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Opera has housed a long and curious fetish for the convent. Around a century ago, composers couldn’t get enough of lustful, visionary nuns. Although relatively tame next to what was to follow, Puccini’s 1918 “Suor Angelica” revealed a convent where worldly and spiritual desires collide.

But Hindemith’s “Sancta Susanna,” with its startling love affair between a nun and her maid servant, titillated German audiences at the start of the roaring twenties, and still can. A sexually and violently explicit production in Stuttgart last year led to 18 freaked-out audience members requiring medical attention — and sold-out houses.

Los Angeles Opera got in the act early on. A daring production of Prokofiev’s 1927 “The Fiery Angel,” one of the operas that opened the company’s second season in 1967, saw, wrote Times music critic Martin Bernheimer, “hysterical nuns tear off their sacred habits as they writhe climactically in topless demonic frenzy.”

Now we have, as a counterbalance to a lurid male gaze as the season’s new opera for L.A. Opera’s 40th anniversary season, Sarah Kirkland Snider’s sincere and compelling “Hildegard,” based on a real-life 12th century abbess and present-day cult figure, St. Hildegard von Bingen. The opera, which had its premiere at the Wallis on Wednesday night, is the latest in L.A. Opera’s ongoing collaboration with Beth Morrison Projects, which commissioned the work.

Elkhanah Pulitzer’s production is decorous and spare. Snider’s slow, elegantly understated and, within bounds, reverential opera operates as much as a passion play as an opera. Its concerns and desires are our 21st century concerns and desires, with Hildegard beheld as a proto-feminist icon. Its characters and music so easily traverse a millennium’s distance that the High Middle Ages might be the day before yesterday.

Hildegard is best known for the music she produced in her Rhineland German monastery and for the transcriptions of her luminous visions. But she has also attracted a cult-like following as healer with an extensive knowledge of herbal remedies some still apply as alternative medicine to this day, as she has for her remarkable success challenging the patriarchy of the Roman Catholic Church.

She has further reached broad audiences through Oliver Sacks’ book, “Migraine,” in which the widely read neurologist proposed that Hildegard’s visions were a result of her headaches. Those visions, themselves, have attained classic status. Recordings of her music are plentiful. “Lux Vivens,” produced by David Lynch and featuring Scottish fiddle player Jocelyn Montgomery, must be the first to put a saint’s songs on the popular culture map.

Margarethe von Trotta made an effective biopic of Hildegard, staring the intense singer Barbara Sukowa. An essential biography, “The Woman of Her Age” by Fiona Maddocks, followed Hildegard’s canonization by Pope Benedict XVI in 2012.

Snider, who also wrote the libretto, focuses her two-and-a-half-hour opera, however, on but a crucial year in Hildegard’s long life (she is thought to have lived to 82 or 83). A mother superior in her 40s, she has found a young acolyte, Richardis, deeply devoted to her and who paints representations of Hildegard’s visions. Those visions, as unheard-of divine communion with a woman, draw her into conflict with priests who find them false. But she goes over the head of her adversarial abbot, Cuno, and convinces the Pope that her visions are the voice of God.

Mikaela Bennett, left, as Richardis von Stade and Nola Richardson as Hildegard von Bingen during a dress rehearsal of “Hildegard.”

(Carlin Stiehl / For The Times)

Hildegard, as some musicologists have proposed, may have developed a romantic attachment to the young Richardis, and Kirkland turns this into a spiritual crisis for both women. A co-crisis presents itself in Hildegard’s battles with Cuno, who punishes her by forbidding her to make music, which she ignores.

What of music? Along with being convent opera, “Hildegard” joins a lesser-known peculiar genre of operas about composers that include Todd Machover’s “Schoenberg in Hollywood,” given by UCLA earlier this year, and Louis Andriessen’s perverse masterpiece about a fictional composer, “Rosa.” In these, one composer’s music somehow conveys the presence and character of another composer.

Snider follows that intriguing path. “Hildegard” is scored for a nine-member chamber ensemble — string quartet, bass, harp, flute, clarinet and bassoon — which are members of the L.A. Opera Orchestra. Gabriel Crouch, who serves as music director, is a longtime member of the early music community as singer and conductor. But the allusions to Hildegard’s music remain modest.

Instead, each short scene (there are nine in the first act and five — along with entr’acte and epilogue — in the second), is set with a short instrumental opening. That may be a rhythmic, Steve Reich-like rhythmic pattern or a short melodic motif that is varied throughout the scene. Each creates a sense of movement.

Hildegard’s vocal writing was characterized by effusive melodic lines, a style out-of-character with the more restrained chant of the time. Snider’s vocal lines can feel, however, more conversational and more suited to narrative outline. Characters are introduced and only gradually given personality (we don’t get much of a sense of Richardis until the second act). Even Hildegard’s visions are more implied than revealed.

Under it all, though, is an alluring intricacy in the instrumental ensemble. Still with the help of a couple angels in short choral passages, a lushness creeps in.

The second act is where the relationship between Hildegard and Richardis blossoms and with it, musically, the arrival of rapture and onset of an ecstasy more overpowering than Godly visions. In the end, the opera, like the saint, requires patience. The arresting arrival of spiritual transformation arrives in the epilogue.

Snider has assembled a fine cast. Outwardly, soprano Nola Richardson can seem a coolly proficient Hildegard, the efficient manager of a convent and her sisters. Yet once divulged, her radiant inner life colors every utterance. Mikaela Bennett’s Richardis contrasts with her darker, powerful, dramatic soprano. Their duets are spine-tingling.

Tenor Roy Hage is the amiable Volmar, Hildegard’s confidant in the monastery and baritone David Adam Moore her tormentor abbot. The small roles of monks, angels and the like are thrilling voices all.

Set design (Marsha Ginsberg), light-show projection design (Deborah Johnson), scenic design, which includes small churchly models (Marsha Ginsberg), and various other designers all function to create a concentrated space for music and movement.

All but one. Beth Morrison Projects, L.A. Opera’s invaluable source for progressive and unexpected new work, tends to go in for blatant amplification. The Herculean task of singing five performances and a dress rehearsal of this demanding opera over six days could easily result in mass vocal destruction without the aid of microphones.

But the intensity of the sound adds a crudeness to the instrumental ensemble, which can be all harp or ear-shatter clarinet, and reduces the individuality of singers’ voices. There is little quiet in what is supposed to be a quiet place, where silence is practiced.

Maybe that’s the point. We amplify 21st century worldly and spiritual conflict, not going gentle into that, or any, good night.

‘Hildegard’

Where: The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills

When: Through Nov. 9

Tickets: Performances sold out, but check for returns

Info: (213) 972-8001, laopera.org

Running time: About 2 hours and 50 minutes (one intermission)

Emmerdale’s Bear Wolf actor Joshua Richards spoke to the Mirror about his devastating standalone episode, as we finally find out where Bear is and what’s happened to him

It’s been almost four months since Emmerdale‘s Bear Wolf was last on screen, with Paddy Kirk’s father vanishing as part of a top-secret storyline.

As the troubled character finally returns next week in a harrowing special episode, actor Joshua Richards says fans will be “furious” when they finally find out what has been going on. The last time Bear was in the village he was suffering from mood swings, forgetfulness and appeared depressed, before a bust-up with his son led to him taking some time away.

As Paddy realises his father never made it to Ireland back in July, it dawns on him that something horrifying may have happened. Joshua, 66, has revealed that the standalone episode will flash back to the moment he fled in his car, with fans finally finding out what’s gone on in the days since.

With that, it’s explained that Bear is at the centre of a modern slavery storyline, and Joshua says that anyone can be exploited, even a “strong” character like his own. “I found it a bit disconcerting, really. I found it a bit frightening,” Joshua told us.

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“What experience do I have to bring to the table? It was a bit discombobulating at first. Of course Bear has been experiencing this depression and confusion. It’s a great thing to find him so vulnerable – a big strong man being vulnerable and exploited.”

Joshua has been working with the Salvation Army for the harrowing storyline, speaking with men who have found themselves in similar situations to Bear. He shared: “It’s something that you can slip into and if you’ve been manipulated a certain way, and being a certain age as well, where maybe you do think that you’re useless and redundant, if someone convinces you that no, you are worth something, that you do have some kind of currency.

“You can be somehow manipulated into a situation that you didn’t envisage seeing yourself in, in the first place. So it’s quite fascinating how these things actually do happen.” Joshua said the topic isn’t new to him, having appeared in a play in 2007 called Sold which focussed on modern slavery.

