SINGER Louise Redknapp looked sensational as she stunned on the red carpet of a glitzy awards ceremony.
The former Eternal member was one of the many stars who enjoyed a night out at the extravagant Music Industry Trust Awards.
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Louise Redknapp looked stunning as she flashed her bra on the red carpetCredit: GettyUpcoming I’m A Celeb campmate Kelly Brook put on a busty display in a leopard-print dressCredit: GettyRita Ora commanded attention in a bright pink outfitCredit: Getty
Louise commanded attention as she flashed her bra under a sheer see-through shirt.
She paired it with a maroon ruched skirt and accessorised with a large black clutch bag.
The glitzy do was hosted in partnership with YouTube and Global and saw a raft of celebrities step out for the event at the Grosvenor House Hotel.
Kelly Brook, who is set to star in this year’s I’m A Celebrity, also looked fantastic as she made a statement on the red carpet.
The glam model looked phenomenal as she wore a loose-fitting leopard print dress.
The outfit fell to her feet but left her toes exposed with Kelly choosing to wear open-toe heels for her evening out.
Kelly’s hair and make-up looked flawless as she proudly posed away for cameras at the event.
Popstar Rita Ora was another guest of honour and even took to the stage for an exclusive performance at the shindig.
The Hot Right Now singer opted for an all-pink ensemble.
Rita looked as glam as ever in a hot pink sequined mini dress that she teamed with an equally bright pair of skintight leggings.
She added an oversized pink fluffy fur coat to the look as well as showing off her hair transformation after opting for a brand new fringe.
Rita wasn’t the only performer to hit the stage with Price Tag hitmakerJessie J also wowing audiences with a stellar performance.
It is one of Jessie’s first gigs since undergoing surgery for breast cancer treatment and having to postpone her scheduled tour owing to medical appointments related to her cancer battle.
Jessie equally looked just as glam as her fellow ladies as she wowed in a figure-hugging white dress which featured a sheer skirt with a translucent detail.
Jessie J was another of the evening’s performersCredit: GettyRita took to the stage in her all-pink ensembleCredit: GettyEmma Bunton went braless at the eventCredit: GettyCelebrity Traitors star Kate Garraway made a statement in her brown dressCredit: Getty
The Canadian singer-songwriter announced her pregnancy Monday in an Instagram post, sharing a few black-and-white photos of the couple and Jepsen’s baby bump that hint there may be some kicking going on.
“Oh hi baby,” Jepsen, 39, wrote in the caption along with a heart emoji. Her 40-year-old husband, whose full name is Cole Marsden Greif-Neill, is feeling so much love and excitement that he has been rendered speechless, if the multiple heart-eyes emojis are any indication.
According to the couple’s wedding spread in Vogue, Jepsen and the Grammy Award-winning producer tied the knot in October, and the couple had been trying to get pregnant while planning their New York wedding. The musicians first met as colleagues in 2021 and started dating in 2022 before getting getting engaged in September of last year.
In 2023, Jepsen told People that their first collaboration, the song “So Right” from her album “The Loveliest Time,” was in essence the couple’s “meet-cute.”
“This is our first little baby out in the world,” Jepsen told the outlet at the time. “I think you’ll see a lot more of our collaboration together for future projects.”
Known for her earworm 2012 hit “Call Me Maybe,” Jepsen most recently celebrated the 10th anniversary of the release of “Emotion” with a sold-out show at the Troubadour, where she performed the entirety of the 2015 album.
“‘Emotion’ was like an introduction to my authentic version of what pop music was,” Jepsen said of the LP in 2020. “I was itching to share something different, because I knew that ‘Call Me Maybe’ wasn’t the only color of what I had to offer.”
The John Lewis Christmas advert 2025 edition is dropping today as the retail giant launches a new campaign, telling shoppers ‘If you can’t find the words, find the gift’
GLAMOUR model Katie Price has claimed she once kissed footie hunk Jack Grealish.
She also said the Premier League star — who is 17 years her junior — is one of the most famous celebrities she has smooched.
