Ro, Ant and Dee Dee Hutchinson have been recast in Hollyoaks by newcomers Leo Cole, Brook Debio and Chloe Atkinson and their first scenes on the Channel 4 soap will air next week
Dan Laurie Deputy Editor of Screen Time
00:30, 14 Oct 2025
Three new actors have joined Hollyoaks as the Channel 4 soap marks its 30th anniversary(Image: Channel 4)
Three new actors have joined Hollyoaks as the Channel 4 soap marks its 30th anniversary.
Leo Cole, Brook Debio and Chloe Atkinson have taken over the roles of Tony (Nick Pickard) and Diane Hutchinson’s children Ro, Ant, and Dee Dee Hutchinson.
Last week, it was announced that Leo will be taking on the role of Ro, previously played by Ava Webster and bosses have now confirmed that Brook and Chloe will also be joining the cast, taking over the roles of Ant and Dee Dee, previously played by Lacey Findlow and William Thompson.
Chloe, Leo and Brook will make their Hollyoaks debut on Monday (October 20) during the Channel 4 soap’s 30th anniversary week as their characters attend their parents wedding.
Aubrey Burgess continues her role as Tony and Diane’s youngest daughter, Eva Hutchinson.
Talking about her new role, Chloe said: “I am so excited and grateful to be joining the cast of Hollyoaks as Dee Dee Hutchinson.
“My time here so far has been truly amazing, and I cannot wait to continue the journey.
“The rest of the cast has welcomed me with open arms. I couldn’t finish this message without mentioning Lacey Findlow and how lucky I feel to show you a different side to the character she brought to life and played so incredibly well.”
Brook added “It’s been so exciting joining the cast of Hollyoaks as Ant Hutchinson. It’s a real privilege to be part of a well-established and welcoming family.
“Filming has been a blast- especially with some of the intense scenes we’ve been shooting. I’m really grateful to have been trusted with such an important storyline.”
Brook has previously appeared in a special episode of Coronation Street earlier this year as a young Kit Green.
Taking to social media, Leo said about joining Hollyoaks: “”Big news… I’m on Hollyoaks. A massive thank you to my incredible agency @bsatalent, my amazing agent @hayleysoraya , @peterhuntcasting , Gill Charnock, and everyone at @hollyoaksofficial for this incredible opportunity.
“I’m so excited to continue Ro’s journey in the show, and I am so lucky to have this opportunity. Of course, the biggest thanks to my Mum for always believing in me and supporting me every step of the way.”
Hollyoaks airs Monday to Wednesday on E4 at 7pm and first look episodes can be streamed Channel 4 from 7am
BUS drivers in London have fumed that their vehicles are becoming riddled with cockroaches.
Shocking snaps appear to show the rodents perched in seat cushions and drink containers.
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Bus drivers in London are fuming as a horde of cockroaches infest their vehiclesCredit: AFP
As a result, many drivers have flocked to London Bus Forums (LBF), a message board and campaigning organisation, to call on Transport for London to make its vehicles cleaner, The Times reports.
One video uploaded to the forum appears to show one driver get a nasty shock when he notices several cockroaches inside his drink.
“I went to take a sip from my drink and felt something in my mouth,” the driver says in the clip.
“I spat it out and saw it was a cockroach.
“I felt sick and ended up vomiting.”
Complaints made by drivers are “growing in frequency and urgency”, according to the LBF.
Bus services are run by private companies under contract to Transport for London [TfL].
TfL said extensive daily cleaning took place across the network and the fleet was treated with the same long-term antibacterial products as were used on the Underground.
A TfL spokesman said: “We are committed to working together with operators to provide a clean environment for staff and customers. Most TfL welfare facilities are cleaned multiple times a day, and at a minimum daily, to maintain hygiene and safety standards.
“All buses are also cleaned every night before entering service, and reports such as these are rare.
Bus driver sacked for wearing a Liverpool shirt after hundreds of Chelsea fans swarmed his bus
“We take any report seriously and are urgently investigating the specific incidents that have been raised.
“As with any reports, we will take appropriate action as part of the investigation, which can include taking buses out of service for inspection, deep cleans and treatment with specialist equipment if necessary.
“We would like to reassure staff that our operators would never take action against people raising concerns about welfare or safety and encourage any driver with concerns to contact their employer, their union, or contact us directly.”
LBF added: “These cockroach reports are not isolated. They reflect a broader failure to maintain safe and sanitary conditions for bus drivers.
“This is a public health issue affecting both staff and passengers.
“That’s why drivers will be marching on November 5 to demand safer working conditions and the adoption of the bus drivers’ bill of rights.”
John Murphy, the regional officer for Unite, the union representing many London bus drivers, fumed that it was “completely unacceptable that London bus drivers are being forced to drive around for hours in vehicles that have cockroach infestations.”
He continued: “TfL and the bus companies need to take action now to rid all buses of infestations and Unite will hold them to account until they do.”
The Sun Online has reached out to Transport for London for comment.
More than two decades after their peak, the music of Yellowcard is a pop punk message in a bottle. The note that washed ashore from a simpler time describes the image of a young, sharply-dressed band full of aspirations, thrashing on their instruments — violin included — in the echoey tomb of an underground parking garage in the music video for “Ocean Avenue” as the chorus kicks into overdrive.
“If I could find you now, things would get better, we could leave this town and run forever, let your waves crash down on me and take me away,” frontman Ryan Key sang ecstatically at the top of his lungs.
That hit song, the title track of 2003’s “Ocean Avenue,” created a tidal wave of success that changed the course of their career from struggling artists to a world-touring headliner and darlings of MTV’s Total Request Live.
“The first time it happened, we were really young,” Key said, gingerly grasping a spoon with his heavily tattooed hand while stirring a cup of hot tea. “We were quite literally a garage band one minute, and then we were playing on the MTV Video Music Awards and David Letterman and whatever else the next minute.”
It’s a moment that hasn’t escaped his memory 22 years later. Now, he and his bandmates — violinist Sean Mackin, bassist Josh Portman and guitarist Ryan Mendez — are far from the ocean but not too far from water as they look out at a sparkling pool from the window from a suite at the Yaamava’ Resort and Casino in Highland. A couple hours from now, the band will play a splashy pool party gig for 98.7 ALT FM. The set will include a raft of all the old hits, including “Ocean Avenue” of course, as well as their first new songs in almost a decade.
Before the release of the first singles for the new album, “Better Days,” it might’ve been easy to write off their 11th album as another release destined to be overshadowed by their early catalog. However, with the right amount of internal inspiration and outside help from Blink 182 drummer Travis Barker, who produced and played all the drums on the album, the result was a batch of new songs that haven’t simply been washed out to sea. Quite the opposite, actually.
Prior to the album’s release, the title track “Better Days” reached No. 1 on the Billboard Alternative Airplay chart. This achievement came after a 22-year wait since their first appearance on the chart with the “Ocean Avenue” single “Way Away.” Key also notes that it’s the first time fans are using the band’s new music for their TikTok videos instead of “Ocean Avenue.”
“That’s crazy,” Key said. “Everyone is using ‘Better Days.’ I don’t think we’re alone in that. I think for bands in our scene, new music is getting a lot of love and a lot of attention again, and it’s amazing to see.”
It’s been about three years since the band reemerged to play a reunion set at RiotFest in Chicago, following their 2017 farewell show at the House of Blues in Anaheim. At the point they were ready to call it quits, the band was struggling to sell enough tickets to their shows to keep the dream alive. For Mackin, fatherhood forced him to also consider his family’s financial stability, prompting him to enter the corporate workforce as a sales rep and eventually becoming a service director for Toyota. At one point, he was responsible for managing 120 employees. “I just thought that was going to be what I was going to do to take care of my family for the next 20 years,” Mackin said.
After Yellowcard’s hiatus, Key continued playing music in several projects that distanced themselves from the pop punk sound — including recording solo work under his full name William Ryan Key, touring with bassist Portman at his side. Key also produced a post-rock electronic-heavy project called Jedha with Mendez, and the pair also does a lot of TV and film scoring work. For a long time, Key and his bandmates mourned the loss of what they had with Yellowcard. It was the most important thing in Key’s life, though he said he didn’t realize how much the band truly shaped him until it was over.
During their hiatus, band members took day jobs. One member managed 120 Toyota employees before the 2022 Riot Fest reunion reignited their passion.
(Joe Brady)
“Ungrateful is not the word to use about how I felt back then. It’s more like I didn’t have the tools to appreciate it, to feel gratitude and really let things happen and and stay in the moment and stay focused. Because I was so young, I was so insecure about my place, my role in all of it,” Key said.
But after some time away, the raucous 2022 Riot Fest reunion show relit the band’s fire in a way they hadn’t expected. They followed up with a 2023 EP “Childhood Eyes” that pushed the band to take things further with a new full album. Along with these plans came the stunning news that Barker would sign on to produce and play drums for them on the project. For a band that grew up idolizing Blink 182 and Barker specifically as the band’s red-hot engine behind the kit who spent the last 20 years evolving into a music mogul, it was a surreal experience.
“We look at him like a general. It was never lost that the best drummer of our generation is playing drums with us,” Mackin said. “We know him as Travis now, but man, this guy is just oozing talent — he’s doing all these amazing things and he doesn’t seem overrun by it, not distracted one bit. While we were recording, he was right there with us.”
Key says he was initially intimidated singing in front of Barker in the studio and had a few moments where negative, self-conscious thoughts were getting the better of him in the vocal booth during recording. Instead of getting annoyed, he says Barker helped ease his anxiety with a few simple words.
“Travis came into the booth, closed the door, put his hand on my shoulder, and he said, ‘You’re gonna do this as many times as you need to do it. I’m gonna be here the whole time.’” Barker was truly speaking from experience. He told Key at the time that he’d just recorded 87 rough takes of his parts on “Lonely Road,” his hit song with Jelly Roll and MGK. “That was a real crossroads for me,” Key said.
The aspect of the album that feels most akin to “Ocean Avenue” was that Barker never really allowed them to overthink anything when it came to songwriting, a skill the band had unwittingly mastered as kids back in the “Ocean Avenue” days by writing songs on the fly in the studio with little time to care about how a song might end up before they recorded it.
“There’s something about the way we did this record with Travis, where we would walk in and did it in a way we haven’t done in 20 plus years with him saying ‘We’re gonna write and record a song today,’” Key said. “ It was a return to that style of songwriting where you have to kind of get out of your comfort zone and just throw and go.”
The final product moves swiftly over 10 songs, the track list starts with a flurry of energy from the bombastic opening drums of “Better Days” that propel a song on inner reflection on the past. It moves on to the high-energy heartbreak of “Love Letters,” featuring Matt Skiba of Alkaline Trio. Avril Lavigne lends her soaring vocals to the unrequited love song “You Broke Me Too.” Songs like “City of Angels” and “Bedroom Posters” track episodes in Key’s life where his band’s hiatus took a negative toll on his outlook on life but also about looking for a way back to rediscovering himself. The album wraps with the acoustic lullaby “Big Blue Eyes,” which Keys wrote as a tribute to his son.
Though the songs on “Better Days” frequently wrestle with self-doubt and uncertainty, the response from fans has been surprisingly supportive, Key said.
“I cannot recall seeing this level of overwhelming positive feedback. People are just flipping out over these songs,” the frontman said. “The recording was such a whirlwind. When I listen to it, it’s still kind of like ‘When did I write that song?’ It happened so fast, and we made the record so fast, but I’m glad we just did it.” Despite the success, Key is hesitant to label the band comeback kids, “probably because we are officially passed kids label,” he said.
“Maybe it’s the return of the gentlemen?” Mackin joked.
Blink-182 drummer Travis Barker produced the album, helping the band recapture the spontaneous energy that defined their 2003 breakthrough “Ocean Avenue.”
(Joe Brady)
Whatever they call themselves, coming back to the band after so many years of different experiences has made Yellowcard’s second shot at a career feel all the more rewarding.
“Because you feel like you know you’re capable of something other than being in this band, capable of connecting with your family in a way that you couldn’t when you were on the road all the time,” Mackin said. “There’s things that happened in that break that set us up for success as human beings, not just as creative people.”
For Key, it’s about taking all the lessons they’ve learned as a band and applying them to their future, realizing that the album’s title refers not just to the past behind them, but what lies ahead.
“This record needed to be the ultimate revival, the ultimate redemption song for our band,” Key said. “And so far it’s, it’s proven to be that.”
Big Brother housemates got to buy some luxury items in the Eyedeal Mini Mart
Elsa made a bizarre confession (Image: ITV)
Big Brother viewers were quick to ask ‘is she for real’ as Elsa made a bizarre confession.
The ITV hit reality show made a return to screens on Monday (October 13) night for a brand new episode and the housemates got to buy some luxury items in the Eyedeal Mini Mart.
Big Brother gathered the Housemates in the living area and announced: “Housemates, today you will have another opportunity to spend your eye currency in the EyeDeal Mini Mart.
“Big Brother has restocked the shelves with even more goodies, luxuries and some new surprise temptations. It’s up to you whether you want to splash the cash now or save it for a rainy day… Richard, Nancy and Sam, as you have zero eyes, you will not enter the shop today.”
One by one the housemates entered Big Brother’s EyeDeal Mini Mart however their was a major twist as Big Brother told each housemate who entered: “Big Brother would like to draw your attention to an incredible buy-one get-one free deal in the shop today.
“A very special item. An Immunity Pass. If you buy this deal, you get not one but two weeks immunity from eviction.”
Marcus wasn’t tempted by the immunity pass as he opted to use his eye balls to get a romantic dinner to enjoy with fellow housemate Elsa.
Later on, Marcus and Elsa were seen in the garden having a romantic dinner for two because Tate bought a jail pass for Marcus, which meant he had to spend his half of the date from his jail cell.
The couple were treated to a cooked dinner and Caroline couldn’t help but come outside and ask: “Is it gorgeous?” Elsa replied: “It’s lovely.”
As they enjoyed their romantic moment together, Marcus took the opportunity to confess: “This is the best date I’ve ever been on.” Caroline asked: “Really?” Marcus responded: “Yeah.”
There was one moment that caught viewers’ attention as Marcus was seen cutting Elsa’s food after she revealed that her mum cuts all her food for her at home.
It didn’t take long for viewers to rush straight to social media to share their reaction as one fumed: “Is Elsa for real.. she still has her mum cut up her food.. is she for real or is she taking the p***.”
Another commented: “Elsa “I have to get my mum to cut my food” F****** hell.” A third asked: “Um..why can’t Elsa cut up her own food? #BBUK #BigBrother.”
One fan commented: “Please save the airtime for the drama. I don’t care about this Marcus/Elsa facade.”
Meanwhile another added: “Elsa is a grown woman — does she really think acting like a child makes her more interesting?! Getting Marcus to cut her food for her and bragging that her mum does it too is wild #BBUK #BigBrother.”
Big Brother airs weekdays from 9pm on ITV2 and ITVX
£1.308 billion (Powerball) on January 13 2016 in the US, for which three winning tickets were sold, remains history’s biggest lottery prize
£1.267 billion (Mega Million) a winner from South Carolina took their time to come forward to claim their prize in March 2019 not long before the April deadline
£633.76 million (Powerball draw) from a winner from Wisconsin
£625.76 million (Powerball) Mavis L. Wanczyk of Chicopee, Massachusetts claimed the jackpot in August 2017
£575.53 million (Powerball) A lucky pair of winners scooped the jackpot in Iowa and New York in October 2018
Diane Keaton, the beloved star of “Annie Hall,” “The Godfather” and “The First Wives Club,” wooed audiences as much as she did her multiple Hollywood boyfriends. It seems that much remains true for ex-lovers Woody Allen and Al Pacino, whose high-profile romances with the Los Angeles native are back in the spotlight in the wake of her death over the weekend.
“Her face and laugh illuminated any space she entered,” Allen, Keaton’s “Annie Hall” director and co-star, wrote Sunday.
The acclaimed and controversial filmmaker reminisced on his dating relationship with Keaton for the Free Press, recalling how they first met in Manhattan in the late 1960s for his stage production of “Play It Again, Sam.” Allen’s first impression of the eventual Oscar winner was, he explained, as “if Huckleberry Finn was a gorgeous young woman.”
“The upshot is that she was so charming, so beautiful, so magical, that I questioned my sanity. I thought: Could I be in love so quickly?” he wrote, later describing their evolution from collaborators to romantic partners.
Keaton and Allen collaborated on eight movies, also including “Stardust Memories,” “Sleeper” and “Love and Death.” The 89-year-old director wrote that he “made movies for an audience of one, Diane Keaton,” and heavily valued her opinions on his work. As Allen praised Keaton’s radiating personality (“She was a million laughs to be around”) he recalled learning about her struggles with bulimia and spending Thanksgiving with her family in Orange County.
“Why we parted only God and Freud might be able to figure out,” Allen wrote.
Pacino, who shared the screen with Keaton in three “Godfather” films and dated Keaton throughout the ‘70s and ‘80s, is also thinking about what could have been. “Looking back, Al admits the love of his life was Diane who he’s always called an ‘amazing woman,’ ” a source close to the 85-year-old actor told the Daily Mail.
“I know he will forever regret he didn’t make his move when he had the chance,” the source added. “For years after he and Diane split, Al used to say, ‘If it’s meant to be, it’s never too late for a do-over. But sadly, now it is.’ ”
After news of Keaton’s death spread Saturday, stars including Bette Midler, Steve Martin, Viola Davis and Kate Hudson paid tribute on social media. “What you saw was who she was,” Midler said of her “First Wives Club” co-star. Keaton never married and is survived by two adopted children, Duke and Dexter Keaton.
Allen closed his essay emphasizing the significance of Keaton’s death: “A few days ago the world was a place that included Diane Keaton. Now it’s a world that does not. Hence it’s a drearier world.”
“Still there are her movies,” he wrote. “And her great laugh still echoes in my head.”
George Gilbert has broken his silence on his YouTube channel about being removed from the Big Brother house for his repeated use of unacceptable language and behaviour
ROME — The Vatican took the unusual step on Monday of announcing that it had named judges to decide the fate of a famous ex-Jesuit artist, whose mosaics decorate basilicas around the world and who was accused by more than two dozen women of sexual, spiritual and psychological abuse.
The case of the Rev. Marko Ivan Rupnik badly tarnished the legacy of Pope Francis, given suggestions that the Jesuit pope, the Jesuit religious order and the Jesuit-headed Vatican sex abuse office protected one of their own over decades by dismissing allegations of misconduct against him.
The Vatican office that manages clergy sex abuse cases, the Congregation for the Doctrine of the Faith, said that the five judges named to hear the Rupnik case in a canonical court include women and priests who don’t hold jobs in the Vatican bureaucracy.
It said that such a composition was “done in order to better guarantee, as in any judicial process, the autonomy and independence of the aforementioned court.”
The statement suggested an implicit recognition that prior to now, the Vatican’s handling of the Rupnik file had been anything but autonomous or independent.
Famous artist accused
Rupnik’s mosaics grace some of the Catholic Church’s most-visited shrines and sanctuaries around the world, including at the shrine in Lourdes, France, in the Vatican, a new basilica in Aparecida, Brazil, and the chapel of Pope Leo XIV’s own Augustinian religious order in Rome.
The Rupnik scandal first exploded publicly in late 2022 when Italian blogs started reporting the claims of nuns and other women who said they had been sexually, spiritually and psychologically abused by him, including during the production of his artwork.
Rupnik’s Jesuit religious order soon admitted that he had been excommunicated briefly in 2020 for having committed one of the Catholic Church’s most serious crimes — using the confessional to absolve a woman with whom he had engaged in sexual activity. But he continued working and preaching.
The case continued to create problems for the Jesuits and Francis, though, since more women came forward saying they too had been victimized by Rupnik, with some of their claims dating back to the 1990s.
The Jesuits eventually kicked him out of the order after he refused to respond to allegations by about 20 women, most of whom were members of a Jesuit-inspired religious community that he co-founded in his native Slovenia, which has since been suppressed.
The Vatican initially refused to prosecute, arguing the women’s claims were too old. The stall exposed both the Vatican’s legal shortcomings, where sex crimes against women are rarely prosecuted, and the suggestion that a famous artist like Rupnik had received favorable treatment.
Trial about to start
While Francis denied interfering in a 2023 interview with the Associated Press, he eventually caved to public pressure and waived the statute of limitations so that the Vatican could open a proper canonical trial.
Two years later, the Vatican statement on Monday indicated that the trial was about to start. The judges, appointed on Oct. 9, will use the church’s in-house canon law to determine Rupnik’s fate, though it’s still not even clear what alleged canonical crimes he is accused of committing. The Vatican statement didn’t say. He hasn’t been charged criminally.
To date, Rupnik hasn’t responded publicly to the allegations and refused to respond to his Jesuit superiors during their investigation. His supporters at his Centro Aletti art studio have denounced what they have called a media “lynching.”
Some of Rupnik’s victims have gone public to demand justice, including in a documentary “Nuns vs. The Vatican” that premiered last month at the Toronto International Film Festival. They welcomed word on Monday that the trial would finally start, attorney Laura Sgro said.
“My five clients requested 18 months ago to be recognized as injured parties in the proceedings, so we hope that their position will be established as soon as possible,” Sgro said in a statement. “They have been waiting for justice for too many years, and justice will be good not only for them but also for the church itself.”
The Catholic Church’s internal legal system doesn’t recognize victims of abuse as parties to a canonical trial but merely third-party witnesses. Victims have no right to participate in any proceedings or have access to any documentation.
At most, they are entitled to learn the judges’ verdict. Unlike a regular court, where jail time is possible, canonical penalties can include sanctions such as restrictions from celebrating Mass or even presenting oneself as a priest, if the judges determine a canonical crime has occurred.
Legal hurdles to justice
But it’s not even clear whether the Vatican considers the women to be abuse “victims” in a legal sense. While the Holy See over the last 25 years has refined the canonical rules to prosecute priests who sexually abuse minors, it has rarely prosecuted sex-related abuse cases involving women, contending that any sexual activity between adults is consensual.
The Rupnik case, though, also involves allegations of spiritual and psychological abuse in relations where there was an imbalance of power. It’s one of many such #MeToo cases in the church where women have said they fell prey to revered spiritual gurus who used their power and authority to manipulate them for sexual and other ends.
The Vatican, though, has generally refused to prosecute such cases or address this type of abuse in any canonical revisions, though Francis authorized a study group to look into allegations of “false mysticism” before he died.
Leo has expressed concern in general that accused priests receive due process. But he had firsthand experience dealing with an abusive group in Peru that targeted adults as well as minors, including through spiritual abuse and abuse of conscience.
In a letter earlier this year to a Peruvian journalist who exposed the group’s crimes, Leo called for a culture of prevention in the church “that does not tolerate any form of abuse — whether of power or authority, conscience or spiritual, or sexual.”
Taylor Swift will be releasing not one but two projects around her record breaking Eras Tour.
16:29, 13 Oct 2025Updated 16:38, 13 Oct 2025
Taylor Swift’s Eras Tour is getting a behind-the-scenes docu-series that will give fans new insight into the “inner-workings that created the phenomenon”.
Last week marked the launch of the biggest album in history, Taylor Swift’s The Life of a Showgirl with more than four million equivalent album units earned in the US.
But the 14 Grammy-winning artist isn’t slowing down with two projects in the works that will provide a whole new look at her iconic The Eras Tour which came to an end last year.
Taylor Swift: The Eras Tour, The End of an Era is described as an “illuminating docu-series” that will give an “intimate look at Taylor’s life as her tour made headlines and thrilled fans around the world ”.
Not only will the series provide fans with “never-before-seen” content, it will also spotlight performers, family members and friends, including Sabrina Carpenter, Ed Sheeran and Gracie Abrams.
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Disney+ has announced that it will up its annual subscription by 10% on September 30. Until then, shoppers can still lock into its £89.90 annual plan, which works out less than 30p a day.
Taylor Swift: The End of an Era episode release schedule
Taylor Swift’s upcoming The End of an Era docu-series is going to debut on Friday, December 12, on Disney+.
Unfortunately, all six episodes are not going to be available to watch on this release date with just the first two dropping on December 12.
From then, two episodes are going to be released each week until the penultimate and final instalments are dropped on Boxing Day, Friday, December 26.
Here’s a full rundown of when Disney+ subscribers can expect Taylor Swift’s The End of an Era to come out:
Episodes One and Two: Friday, December 12
Episodes Three and Four: Friday, December 19
Episodes Five and Six: Boxing Day, Friday, December 26
A teaser trailer for the documentary has been released with the award-winning artist telling fans: “The Eras Tour wasn’t when all the pieces fell into place.
“This tour was just when every single one of us who had done so much work, pushing inch by inch, to where we all clicked together.”
The End of an Era docu-series won’t be the only project that Swifties can get excited about either.
It has also been confirmed that The Eras Tour: The Final Show, which will be the full concert film, is also going to be available from December 12.
The last concert on the tour took place in Vancouver and features the entire set of The Tortured Poets Department which was added to the tour following the album’s release in 2024.
Taylor Swift: The End of an Era debuts on Friday, December 12, on Disney+.
Luke Littler will return to defend his titleCredit: Reuters
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Luke Humphries will be looking to regain the title at Ally PallyCredit: PA
World Darts Championship 2025 tickets and prices
StubHub are offering tickets for sale for every session of the tournament, at the time of writing.
The cheapest tickets available are currently priced at £145 per person for the evening session on Thursday, December 18.
There are tickets on the site available at a range of prices.
Tickets for the final, for example, are priced from £380 at the time of writing – these are for seats on the outskirts rather than a table in the middle.
The cheapest table seats for the final start at £940 each.
For those looking for hospitality tickets, Seat Unique is offering packages – although is asking for those interested to register their interest.
There is no pricing available at the time of writing, with details expected soon.
Are tickets for the World Darts Championship still on sale?
Yes, tickets are available, but fans will have to buy from secondary ticketing sites.
PDCTV annual members were able to have first dibs at tickets during a pre-sale.
That took place on August 4 and August 5, 2025.
There was then the chance for others to put their name into a free-to-enter ticket ballot.
Registrations for the ballot opened on August 6 and then closed on August 15.
Tickets are now available on third-party ticketing sites, although the PDC have previously warned fans about purchasing tickets this way.
To live in Los Angeles is to be a seeker. There are those who come to the city in search of the limelight and affluence. There are others who crave temperate weather and long for accessible beaches. The list goes on. Some of these desires are easily satisfied, while others are left unfulfilled or forgotten. But for those born and raised in this atypical metropolis, like Shirley Kurata, the search is never-ending.
The costume designer tells me the key to loving this city is to never stop venturing around. We sit in the shaded back patio of Virgil Normal, a 21st century lifestyle shop she owns with her husband, Charlie Staunton. She wears a vibrant pink getup — a vintage top and Issey Miyake pants — complete with small pleats and optimal for the unavoidable August heat wave. Her signature pair of black circular glasses sits perfectly on the bridge of her nose. It’s a style of eyewear she owns in several colors.
“I always tell people, L.A. is like going to a flea market. There’s some digging to do, but you’ll definitely find some gems,” says the stylist and costume designer, as she’s regularly on the lookout for up-and-coming creative hubs and eye-catching storefronts. “It won’t be handed to you. You have to dig.”
In one way or another, “digging” has marked Kurata’s creative livelihood. Whether she’s conjuring wardrobes for the big screen, like in the Oscar-winning “Everything Everywhere All at Once,” or styling musicians like Billie Eilish, Florence and the Machine and ASAP Rocky for photo shoots and music videos, the hunt for the perfect look keeps her on her toes.
Over the summer, Kurata spent a lot of time inside the Costco-size Western Costume Co., pulling looks for Vogue World, the magazine’s annual traveling runway extravaganza. This year, the fashion spectacle is centered around Hollywood and will take place at Paramount Pictures Studios in late October. She is one of the eight costume designers asked to present at the event — others include Colleen Atwood of “Edward Scissorhands,” Ruth E. Carter of “Black Panther” and Arianne Phillips of “Once Upon a Time in Hollywood.” Kurata will be styling background performers and taking inspiration from the invited costume designers.
Shirley wears vintage hat, Meals Clothing top, shirt and dress, We Love Colors tights, Opening Ceremony x Robert Clergerie shoes and l.a. Eyeworks sunglasses.
“[Vogue] wanted someone that is a stylist and costume designer who has worked both in fashion and film. Because a lot of costume designers work primarily in TV and film, they don’t do the fashion styling for editorial shoots,” says Kurata. “I’m coming on and working with what other costume designers have done.”
Since her start in the business, Kurata has gained acclaim for her ability to infuse daring prints and vibrant color into the narrative worlds she deals with. Her maximalist sense of experimentation took center stage in “Everything Everywhere All at Once” and earned her an Academy Award nomination for costume design. From a bejeweled Elvis jumpsuit to a look made entirely of neon green tassels meant to resemble an amoeba, her vision was avant-garde, playful and undeniably multidimensional.
When Kurata isn’t on set or in the troves of a costume house, she’s likely tending to Virgil Normal. Housed in a former moped shop, the Virgil Village store offers a selection of novelty items and streetwear treasures, curated by both Kurata and Staunton. Though Staunton jokes that he’s constantly seeking her approval when sourcing inventory: “If it’s not cool enough for her, it doesn’t come in.”
The couple first met at the Rose Bowl Flea Market through mutual friends. At first sight, Staunton recalls being enthralled by her perpetually “cool” demeanor. Early in their relationship, he even floated the idea of starting a clothing line together, just to “knock off her closet.”
Shirley wears Leeann Huang t-shirt, skirt and shoes, We Love Colors tights and l.a. Eyeworks glasses here and in photos below.
“She’s like a peacock. It’s not like she’s trying to get attention. But she has her own vision and doesn’t really care what’s going on. She knows what’s cool,” says Staunton, who cites Kurata as the biggest “inspiration” for the store.
Inside the quaint red brick building, blue L.A. hats are embroidered to read “Larry David,” acrylic shelves are packed with Snoopy figurines (for display only), trays of l.a. Eyeworks frames fill the tables and each clothing tag is a different elaborate doodle illustrated by Staunton. He adds that everything in the store is meant to have a “rabbit hole” effect, where shoppers can give in to their curiosities.
“We wanted a place where like-minded people could come here and have it be a space to hang out. They don’t have to buy anything,” says Kurata. The attached patio is complete with a mural of a man floating in space, pipe in hand, and the coolers are still filled with chilled beers and sparkling waters from their most recent get-together. She tells me about how many times they’ve allowed musicians and artists to transform this peaceful outdoor space into a lively venue.
“Having that connection with a community of creatives in the city is essential. Having that sort of human interaction is really good for your soul, and for your creativity,” she shares. “Having this store has been one of the most fulfilling things that I’ve done, and it’s not like we’re not making a ton of money off it.”
From the cactus out front, which Kurata and Staunton planted themselves, to grabbing lunch at the taqueria down the street, she explains cultivating a space like this and being an active part of the neighborhood has made her into a more “enriched person.” Kurata, who is of Japanese descent, brings up the lesser known history of East Hollywood. In the early 1900s, the neighborhood, then called J-Flats, was where a sizable group of Japanese immigrants settled. It was once a bustling community with Japanese boarding houses that offered affordable rent and home-cooked meals. Today, only one of these properties is operating.
“Having that connection with a community of creatives in the city is essential. Having that sort of human interaction is really good for your soul, and for your creativity,”
For Kurata, being a part of this legacy means trimming the nearby overgrown vegetation to keep the sidewalks clear and running over to the locally owned convenience store when Virgil Normal needs supplies, instead of immediately turning to Amazon. She pours everything she learned from being raised in this city back into the store, and in turn, its surroundings.
Kurata was born and raised in Monterey Park, a region in the San Gabriel Valley with a primarily Asian population. The neighborhood is a small, homey stretch of land, known for its dining culture, hilly roads and suburban feeling (but not-so-suburban location). These days, she’ll often find herself in the area, as her mother and sister still live there. Together, they enjoy many of the surrounding dim sum-style restaurants.
Even from a young age, she was encouraged to treat the entire city as her stomping grounds. She attended elementary school in the Arts District, which she describes as quieter and “more industrial than it is today.” She also spent a lot of her childhood in Little Tokyo, shopping for Japanese magazines (where she found a lot of her early inspiration), playing in the arcade and grocery shopping with her family.
Shirley wears Leeann Huang lenticular dress and shoes, Mary Quant tights and l.a. Eyeworks sunglasses.
For high school, she decided to branch out even further, making the trek to an all-girls Catholic school in La Cañada Flintridge. “It was the first time where I felt like an outsider,” Kurata says, as she had only previously attended predominantly Asian schools. She laughs a little about being one of the rare “Japanese Catholics.”
“When you’re raised in something, you go along with it because your parents tell you, and it’s part of your education,” Kurata says. Her religious upbringing began to reach a point where she wasn’t connecting with it anymore. “Having that sort of awakening is good for you. I was able to look at myself, early in life, and realize that I don’t think this is for me.”
Her senior year, she discovered vintage stores. (She always knew that she had an affinity for clothing of the past, as she gravitated toward hand-me-down Barbies from the ’60s.) Her coming-of-age style consisted of layering skirts with other oversize pieces — and everything was baggy, “because it was the ’80s.” With this ignited passion for vintage and thrifting, Kurata began to mix items spanning across decades into one look.
“All the colors, the prints, the variety. It just seemed more fun. I would mix a ’60s dress with a jacket from the ’70s and maybe something from the ’40s,” says Kurata. It’s a practice that has remained a major part of her creative Rolodex.
Her lifelong interest in fashion led her to get a summer job at American Rag Cie on La Brea Avenue. At the time, the high-end store primarily sold a mix of well-curated timeless pieces, sourced from all over the world. It was the first time she encountered the full range of L.A.’s fashion scene. She worked alongside Christophe Loiron of Mister Freedom and other “rockabilly and edgier, slightly goth” kinds of people.
“Living abroad is such an important way of broadening your mind, being exposed to other cultures and even learning another language. It helps you grow as a person. It’s the best thing I ever did.”
“Time moved really slowly in that place. But just the creativity that I was around, from both the people who worked there and shopped there, was great exposure,” says Kurata, who recalls seeing faces like Winona Ryder and Johnny Depp browsing the selection and Naomi Campbell and Christy Turlington trying on jeans.
Kurata continued her L.A. expedition to Cal State Long Beach, where she began her art degree. It wasn’t long before Studio Berçot, a now-closed fashion school in Paris known for its avant-garde curriculum, started calling her name.
“Living abroad is such an important way of broadening your mind, being exposed to other cultures and even learning another language. It helps you grow as a person,” says Kurata. “It’s the best thing I ever did.”
Her Parisian studies lasted around three years and it was the closest she had ever gotten to high fashion. Sometimes, she would be able to see runway shows by selling magazines inside the venue or volunteering to work backstage. Other times, she relied on well-intentioned shenanigans. She used to pass around and reuse an invitation within her group of friends. She once snuck in through a large, unattended hole in a fence. In one instance, she simply charged at the entrance when it began to rain. All things she did in the name of fashion.
“I would just do what I could to see as many shows as possible. All of the excitement is hard to explain. When I worked backstage, there’s this labor of love that’s put towards the show. It’s this contagious energy that you could feel when the models start coming,” says Kurata, who saw everything from Jean Paul Gaultier to John Galliano and Yves Saint Laurent. When she was backstage for a Vivienne Westwood show, she recollects seeing this “shorter model, and thinking, ‘Oh, she’s so tiny,’ and then realizing that it was Kate Moss who was still fairly new at that point.”
“We wanted a place where like-minded people could come here and have it be a space to hang out. Having this store has been one of the most fulfilling things that I’ve done.”
Staying in France was intriguing to a young Kurata, but the struggles of visas and paperwork deterred her. She instead returned to L.A., freshly inspired, and completed her bachelor’s degree in art (to her parents’ satisfaction). She didn’t plan to get into costume design, Kurata explains. But when it became clear that designing her own line would require moving to somewhere like New York or back to Europe, she realized, “Maybe fashion is not the world I want to get into; maybe it’s costumes.”
“I felt comfortable with that decision,” shares Kurata. “I do love film, so it was just a transition I made. It was still connected [to everything that I wanted to do].”
Without the aid of social media, she sent letters to costume designers, hoping to get mentored, and started working on low-budget jobs. She quickly fell in love with how much the job changed day-to-day. On occasion, there are 12-hour days that can be “miserable,” but her next job might be entirely different. One day she’s styling the seasonal campaigns for her longtime friends Kate and Laura Mulleavy, owners of Rodarte, and the next she could be styling for the cover of W Magazine, where a larger-than-life Jennifer Coolidge stomps through a miniature city in a neon polka-dot coat.
Whenever Kurata takes on a project, Staunton says she “just doesn’t stop.” Sometimes, he’ll wake up at 3 in the morning and she’s emailing people in Europe, attempting to hunt down a rare vintage piece. Her passion is the kind that simultaneously consumes and fuels her.
“There’s a lot of times [with her work] where I’m like, ‘That’s just straight out of Shirley’s closet.’ It’s not like she has to compromise. It’s something she would wear herself. She doesn’t have to follow trends,” explains Staunton. “People seek her out, because she has such a unique vision.”
“I always tell people, L.A. is like going to a flea market. There’s some digging to do, but you’ll definitely find some gems.”
Kurata thinks of herself as “someone who gets bored easily.” It’s a quality that’s reflected in her eclectic style, busy travel schedule, Virgil Normal’s constantly changing selection and even the common feeling she gets when she’s sick of all of her clothes. It’s a good thing being bored and being in Los Angeles don’t go hand in hand.
I ask Kurata a somewhat daunting question for a born-and-bred Angeleno.
“Do you think you could ever see yourself calling another place home?”
She lets out a deep sigh and tells me it’s not something she’s closed off to. Though, she takes a moment to reflect on how everyone came together to provide support during the Palisades and Eaton fires earlier this year. Or how good it feels when they have events at Virgil Normal, to be surrounded by a diverse group of creative minds “who don’t judge.” She even thinks about how she currently lives in a Franklin Hills house, a neighborhood she never thought she would be able to afford.
Time and time again, Kurata and this sprawling city-state have looked out for each other. From the way she speaks of different areas with such an intrinsic care, to showcasing her unique creative eye in Tinseltown, L.A. has made her into a permanent seeker. Whether she chooses to stay in Franklin Hills for the rest of her life or packs up everything tomorrow, she’ll always keep an eye out for hidden gems — just like at the flea market.
THE chancellor could raise tens of billions from tax reforms that don’t hit “working people”, leading economists have said.
Rachel Reeves is under pressure to fill an estimated £50billion black hole in the public finances ahead of November’s autumn statement.
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Rachel Reeves is under pressure to fill an estimated £50billion black hole in the public finances ahead of November’s autumn statementCredit: Alamy
Westminster is awash with rumours that Labour could extend the freeze on income tax thresholds.
However, critics say this would mean breaking Labour’s manifesto pledge not to increase taxes on “working people”.
But in a new report, the Institute for Fiscal Studies (IFS) urged the Chancellor to resist “half-baked” solutions like “simply hiking rates”.
The IFS Green Budget Chapter report instead urges the chancellor to reform the “unfair” and “inefficient” tax system.
End capital gains tax relief on death
Reeves could scrap capital gains tax relief on death, the report said.
When you sell certain assets – like houses, land or other valuable items – you have to pay a tax on the profit you made on it.
However, there are some important exceptions.
For example, if someone dies and you inherit their asset, you don’t have to pay capital gains tax they would have paid.
But the IFS said Reeves should consider scrapping the relief, raising £2.3billion in 2029-30.
However, families could oppose the measure given Labour is already skimming more revenue off inherited wealth.
The inheritance tax threshold has been frozen at £325,000 since 2009.
And last year, Reeves announced she would extend the freeze until 2030.
Hit taxpayers with a ‘one-off’ wealth tax
Economists and politicians are often divided over whether a wealth tax would work.
Supporters argue that the UK’s richest 1% are wealthier than the bottom 70% – and that a wealth tax would reduce this inequality.
But critics say it would be an administrative nightmare and lead millionaires to leave the country, taking their businesses and tax revenues with them.
But if Labour does reach for wealth in the budget – it should opt for a “one-off” wealth tax, the IFS said.
The think tank argues this is a better option than a recurring wealth tax.
It would work by the government calculating how much people’s total assets are worth and taxing them over a certain threshold.
“An unexpected and credibly one-off assessment of existing wealth could in principle be an economically efficient way to raise revenue,” the IFS wrote.
However, a wealth tax that happened on a regular basis would have “serious drawbacks,” the think tank warned.
Valuing everyone’s wealth every year would be “extremely difficult,” it said.
Moreover, a regular tax could deter the highest tax payers from residing in the UK long-term, potentially hitting overall tax revenues.
But the IFS said that even a “one-off” levy could spell trouble if people don’t trust the government not to come back for more.
The report said: “The potential efficiency of such a tax could be undermined, however, if announcing a one-off tax created expectations of, or uncertainty about, other future taxes.”
Double the council tax rates paid by highest value homes
A new council tax surcharge could raise up to £4.4billion.
Council tax is a local tax on residential properties in the UK, with homes assigned to Bands A to H based on their value.
Bands G and H generally include the highest value homes.
The IFS said doubling the council tax paid by these households could mean a £4.4billion boost.
However, critics already say the council tax system is “unfair and arbitrary”.
As reported by The Sun, families living in modest homes sometimes pay more than those in multi-million-pound mansions.
The root of the problem is simple – council taxbills are not based on what your home is worth today.
Instead, it’s based on its value way back in 1991, when homes were categorised into bands ranging from A to H.
Decades of uneven house price growth mean this once-simple system is now riddled with inequalities.
Moreover, councils set their own tax rates – leading to a “postcode lottery”.
The average Band D council tax in England is £2,280, but councils set their own rates.
For example, in Wandsworth, people pay just £990, while in Nottingham, they pay £2,656.
This means that millions of homeowners pay much less compared to their property’s value than those in poorer areas, according toPropertyData.
Another potential problem is that the extra cash would go to local authorities rather than central government.
Local authorities use council tax to pay for local services like schools, bin collections and libraries.
So to make sure it reaps the benefits of the change, Downing Street could reduce the grants being paid to councils, the IFS said.
The UK government gives councils more than £69billion in funding – a 6.8% increase in cash terms compared to 2024-25.
But councils would likely still fight back against any funding downgrade – with sticky 3.8% inflation already eating into their grants.
Rejig inheritance tax
The IFS admits that changes to inheritance tax could ‘provoke’ strong reactions.
But its report said that the £9billion said annually is ‘modest’ – although high by historical standards.
Reforming death duties to abolish the additional £175,000 tax-free allowance could raise around £6billion, the economists wrote.
“One obvious option would be to increase the rate of inheritance tax from its current 40%,” the economists wrote.
They said an increase of just 1% would raise £0.3billion in 2029–30.
The government could also reduce the threshold at which the tax begins to be paid.
Currently, people can pass on up to £325,000 of wealth tax-free.
Then there’s an additional £175,000 tax-free allowance that can be used only when passing on a primary residence to a direct descendant.
Abolishing the second of these allowances, for example, could raise around £6billion in 2029–30, the IFS said.
Crack down on businesses underpaying their taxes
The think tank has urged Labour to tackle tax non-compliance.
Corporation tax, a tax on company profits, has become increasingly important to the Treasury’s coffers in recent years.
Over the course of the 2010s, revenue averaged 2.4% of national income, rising to 3.3% in 2025–26.
But corporation tax dodging meant 15.8% of liabilities went unpaid in 2023-24, up from just 8.8% in 2017-18.
Small businesses are mainly to blame, the IFS said, admitting that claiming the prize of missing corporation tax “would not be straightforward in practice”.
The think tank added: “More work is needed to understand why so many small companies are submitting incorrect tax returns.
“It is likely that tackling the gap would require targeted compliance activities from HMRC, such as auditing small businesses.”
The IFS also said “more revenue could be raised from corporation tax”.
However, it did warn that, while a 1% increase would raise £4.1billion, there could be adverse consequences.
The authors wrote that investment in the UK could become “less attractive” and reduce future tax yields.
However, critics may argue that any tax hike hitting members of the public – even if targeting inheritance or council tax – will still feel like a broken promise.
What must the chancellor avoid doing?
The personal tax allowance has been frozen at £12,570 since April 2021.
Prime Minister Rishi Sunak announced the freeze would remain until April 2026 and Labour extended it until April 2028.
Extending the freeze on personal tax thresholds including national insurance contributions would raise around £10.4billion a year from 2029-30.
But IFS economists say Reeves must not do this – and instead lift the threshold amid rising inflation.
Extending the freeze would be a breach of Labour’s manifesto pledge not to increase taxes for “working people” which includes income tax, national insurance and VAT, the IFS said.
The report’s authors also said restricting income tax relief on pension contributions would raise large sums but should be avoided.
Currently, when you put money into a pension, the income tax you’ve already paid on that money is essentially returned via a government top-up.
The IFS said restricting relief would be “unfair” to penalise pensions again when pension income is already taxed.
The Chancellor should also resist the temptation to up stamp duties, the IFS said.
The think tank fears it would cause people to avoid selling their homes when they want to – hitting the jobs market and holding back growth.
“Changing rates and thresholds is all very well, but unless the Chancellor is willing to pursue genuine reform it will be taxpayers that shoulder the cost of her neglect,” the report, which forms a chapter in the IFS’s wider budget assessment for 2025, said.
Isaac Delestre, a senior research economist at the think tank and an author of the chapter, said Ms Reeves would have “fallen short” if she reaches for quick revenue without wider reform.
“Almost any package of tax rises is likely to weigh on growth, but by tackling some of the inefficiency and unfairness in our existing tax system, the Chancellor could limit the economic damage,” he said.
What is the Budget?
THE Budget is big news and where you’ll often hear announcements about taxes. But what exactly is it?
The Budget is when the Government outlines its plans for the economy including taxation and spending.
The Chancellor of the Exchequer delivers a speech in the House of Commons and announces plans for things like tax hikes, cuts and changes to Universal Credit and the minimum wage.
At the same time, the Office for Budget Responsibility (OBR) publishes an independent analysis of the UK economy.
Usually, the Budget is a once-a-year event and usually takes place in the Autumn, with a smaller update known as the Spring Statement.
But there have been exceptions in recent years when there have been more updates, or the announcements have taken place at different times, for example during the pandemic or when there is a General Election.
On the day of the Budget, usually a Wednesday, the Chancellor is photographed outside No 11 Downing Street with the red box.
She then heads to the House of Commons to deliver her speech, at around 12.30 following Prime Minister’s Questions (PMQs).
Changes announced in the Budget are sometimes implemented the same day, while others may not have a set date.
For example, a change to tobacco duty usually happens on the same day, pushing up the price of cigarettes.
Some tax changes are set to come in at the start of a new tax year, which is April 6.
Other changes may need to pass through Parliament before coming into law.
“We’ve been doing this for a while now,” laughs Channing Tatum, “and every once in a while a new thing comes out I haven’t heard.”
Tatum’s responding to the latest revelation of the press tour for his new film “Roofman”: Director Derek Cianfrance’s claim that he was the fastest checker in Walmart history. (“They gave you a raise if you got 18 rings a minute,” says Cianfrance. “I averaged 350.”)
The point, for Cianfrance, is that the characters at the heart of “Roofman” — good-hearted thief and unauthorized Toys “R” Us tenant Jeffrey Manchester (Tatum) and working mother Leigh (Kirsten Dunst) — are his kind of people.
And “Roofman,” which in its themes of personal responsibility, community and acceptance holds much in common with the work of Frank Capra, is his kind of film. The director behind the 1946 Christmas classic “It’s a Wonderful Life” loomed over Cianfrance’s film from the start. “As we were selling this movie, trying to get it financed, I was pitching it to everyone as a Capra movie and what I kept hearing is, ‘We don’t make those movies anymore.’”
Cianfrance always knew he wanted “Roofman” to be a Christmas movie, which often features characters rediscovering themselves in a small town and magical happenings like, as he says, “a fish shows up with wings.” Or, in this case, that Manchester — on the lam after escaping prison — ends up falling in love with Leigh and being embraced by her family and community.
Tatum as Jeffrey Manchester in “Roofman.”
(Davi Russo / Paramount Pictures)
“I love the populist filmmaker who’s making movies about regular people,” says Cianfrance. “You never feel like Capra’s ever judging people, or being snobby about the people he’s making movies about. He’s making movies about the people who go to the movies.” And while the film’s true-life tale is certainly stranger than fiction, Cianfrance avoided turning “Roofman” into Hollywood escapism. Instead, he says, he wanted to illustrate his respect for working people’s dreams and aspirations: “The thing that transformed it for me was when Leigh told me that Jeff was the greatest adventure of her life, and that she didn’t regret a thing.”
With that in mind, he urged the cast to live their characters’ suburban North Carolina lives. He encouraged actor Peter Dinklage, who plays the Toys “R” Us store manager, to actually manage the store. Dunst’s Leigh, a new hire, was given an actual job interview by Dinklage himself. “He would not give me an inch in that interview,” says Dunst. “I respect him so much as an actor, I think I was also just intimidated by him as well.”
Cianfrance calls the set “an aquarium for actors” — a place where, to pull another Christmas reference he drops, everyone was Rudolph the Red-Nosed Reindeer on the island of misfit toys. Actors like Emory Cohen and Juno Temple expanded their characters beyond the page. Cohen, who plays bullied employee Otis, conjured up his character’s love for peanut M&M’s, while Temple, who plays the girlfriend of one of Manchester’s friends, saw her character as a hairdresser.
Even a scene where the Toys “R” Us is decorated for Thanksgiving gave Cianfrance and production designer Inbal Weinberg the opportunity to debate where to have Dunst place an inflatable turkey. “I was like, we’re gonna let the actors decide. Kirsten came to set. She got the turkey. And she started to decide where it went, and she put it where my production designer wanted it,” Cianfrance says. “And Peter Dinklage came out and was like, ‘No, the turkey goes here.’”
“As we were selling this movie, trying to get it financed, I was pitching it to everyone as a Capra movie and what I kept hearing is, ‘We don’t make those movies anymore,’’’ says “Roofman” director Derek Cianfrance.
(The Tyler Twins / For The Times)
Dunst had been wanting to work with the director since auditioning (unsuccessfully, the pair joke) for his 2016 feature “The Light Between Oceans.” “I would have done this movie without reading any script,” she says. “How he makes a set — he wants to capture all the nuance and the things that make us humans interesting.”
Tatum concurs. He knew immediately the role would challenge him as a performer. The actor had heard stories of how Cianfrance worked with performers to get authentic responses, like giving Ryan Gosling and Michelle Williams — playing a married couple in 2010 drama “Blue Valentine” — contrasting information in scenes to heighten tension.
Dunst recalls a similar moment on “Roofman,” where Jeff scares Leigh by driving a car too fast with her and her daughters inside. “Derek held my arms and he was like, ‘Push against me as hard as you can,’” she says. “I did that and he held tight and then we went into the scene immediately after. It brought up emotions of being trapped and a feeling like everything was out of your control … but that really helped me a lot.”
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“I only told [Cianfrance] no one time,” says Tatum, “and that’s when he wanted me to sing.” That might surprise viewers considering Tatum has an extended nude sequence where Jeff tries to escape from Dinklage’s Mitch — the first time Dinklage and Tatum met, as it happens.
“[Derek] always jokes, ‘You read the script,’” says Tatum. “I’m like, ‘Yeah, I know I read the script. I just assumed you had a plan … a blocking plan.” The scene itself, which involved Tatum running through the toy store and leaping onto a small roof, took 15 takes to accomplish over almost eight hours. Tatum, Dunst and Cianfrance laugh about how the director broached the subject of keeping Tatum’s nudity tasteful. “He’s like, ‘You want me to blur it?’” says Tatum. “I’m like, ‘Don’t blur it. That’s even weirder.’”
As Dunst, Tatum and Cianfrance discuss the production, the conversation seems to be as much about the memories they made on set as the making of a film — which underscores Cianfrance’s approach to directing.
“I’ve always tried to make sure [the actors] have environments … so that they can have these accidents and surprises. Moments can happen one time that you can’t replicate, and they become the moment that you watch forever. They become immortalized because of that.”
Why trains need to return to Ashford International
The Sun’s Deputy Travel Editor Kara Godfrey weighs in.
Living just down the road from Ashford International Station, it is baffling to me how trains to Europe are yet to return.
It is certainly a depressing sight, as I leave the station, seeing the huge international terminal left abandoned.
The town needs the return of trains to Europe, not just because it more than doubles the time for Kent travellers.
Locals have said that they have lost millions in business since the axing of the route in 2020, which once connected the UK to Paris, Brussels and Disneyland.
While investment will be needed to install the new EES systems that were rolled out over the weekend, it would also ease the pressure points at London St Pancras, which can see huge queues at the Eurostar terminal.
It is great news that FS has revealed plans for a 2029 launch – and it can’t come too soon.
This could include places like Cologne and and Frankfurt, as well as Geneva and Zurich.
Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.
This has turned into one of those weeks when there are just way too many movies opening. From titles that premiered earlier in the year, to films that popped up only recently, distributors have decided that today is the time to drop them in theaters. It can make for some tough calls as a moviegoer but hopefully ones with pleasant returns. Here’s some intel.
Mary Bronstein’s “If I Had Legs I’d Kick You” was a standout at Sundance in January and remains one of the most powerful films of the year. Rose Byrne gives a knockout performance as Linda, a mother struggling to hold onto her own unraveling sense of self as she cares for her ill daughter.
Rose Byrne in the movie “If I Had Legs I’d Kick You.”
(Logan White / A24)
In his review Glenn Whipp said, “Linda makes dozens of bad decisions in ‘If I Had Legs I’d Kick You,’ many of them seemingly indefensible until you realize that just how utterly isolated she feels. … Bronstein demands you pay attention to her, and with Byrne diving headfirst into the character’s harrowing panic, you will find you have no other choice.”
Speaking to Esther Zuckerman for a wide-ranging feature, Byrne said of the part: “Anything dealing with motherhood and shame around motherhood, whether it’s disappointment, failure — she’s got this line in the movie, ‘I wasn’t meant to do this’ — these are pretty radical things to say. People aren’t comfortable with that. So performance-wise, that was the hardest part because it was like a tightrope, the tightrope of this woman.”
Another Sundance premiere hitting theaters this week is director Bill Condon’s adaptation of “Kiss of the Spider Woman,” starring Diego Luna, Tonatiuh and Jennifer Lopez. Already a novel, a movie and a Broadway show, the story involves two men imprisoned in an Argentine jail for political crimes during the 1980s, with Lopez playing a fantasy film star who exists in their imaginations — a reverie to which they can escape.
Tonatiuh in the movie “Kiss of the Spider Woman.”
(Roadside Attractions)
For our fall preview, Carlos Aguilar spoke to Tonatiuh, a native of L.A.’s Boyle Heights, whose performance is a true breakout.
“When I first met Jennifer, I was like, ‘Oh, my God — that’s Jennifer Lopez. What the hell?’ ” he recalled, with the enthusiasm of a true fan. “I must have turned left on the wrong street because now I’m standing in front of her. How did this happen? What life am I living?”
After praising both Lopez and Tonatiuh in her review of the film, Amy Nicholson wrote, “Still, my favorite performance has to be Luna’s, whose Valentin is at once strong and vulnerable, like a mutt attempting to fend off a bear. He’s the only one who doesn’t need to prove he’s a great actor, yet he feels like a revelation. Watching him gradually turn tender sends tingles through your heartstrings.”
Robert De Niro, left, and Martin Scorsese in an undated photo from Rebecca Miller’s documentary series “Mr. Scorsese.”
(Apple TV+)
The American Cinematheque is celebrating filmmaker Rebecca Miller this weekend with a four-title retrospective plus a preview of her documentary series “Mr. Scorsese,” a five-part portrait of the life and career of Martin Scorsese.
Miller will introduce a Saturday screening of her 2023 rom-com “She Came to Me,” starring Anne Hathaway and Peter Dinklage, then do a Q&A for the first two episodes of the Scorsese project on Sunday. Also screening in the series will be 2016’s “Maggie’s Plan,” starring Julianne Moore, Ethan Hawke and Greta Gerwig; Miller’s 2002 Sundance grand jury prize winner “Personal Velocity”; and 2005’s “The Ballad of Jack and Rose,” starring Miller’s husband Daniel Day-Lewis, screening with an introduction from co-star Camilla Belle.
Ethan Hawke and Greta Gerwig in “Maggie’s Plan,” written and directed by Rebecca Miller.
(Sony Pictures Classics)
I spoke to Miller this week about the retrospective and her new Scorsese project, which premieres Oct. 17 on Apple TV+. Along with extensive interviews with Scorsese himself, the series includes insights from collaborators such as Robert De Niro, Paul Schrader and longtime editor Thelma Schoonmaker as well as childhood friends, Scorsese’s children, ex-wives and fellow filmmakers such as Steven Spielberg, Brian De Palma, Ari Aster, Benny Safdie and Spike Lee.
“It feels like such an honor and so weird in a way,” said Miller of the notion of having a retrospective. “You feel like you’re just in the middle of making everything, but then you realize, no, I’ve been making these films for 30 years. And it’ll be really interesting to see how the films play now for people. It’s exciting to have them still be sort of alive.”
When you look back on your own movies, what comes to mind for you?
Funnily enough, there is a connection between “Personal Velocity” and Martin Scorsese, which is that when I was about to shoot personal “Velocity,” I was in Rome, on the set of “Gangs of New York,” and I was watching the snack trolley go by and thinking my entire budget is probably the same as their snack budget. And thinking: What am I doing? What was I thinking? How am I going to do this? But talking to [“Gangs” cinematographer] Michael Ballhaus, I told him how long we had to shoot everything, and he said, “Oh, I envy you. We shot ‘The Bitter Tears of Petra von Kant’ in 10 days.” He was looking back on his days with Fassbinder as the good old days.
Then Marty gave me some advice on films with voiceovers to watch, and he ended up watching “Personal Velocity.” It was the first of my films that he saw, which then led probably to this [doc series] because he knew my films quite well. He watched them as time went on.
What interested you in Scorsese as a subject?
I knew that he was Catholic, that there was a strong spiritual element to his films. But I was interested in how that Catholicism kind of jogged with his fascination, or apparent fascination, with violence. Who is that person? How do those two things go together? And I thought that could be part of my exploration. I had a sense that all his work has a spiritual undercurrent in it, which I think it does. And I think that’s one of the things that I try to explore in the documentary. I felt I had something a little bit different to offer, for that reason.
The big questions that he’s asking: Are we essentially good? Are we essentially evil? And his immense honesty with himself about who he really is, the darkness of his own soul. I don’t think that people are usually that honest with themselves. And you realize that part of his greatness has to do with his willingness to look at himself.
Martin Scorsese in an undated photo from Rebecca Miller’s documentary series “Mr. Scorsese.”
(Apple TV+)
As much as we think we know about Scorsese, he seemed so candid about some of the darkest moments of his life, especially when he talks about his drug overdose and hospitalization in the late 1970s or about some of his issues with Hollywood, especially around “The Last Temptation of Christ.” Were you ever surprised that he was so willing to go there with you?
Oh, yeah, I was. I really didn’t know what to expect. I didn’t have an agenda. I had the scaffolding of the films themselves and a strong sense that this was a man that you can’t separate from the films. So the thing is like a dance, it’s like a permanent tango between those two things. You’re not going to pry them apart. I didn’t know about the addiction. I didn’t know a lot of these things. My questions are totally genuine, there’s no manipulation. It’s all me. I was very prepared in terms of the films. But in terms of the chronology and the connective tissue of his life, I was really right there discovering it.
Martin Scorsese at work on his film “Killers of the Flower Moon,” as seen in Rebecca Miller’s documenary series “Mr. Scorsese.”
(Apple TV+)
You’re catching him such a remarkable point in his life and career. He seems very happy and settled in his personal life and yet he still makes something like “Killers of the Flower Moon,” full of passion and fire. What do you make of that?
[Screenwriter] Jay [Cocks] says he’s learned that he can be selfish in his art, but he doesn’t have to be selfish in his life. Even if your outside is regular, your inside can be boiling. And I think Marty’s inside is always going to be boiling. The seas are not calm in there and never will be.
‘They Live’ and ‘Josie and the Pussycats,’ together at last
Roddy Piper in John Carpenter’s 1988 thriller “They Live.”
(Sunset Boulevard / Corbis )
There’s a real art to putting together a double bill. Sure, you can just program movies that have the same director or share the same on-screen talent. But what about deep, thematic links that might not otherwise be noticed?
The New Beverly has put together an inspired double bill playing on Friday, Saturday and Sunday of John Carpenter’s 1988 “They Live” and Deborah Kaplan and Harry Elfont’s 2001 “Josie and the Pussycats.” Though one is a rough-and-tumble sci-fi action picture and the other a satirical teen-pop fantasia, they both use the idea of subliminal messages to explore how consumer culture can be a means of control.
In “They Live,” wrestler-turned-actor “Rowdy” Roddy Piper plays a drifter who lands in Los Angeles and discovers a secret network fighting against an invasion of aliens living among us.
In Michael Wilmington’s original review, after joking the movie could be called “Invasion of the Space Yuppies,” he adds, “You can forgive the movie everything because of the sheer nasty pizzazz of its central concept. … The movie daffily mixes up the paranoia of the Red Scare monster movies of the ’50’s with a different kind of nightmare: the radical’s belief that everything is tightly controlled by a small, malicious ruling elite. Everything — the flat lighting, the crazily protracted action scenes, the monolithic beat and vamp of the score — reinforces a mood of murderous persecution mania.”
Rosario Dawson, from left, Rachael Leigh Cook and Tara Reid in the movie “Josie and the Pussycats.”
(Joseph Lederer / Universal Studios)
In “Josie and the Pussycats,” a small-town rock ‘n’ roll band (Rachael Leigh Cook, Tara Reid and Rosario Dawson) are plucked from obscurity when they are signed to a major record label and all their dreams of stardom seem to come true. But they come to realize the company’s executives (a brilliant pairing of Parker Posey and Allan Cumming) are using them for their own nefarious purposes.
Aside from some very hummable songs, the film has a truly epic amount of corporate logos and branding that appears throughout. Many reviewers at the time brought this up, including the L.A. Times’ own Kenneth Turan, who noted, “It’s a potent reminder that no matter how innocent a film may seem, there’s a Hollywood cash register behind almost every frame.” In subsequent interviews, Kaplan and Elfont confirmed these were not instances of paid product placement and, in fact, the production had to fight to get them all on-screen.
Points of interest
‘Eight Men Out’ in 35mm
Charlie Sheen, center, in a scene from the film “Eight Men Out.”
(Archive Photos / Getty Images)
Writer-director John Sayles has been so consistently good for so long that it is easy to take his work for granted. Case in point: 1988’s “Eight Men Out,” which tells the story of the infamous “Black Sox” scandal, when players from the Chicago White Sox were accused of intentionally throwing the 1919 World Series in league with underworld gamblers. The movie is playing on Sunday at Vidiots in 35mm.
The film captures much of what makes Sayles so special, particularly his unique grasp of the interplay between social and economic dynamics — a sense of how things work and why. He also fully grasps the deeper implications of the forces of greed and money setting themselves upon such an unassailable symbol of wholesome Americana as baseball. It’s also what makes the movie particularly worth a revisit now. With a phenomenal cast that includes John Cusack, David Straithairn, D.B. Sweeney, Charlie Sheen, John Mahoney, Christopher Lloyd, Michael Lerner and Sayles himself, the film was a relatively early effort from cinematographer Robert Richardson, who would go on to work repeatedly with Martin Scorsese and Quentin Tarantino.
In a review at the time, Sheila Benson wrote, “ ‘Eight Men Out’ is not a bad movie for an election year. Everything that politicians cherish as ‘old-fashioned’ and ‘American’ is here. The Grand Old Game. Idealistic little kids. Straw hats and cat’s-whisker crystal sets. And under the slogans and the platitudes, a terrifying erosion and no one to answer for it. No wonder Sayles, hardly an unpolitical animal, found it such a relevant story nearly 70 years later.”
‘The Sound of Music’ in 70mm
Julie Andrews, center, in the 1965 musical “The Sound of Music.”
(20th Century-Fox)
On Sunday the Academy Museum will screen Robert Wise’s “The Sound of Music” in 70mm, a rare opportunity to see this classic in the premium format on which it was originally released. Based on the stage musical by Rodgers and Hammerstein , the film would eventually win five Oscars, including director and best picture.
Starring Julie Andrews and Christopher Plummer, it’s the story of the singing Von Trapp family, eventually forced to flee their native Austria as the Nazis take power.
In a Times review from March 1965, Philip K. Scheuer wrote of Wise and his collaborators, “They have taken this sweet, sometimes saccharine and structurally slight story of the Von Trapp Family Singers and transformed it into close to three hours of visual and vocal broilliaance, all in the universal terms of cinema. They have invested it with new delights and even a sense of depth in human relationships — not to mention the swooning beauty of Salzburg and the Austrian Alps, which the stage, of course, could only suggest.”
Even notorious gossip columnist Hedda Hopper liked the movie, presciently writing, “The picture is superb — dramatically, musically, cinematically. Julie Andrews and Christopher Plummer were born for their roles. … All children — from 7 to 90 — wil love it. The following morning I woke up singing. Producer-director Bob Wise did a magnificent job and 20th [Century Fox] will hear nothing but the sound of money for years to come.”
Fans of the creator’s hit Netflix series have their new favourite show of 2025
A new series being hailed as ‘one of the best shows of the year’ and a ‘ridiculously addictive’ thriller’ which has earned a perfect score is now streaming.
The Chair Company makes its debut via Sky Comedy as well as through the NOW platform for those with an entertainment pass.
It comes from former Saturday Night Live writers Tim Robinson and Zach Kanin, who are also the comedic minds behind Netflix cult favourite sketch show I Think You Should Leave. This time, they are bringing to the screen what is being described as a labyrinthine mystery-comedy.
According to the show’s secretive synopsis, after an embarrassing incident at work, William Ronald “Ron” Trosper (Robinson) finds himself investigating a far-reaching conspiracy. The makers have remain tight lipped around the show’s plot, wanting fans to discover all the unexpected twists and turns for themselves.
Joining Robinson in the cast, who recently starred in Paul Rudd movie Friendship are The Practice star Lake Bell, IT Part One’s Sophia Lillis, Will Price and Lou Diamond Phillips.
Ahead of it making its debut in the US and UK, it has already managed to secure a perfect 100% rating on website Rotten Tomatoes. One critic simply claimed: “One of the best shows of the year, The Chair Company will have you sinking in your recliner.”
Another added: “The Chair Company is one of the most offbeat and outlandish shows you’ll see this year.” Meanwhile a different verdict suggested: “There is nothing quite like The Chair Company: a show that is emotionally potent while still delivering the perfect marriage between sketch comedy and conspiracy theory.”
The only issue fans may find is that the series is expected to release episodes on a weekly basis with the premiere made available from October 13. Based on information found on IMDB, new instalments will be added each Sunday in the US and Monday in the UK.
This will lead to the finale airing on November 30. It means fans will need to make a decision to watch as soon as episodes drop or wait to catch up as the show is a much more compelling binge watch. That is coming from a reporter who has watched screeners for the first seven episodes and found them ridiculously addictive.
It is a perfect replacement for any viewer who enjoyed any high paced thriller or offbeat comedy released in the last year. That includes Severance, Paradise, Slow Horses, Dept. Q, The Studio and The Rehearsal. The Chair Company dials up the stakes to absolute ridiculous levels and pokes fun at how even the best in the genre make the most unexpected of connections and leaps in their stories.
In doing this it also simultaneously continues the method of Tim Robinson’s expertly crafted sketch show premise of taking simple misunderstandings or social faux pas and blows them way out of proportion.
Imagine the conspiracy thrills of Severance paired with the awkward humour of Nathan Fielder or Larry David.
Everything becomes so bizarre and compelling you can’t help but remain tight in its grip, needing to know just where the eight-part series will end up. The show proves that Robinson et al can indeed stretch a sketch idea into a lengthy series, while somehow maintaining interest and filling it with memorable character moments they are known for.
The Chair Company is streaming on Sky Comedy and NOW