He now hopes the storyline has a similar impact to ITV’s Mr Bates vs The Post Office, which shone an international light on the British Post Office scandal. “I think that soaps do have a responsibility to educate and maybe show things that go under the radar and you may not necessarily see on the main news,” Joshua said.

“I think it’s our job to do that and I’m very proud to be part of what ITV is doing with these wonderful writers and the great research which has gone on. Maybe it will prompt something and there will be action. But then again, we don’t hold hope for any government in light of the other scandals which have gone by and very little has been done.”

Joshua feared his time was up on the soap when Producer Laura Shaw warned him he’d be offscreen for a while. The actor was told he couldn’t cut his hair or shave his beard during his absence as part of the storyline, which went on for around three months.

“I became a raggedy old man while I was off,” he joked. Joshua said it adds to the confusion viewers will experience when they first see Bear onscreen again. “He’s at the real bottom, looking really filthy and scraggly and unkempt.

“Bit by bit we took it away. I’m almost back to where I was before now, but it’s been a very complicated way of portraying various stages in Bear’s journey and very confusing for all of us, because each day I’m in a different time zone or a different part of the story.

“So it’s been quite exciting and quite weird.” Joshua now hopes viewers will spot the signs of modern slavery, which he says “is going on under our noses”. He shared: “Be aware. We all have our cars cleaned and say: ‘Ooh, that’s cheap’. But who are the people cleaning your car? I mean, that’s just a very tiny part of it.

“It’s other things, it’s people who are picking your spuds, it’s people who are fixing your driveway, maybe there’s somebody doing work on your roof. You really don’t know. I mean, there are bona fide proper people – builders, farmers, other people – out there.

“But some are in the dark web of life, there are people who are gangs, who are criminals, who are ready to exploit people. Because the biggest bill you’ll ever get for anything you have done, for example your house extension, the biggest part of your bill is the labour.

“If criminal gangs can take that essence out, that you don’t have to pay for that labour, then that’s where big profits are made, people are exploited and misery begins.”

Emmerdale airs weeknights at 7:30pm on ITV1 and ITVX, with an hour-long episode on Thursdays. * Follow Mirror Celebs and TV on TikTok, Snapchat , Instagram , Twitter , Facebook , YouTube and Threads.

SPICE Girl Mel C has cranked up the heat and put her rock hard abs on display during a shoot for her new music video – Sweat.

The toned 51-year-old star gave fans a glimpse at work behind-the-scenes of her latest musical offering.

She told followers alongside the footage: “Little SWEAT shoot BTS clip now live on YouTube.”

Jumping around on an exercise bike, the sports-lover showed off her enviable muscles in a variety of show-stopping outfits and shades.

She looked pumped in a selection of wardrobe changes including a string-tied bra top and cut-out bikini-style cover up with black trousers.

Proving she still lives up to her Sporty Spice persona, the singer looked incredibly toned, while exuding girl power in her ab-flashing workout gear.

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The mum-of-one’s new track Sweat is an electro-house single that samples Diana Ross’s iconic hit Work That Body.

It’s set to feature on Mel’s upcoming ninth studio album due to drop on May 1, 2026.

Speaking of her dance single Sweat, she wrote: “I’m so happy this track is finally all yours. Dance to it. Run to it. Lift to it. SWEAT to it.”

Although the singer missed her fellow bandmate’s wedding in July, Mel C issued a sweet message to her friend Mel B.

The popstar was absent from Mel’s happy day at St Paul’s Cathedral on Saturday, which saw Emma Bunton, 49, the sole other girl group member in attendance.

The Sun revealed earlier in the year how the Spice Girls are planning a massive tour in 2026 to celebrate 30 years since debut single Wannabe was released.

Sporty Spice had her say, revealing certain members needed more “convincing” than others, with Victoria Beckham currently not set to take part.

She is expected to keep out of it just like she did with their sell-out 2019 reunion tour, while Geri Halliwell-Horner may also need some persuading.

The Liverpudlian previously appeared on the No Filter with Kate Langbroek podcast and Mel said: “Next year is a big year for us and we have to acknowledge it in some way.

“So we are talking about what that’s going to look like and for me, Melanie, I know for sure, and Emma [Bunton], we’d be back on stage. But sometimes other people need a little bit more convincing.”

On the prospect of all five members being back on stage together for the first time since 2012, she said: “It would be the best thing ever, ever, ever. And sometimes it feels like a duty to the world.

“When we did the shows in 2019, it brought so much joy to so many people. Not everybody likes the Spice Girls but loads of people do.

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“We’re living in this weird world right now. There’s so much negativity and mad s**t going on. Let’s all spice up our lives.”

And talking about Mel B, she added, ironically: “We’ve decided now we’re not going to tell Mel anything because she can’t keep her mouth shut.

Celebrity real estate agent Chrishell Stause is moving on from Netflix’s “Selling Sunset” after nine seasons on the hit reality TV series.

Stause revealed to Bustle in a story published Friday that she is quitting the popular show, telling the outlet that not even “Jesus Christ himself” or the show’s producing team could persuade her to return. “I’ve gotten to a place where I don’t need the show financially,” the 44-year-old reality star and former “All My Children” actor told Bustle.

“I’m lucky to have other forms of employment, because it’s no longer good for my mental health,” she said.

“Selling Sunset” debuted on Netflix in 2019 and stars the female agents, including Stause, at the Sunset Strip office of the Oppenheim Group, a luxury real estate agency. Over the years, with Stause part of the main cast, the series has documented some of her professional wins and losses as well as her personal struggles, notably her divorce from “This Is Us” actor Justin Hartley in 2019. That divorce was finalized in 2021 and Stause has since remarried to Australian musician G Flip.

As Stause announced her exit to Bustle, she discussed her issues with other members of the “Selling Sunset” circle, namely co-star Emma Hernan and her boyfriend, Blake Davis. She also expressed disapproval with the series’ editing. Netflix did not comment to Bustle about Stause’s comments, but she wished the “Selling” franchise well in its future installments.

“I have no ill will toward the show. The show has given me so many opportunities, and I don’t want to be bitter about it, even though I’m leaving not in the way that I would’ve loved,” she said.

Stause, who appeared earlier this year in NBC’s celebrity competition show “The Traitors,” also talked about growing her family with G Flip and diversifying her friend groups: “I just really love being around accepting, beautiful-hearted people.”

The actor-reality star closes her “Selling Sunset” chapter two days after Netflix aired its Season 9 reunion episode. On Instagram, Stause acknowledged that “the season ended on a bit of a sour note,” but expressed gratitude to the Netflix series and its fans.

“It introduced me to you guys — and I am deeply thankful for your support. There were lots of fun memories I am going to focus on from here on out and you will see me again so it’s not goodbye,” she said Friday in an Instagram story. “Just goodbye for now.”

On Friday night, Channel 4 viewers tuned in to watch another episode of Gogglebox as the stars caught up with the latest shows on TV.

During the latest episode of Gogglebox, Channel 4 viewers saw one beloved member of the cast make a confession to his sister.

On Friday night, the armchair critics watched the series finale of The Celebrity Traitors, which saw Alan Carr win the huge cash prize for his charity, along with the latest series of Netflix’s Squid Game: The Challenge.

However, inbetween their reactions to what’s been happening in the world of TV this week, Simon Minty told his sister Jane that he’s reached a somewhat unusual milestone.

He commented, “I reached a milestone this week, Jane and I don’t know if I’m proud or embarrassed. I have completed every episode of NCIS.

“There are 22 series available, of which each series has about 20 episodes. I’ve found there are 490 episodes. I have watched them all from start to finish, in order.”

She replied: “Is that what you call binge watching?” He added: “I didn’t do it in one go!”

The two siblings have been part of the Channel 4 show since 2021 and quickly became fan-favourites. Usually, the pair share their antics outside of the programme with their followers on social media.

Earlier this year, Jane detailed a ‘boo boo’ she had whilst at work in her commercial kitchen as a chef. She told Simon in a clip: “Mistook twenty egg whites, instead of twenty grams of egg whites. I was preparing a demonstration tray.”

Confused, Simon asked whether or not that meant she had too many or too few, as she confessed it was ‘far too many’.

She added: “But, they will be used. Not wasted.” He jokingly replied: “See it’s a bit over my head, it’s all a bit in the biz, the chefing business. It’s obviously a yoke for chefs that one.”

However, it wasn’t Simon’s revelation that had viewers talking on Friday night as people were sent into a frenzy after spotting the infamous Coca-Cola Christmas advert during the first break.

It wasn’t long before people took to social media to comment on the festive clip, with many noticing one thing in particular.

One person said: “I’m watching #Gogglebox and at the advert break was the Coca Cola #HolidaysAreComing advert!!!! It is officially Christmas!!”

Someone else wrote: “Is the Christmas Coke Cola advert now AI generated?” Another person added: “Good news: The Coca-Cola Christmas Advert has appeared during the Gogglebox ad break. Bad news: It’s AI.”

Another shared: “Holidays are coming and it’s only November.” One person said: “Feels like Christmas now! Coca-Cola ad!!!!!!”

Gogglebox is available to watch on Channel 4.

RAPPER Chris Brown footed a £160,240 booze bill during a wild night out in London.

The US star — on bail for assault — partied with his entourage in the capital ahead of his trial next year.

One session involved at least four bottles of £2,900-a-time Louis Roederer Cristal Magnum Champagne at the Selene nightclub, which promises “the epitome of ultimate pleasure”.

Days later, the West End club posted the anonymous megabucks receipt on social media.

Some of those who partied with him — including models and other rappers — have revealed Chris footed the bill.

His entourage also posted the receipt alongside shots of a private jet and luxury hotel suites from his ten-day visit, after he flew in on October 18.

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One insider told The Sun: “Chris lives life in the fast lane and thinks nothing of splashing out on the best there is.”

Brown is set to stand trial in London next October, accused of attacking music producer Abraham Diaw at the Tape club in Mayfair in 2023.

He denies ABH, attempted GBH and having an offensive weapon — a tequila bottle.

The rapper’s agents were approached for comment.

Drew Brees is in at Fox Sports.

Mark Sanchez is out.

The network announced Friday that Brees, the MVP of Super Bowl XLIV, has been hired as an NFL game analyst. He will join play-by-play announcer Adam Amin in the booth starting Nov. 16.

Amin had previously been paired with Sanchez, who is facing a felony battery charge after a physical altercation with a 69-year-old truck driver in Indianapolis last month. Sanchez, who was stabbed in the abdomen during the incident, has not been on the air since then, and a Fox Sports spokesperson told The Times on Friday that he “is no longer with the network.”

“There will be no further comment at this time,” the spokesperson added.

Sanchez has been charged with a level five felony of battery involving serious bodily injury as well as two misdemeanors — unauthorized entry of a motor vehicle and public intoxication — after an Oct. 4 scuffle with Indiana resident Perry Tole.

Sanchez was in Indianapolis that weekend to cover the Colts’ game against the Las Vegas Raiders. According to a probable cause affidavit filed by the Indianapolis Metropolitan Police Department, Sanchez threw Tole toward a wall and also onto the ground during the altercation, while Tole sprayed Sanchez with pepper spray and eventually stabbed him.

Tole spent two days in the hospital after suffering a deep laceration on his left cheek that his attorney said affected his ability to speak. On Oct. 6, Tole filed a civil lawsuit against Sanchez, alleging he had suffered “severe permanent disfigurement, loss of function, other physical injuries, emotional distress, and other damages” as a result of the 38-year-old former NFL player’s actions.

Fox Corp. was named as a co-defendant in the case.

Sanchez remained in the hospital for a week after the incident. He was excused from attending an Oct. 22 pre-trial conference for his criminal case, as his attorney said he was still recovering from his injuries. The trial is set to begin Dec. 11.

With Brees, Fox has replaced Sanchez with one of the NFL’s all-time greats at quarterback. Brees played for the San Diego Chargers and New Orleans Saints during his 20 years in the NFL and is second behind Tom Brady in many of the league’s passing records, including touchdowns and yards. In his first year of eligibility, he is among the 52 modern-era players under consideration for the 2026 Pro Football Hall of Fame class.

“Drew is one of the best to ever play the game, and we couldn’t be more excited to have his prolific credentials and unique insights as part of our coverage on Sundays,” Brad Zager, president of Production and Operations at Fox Sports, said in a statement. “We’re thrilled to welcome him to the Fox Sports family.”

Upon retiring in 2020, Brees called games on NBC for one season. More recently, he has appeared on in-studio shows on various networks and is slated to be part of Netflix’s coverage of Christmas Day games for the second year.

“I appreciate the opportunity Fox has given me in the booth and with their team,” Brees said in a statement. “I hope my passion for this game is reflected in the knowledge and insights I provide to the fans each Sunday.”

The BBC has confirmed the start date for the second series of The Night Manager, as a new trailer has been released for the upcoming series.

After nearly ten years of anticipation, BBC viewers were delighted to discover that a fresh instalment of The Night Manager was being developed.

In 2016, the gripping thriller proved hugely successful as it chronicled former soldier Jonathan Pine (Tom Hiddleston) working as a hotel night manager who becomes enlisted by British intelligence operative Angela Burr (Olivia Coleman).

The eagerly-awaited second instalment will resume years following the dramatic conclusion, with audiences witnessing Jonathan as a junior MI6 operative managing a discreet surveillance team in London dubbed ‘The Night Owls’.

This week, the BBC unveiled a thrilling trailer for the upcoming series, confirming it will broadcast on January 1.

The preview reveals Jonathan in his fresh position, whilst a narrator directs him to ‘watch, listen and report’. Yet the voice then sternly warns: “You do not hunt down.”

Cutting to Colombia, the MI6 operative must investigate Teddy Dos Santos (Diego Calva), suspected of trafficking weapons into the nation with British Intelligence assistance, reports the Express.

Adopting a fresh identity, Jonathan becomes deeply entangled in a deadly conspiracy. Betrayal appears imminent as he challenges Agent Burr, declaring she ‘lied’ to him, prompting her reply: “I had no choice!”

A montage of rapid-fire sequences follows, featuring heart-stopping pursuit scenes and Jonathan fleeing through a structure as explosions erupt around him.

In a chilling moment, Jonathan is seen being restrained by Teddy as he questions, ‘Who are you, Matthew?Why are you really here?” While a woman’s voice accuses him of ‘playing her’.

The trailer, shared on social media, sparked an immediate reaction from fans, with many expressing their excitement for the show’s return. One fan exclaimed: “Wow wow wow wow.” Another chimed in: “FINALLY!!!!”

Speaking about the series, Tom Hiddleston told the BBC: “The first series of The Night Manager was one of the most creatively fulfilling projects I have ever worked on. “”The depth, range and complexity of Jonathan Pine was, and remains, a thrilling prospect.

I’m so looking forward to reuniting with Simon and Stephen Cornwell, David Farr and Stephen Garrett, and to working with Georgi Banks-Davies to tell the next chapter of our story. I can’t wait.”

The BBC has also confirmed that The Night Manager will be returning for another series following this upcoming one.

Tune into the new series of The Night Manager from 1 January on BBC iPlayer in the UK, and from 11 January on Prime Video where available.

GEMMA Collins has raked in a seven-figure sum ahead of her I’m A Celebrity comeback.

The reality star, 44, has gone from strength to strength since rising to fame on The Only Way Is Essex.

According to new accounts from her company, Gemma Collins Limited, she has brought in a near £1 million profit in the year to September 30, 2024.

Meanwhile, earnings show £230,134 in corporation tax is due within a year.

This reveals Gemma has pocketed a £950,000 profit – based on the 2023/24 corporation tax rate -working out at £2,600 per day.

The firm was set up in 2012 and is run by Gemma’s dad Alan, although she is reported in accounts as the “ultimate controlling party”.

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She channels her earnings from TV, various branding and business endeavours into the company.

As well as her performing arts firm, Gemma has also run four other companies.

These were Gemma Collins Boutique, Gemma Collins Clothing, Gems by Gemma and GemmaCollagen.

However, they would ultimately all have mixed fortunes.

Gemma Collins Boutique went into liquidation owing £76,215.

As for Gemma Collins Clothing, it was in the red as per its last accounts.

Elsewhere, Gems By Gemma held £41,505 at its last accounts and GemmaCollagen was set up in 2020 but closed in 2021 without filing accounts.

Other ventures

After over a decade, Gemma is set to make a return to the I’m A Celebrity jungle for the second All Stars series.

In April, The Sun first exclusively revealed bosses were in talks with her for a jungle comeback.

She originally competed in the 2014 series, only to memorably quit after just three days.

A source said at the time: “She hated it first time round but knows it would be TV gold for her fans if she gave it another go.

“The discussions could go either way but signing her would be a huge win for execs.”

The Sun later revealed her in the full line-up – which also includes Gemma’s 2014 campmate Craig Charles.

Continuing in her reality TV roots, she is set to front her own upcoming Sky series titled Gemma Collins: Four Weddings and a Baby.

The Sun revealed this eight-part series will follow Gemma’s life over the course of a year – including domestic moments, glamourous events and her IVF journey.

In September 2024, Gemma revealed the secret side hustle that has made her a millionaire.

PROPERTY QUEEN

Speaking exclusively to The Sun, Gemma revealed she has been quietly investing in property for the past few years.

This means snapping up properties before flipping them – then renovating and reselling them within a year.

Gemma told The Sun: “I’ve put money into property.

“I don’t worry about my future because I’ve put everything in place -but I’ve done it late in life.

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“I had normal jobs and I’m not sure there were pension schemes then, I am self-employed, so I did it late in life.

“I was 40 when I started to [invest], I wish I had the knowledge that I have now in my 20s.”

YouTube TV customers are bracing for another frustrating weekend.

For the last week, YouTube TV’s 10 million subscribers have been denied access to ESPN, ABC and other Walt Disney Co. channels in a dispute that has swelled into one of the largest TV blackouts in a decade. Instead of turning on “College GameDay,” “Monday Night Football” or “Dancing With the Stars,” customers have been greeted with a grim message: “Disney channels are unavailable.”

The standoff began Oct. 30 when the two behemoths hit an impasse in their negotiations over a new distribution contract covering Disney’s channels and ABC stations.

Google, which owns YouTube, has rebuffed Disney’s demands for fee increases for ESPN, ABC and other channels. The Burbank entertainment giant has been seeking a revenue boost to support its content production and streaming ambitions, and help pay for ESPN’s gargantuan sports rights deals.

Talks are ongoing, but the two sides remain apart on major issues — prolonging the stalemate.

“Everyone is kind of sick of these big-time companies trying to get the best of one another,” said Nick Newton, 30, who lives near San Francisco and subscribes to YouTube TV. “The people who are suffering are the middle-class and lower-class people that just love sports … because it’s our escape from the real world.”

Both companies declined to comment for this article.

The skirmish is just the latest between YouTube and programming companies. Since August, Rupert Murdoch’s Fox Corp., Comcast’s NBCUniversal and Spanish-language broadcaster TelevisaUnivision have all complained that YouTube TV was trying to use its market muscle to squeeze them for concessions.

Here’s a look at what’s driving the escalating tensions:

Google’s growing clout in television

The struggle between Disney and YouTube reflects television’s fast-shifting dynamics.

Disney has long entered carriage negotiations with tremendous leverage, in large part because it owns ESPN, which is a must-have channel for legions of sports fans.

Programmers, including Disney, structured their distribution contracts to expire near a pivotal programming event, such as a new season of NFL football. The timing motivated both sides to quickly reach a deal rather than risk alienating customers.

But for Google’s parent, Alphabet, YouTube TV is just a sliver of their business. The tech company generated $350 billion in revenue last year, the vast majority coming from Google search and advertising. That gives YouTube a longer leash to hold out for contract terms it finds acceptable.

“This dispute is not that painful for Google,” said analyst Richard Greenfield of LightShed Partners, noting that YouTube TV could probably withstand “two weekends without college football, and two weeks without ‘Monday Night Football’ — as long as their consumers stay with them.”

Disney, however, depends on TV advertising and pay-TV distribution fees. The week-long blackout has already dampened TV ratings, which means less revenue for the company.

Consumers like YouTube TV

For decades, throngs of consumers loathed their cable company — a sentiment that Disney and other programmers were able to use in their favor in past battles. Customer defections prompted several pay-TV companies to find a compromise to restore the darkened TV channels and stanch the subscriber bleeding.

But YouTube is banking on a more loyal user base, including millions of customers who switched to the service from higher-priced legacy providers.

“I’ll stick this thing out with YouTube TV,” Newton said, adding that he hoped the dispute didn’t drag on for weeks.

“This is one of the problems facing Disney,” Greenfield said. “It’s been a noticeable change in tone from past carriage fee battles. If customer losses stay at a minimum, then Disney is going to be in a tough place.”

It boils down to power and money

YouTube TV is the fastest-growing television service in the U.S. Analysts expect that, within a couple of years, YouTube TV will have more pay-TV customers than industry leaders Spectrum and Comcast.

In the current negotiations, Google has asked Disney to agree to lower its rates when YouTube TV surpasses Comcast’s and Spectrum’s subscriber counts. Disney maintains that YouTube already pays preferred rates, in recognition of its competitive standing, and that Google is trying to drive down the value of Disney’s networks.

“YouTube TV and its owner, Google … want to use their power and extraordinary resources to eliminate competition and devalue the very content that helped them build their service,” top Disney executives wrote last Friday in an email to their staff.

People close to YouTube TV reject the characterization, saying the service has been a valuable partner by providing a strong service that brings Disney billions of dollars a year in distribution revenue.

“The bottom line is that our channels are extremely valuable, and we can only continue to program them with the sports and entertainment viewers love most if we stand our ground,” the Disney executives wrote in last week’s email. “We are asking nothing more of YouTube TV than what we have gotten from every other distributor — fair rates for our channels.”

Higher sports rights fees

A major reason Disney is asking for higher fees is because it’s grappling with a huge escalation in sports costs.

Disney is on the hook to pay $2.6 billion a year to the NBA, another $2.7 billion annually to the NFL, and $325 million a year for the rights to stream World Wrestling Entertainment. Such sports rights contracts have nearly doubled in the last decade, leading to the strain on TV broadcasters.

In addition, deep-pocketed streaming services, including Amazon, Apple and Netflix, have jumped into sports broadcasting, driving up the cost for the legacy broadcasters.

The crowded field also strains the wallets of sports fans, and appears to be adding to the fatigue over the YouTube TV-Disney fight.

Newton wrote in a recent Twitter post that he was spending $400 a month for his various internet, phone and TV services, including Disney+ and NFL Sunday Ticket, which is distributed by YouTube TV.

“I’m already on all the major subscriptions to watch football these days,” Newton, a third-generation San Francisco 49ers fan, said. “You need Netflix. You need Peacock, you need Amazon Prime and the list goes on and on. I’m at the point where I’m not paying for anything else.”

White Lotus star Aimee Lou Wood will no longer front the Marks & Spencer Christmas advert despite being involved in the promotional clip in August

Aimee Lou Wood has been ‘dropped by M&S’, according to reports. The White Lotus star was set to be the face of the new Marks and Spencer Christmas advert, but appears to have been cut from the production.

The claim comes after the retail giants are said to have initially wooed the 31-year-old actress with a huge fee. Any appearance would have seen her follow the likes of Hannah Waddingham and Sophie Ellis-Bextor in featuring in the festive fun.

However, despite appearing in the promo clip in August, Aimee is thought to have been removed by the brand who have reportedly chosen to go in a different direction.

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A spokesperson for M&S told Mail Online: “We really enjoyed working with Aimee Lou Wood during the early stages of this year’s Christmas campaign – she brought great energy and creativity to the process.

“As the campaign evolved, we started to embed a new product-focused strategy under new leadership. So, rather than a single-hero advert, the campaign was reshaped around a series of festive films and influencer content-drops aligned to key seasonal shopping moments – from gifting and hosting to partywear – delivered through a social-first, multi-channel approach across social media, digital, out-of-home and print.”

It could be seen as a blow for the Stockport-born actress. However, after finding fame in Netflix’s comedy drama Sex Education, she has continued to go from strength to strength before the M&S dropping.

She also portrayed Chelsea in the third series of the Sky Atlantic drama last year. It’s thought she had signed a deal to lead the M&S ad in the summer. But with a change in direction, comes new faces.

It comes as the eagerly anticipated John Lewis advert received a mixed response. It was attempting to pull at the heartstrings with its latest offering that focuses on a father and son struggling to find the words to say how much they care about each other.

That all changes when Dad finds a present addressed to him while packing away the wrapping paper for another year on Christmas morning. This year the famous advert is soundtracked by 90s dance icon Alison Limerick’s hit Where Love Lives, with a newly reimagined version by globally acclaimed artist and producer Labrinth also featuring.

However, while some shed a tear, others blasted the production as “Depressing, boring and not very Christmassy!”

“Just seen the John Lewis Christmas advert,” one user wrote on Twitter/X. “Thought it was dull, depressing, boring and not very Christmassy,”

Another posted on the platform: “The John Lewis Christmas Advert is TERRIBLE!!! What a bunch of nonsense. Unimaginative, unfestive, rubbish. Bring back Moz the Monster or Edgar the Dragon!! #JohnLewisChristmasAdvert #JohnLewis #Rubbish.”

A third was left conflicted, writing: “John Lewis ad 2025 – I’m not sure, it’s underlying message of father son communication is great, but it’s portrayed in such a dark way, you don’t know what’s happening, it’s very vague, and not very festive at all, bordering on depressing even!”

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CHERYL Tweedy and Jade Thirlwall looked sensational at the Harper’s Bazaar Women of the Year Awards this week.

The iconic singers, 42 and 32, arrived at the glamorous event last night alongside an A-list lineup of women.

Girls Aloud icon Cheryl stole the spotlight in a chic black satin dress with a boxy neckline.

It flowed effortlessly to the floor, covering her shoes, and featured lace detailing on the chest.

She finished the look by simply tying her hair up out of her face and accessorised with a pair of small silver studs and a glossy natural pink lip.

The star posed for a series of snaps next to Little Mix‘s Jade in the “winner’s room”, as Jade smiled ear to ear holding up a glass trophy for the “Musician Award”.

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She wore an asymmetrical off the shoulder red dress with an embossed pattern and a draping on the right-hand side.

It fell to the floor in its formal beauty, hugging her waist and hips.

Jade finished off her outfit with dramatic winged eyeliner and a bold brown lip combo.

Her hair flowed down her back in natural loose waves.

Also in attendance on the night was England footballer Chloe Kelly, who wowed in a sheer chain-mail hooded gown.

The unique ensemble featured cut-outs at the side of the bust as well as silver floral detailing that scattered down the right-hand side of her body.

The sporty star enjoyed the night in a pair of silver heeled sandals, comfier on her feet than a higher heeled counterpart.

Melanie C, aka Sporty Spice, posed alongside Chloe in the winners room after she took home the award for Sportswoman of The Year.

In a sweet snap together the duo are throwing up peace signs as Chloe holds the award in her free hand.

Melanie’s smiling in an off the shoulder black dress featuring red piping and a floor-length ruffle detail.

Her red nail polish peeks out of her open-toed shoes, matching the piping to perfection.

Everyone appeared to be having an amazing night.

Cheryl made her first red carpet appearance since the funeral of her former flame, Liam Payne, just last month.

The Girls Aloud legend has since been gradually returning to the spotlight, teasing new TV appearances and brand collaborations on her social media.

Meanwhile Jade has been incredibly active promoting new music and working on her career.

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Earlier this year she took home a BRIT Award for Best Pop Act.

She also received the Trailblazer Award at the Rolling Stone UK 2024 awards.

More Mogwai mayhem is on the way.

A third “Gremlins” movie is officially in the works and eyeing a theatrical release ahead of the 2027 holiday season, Warner Bros. Discovery President and Chief Executive David Zaslav announced Thursday during the company’s third-quarter earnings call. The upcoming project is set to hit theaters Nov. 19, 2027, and will reunite original “Gremlins” scribe Chris Columbus with Steven Spielberg’s Amblin Entertainment, which produced the first two “Gremlins” films.

Columbus will direct and produce the film and Spielberg returns as an executive producer, Zaslav said. The new “Gremlins” film will be franchise’s first movie in more than 30 years. Columbus will write the script with “Final Destination Bloodlines” directing duo Zach Lipovsky and Adam B. Stein.

Oscar nominee Columbus introduced audiences to the mysterious and maniacal ways of the Mogwai — furry, wide-eyed bipeds with giant ears — with the release of “Gremlins” in 1984. The first film, directed by Joe Dante, established the three nonnegotiables of Mogwai care: Don’t get them wet, don’t feed them after midnight and don’t expose them to bright light. Both the 1984 release and its 1990 sequel, also directed by Dante but written by Charles S. Haas, tracks the havoc that arises when the first two rules are ignored, from unstoppable spawning to unruly mutation into Gremlins.

The “Gremlins” films starred Zach Galligan, Phoebe Cates, Howie Mandel as the voice of two-toned Mogwai Gizmo and Frank Welker as the voices of the films’ antagonists.

Though it has been decades since the last “Gremlins” movie hit the big screen, the furballs got their own spotlight in the 2023 animated prequel TV series “Gremlins: Secrets of the Mogwai.”

The series, from showrunner and executive producer Tze Chun, took a deep look into its namesake creatures’ origins, briefly hinted at in the first film by shopkeeper Mr. Wing (played by the Chinese American actor Keye Luke). “Secrets of the Mogwai” zooms in on Mr. Wing’s relationship with Gizmo, who became a through line in the “Gremlins” movies.

Series executive producer Brendan Hay told The Times in 2023 that setting “Secrets of the Mogwai” in 1920s China was “a chance to own the somewhat throwaway origin that the Mogwai have in the films.”

“In the films, it’s clear that they’re of Chinese origin, but it’s not that developed,” Hay said. “This is our chance to tell that story and really embrace it [by] actually try[ing] to find a place for Mogwai that fits into Chinese mythology, or at least builds off of existing Chinese mythology, and have fun in that world.”

Galligan hinted this summer that a new “Gremlins” movie was in the works while appearing at Comic-Con Manchester. According to a TikTok, the actor said “they’ve come up with a script” and that Warner Bros. was “incredibly interested in doing it, apparently it’s waiting upon Mr. Spielberg to read it and approve it.”

“Gremlins” is the latest beloved title rebooted at Warner Bros. Discovery in recent years. Others include “The Lord of the Rings,” “Harry Potter” and “Practical Magic.”

Times staff writers Tracy Brown and Samantha Masunaga contributed to this report.

A new trailer has been released for an upcoming crime drama on Sky that fans won’t want to miss

Sky has unveiled the thrilling first trailer for an upcoming prequel series to one of their best shows.

Gomorrah – The Origins will be released in early 2026 and revealing the startling story of how Pietro Savastano, originally portrayed by Fortunato Cerlino, became one of the most notorious crime bosses in Naples.

The original Italian crime drama aired between 2014-2021 and was one of Sky’s biggest international shows, becoming a worldwide hit after airing in 190 countries.

Now, rising star Luca Lubrano steps into Pietro’s shoes in a six-part origin story kicking off in 1977.

Sky says the gripping new drama will tell “the story of how it all began — how a very young Pietro Savastano will enter a criminal world set against the backdrop of a city in transformation: poor, rough-edged, hooked on cigarette smuggling and about to enter a new era of heroin use.”

Also joining the cast are Francesco Pellegrino as reluctant gangster Angelo ‘A Sirena’, Flavio Furno as charismatic convict ‘O Paisano’, Tullia Venezia as musician Imma, who goes on to become Pietro’s wife, and Fabiola Balestriere as young mother Annalisa Magliocca before she became the notorious female drug lord Scianel.

Supporting cast includes Antonio Buono, Ciro Burzo, Luigi Cardone, Antonio Del Duca, Mattia Francesco Cozzolino, Junior Rancel Rodriguez Arcia, and Antonio Incalza.

The first trailer revealed a fun and fast-paced thriller that will nevertheless delve into Naples’ darker underbelly as fans follow the rise of one of the most iconic characters in international drama.

Based on the bestselling novel by Roberto Saviano, it’s a must-watch for fans of the original series and is also bound to attract newcomers to the franchise who will immediately want to binge all five seasons of the flagship hit.

An official synopsis for Gomorrah – The Origins from Sky reads: “Pietro is a tough city kid who grew up in the poorest parts of Secondigliano.

“He and his friends survive any way they can, riding their mopeds around town and committing petty theft.

“But he has a big dream: to become like Angelo ‘A Sirena, the neighbourhood’s ‘king’. When he manages to get in the graces of the young boss, he finds himself caught in a power game far beyond him.

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“He ends up wondering whether this dark, violent criminal life is really what he wants or if his love for Imma can save him from such a fate.”

The original series overwhelmingly received five-star reviews from fans and, with writers Leonardo Fasoli, Maddalena Ravagli and author Saviano back on board for the prequel, it’s expected to reach similar soaring heights.

One fan raved about the original Gomorrah: “I absolutely adore this show. It’s raw, realistic, and unflinchingly brutal.

“As someone hailing from the North of Italy, I was already familiar with the Camorra, but this series opened my eyes to just how merciless it can be.

“The actors deliver outstanding performances, the script is flawlessly executed, and the storyline is gripping.”

Gomorrah – The Origins premiere in early 2026 on Sky and streaming service NOW.

SITTING in her ex-fiance’s car, Sydney Sweeney looked a far cry from her usual glamourous self as she screamed during a very heated row.

And now we can reveal that the secret meeting with Jonathan Davino sparked a huge row with her new boyfriend Scooter Braun, who was left feeling “furious” and “disrespected” – and the fallout could have grave consequences.

The 28-year-old Hollywood star had been enjoying dinner with friends and her ex in Santa Monica over the weekend when things appeared to turn sour.

She was later seen in Jonathan’s car and, according to reports from TMZ, she could be heard screaming and telling him: “I don’t believe you. Please leave, leave me alone.”

The unlikely scene raised eyebrows, even more so when just days later Sydney headed out for dinner again – this time with Scooter, putting on a united front after the pair held crisis talks.

“He’s made it clear that he wants her 100%, that she needs to compromise on some things, and that seeing her ex like that crossed a line.”

Scooter Braun insider

An insider close to the couple told us how Scooter, 44, made it clear to the actress that she had ‘crossed a line’.

They explained: “Scooter got really mad. He doesn’t like that kind of behaviour at all, especially knowing the history between her and Jonathan.

“He knows they had a serious relationship, were together for a long time, and even got engaged. So, seeing her with him again — and getting caught on camera getting into his car — really set him off.”

Scooter’s upset is said to stem from just how much he loves the Euphoria star, who we previously revealed he is planning to move in with.

The insider continued: “He’s not controlling, but he wants her to know that he truly cares about her and that his feelings are real.

“He’s deeply in love and serious about building a future together. Scooter’s a man with strong values and morals — and for him, it’s not acceptable for his partner to be seen with other men, especially exes.

“He thought what she did with Jonathan was disrespectful and not cool, and he didn’t want to stay silent about it.

“He was hurt and wanted her to know. What he wants is full transparency between them — and for her to be the same way, but also to act like someone who’s in a committed relationship, not single anymore.

“He’s made it clear that he wants her 100%, that she needs to compromise on some things, and that seeing her ex like that crossed a line.”

Scooter is said to be aware that, given their age difference, he could be considered “old fashioned”.

Our insider says he “does a lot” for the star, stating he’s “present, supportive, and fully committed”.

‘Public humiliation’

Sydney was due to marry businessman Jonathan, 41, earlier this year but called off their engagement after mounting speculation over the state of their relationship.

The pair met in 2018 and got engaged in February 2022.

At the time, the actress spoke at length about their wedding and future before things came to an end.

Our insider added: “It has to be a blow for Jonathan that she has moved on so publicly and seems really ready to settle down this time.

“He feels like he was a huge part of her career to start with, really building up her confidence but now she’s flying without him. It’s painful to see.”

At the time it was reported that they split so she could concentrate on her career.

“He thought what she did with Jonathan was disrespectful and not cool, and he didn’t want to stay silent about it.

Scooter Braun insider

She certainly did that – she’s currently promoting Christy – her new biopic about the female boxing trailblazer Christy Martin – and there’s already been some Oscar buzz round her role.

It hasn’t just been work and no play though… over the summer she was first linked to Scooter – the billionaire businessman and record executive who became public enemy number one for Swifties worldwide in 2019 after he bought pop megastar Taylor Swift’s master recordings.

They started dating back in August after being seen spending time together at Jeff Bezos’s wedding in Italy two months before.

In August they were seen together in public for the first time on a date after having dinner at Jon & Vinny’s restaurant in Los Angeles.

The romance has proved to be more than just a summer fling, and Scooter seems to have well and truly fallen for her charms, even after the public humiliation of her arguing with her ex.

Get the look: Expert tips to swoon like Sweeney

Looking to create that doe-eyed look at home? Here, pro make-up artist Sarah-Jane Froom shares her exclusive top tips on how to achieve Sydney’s signature eyes…

TOP TIPS

• Start with a good primer: This ensures the eye shadow stays in place all day and gives a smooth base for blending.
• Define the crease: Use warm, neutral shades such as soft browns or terracotta to add depth to the crease. This helps enhance the natural shape of the eye without it feeling too heavy.
• Smoky eyes: Sydney often favours a smoky eye, typically with dark eyeliner along the lash line. I recommend blending a dark brown or black shadow into the liner to soften it and create that sultry, lived-in look.
• Lashes are essential: To get Sydney’s eye-popping lashes, I always recommend a volumising mascara. For a more dramatic effect, you can add some natural-looking false lashes that provide length and lift, but without being too over-the-top.
• Highlight the inner corners: This little trick instantly brightens the eyes, making them look more awake and larger – perfect for achieving Sydney’s signature bright-eyed gaze.

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Renate Reinsve is the new face of Scandinavia: depression with a smile. Standing 5 feet 10 with open, friendly features, the Norwegian talent has a grin that makes her appear at once like an endearing everywoman and a large, unpredictable child. Reinsve zoomed to international acclaim with her Cannes-winning performance in Joachim Trier’s 2021 “The Worst Person in the World,” a dramedy tailor-made to her lanky, likable style of self-loathing. Now, Trier has written his muse another showcase, “Sentimental Value,” where Reinsve plays an emotionally avoidant theater actor who bounces along in pretty much the same bittersweet key.

“Sentimental Value” gets misty about a few things — families, filmmaking, real estate — all while circling a handsome Oslo house where the Borg clan has lived for four generations. It’s a dream home with red trim on the window frames and pink roses in the yard. Yet, sisters Nora (Reinsve) and Agnes (Inga Ibsdotter Lilleaas) aren’t fighting to keep it, perhaps due to memories of their parents’ hostile divorce or maybe because they don’t want to deal with their estranged father, Gustav (Stellan Skarsgård, wonderful), who grew up there himself and still owns the place, even though he’s moved to Sweden.

Trier opens the film with a symbolically laden camera pan across Oslo that ends on a cemetery. He wants to make sure we understand that while Norway looks idyllic to outsiders jealous that all four Scandinavian countries rank among the globe’s happiest, it can still be as gloomy as during the era of Henrik Ibsen.

More impressively, Trier shifts to a fabulous, time-bending historical montage of the house itself over the century-plus it’s belonged to the Borgs. There’s a crack in it that seems to represent the fissures in the family, the flaws in their facade. Over these images, Reinsve’s Nora recites a 6th-grade school essay she wrote about her deep identification with her childhood home. Having grown up to become terrified of intimacy, today she’s more like a detached garage.

Nora and Agnes were young when their father, a modestly well-regarded art-house filmmaker, decamped to a different country. At a retrospective of his work, Gustav refers to his crew as his “family,” which would irritate his kids if they’d bothered to attend. Agnes, a former child actor, might note that she, too, deserves some credit. Played in her youth by the compelling Ida Atlanta Kyllingmark Giertsen, Agnes was fantastic in the final shot of Gustav’s masterpiece and Trier takes a teasingly long time to suggest why she retired from the business decades ago, while her older sister keeps hammering at it.

Gustav hasn’t made a picture in 15 years. He’s in that liminal state of renown that I’m guessing Trier has encountered many times: a faded director who’s burned through his money and clout, but still keeps a tuxedo just in case he makes it back to Cannes. Like Reinsve’s Nora, Gustav acts younger than his age and is at his most charming in small doses, particularly with strangers. Trier and his longtime co-writer Eskil Vogt have made him a tad delusional, someone who wouldn’t instantly recognize his graying reflection in a mirror. Sitting down at a cafe with Nora, Gustav jokes that the waitress thinks that they’re a couple on a date. (She almost certainly doesn’t.)

But the tension between Gustav and Nora is real, if blurry. He’s invited her to coffee not as father and daughter, but as a has-been angling to cast Nora as the lead of his next film, which he claims he’s written for her. His script climaxes with a nod to the day his own mother, Karin (Vilde Søyland), died by suicide in their house back when he was just a towheaded boy of 7. Furthering the sickly mojo, Gustav wants to stage his version of the hanging in the very room where it happened.

His awkward pitch is a terrific scene. Gustav and Nora are stiff with each other, both anxious to prove they don’t need the other’s help. But Trier suggests, somewhat mystically, that Gustav has an insight into his daughter’s gloom that making the movie will help them understand. Both would rather express themselves through art than confess how they feel.

When Gustav offers his daughter career advice, it comes off like an insult. She’s miffed when her dad claims his small indie would be her big break. Doesn’t he know she’d be doing him the favor? She’s the lead of Oslo’s National Theatre with enough of a social media following to get the film financed. (With 10 production companies listed in the credits of this very film, Trier himself could probably calculate Nora’s worth to the krone.)

But Gustav also has a lucky encounter with a dewy Hollywood starlet named Rachel (Elle Fanning) who sees him as an old-world bulldog who can give her resume some class. Frustrated by her coterie of assistants glued to their cellphones, Rachel gazes at him with the glowy admiration he can’t get from his own girls. Their dynamic proves to be just as complex as if they were blood-related. If Rachel makes his film, she’ll become a combo platter of his mother, his daughter, his protégée and his cash cow. Nora merely merits the financing for a low-budget Euro drama; Rachel can make it a major Netflix production (something “Sentimental Value” most adamantly is not).

It takes money to make a movie. Trier’s itchiness to get into that unsentimental fact isn’t fully scratched. He seems very aware that the audience for his kind of niche hit wants to sniffle at delicate emotions. When Gustav’s longtime producer Michael (Jesper Christensen) advises him to keep making films “his way” — as in antiquated — or when Gustav takes a swipe at Nora’s career as “old plays for old people,” the frustration in those lines, those doubts whether to stay the course or chase modernity, makes you curious if Trier himself is feeling a bit hemmed in.

There’s a crack running through “Sentimental Value” too. A third of it wants to be a feisty industry satire, but the rest believes there’s prestige value in tugging on the heartstrings. The title seems to be as much about that as anything.

I’ve got no evidence for Trier’s restlessness other than an observation that “Sentimental Value” is most vibrant when the dialogue is snide and the visuals are snappy. There’s a stunning image of Gustav, Nora and Agnes’ faces melting together that doesn’t match a single other frame of the movie, but I’m awful glad cinematographer Kasper Tuxen Andersen got it in there.

The film never quite settles on a theme, shifting from the relationship between Nora and Agnes, Nora and Gustav, and Gustav and Rachel like a gambler spreading their bets, hoping one of those moments will earn a tear. Nora herself gets lost in the shuffle. Is she jealous of her father’s attention to Rachel? Does she care about her married lover who pops up to expose her issues? Does she even like acting?

Reinsve’s skyrocketing career is Trier’s most successful wager and he gives her enough crying scenes to earn an Oscar nomination. Skarsgård is certainly getting one too. But Fanning delivers the best performance in the film. She’s not only hiding depression under a smile, she’s layering Rachel’s megawatt charisma under her eagerness to please, allowing her insecurity at being Gustav’s second pick to poke through in rehearsals where she’s almost — but not quite — up to the task.

Rachel could have been some Hollywood cliché, but Fanning keeps us rooting for this golden girl who hopes she’ll be taken seriously by playing a Nordic depressive. Eventually, she slaps on a silly Norwegian accent in desperation and wills herself to cry in character. And when she does, Fanning has calibrated her sobs to have a hint of hamminess. It’s a marvelous detail that makes this whole type of movie look a little forced.

The cost of a standard TV Licence rose this year, with the Government increasing the price to £174.50 in April

The cost of the standard TV Licence has seen a hike for many this year, with the Government jacking up the price to £174.50 in April. This annual fee is typically mandatory for households or businesses that watch live TV or use BBC iPlayer.

However, it might come as a surprise that certain people could be eligible for a free or discounted licence under specific conditions. These reductions could also apply to those with black-and-white TVs, which usually incur a yearly cost of £58.50 under the licence scheme.

Government guidance suggests that it’s primarily people over 75 years old who receive Pension Credit who can bag a free TV Licence. The same applies if you live with a partner who receives Pension Credit, as the licence covers everyone at a particular address.

It’s crucial to make clear that Pension Credit is different from the State Pension. It refers to a means-tested benefit for people over State Pension age on a low income, topping up weekly income to £227.10 if you’re single or £346.60 with a partner.

Those claiming Pension Credit can apply for a free TV Licence when they turn 74, but will still need to cough up until the end of the month before their 75th birthday. After this point, they will be covered by the free licence, according to the Express.

Additionally, the Government states that anyone who is blind or in residential care can apply for a discounted TV Licence. To be eligible for the residential care home discount, a person must be either retired and over 60 or disabled.

For those who are eligible, the TV Licence cost plummets to just £7.50. Housing managers at residential care homes can also make applications on behalf of residents.

Furthermore, anyone who is registered blind or lives with someone who is can get a 50% reduction on their TV Licence. This slashes the price of a colour licence to £87.25.

Government guidance explains: “The licence must be in the blind person’s name – if it’s not, you can make a new application to transfer it into their name. You’ll need to provide your existing TV Licence number when you apply.”

People over 75 who receive Pension Credit can apply for a free licence online or by telephone. The Government’s official numbers for this are 0300 790 6071 (telephone) and 0300 709 6050 (minicom).

Others who are registered blind can apply for a licence on the TV Licensing website. For more information, head to GOV.UK or the official TV Licensing website.

Why did the licence fee change?

Last year, the Secretary of State announced a 2.9% price rise, coming into force from April 1 2025, in line with annual CPI inflation.

The official TV Licensing site confirms this represented an increase of slightly more than 1p daily and marks only the second licence fee rise since April 1 2021.

The change has seen the annual colour licence fee rise to £174.50, while the black and white licence fee now stands at £58.50 per annum. Future increases in the licence fee will be tied to CPI inflation for the next four years, ending in 2027.

Now, according to a fresh Mirror report, several newspapers have speculated that the annual cost could reach £182 next year. However, the Department for Culture, Media and Sport reportedly told Sky Money: “No final decision has yet been made on the exact level of next year’s licence fee. We will set this out in due course.”

PREDATOR: BADLANDS

(12A) 107mins

★★★☆☆

WHAT happens when the hunter becomes the hunted? That’s the question in this latest outing for the marauding monster franchise.

And for the first time it’s a Predator and not a person who is our protagonist.

This fundamental plot twist takes the action into pure sci-fi territory, too.

While Badlands still has a cat-and-mouse chase at its core, director Dan Trachtenberg disposes of the previous man versus masked extraterrestrials that glued together all predecessors.

And not a single human lifeform features in this script.

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Forget Predator’s 1980s roots, which saw Arnold Schwarzenegger battling other-worldly beings in the jungle.

Decent curveball

Here an epic 22-minute opening explainer sees our lead Predator — young Dek (Dimitrius Schuster-Koloamatangi) — witness the murder of his brother Kwei by their Yautja father.

Cast out from his clan he takes flight to a far-flung planet with the intention of hunting down and slaying the gigantic apex hunter known as the Kalisk.

As well as this mutinous adversary, poisonous plants that can paralyse and lethal grass made of razor blades, here Dek also encounters Thia (Elle Fanning) — a Weyland-Yutani android left hanging from a tree after the Kalisk cut off her legs.

This becomes Dek’s cyborg-in-crime as they help each other across the Badlands with the aim of taking out their mutual target.

Thia’s spoken sentences after an awful lot of subtitled (uncannily Dutch-sounding) Yautja language are a welcome relief.

There’s an unexpected amount of humour too, mostly centred on an additional cute critter travelling companion called Bud.

But amusing segues aside, the idea that everyone is doggedly hunting something does still stand.

The Kalisk and Thia’s evil android twin Tessa are intent on trying to capture Dek, which enables all the heavyweight stand-off set pieces you could hope for.

The graphics are consistently excellent and there’s a decent curveball at the end to leave the door to the next instalment open.

Predator fans may feel dissatisfied by just how far-removed Badlands has travelled from the original.

But doing so does pave the way for some unadulterated futuristic action that can be enjoyed entirely on its own merits, and by a whole new audience.

ANEMONE

(15) 126 mins

★★☆☆☆

DANIEL DAY-LEWIS makes his big-screen return after seven years in this movie directed by his son Ronan.

On paper, that reunion sounds moving. In practice, the film feels heavy, distant and difficult to connect with.

It’s set in the late 1980s on a grey northern coast, and the movie commits fully to that gloom, as every scene reminds of the weight of past burdens the characters still carry.

Day-Lewis plays Ray, a recluse who has cut himself off from almost everyone.

His estranged brother (Sean Bean), seeks to bridge the gap, bringing with him long-buried resentment and unfinished conversations.

The performances themselves are strong, especially from Day-Lewis, who can still command a screen with the smallest gesture.

But the script – written by the actor and his director son – rarely gives the audience room to breathe.

Silence stretches on, metaphors pile up, and the film’s symbolism grows so thick it begins to feel jarring.

There are flashes of genius – a confrontation here, a quiet confession there – but the slow, sombre bits in between offer little or no reward.

The film wants to be profound about pain passed between generations, yet its emotional impact gets lost in its own seriousness.

LINDA MARRIC

THE CHORAL

(12A) 113mins

★★★★☆

YORKSHIRE royalty, writer Alan Bennett, is the recognisable voice behind the script of this feelgood World War One drama.

Set in his native God’s Own Country and with a stunning scenic backdrop, the movie is laced with Bennett’s trademark dry comedy and explores the hope and the horror of wartime Britain through the members of a local community choir.

Ralph Fiennes – superb as choirmaster Dr Guthrie – is brought in to help raise the roof for the ensemble’s annual performance.

Here he heads up a comforting cast of acting heavyweights including Mill owner Duxbury (Roger Allum), pianist Horner (Robert Emms) and Simon Russell Beale as the composer Elgar.

Initially regarded with suspicion thanks to pre-war years spent living in Germany and his fondness for reading naval pages (aka relationships with men) Dr Guthrie soon galvanises his motley mixed generational gang of voices, all dealing in their own way with consequences of war.

Lofty (Oliver Briscombe) and cheeky-chappy pal Ellis (Taylor Uttley) are about to be conscripted, others are grieving those who will not return.

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Poignant and heart-warming stuff.

LAURA STOTT

Movies that depict the history of war criminals on trial will almost always be worth making and watching. These films are edifying (and cathartic) in a way that could almost be considered a public servic and that’s what works best in James Vanderbilt’s “Nuremberg,” about the international tribunal that tried the Nazi high command in the immediate wake of World War II. It’s a drama that is well-intentioned and elucidating despite some missteps.

For his second directorial effort, Vanderbilt, a journeyman writer best known for his “Zodiac” screenplay for David Fincher, adapts “The Nazi and the Psychiatrist” by Jack El-Hai, about the curious clinical relationship between Dr. Douglas Kelley, an Army psychiatrist, and former German Reichsmarschall Hermann Göring during the lead-up to the Nuremberg trials.

The film is a two-hander shared by Oscar winners: a formidable Russell Crowe as Göring and a squirrely Rami Malek as Kelley. At the end of the war, Kelley is summoned to an ad-hoc Nazi prison in Luxembourg to evaluate the Nazi commandants. Immediately, he’s intrigued at the thought of sampling so many flavors of narcissism.

It becomes clear that the doctor has his own interests in mind with this unique task as well. At one point while recording notes, in a moment of particularly on-the-nose screenwriting, Kelley verbalizes “Someone could write a book” and off he dashes to the library with his German interpreter, a baby-faced U.S. Army officer named Howie (Leo Woodall), in tow. That book would eventually be published in 1947 as “22 Cells in Nuremberg,” a warning about the possibilities of Nazism in our own country, but no one wants to believe our neighbors can be Nazis until our neighbors are Nazis.

One of the lessons of the Nuremberg trials — and of “Nuremberg” the film — is that Nazis are people too, with the lesson being that human beings are indeed capable of such horrors (the film grinds to an appropriate halt in a crucial moment to simply let the characters and the audience take in devastating concentration camp footage). Human beings, not monsters, were the architects of the Final Solution.

But human beings can also fight against this if they choose to, and the rule of law can prevail if people make the choice to uphold it. The Nuremberg trials start because Justice Robert Jackson (Michael Shannon) doesn’t let anything so inconvenient as a logistical international legal nightmare stop him from doing what’s right.

Kelley’s motivations are less altruistic. He is fascinated by these men and their pathologies, particularly the disarming Göring, and in the name of science the doctor dives headlong into a deeper relationship with his patient than he should, eventually ferrying letters back and forth between Göring and his wife and daughter, still in hiding. He finds that Göring is just a man — a megalomaniacal, arrogant and manipulative man, but just a man. That makes the genocide that he helped to plan and execute that much harder to swallow.

Crowe has a planet-sized gravitational force on screen that he lends to the outsize Göring and Shannon possesses the same weight. A climactic scene between these two actors in which Jackson cross-examines Göring is a riveting piece of courtroom drama. Malek’s energy is unsettled, his character always unpredictable. He and Crowe are interesting but unbalanced together.

Vanderbilt strives to imbue “Nuremberg” with a retro appeal that sometimes feels misplaced. John Slattery, as the colonel in charge of the prison, throws some sauce on his snappy patter that harks back to old movies from the 1940s, but the film has been color-corrected into a dull, desaturated gray. It’s a stylistic choice to give the film the essence of a faded vintage photograph, but it’s also ugly as sin.

Vanderbilt struggles to find a tone and clutters the film with extra story lines to diminishing results. Howie’s personal history (based on a true story) is deeply affecting and Woodall sells it beautifully. But then there are the underwritten female characters: a saucy journalist (Lydia Peckham) who gets Kelley drunk to draw out his secrets for a scoop, and Justice Jackson’s legal clerk (Wrenn Schmidt) who clucks and tsks her way through the trial, serving only as the person to whom Jackson can articulate his thoughts. Their names are scarcely uttered during the film and their barely-there inclusion feels almost offensive.

So while the subject matter makes “Nuremberg” worth the watch, the film itself is a mixed bag, with some towering performances (Crowe and Shannon) and some poor ones. It manages to eke out its message in the eleventh hour, but it feels too little too late in our cultural moment, despite its evergreen importance. If the film is intended to be a canary in a coal mine, that bird has long since expired.

Walsh is a Tribune News Service film critic.

Alan Carr won The Celebrity Traitors in a tense series finale on Thursday and, overcome with emotion, the comedian told viewers: “I am and have always been a traitor”

Alan Carr is tipped to become one of the new presenters of Strictly Come Dancing after his The Celebrity Traitors triumph.

The comedian, 49, burst into tears when he was crowned the winner of the reality TV programme last night. Alan declared the prize money, which amounted to £87,500, will go to the children’s charity Neuroblastoma UK, a sum he said would “change lives”.

But his own career is now set to change, with The Celebrity Traitors thought to act as a springboard for more success. An insider has even said Alan is being considered for Strictly, as Tess Daly and Claudia Winkleman are set to leave. They added: “He has got to be up there with the BBC to get a huge new role… Wink, wink, nudge, nudge, Strictly.”

And a BBC source said: “Alan has always been a star – but it’s amazing what a month in a Scottish castle can do to elevate your career. He’s ours now.”

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The Mirror had reported how chatter linked Alan to one of the Strictly vacancies, but now his triumph in the Scottish castle is said to have firmed his bid to take the Saturday night gig. The presenter had been praised for “super competitive streak” and charisma during his time on The Celebrity Traitors, which began at the start of October.

A source on The Celebrity Traitors said “people just love Alan”. The BBC believes viewers “loved him and [think] he has been the star of the Traitors,” one insider told the Daily Mail.

Alan, snubbed for a potential role as a judge on Britain’s Got Talent in 2023, was hoping for nothing more than a bit of a giggle when he signed up for the BBC show. He got off to a difficult start as fellow traitor Jonathan Ross worried Alan, born in Weymouth, Dorset, might give himself away.

But Alan showed the resilience and courage to thrive and eventually beat former England rugby star Joe Marler and his fellow Traitor Cat Burns. Bursting into tears when he was declared the winner, the comedian said: “I am and have always been a traitor… I’m so sorry, it’s been tearing me apart.” He told host Claudia Winkleman: “All that lying, all that treachery was worth it, wasn’t it?”

Nick Mohammed covered his mouth in shock when Alan revealed the other traitors. The Ted Lasso star said: “Not Joe!” He added: “Alan Carr. He played an absolute blinder.” Alan said: “What a rollercoaster, how did this happen? I was awful at lying and had a terrible poker face and here I am, the winner.”