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Katie Price claimed she kissed Jack Grealish on a live show of her tour with singer Kerry KatonaCredit: Dan CharityMum-of-five Katie, 47, did not specify when she kissed the Prem starCredit: AFP
Mum-of-five Katie, 47, did not specify when they kissed after making the claim on a live show of her tour with singer Kerry Katona, 45.
An audience member told The Sun: “Katie and Kerry had Instagram messages from fans to be asked at the show.
“One asked who is the most famous person they have kissed.
“Katie said to Kerry, ‘Do you know who I have? Grealish’.
MIAMI BEACH — South Florida is seeing a wave of new cars, but they won’t add to traffic or lengthen anyone’s commute. That’s because the cars are made of marine-grade concrete and were installed underwater.
Over several days late last month, crews lowered 22 life-size cars into the ocean, several hundred feet off South Beach. The project was organized by a group that pioneers underwater sculpture parks as a way to create human-made coral reefs.
“Concrete Coral,” commissioned by the nonprofit REEFLINE, will soon be seeded with 2,200 native corals that have been grown in a nearby Miami lab. The project is partially funded by a $5-million bond from the city of Miami Beach. The group is also trying to raise $40 million to extend the potentially 11-phase project along an underwater corridor just off the city’s 7-mile-long coastline.
“I think we are making history here,” Ximena Caminos, the group’s founder, said. “It’s one of a kind, it’s a pioneering, underwater reef that’s teaming up with science, teaming up with art.”
She conceived the overall plan with architect Shohei Shigematsu, and the artist Leandro Erlich designed the car sculptures for the first phase.
Colin Foord, who runs REEFLINE’s Miami coral lab, said they’ll soon start the planting process and create a forest of soft corals over the car sculptures, which will serve as a habitat teeming with marine life.
“I think it really lends to the depth of the artistic message itself of having a traffic jam of cars underwater,” Foord said. “So nature’s gonna take back over, and we’re helping by growing the soft corals.”
Foord said he’s confident the native gorgonian corals will thrive because they were grown from survivors of the 2023 bleaching event, during which a marine heat wave killed massive amounts of Florida corals.
Plans for future deployments include Petroc Sesti’s “Heart of Okeanos,” modeled after a giant blue whale heart, and Carlos Betancourt and Alberto Latorre’s “The Miami Reef Star,” a group of starfish shapes arranged in a larger star pattern.
“What that’s going to do is accelerate the formation of a coral reef ecosystem,” Foord said. “It’s going to attract a lot more life and add biodiversity and really kind of push the envelope of artificial reef-building here in Florida.”
Besides the project being a testing ground for new coral transplantation and hybrid reef design and development, Miami Beach Mayor Steven Meiner expects it to generate local jobs with ecotourism experiences such as snorkeling, diving, kayaking and paddleboard tours.
The reefs will be located about 20 feet below the surface of the water and about 800 feet from the shore.
“Miami Beach is a global model for so many different issues, and now we’re doing it for REEFLINE,” Meiner said during a beachside ceremony last month. “I’m so proud to be working together with the private market to make sure that this continues right here in Miami Beach to be the blueprint for other cities to utilize.”
The nonprofit also offers community education programs, where volunteers can plant corals alongside scientists, and a floating marine learning center, where participants can gain firsthand experience in coral conservation every month.
Caminos, the group’s founder, acknowledges that the installation won’t fix all of the problems — which are as big as climate change and sea level rise — but she said it can serve as a catalyst for dialogue about the value of coastal ecosystems.
“We can show how creatively, collaboratively and interdisciplinarily we can all tackle a man-made problem with man-made solutions,” Caminos said.
Fischer writes for the Associated Press. Associated Press videojournalist Cody Jackson contributed to this report.
Holly Willoughby is poised for a dramatic return to our TV screens, following her departure from This Morning in October 2023, as she’s set to host Strictly Come Dancing
Holly Willoughby is tipped to host Strictly Come Dancing(Image: PA)
Mr Fincham, who since managed ITV between 2008 and 2016, said: “My hairdresser also cuts the hair of a well-known channel controller. What’s said in Harry’s the hairdresser stays in Harry’s. But he says with great confidence that Holly Willoughby will take over.”
The insider spoke to Richard Eden, a journalist with the Daily Mail, who wrote Holly is likely to present Strictly from the start of the next series in 2026. Tess and Claudia will depart at the end of the current series, from which actress and model Ellie Goldstein was eliminated on Saturday.
The experienced presenter was dropped by his talent agency YMU after the affair, which was not illegal, and he also stepped down from ITV completely – meaning he did not host the British Soap Awards in the following days.
The presenter is currently impressing millions with his playful charisma on The Celebrity Traitors, on which he has reached the final five. A source had said: “He’s an old-fashioned showbiz pro who would be just perfect hosting Strictly. If he does manage to win Traitors it will be a sign to the BBC that he has the star quality to present its flagship show.”
DOWNLOAD festival has landed a Hollywood A-lister to perform at the rock and metal event next summer.
The 2026 line-up was announced this evening and features the surprising actor, as well as three American bands topping the bill.
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Keanu Reeves will play Download festival next summer as bassist for band DogstarCredit: GettyGuns N’ Roses will also hit the stage on the SaturdayCredit: Getty
Download will return to Leicestershire’s Donington Park from June 10 to 14, with The Matrix and John Wick star Keanu Reeves set to play.
The band Dogstar, for which he plays bass, are among a series of acts which have been officially unveiled.
Linkin Park will close the festival on the Sunday night, marking their first performance at the festival since frontwoman Emily Armstrong was brought in.
They previously headlined four times between 2004 and 2014 with their original line-up.
And it comes after Linkin Park played a sold out concert at Wembley Stadium in June.
Tickets are already on sale for the 23rd annual festival, which will also feature performances from Pendulum, Trivium, The All-American Rejects, Mastodon and Bush.
Other acts on the line-up include Feeder, Ash, Tom Morello, The Pretty Reckless and Those Damn Crows.
Limp Bizkit’s booking comes just a fortnight after it was revealed that bassist and founding member Sam Rivers had died aged 48.
They paid tribute to him last month when they described him as not “just our bass player” but “the soul in the sound.”
The band said: “From the first note we ever played together, Sam brought a light and a rhythm that could never be replaced.
“His talent was effortless, his presence unforgettable, his heart enormous.”
The full rundown of artists was revealed at a launch event at the Barbican in central London, where guests were entertained by fortune tellers and a string quartet.
For over a decade, the Hammer has curated its Made in L.A. series to feature artists who grapple with the realities of living and making art here. It’s an art show that simultaneously pays homage to legacy L.A. artists like Alonzo Davis and Judy Baca, and gives a platform to newer faces such as Lauren Halsey and Jackie Amezquita.
This year’s show, which opened last month, features 28 artists. As part of that cohort, Martinez, Villalobos and Ruiz bring their lived experiences as Latinos from L.A. to the West Side art institution, drawing inspiration from the landscapes of their upbringing.
While creating their displayed works, Martinez took note of the many neon signs hanging in stores’ windows, leading him to make “Hold the Ice,” an anti-ICE sign, and incorporate bright pink lights into his outdoor cinder block mural, “Battle of the City on Fire.” With flashing lights and a shuttered gate tacked onto a painted wooden panel, Ruiz drew on her experiences exploring the city at night and the over-surveillance of select neighborhoods in the interactive piece, “Collective Scream.” Villalobos filmed Figueroa Street from a driver’s perspective, observing the street’s nighttime activity and tracing the energy that surrounds the place where soul singer Sam Cooke was shot.
This year, Made in L.A. doesn’t belong to a specific theme or a title — but as always, the selected art remains interconnected. These three artists sat down with De Los to discuss how their L.A. upbringing has influenced their artistic practice and how their exhibited works are in conversation. Made in L.A. will be on view until March 1, 2026.
The following conversation has been condensed and edited for clarity.
All three of you seem to put a spotlight on various elements of L.A.’s public spaces. How is your art affected by your surroundings?
Ruiz: I really got to explore L.A. as a whole, through partying and going out at night. I prefer seeing this city at night, because there isn’t so much traffic. That’s how I started my art practice. I would perform in queer nightlife spaces and throw parties in cheap warehouses. With my commute from the Valley, I would notice so much. I wouldn’t speed through the freeway. I’d instead take different routes, so I’d learn to navigate the whole city without a GPS and see things differently.
Martinez: That’s also how I started seeing neons. I had a studio in 2006 in downtown, off 6th and Alameda. I would wait for traffic to fade because I was staying in Montebello at the time. I would drive down Whittier Boulevard at night. And you see all the neon signs that have a super saturated color and glow bright. I thought about its messaging. None of the businesses were open that late. They were just letting people know they were there.
Ruiz: Specifically in this piece [“Collective Scream”], there’s a blinking street lamp. It reminds me of when I would leave raves and would randomly see this flickering light. It’s this hypnotizing thing that I would observe and take note of whenever I was on the same route. There’s also a moving gate, [in my piece,] that resembles the ones you see when you’re driving late at night and everything’s gated up.
Villalobos: You do experience a lot of L.A. from your car. It’s a cliche. But f— it. It’s true. When I moved out of L.A., I felt a little odd. I missed the bubble of my car. You can have what seems to be a private moment in your car in a city that’s packed with traffic and so many people. It made me think about what that means, what kind of routes people are taking and how we cultivate community.
Patrick Martinez’s “Battle of the City on Fire,” made in 2025, was inspired by the work of the muralist collective, named the East Los Streetscapers.
(Sarah M Golonka / smg photography)
It’s interesting that you all found inspiration in the biggest complaints about L.A. Maybe there’s something to think about when it comes to the way those born here think of car culture and traffic.
Martinez: I see its effects even with the landscapes I make. I’ll work from left to right, and that’s how we all look at the world when we drive. I always think about Michael Mann movies when I’m making landscapes, especially at night. He has all those moments of quiet time of being in the car and just focusing on what’s going on.
Beyond surveying the streets, your works touch on elements of the past. There’s a common notion that L.A. tends to disregard its past, like when legacy restaurants shut down or when architectural feats get demolished. Does this idea play any role in your work?
Martinez: The idea of L.A. being ashamed of its past pushed me to work with cinder blocks [in “Battle of the City on Fire”]. One of the main reasons was to bring attention to the East Los Streetscapers, the muralists who painted in East L.A. [in the 1960s and ‘70s as a part of the Chicano Mural Movement]. There was this one mural in Boyle Heights that was painted at a Shell gas station. It was later knocked down and in the demolition pictures, the way the cinder blocks were on the floor looked like a sculptural painting. It prompted me to use cinder blocks as a form of sculpture and think about what kind of modern-day ruins we pass by.
Villalobos: Speaking about L.A. as a whole feels almost too grand for me. But if I think about my specific neighborhood, in South Central, what comes to my mind is Black Radical Tradition. It’s where people are able to make something out of what other people might perceive as nothing. There’s always something that’s being created and mixed and mashed together to make something that, to me, is beautiful. It’s maybe not as beautiful to other people, but it’s still a new and creative way to see things and understand what comes before us.
Ruiz: Seeing my parents, who migrated to this country, come from nothing and start from scratch ties into that idea too. Seeing what they’ve been able to attain, and understanding how immigrants can start up businesses and restaurants here, speaks so much to what L.A. is really about. It’s about providing an opportunity that everybody has.
So it’s less about disregarding the past and more about making something out of nothing?
Martinez: It ties back to necessity, for me. Across this city, people come together by doing what they need to do to pay rent. It’s a crazy amount of money to be here. People need to regularly adjust what they do to survive. Recently, I’ve been seeing that more rapidly. There are more food vendors and scrolling LED signs, advertising different things. