debut as William Kaplan, a.k.a. Billy Maximoff, in the 2024 Disney+ series “Agatha All Along.”

These latest “X-Men” developments follow the debut of the MCU’s new Jean Grey, portrayed by Sadie Sink in “Spider-Man: Brand New Day.” Although no official announcements have been made regarding Sink’s future Marvel projects, she is expected to appear in the “X-Men” reboot.

The “X-Men” reboot is expected to land some time after next year’s “Doomsday” follow-up, “Avengers: Secret Wars.” In 2024, Feige told Entertainment Weekly that “the whole story of ‘Secret Wars’ really leads us into a new age of mutants and of the X-Men.”

LOVE ME TENDER

(15) 134mins

★★★★☆

BREAK-UPS can be horribly complicated, especially when there are children involved.

This emotionally intelligent, exquisitely acted film shows the depths of despair warring couples can go to over a custody battle.

We meet Clémence (Vicky Krieps), a former lawyer, who has separated from her husband, Laurent (Antoine Reinartz). The split is amicable, and they are raising their young son, Paul, who lives with his dad.

But unbeknown to her ex, Clémence, who has quit her job to write, is now exploring her sexuality and having relationships with multiple women.

An awkward evening drink with Laurent reveals how he is clearly still in love with Clémence, while she makes it clear her desires lie in women.

DULCIE PEARCE

Spider-man: Brand New Day shows a sleeker, sophisticated and scarier Spidey

DULCIE PEARCE

Low-budget horror Pinocchio: Unstrung is brutal but so absurd you’ll laugh

This suddenly changes everything between the pair, with Laurent claiming Paul doesn’t want to see her during her next visit.

The scenes are not overplayed with emotion, but are slowly devastating as Clémence struggles with the sudden change in a family arrangement that was so comfortable before.

Soon, authorities are brought in, and horrific claims are made against Clémence’s character.

She is only able to see Paul at supervised visits in a soulless social service office.

All this unfolds in a slow exhale on screen rather than an explosion, with Clémence juggling heartbreak and frustration with various relationships, her ill father and her career.

Adapted from Constance Debré’s 2020 novel, director Anna Cazenave Cambet allows this distressing story to show the huge problems that parents’ egos can cause for their child’s future.

Krieps is sensational in the role, allowing her face to portray so many emotions and carrying huge emotional strain.

While Clémence is the focal point of the audience’s sympathy, she, too, can be self-absorbed and a little cruel to lovers.

This shows she is human rather than just a victim. The story never gets bogged down in courtroom battles, but rather lingers on little moments Clémence feels as her time with her precious son slips away.

Running over two hours, these are perhaps overused, and the pace is unapologetically slow in many scenes.

But with stand-out acting from Krieps, it makes this film feel voyeuristic, as it is so natural, and while in emotional agony, we all still just carry on.

HUNT FOR THE WILDERPEOPLE

(12A) 101mins

★★★★★

IN celebration of its tenth anniversary, this charming offbeat comedy is being re-released in cinemas for a new generation to enjoy.

And, the bonus, of course, it also brings the recently deceased and hugely talented Sam Neill back to the big screen.

Set in the sweeping countryside of New Zealand, it is the story of “Uncle Hec” (Neill), a grumpy foster father who is delivered a troublesome child, Ricky (Julian Dennison), by the welfare services.

The pair soon spark a full-on search when they set off on a bizarre outback adventure.

Dennison’s performance is both comedy and tragedy, going from an offensive teen obsessed with being “gangster” to an abandoned child looking for emotional security.

And Neill manages to step away from caricature to make Hec layered and empathetic.

But there’s a refreshing lack of cliché and sentimentality, too. The characters don’t simply transform into different people just because they have experienced getting lost in the wilderness together.

Directed by Taika Waititi, it’s still the best buddy movie since Up in 2009.

NIMRODS

(15) 116mins

★★☆☆☆

THIS overly complicated coming-of-age film is somewhat based on punk-pop band Green Day.

Yet, while it features the US rockers, is full of their songs and has a storyline that revolves around getting to their gig, it lacks the ­confidence to be about them entirely, which is a shame.

School dropout Tommy (Mason Thames) is a huge fan and receives a phone call from his pranking older brother, inviting his garage grunge band to open for Green Day.

So he and his pals hit the road in a stolen taxi with barely a penny to their name, believing they are going to perform at a huge gig, with no prior experience, record agent or links to anyone in the industry. Just one prank phone call.

Inspired by the real band’s early days touring in vans before the release of breakout album Dookie in 1994, this film takes place in modern times but could easily be set in the Nineties.

And it probably should have been. With the great soundtrack and nostalgic footage of the real band at the end, it leaves you craving a documentary on Billie Joe Armstrong and co.

In cinemas from Tuesday.

Cruising Paradise: Above and Below Deck is a brand new series on E4 charting the lives of young workers on luxury liners

A brand new reality travel series has arrived on screens, charting the lives of young workers on cruise ships.

Perfect for fans of reality shows like Below Deck and Below Deck Down Under, the new E4 series, Cruising Paradise: Above and Below Deck will see brand new episodes released every Thursday at 9pm.

Having been filmed across luxury liners belonging to Princess Cruises and Regent Seven Seas Cruises, last week’s introductory episode focussed in on the young teams aboard the Star Princess ship.

A synopsis reads: “The series follows the highs and lows of working life at sea, from demanding shifts and missing home to late-night camaraderie with colleagues and off-duty adventures as the ships call at some of the world’s most spectacular destinations.

“For the crew it’s a glamorous, all-encompassing job which sees personal and professional lives intertwine – and the Cruising Paradise cameras will cover all the fun, friendships and romance that unfolds during a season onboard.”

Now, one crew member featured on the show has spoken to the Mirror’s Screen Time team, and revealed what it’s really like being followed by TV cameras whilst being on the ship.

Guest services manager Magda admitted she was excited for viewers to see the “back of house”, the crew side of things, adding: “And how chaotic it actually is, but in a very energetic and flexible way just to see how much we put into it.”

Confessing the cameras caught it all, including the “strong sides, weak sides and what makes it all come together”, Magda revealed there is one misconception about her job.

Dealing with customers every day, she said: “The main one being a guest services manager means you deal only with negative guests but that’s not quite true. I think I often deal with 10 very happy guests, and maybe, maybe one.”

However, there are some downsides to the job, the main one being away from loved ones for up to weeks at a time. Magda revealed: “It is quite hard because time here feels like it goes so fast but the reality of the outside world that things are happening, moments are happening, birthdays, celebrations so it is a different time world. We live in a different universe.”

But for Magda, she would not change a thing, admitting the staff really are as close as what viewers see on screen, becoming what she would describe as a “very close family”.

She said: “We really are close and we know what we have to do. When it comes to work everyone knows what their job is and we know that if we all achieve the target our lives become easy, working together makes it easier.”

Magda, who does get time to explore destinations – with the Europe itinerary being her favourite so far – added: “The best part of my job is between the guests and my team.

“My team, making them laugh, making them smile and knowing that they’re supported by me is a fulfilling moment for me.

“And with the guests same thing, meeting different guests from all over the world who are here for different purposes and different travel reasons whether it’s leisure or something personal for them. I love hearing their stories, so I love every aspect of my job.”

Cruising Paradise: Above and Below Deck airs Thursdays at 9pm on E4. Stream on Channel 4.

TikTok said Wednesday it will close its Nashville office in October, laying off 250 workers.

The move is a retrenchment from the social video company’s expansion into Nashville in 2024 and comes as many tech companies are reevaluating their workforce amid the growth of artificial intelligence.

“We have decided to close our Nashville office to streamline our operations and better align our teams for long-term growth,” said TikTok USDS Joint Venture LLC, which oversees TikTok’s U.S. operations. “We remain fully committed to providing secure, safe and positive experiences for the 200 million Americans that create, discover and connect with what they love on TikTok.”

The decision was specific to the Nashville office to bring its teams closer together, according to a TikTok USDS Joint Venture spokesperson.

TikTok‘s U.S. operator notified the State of Tennessee Department of Labor and Workforce Development about the number of layoffs and the office closure on Wednesday. The WARN notice did not detail what roles were at the office, but some jobs were related to content moderation, according to Nashville Metro Councilmember Terry Vo.

“I’m disappointed for all the Nashvillians who are waking up to this reality,” Vo said.

TikTok did not respond to questions on what types of roles were at the Nashville office or whether artificial intelligence was a factor for the layoffs.

TikTok in 2024 signed a 143,610 square foot lease at the Moore Building in the Music Row area, having spent several million dollars to build out the space, according to the Tennessean. The lease also roughly tripled its office space in Nashville, the Tennessean reported.

The social media company has its U.S. headquarters in Culver City.

In 2024, Sen. Marsha Blackburn (R-Tenn.) expressed disapproval of the TikTok office opening in Nashville because at that time, TikTok’s parent company was Chinese tech giant ByteDance.

“When TikTok’s CEO was in Washington, I made it clear to him that Tennesseans are extremely concerned about China’s influence,” Blackburn said in a statement in 2024, adding there were concerns about how the company would handle U.S. user data and whether it would push for the Chinese government’s interests.

Since then, the U.S. government, TikTok and ByteDance came to an agreement last year to establish a separate entity called TikTok USDS Joint Venture overseeing TikTok’s operations and data protection in the U.S. that is majority American owned.

A spokesperson for Blackburn did not immediately return a request for comment on TikTok’s office closure in Nashville.

Rob Enderle, principal analyst at Oregon-based Enderle Group, said he expects more layoffs at other TikTok U.S. office locations due to the new ownership.

“When a new ownership takes over a company, they make adjustments to the staffing levels,” Enderle said.

A soap icon known for Coronation Street and a comedian join the cast as guest stars in the latest instalment of the Channel 5 drama

Benidorm is Murder is Channel 5‘s brand new detective drama.

Described as a “cosy crime” thriller, the murder mystery series comes from Death in Paradise writer Ian Jarvis and started last week on the channel.

The series has a star-studded cast list, including John Hannah, who plays burned-out ex-police officer Dennis, and newcomer Carolina Bécquer, you can find out more about the rising star here, who takes on the role of his unlikely sidekick Rosa.

Other permanent players include Ariadna Cabrol who stars as DS María Hernandez, Brian Bovell who plays Archie, Damian Schedler Cruz who takes on the role of PC Jesús Ballesteros, and Eva van der Gucht in the role of Jackie. You can see the cast list and where you recognise them from in full here.

But Benidorm is Murder also has an incredible roster of guest actors, two of whom will join for the second episode. Channel 5 has confirmed Coronation Steet star turned Loose Women Denise Welch will play Ziggy, the owner of Benidorm Palace, while comedian and actor Alistair McGowan will step into the shoes of faded 90s game-show star Vince Starky.

Denise Welch plays Ziggy

Denise plays Ziggy, owner of Benidorm Palace.

Writer and creator Ian Jarvis said of Denise in the role of Ziggy: “Denise Welch is amazing. We felt like we had TV royalty when we got Denise. She is brilliant in the role. She didn’t need much steering about this character. Ziggy is this low-rent showbiz queen, an agent in the stand-up comedy world. Denise is also just loads of fun to be around. She loves a chat. We spent a lot of time chatting about everything.”

Denise is best known for playing Natalie Barnes in the ITV soap opera Coronation Street, in which she appeared in over 400 episodes.

She also starred as Steph Haydock in Waterloo Road, and Trish Minniver in Hollyoaks. Viewers might also recognise Denise from Spender, Soldier Soldier and Down to Earth. She is also a regular panellist on the ITV chat show Loose Women.

Alistair McGowan plays Vince Starky

Alistair McGowan plays faded 90s game-show star Vince Starky. His character appears in the Laughter Lounge alongside his younger wife, Vienna.

Alistair is a comic, actor, pianist, poet, and writer. He provided voices for eight series of Spitting Image and earned a BAFTA for his BBC One television series The Big Impression, with Ronni Ancona.

He is also known for All Quiet on the Preston Front and has been a regular on Radio 4 dramas and comedies, including Elvenquest and Whatever Happened to Baby Jane Austen? He took the lead role in BBC One’s detective series Mayo, and has appeared in many stage roles over the years.

What is Die Laughing about?

A synopsis for the instalment reads: “At the Laughter Lounge, veteran comic Frank Mann is emceeing when his old friend, faded 90s game show star Vince Starky, blows in with younger wife Vienna. Vince’s comeback dates are tanking and owner Ziggy, drowning in debt, needs them to work…

“But the next morning, doorman Paco finds a dead body on the club roof. Maria begrudgingly asks Dennis to look at the scene, where he notes the head wound, scuff marks round the access door and, below, a fire extinguisher buried in a car windscreen.“As Rosa helps retrace the movements of everyone connected to the club, old grudges, financial pressures and buried secrets come bubbling to the surface. Has the killer been hiding in plain sight all along? And can Dennis convince Maria to reopen a case she’s so eager to keep closed?”

Benidorm is Murder continues on Thursday at 9pm on Channel 5.

The ongoing explosion of revival screenings in Los Angeles is an opportunity not just to revisit accepted classics, but also to give a spotlight to undersung oddball picks deserving of broader attention.

Take for example 1988’s “Tapeheads.” An offbeat comedy about two friends trying to break into the then-emergent world of music videos, the film stars John Cusack and Tim Robbins just as their careers were starting to take off. A snapshot of a specific moment in Los Angeles — some shots of downtown’s skyline at sundown have an unexpected beauty — the film has never been lost exactly, but it is deserving of renewed interest.

The movie will show on Monday as part of the American Cinematheque’s Cinematic Void program at Los Feliz Theatre, screening from a rare 35mm print provided by the UCLA Film & Television Archive. Director and co-writer Bill Fishman will be there along with producer and co-writer Peter McCarthy, producer Eric Barrett and production designer (later turned director) Catherine Hardwicke.

Cusack and Robbins star as Ivan and Josh, friends since childhood now working as nighttime security guards until they figure out their future. Cusack’s Ivan has ambition and drive while Robbins’ Josh is sensitive and creative. Together they launch a music video business and take it upon themselves to revive the careers of their favorite soul singers, the fictional Swanky Modes (played by real-life soul legends Sam Moore and Junior Walker). Josh and Ivan soon find themselves accidentally wrapped up in a blackmail scheme involving a sex tape and a conservative politician, complicating everything.

“It was a hustler and an artist and the merging of the two, trying to get some sort of balance with your creative side and what you needed to do to make a living,” explains Fishman, now 68, during a recent video interview from Venice, Calif. “We came up with the credo ‘You do what you gotta till you can do what you wanna.’ And that was really where it came from.”

Before making his feature debut with “Tapeheads,” the native New Yorker had already found success in his 20s as a music video director himself, creating clips for songs such as Suicidal Tendencies’ “Institutionalized” and the Georgia Satellites’ No. 2 hit “Keep Your Hands to Yourself.” Straddling the music scene and Hollywood, Fishman found that a satire of conservative politics came to him naturally.

“Music videos seemed to be an easy thing for me to do because I knew that world,” he says. “Even though the story was what we thought would be completely ludicrous, it ended up being much more realistic than we believed.”

John Cusack, left, and Tim Robbins in the movie “Tapeheads.”

(American Cinematheque)

James Branscome, who programs the Cinematic Void series for the American Cinematheque, calls the rare chance to show the film a bucket-list experience.

“It was a weird movie that felt lost, especially when it stars John Cusack and Tim Robbins being zany in a way they don’t often get to be,” he says by phone. “It felt like this very organic, perfect movie, like: This checks so many boxes for me.”

Among the producers on the film is Michael Nesmith, a former member of the Monkees, and through him the project fell under the production umbrella of NBC. Fishman remembers being invited to the home of Brandon Tartikoff, president of NBC Entertainment and a green-lighter of titles including “Miami Vice” and “Seinfeld.” What he thought was going to be a relatively brief meeting was instead hours of Tartikoff patiently going through the script page by page.

“I did not know anything,” remembers Fishman, whose most recent credit is the 2024 film “Waltzing With Brando,” starring Billy Zane. “I thought Hollywood was always going to be like this. But I didn’t realize that my best experience was my first and then we were going to have to fight and claw for the rest of it.”

It was young casting director Victoria Thomas (lately of “Once Upon a Time … in Hollywood” and “Michael”) who brought in Cusack and Robbins. Cusack, a Chicagoan, was in Los Angeles to appear onstage with Robbins’ theater group the Actors’ Gang and the two of them came in to audition together.

“They had really prepared,” says Fishman. “And after an hour or more of the interview, which went great, I said, ‘I want you guys to switch roles.’ And that freaked them out. They were like, ‘We can’t do that. We rehearsed. We can’t just throw this together for you.’ I said, ‘I really think you should.’ And they said, ‘OK, give us 15 minutes.’ And they walked out onto the street in Venice and they came back in as the other characters, redid the audition and that’s how they were cast.”

Mary Crosby and John Cusack in the movie “Tapeheads.”

(American Cinematheque)

Fishman made sure to show Cusack the 1957 film “Sweet Smell of Success,” with Tony Curtis’ smarmy press agent an influence on his character. Fishman also says Cusack’s greased-back hair and pencil mustache were partly inspired by Eric Roberts in “Star 80.”

“Tapeheads” captures a specific moment in Los Angeles history, sure to be nostalgic for some, from a desolate downtown to a percolating music scene. Legendary local party band Fishbone provided music for the score and appears briefly as a country-and-western bar combo. Devo rerecorded a version of their song “Baby Doll” in Swedish to stand in for an international boy band’s hit. The film is also full of cameo appearances by real-life music figures, including “Soul Train” host Don Cornelius, MTV’s Martha Quinn, comedian Bobcat Goldthwait, rapper Doug E. Fresh and musicians “Weird Al” Yankovic, Ted Nugent and Stiv Bators. (A then-largely unknown Courtney Love has an uncredited appearance as a dominatrix on a sex tape.)

“The soundtrack and the people we used in the film were reflective of the wide spectrum of what was unifying, I thought, for the counterculture in specifically L.A.,” says Fishman. “It wasn’t a film about punk rock, it wasn’t a film about rhythm and blues or hip-hop. It was a film about young people expressing themselves.

“When you would go out in Los Angeles at that time, you would go to nightclubs and all these bands would be playing in the same club,” he says. “If you were part of the counterculture you could play anything or dress any way and you were sort of accepted. It was a creative scene and that’s what the film was about.”

One highlight of the movie is a commercial Ivan and Josh make for local L.A. eatery Roscoe’s House of Chicken ‘N Waffles (still going strong), featuring a memorable rap by blues singer King Cotton and done with a bold yellow and black look.

“I grew up in New York City and chicken and waffles was not a thing,” says Fishman. “People here would go get it late night in Hollywood and when I was looking for some business that they could do a video for, it just struck me as an absurd combination, which was all about what the film was about: absurd combinations. And it happens to be delicious.”

“That Roscoe’s Chicken and Waffle commercial is incredible,” says programmer Branscome. “Which is the most California thing because outside of L.A. no one knows what a Roscoe’s is unless you’ve been here. It’s full of very niche stuff that is elevated. It works on one level, but if you know exactly what it is, it gives it a different dynamic.”

Tim Robbins in the movie “Tapeheads.”

(American Cinematheque)

When “Tapeheads” was released in October 1988 (after a berth at the film festival that would be later renamed Sundance), it struggled to find theaters. Moore and Walker performed on “Late Night With David Letterman” as the Swanky Modes. According to Fishman, Cusack and Robbins were both reluctant to do press for the film at the time “because they thought it was uncool.”

It was not until it hit the VHS market that the movie truly began to find its audience. That said, it has never been on Blu-ray and is available to stream from only a few scattered sites. Perhaps this sold-out L.A. screening, with the support of some of the key behind-scenes-team, will help spur the film toward a broader renaissance. It deserves to be seen as more than just a cult curio.

“As soon as people saw the film, they said, ‘Oh, this is a cult film’ and I always hated that,” says Fishman. “I was like, ‘No, it’s not a cult film — it’s a pop movie.’ We wrote it to play to everybody.”

The Federal Communications Commission voted 2-1 in favor of allowing TV station ownership groups to own more outlets, easing the way for more consolidation.

The Thursday vote that favored the change means companies can own local stations that cover more than 39% of the U.S. They could also own more than two stations in a single market.

The measure supported by FCC Chairman Brendan Carr will allow the agency to approve deals that put station ownership groups over the cap if the agency determines that they are promoting the public interest. Carr has said the agency would consider such issues as commitment to local journalism and “viewpoint diversity.”

“In my view, if you care about trusted sources of local news and information, you have to care about the future of local TV stations,” Carr said. “They are the economic engines that produce the paychecks for so many of the local journalists that remain in the business. So how can the FCC maximize the odds that those institutions continue to survive and hopefully thrive into the future? To start, we should stop hamstringing this one segment of the broader market with outdated restrictions.”

The station groups say the ability of tech companies such as Google and Netflix to reach every consumer in the U.S. puts them at a disadvantage. At the same time, streaming now accounts for more than 40% of all viewing, according to Nielsen, pulling consumers away from traditional TV. Television stations are also seeing their share of carriage fees from cable and satellite companies shrink due to cord-cutting.

Declining viewership and revenue have also made it more challenging to sustain multiple local TV news operations in a single market.

Anna Gomez, the lone Democrat on the commission, opposed the measure, saying the rule change will only help big firms get bigger and more powerful.

“Eliminating the cap does not free local broadcasters from economic pressure, it just changes who is doing the squeezing,” Gomez said in a statement issued ahead of the vote. “The large station groups positioned to grow even larger under this decision are not local broadcasters, they are national companies that own local stations and increasingly dictate what airs on them.”

The measure ending the cap limits also faced push back from consumer groups and state government officials who believe station consolidation will result in journalist layoffs and fewer voices for the communities they serve.

TV station owners and its lobbying group the National Assn. of Broadcasters have been clamoring for a change in the rule, citing the changes in technology that have occurred since the ownership limit. The 39% threshold was set in 2004 when streaming video was still a nascent business.

Jeff McCall, a professor of communications at DePaux University, agrees the current limit is outdated in the current media environment. “Local broadcasters are struggling in terms of audience and revenue, and this plan could give them some needed relief,” he said.

But McCall added that having the FCC decide who benefits from the rule change will face resistance.
“it will give the FCC wide discretionary powers and open up any decisions to second-guessing and, of course, court challenges,” he said.

There are also likely to be questions on how even-handed Carr will be when faced with a proposal that puts a station owner over the caps. The chairman has made his name by threatening to pull the broadcast licenses of TV stations that irritate President Trump with their coverage and commentary. Even Trump-supporting Republicans such as Sen. John Kennedy, R- La., have raised concerns the FCC’s scrutiny of broadcast content could be violating the right to free speech.

In April, the FCC called for an early review of the licenses for Disney’s eight broadcast TV stations, a day after Trump demanded that ABC fire late-night host Jimmy Kimmel over a joke about First Lady Melania Trump.

Carr also questioned whether ABC’s daytime show “The View,” where negative Trump commentary occurs often, should qualify as a bona fide news program that is exempt from giving equal time to qualified candidates.

Carr also believes large media companies such as Disney and NBCUniversal parent Comcast hold too much sway over the stations affiliated with their networks.

“New York and Hollywood interests have steamrolled those local TV stations and the broader media market in recent years in ways that run directly counter to the regulatory framework that Congress and the FCC put in place,” he wrote. “Their national programs naturally reflect the values of the New York and Hollywood executives that produce them. This power imbalance has contributed to a steady decline in locally produced news — and with it, a weakening of the public’s trust in the media.”

Earlier this year, a group of attorneys general filed suit to block Nexstar Media Group’s proposed $6.2-billion acquisition of Tegna, arguing it violates a 112-year-old U.S. antitrust law by knocking out a major competitor. The deal would give Irving, Texas-based Nexstar control of 265 television stations across the country, up from 164. And, in dozens of markets, including San Diego and Sacramento, Nexstar would own multiple TV network affiliates.

U.S. District Judge Troy L. Nunley issued a preliminary injunction in April that forbids Nexstar — which owns KTLA-TV Channel 5 in Los Angeles — and Tegna, from combining operations. Nexstar is appealing.

“The biggest divorce trial in British history” is coming and the stakes couldn’t be higher.

A “bold” legal drama has confirmed its start date where “winning is everything” when it comes to divorce.

Brought to life by the creator of Lupin and Hijack, War is an upcoming eight-part Sky drama on the “headline-grabbing” divorce between a tech entrepreneur and an international film star.

Dominic West leads the cast as Morgan successful businessman Morgan Henderson with his soon-to-be ex-wife and actress Carla Duval played by Sienna Miller.

They will be thrown into the “high-stakes world of two of London’s most prestigious rival law firms” who will stop at nothing to secure victory for their clients.

War will be making its debut on Friday, October 3, on Sky and its streaming service NOW, with its official trailer now out and it’s a gripping watch.

What’s even more exciting is that the future of War has already been guaranteed ahead of its season one debut. Sky has given the drama a two-series order with production currently underway on its second season.

Underneath the bitter tension between West and Miller’s characters, there’s also the competition between “London’s most powerful lawyers”, Cathcarts & Sons and Taylor & Byrne.

Screw actress Nina Sosanya is behind Beatrice “Queen Bea” Ubosi as The Crown star Pip Torrens plays John Smallwood from Cathcarts & Sons.

Meanwhile, their counterparts and “fierce rivals” at Taylor & Byrne are portrayed by The Great’s Phoebe Fox as Serena Byrne and Sexy Beast’s James McArdle as Nicholas Taylor.

Then there is ambitious young lawyer Jonathan “Johnny” Warren, played by Shadow and Bone’s Archie Renaux, who quickly realises that it’s a ruthless world where “winning is everything”.

Other memorable cast members set to feature in War include The Thursday Murder Club’s Celia Imrie, Ted Lasso star Nick Mohammed, Mint actress Emma Laird and Gavin and Stacey legend Adrian Scarborough, just to name a few.

War debuts on Friday, October 2 on Sky and streaming service NOW.

Bravado, insecurity, deceit. These are the bitter ingredients that seasoned the chef Anthony Bourdain inside the pressure cooker of the restaurant industry. Set over one formative summer in 1975, Matt Johnson’s affectionately sleazy biopic “Tony” is a portrait of the culinary adventurer (who died by suicide in 2018 at the age of 61) as a snotty 19-year-old Vassar student who doesn’t know an oyster knife from his ego. “I was — to be frank — a spoiled, miserable, narcissistic, self-destructive and thoughtless young lout, badly in need of a good ass-kicking,” Bourdain confessed in his 2000 bestseller “Kitchen Confidential,” a scorching memoir that elevated him from obscurity to damaged saint. “Tony” opens with that quote and proves it with scenes of boozing, puking and petty crime. Miraculously, it’s the most heartwarming comedy of the year.

Teenage Tony (a feral Dominic Sessa of “The Holdovers”) claims he’s already writing the next great American book, a navel-gazing bildungsroman — his word, not mine — in the key of Kerouac. Really, he’s just a middle-class kid from New Jersey who doesn’t expect to work for a living. Stalking his high school crush Nancy (a grounded Emilia Jones) to Provincetown, Mass., he begrudgingly supports himself with a dishwashing gig at the Flagship, a humble seafood joint. The kid is ashamed of blue-collar labor. That his rowdy co-workers think he sucks at it is worse. This taste of humiliation would change his destiny.

Under the tutelage of the Flagship’s idiosyncratic unnamed chef (Antonio Banderas), Tony will discover the importance of punctuality. A devilish shellfish-shucker (Leo Woodall, an intoxicating scamp) will also introduce him to cocaine. That first bump hits Tony with such a rush that the soundtrack explodes with boogielicious disco.

Sessa was born to prowl around wild-eyed in retro polyester. He relishes the fast and funny dialogue, flinging around fancy words that don’t mean a thing. At low emotional tide, Sessa’s Tony can also be watchful and quiet. He makes us hear the character’s silent inner schemes as loudly as when he’s actually blabbering.

Director Johnson (“BlackBerry” and the maniacally brilliant “Nirvanna the Band the Show the Movie”) and his co-screenwriters Matthew Miller, Todd Bartels and Lou Howe have blended every hard-knock lesson that Bourdain learned across decades of job-hopping into one month of blood and sweat. Spiritually, it’s fantastic. Factually, it’s baloney, although “Tony” does restore the restaurant’s actual name — the Flagship — from Bourdain’s Dreadnaught, the pseudonym he gave it before he ever imagined future fans following him around the world. Mild spoiler alert: Readers of “Kitchen Confidential” will also know it’s dedicated to Nancy, who became his first wife.

The kitchen scenes are a combo platter of boot camp, frat house hazing ritual and kung fu movie. As Bourdain would later explain, he thrived in a setting where actions have instant consequences: a sore back, a sliced hand, a good meal. Burn the sandwich, toast it again; scrub every plate and punch out with pride. You can’t help but grin at Sessa’s hoot when his scrawny Tony finally manages to muscle a raw potato through a french-fry slicer. And at the end of a shift, he and his dysfunctional workplace family gather to share bowls of squid stew and taste the results of their work. Back in New Jersey, dinnertime with his biological family feels as cold and stale as their meal of frozen peas and store-bought white bread.

Banderas’ chef is the kind of mentor you’d expect to find on a mountaintop mediation retreat, starting over a half-dozen scenes coldly waking up the sleeping whippersnapper with a cold bucket of morning seawater to the face. As Banderas plays him, he’s a bearish marvel of a man with the kind of earthy soul that would have had Ernest Hemingway chugging salty dogs on his barstool all night. There’s a shot of Banderas biting into a tomato that’s pure bliss for him and us.

Whereas Tony talks a big game, squeezing Japanese words like boketto — the art of doing nothing — into conversation, Banderas shows us how to simply do it. (Likewise, a centerpiece montage makes penning a coming-of-age book look way lamer than than just living a full life.) Watching Banderas’ chef stare at the Atlantic, it may occur to you that a cook can no longer afford a waterfront shack on the sand. The film is too breezy to say so directly, but its emphasis on the value of honest work wants you to think it.

Watching Banderas spend a day simmering his own handcrafted ketchup simply to store it in repurposed Heinz bottles says everything about the guy’s devotion to food and his indifference toward marketing. It’s a little grating to see boorish Tony offer him business tips. It helps that some of his advice isn’t great.

“Tony” stays planted in its own immediate present, rarely hinting at the veers Bourdain’s biography will take. “Kitchen Confidential” won’t be published for another 25 years; his globe-trotting celebrity comes after that. Johnson keeps the tone so zingy and loose that you don’t have to know Bourdain at all to enjoy the movie. The ending even tacks on a let’s-save-our-hangout rally that could be Velcroed onto any ’80s comedy.

The script allows itself just two beats to squeeze out a knowing tear. The first comes when Tony describes his approach to writing: “I try to imagine interesting places I’ll probably never go, people I’ll never get to meet,” he says, unaware how much his horizons will one day expand. The second trickier and clumsier aside happens when Banderas’ chef tells Tony the tragedy of 17th century French cook François Vatel, who literally fell on his sword before serving a banquet to Louis XIV. Lore has it that Vatel didn’t have enough fish. The teenager doesn’t understand. “He killed himself? Why?” Tony repeatedly asks. That question will never have a satisfying answer.

Like a lazy Susan, today’s youth seem to be coming full circle to young Tony’s dilemma. He’s got one foot on the so-called safe path — college, white-collar isolation — and the other on a career that’s already covering him in well-earned scars. As employees are feeling insecure and replaceable, there are rumblings that the current crop of kids is gravitating back toward physical jobs and finding, as Tony did, that one can find fulfillment working with your hands. The stress of the kitchen didn’t make Tony a better man overnight. But it was the grit that grew a pearl.

Rhea Seehorn possesses what Vince Gilligan calls “Jumbotron face.” As the creator of “Pluribus” and (with Peter Gould) “Better Call Saul,” Gilligan has relied on Seehorn’s ability to broadcast what her characters are thinking and feeling without saying much of anything. Gilligan loves silences and uses them in long stretches, allowing — or, perhaps more accurately, demanding — his audience to figure out what’s happening on their own.

And in Seehorn he found someone who, with a mere sidelong glance or knitted brow, can let you in on Gilligan’s secrets.

But Seehorn carries this ability wherever she goes, she tells me. People take a look at her and make assumptions. She’s 5 foot 4, lean and seems athletic, though she says she’s “the least athletic person that anybody knows.” That hasn’t stopped her from being cast as a golf instructor in the upcoming second season of the Owen Wilson comedy series “Stick” and a track and field coach in a movie she’s shooting right now called “Running.”

“I do not run,” she told the movie’s director, Gavin O’Connor. “I can tell people to run, but you don’t want to see me running.”

It’s not just work, though, where these deductions are made. Up until a few years ago, when people started recognizing her for playing poker-faced attorney Kim Wexler on “Better Call Saul,” Seehorn would be standing in a store and customers figured she worked there. Shopping at the Gap, she’d be asked if a T-shirt comes in medium. In Target, she’d be queried about where to find the Christmas decorations. Even on set, a background person would approach her, wondering if there’s any more plain bagels at craft service.

Why do you think this happens? I ask her. Because, even with her fame and her Golden Globe win for playing Carol, a sad woman forced to save the world from happiness and the hive mind in “Pluribus,” Seehorn, 54, says this still takes place on a regular basis.

“I’ve asked my friends, and apparently my daydreaming or thinking face looks focused,” she says. “I guess my interior monologue is highly interpretable to people, and if you’re standing in a store and you see somebody really thinking and thinking, they’re like, ‘She must be restocking the shelves.’ When in reality, I’m probably thinking about what I said wrong to somebody at a party in the ’80s.”

Rhea Seehorn as Carol Sturka in “Pluribus.”

(Apple TV)

Seehorn bursts out laughing, which she does often and with great gusto throughout our conversation. We’re at The Times, nine years after her last visit to our offices, which I know because she shows me a photo on her camera roll of her youngest stepson, McLain, taken when we were downtown and he was 9, young enough to still be thrilled about being in a “newspaper building.”

This prompts another take-your-kids-to-work memory.

“I brought him and Gray [the other stepson she shares with her partner of 12 years, real estate agent Graham Larson] to the set of ‘Better Call Saul’ when they were 7 and 9, and the thing they were most excited about was signing an NDA,” Seehorn says. “Everybody in the production office made a huge deal of it, pretending like they were spies, because I knew they’d think that was cool.”

Seehorn played Kim opposite Bob Odenkirk on “Better Call Saul” for six seasons, creating a character that evolved from a minor role to what Gilligan calls the “backbone of the series.” Dazzled by her versatility, Gilligan wrote “Pluribus” for Seehorn. But he didn’t want to tell her about it until he had a script and not just an outline. He asked “Saul” executive producer Melissa Bernstein to act as a spy and tell him if Seehorn was close to taking another job. One day, during the show’s final season, Bernstein told him he’d better pounce.

“I didn’t want to miss my opportunity,” Gilligan says over the phone. “That would have been a bummer. Rhea is the manager that makes the show work.”

(Ian Spanier / For The Times)

Where Kim Wexler was a composed and poised overachiever, suppressing her emotions when things (as they often did) spiraled out of control, “Pluribus’” Carol Sturka lets it all hang out. She’s volatile and angry, drinking heavily to obliterate her regret and rage. The characters share a fierce drive to fight for what they believe is right, which, for Carol, means maintaining her autonomy and resisting the good-vibes group contentment of the Others. A hero has never been more reluctant than this curmudgeon.

Seehorn is the ultimate professional: pleasant, quick to credit her colleagues, a team player. So Carol’s bitter fury feels distinct from her friendly personality as well as anything we’ve ever seen her do onscreen. But it’s not entirely foreign. Talking about the “Pluribus” season finale, she said that while she’s never murdered anyone, she has felt out-of-control rage.

When did this happen?

“I’m not going to tell you that!” she answers, laughing.

I’m just trying to picture it, I tell her.

“I know, because a lot of people are like, ‘I’ve never seen you mad,’” Seehorn says. “I suppress. I suppress too much. That’s something I work on with my therapist. I used to scream and yell as a teenager. That’s how I fought. And I just decided in college one day — I think I had an out-of-body experience — that I don’t want to be this person. And it probably moved the needle too far the other way. Now, when I’m angry, often I withdraw and get very quiet. I say everything is fine and then I’m never speaking to you again.”

That could have made playing a highly reactive character like Carol therapeutic. Instead, it did a number on Seehorn’s body.

(Ian Spanier / For The Times)

“Unlike Carol, I cry often when I’m extremely angry and in the middle of trying to tell someone how upset I am,” Seehorn says. “Like the anger disturbs my body so much that it makes me cry. No matter how much I tried to unplug from Carol, my body didn’t understand that I was pretending.”

We start talking about relationships and unhealthy withdrawal and letting things fester to the point that when the emotions come out, it feels abrupt and the other person has no idea what’s going on. And out of nowhere, Seehorn gives me a taste of Carol, growling the words, “Can you just get it?” with such ferocity that I’m almost physically blown back in my chair.

“God, you scared me with that,” I tell her.

“Thank you,” Seehorn says, beaming.

Because she’s a (generally) well-adjusted human being, Seehorn has developed ways of dealing with the terror and flop sweat that comes with playing the lead on an expensive, highly touted TV series, one that earned 18 Emmy nominations, including one for her lead turn. She converted the garage at her home into what sounds like a veritable wonderland. In one corner, there’s a tiny gym. There’s a place to record voice-over work, not a proper booth, which she’d like someday, but close. There’s a space to be quiet and read scripts. There’s an area where she can paint, sculpt, do jigsaw puzzles, Lego sets, embroider — all the things that ease her anxiety but also help her work through creative blocks.

“If I have too much of a vice grip on a scene and I can’t figure it out, I’ll do a jigsaw puzzle or draw while running the lines,” Seehorn says.

She loves creating things, but she also loves projects that involve following instructions. That soothes her. In the middle of enthusing about a cross-stitch embroidery project, she says, “Don’t roll your eyes at me!” Which I most definitely was not doing. That was my daydreaming, thinking face.

(Ian Spanier / For The Times)

Sometimes these projects make their way inside the house, where Seehorn might turn on the television and watch what she calls “murder TV,” sitting under a big, curved metal dome lamp that feels like an interrogation spotlight. There, her brain still working on what she was doing in her office, she’ll lose herself on multiple fronts as she wrestles with a scene.

Seehorn loves watching shows like “Dateline” because they provide a sense of order in a chaotic world. Bad guy. Bad guy gets caught. Bad guy goes to jail. All is well. But it goes beyond that. As an actor, she loves watching people trying to lie — and failing. She can’t believe how bad people are at not telling the truth.

“Every single time, I’m like, ‘Dude’s lying,’” Seehorn says. “Women too, where I’m watching an interrogation scene and thinking, ‘There’s a zero percent chance you did not know someone was going to break in and shoot your husband.’ It’s funny because as actors, whenever we’re playing criminals that are lying to the police, we’re really good at it.”

Does that mean Seehorn is an adept liar? Yes and no. You’ve seen her act. She can make you believe anything. But when she does lie, she is compelled to confess, even when the fib is innocuous.

“I’ll be in a conversation where there’s a bunch of cool people talking about a movie they saw, and I’ll be like, ‘Oh yeah, that was great!’” Seehorn says. “And then I’ll leave and then I’ll come back and say, ‘I didn’t actually see it. I’m sorry.’ And they’re like, ‘Who’s that weird girl?’ I’m good at lying, but bad at holding the guilt.”

So when you’re telling me you don’t know any details about the second season of “Pluribus,” are you misleading me? I ask.

“I know nothing!” Seehorn says. The atomic bomb in the crate that a helicopter carefully deposits in Carol’s driveway in the last scene? “As soon as they said, ‘Cut,’ I went up to Vince and asked, ‘Now can you tell me what we’re doing?’ And he said, ‘I have no idea.’”

“And all these months later, I know no more than that,” she continues.

But if you did…

“You’d be getting a phone call from me about an hour after we say goodbye, confessing all,” Seehorn answers, smiling.

The phone still hasn’t rung.

(Ian Spanier / For The Times)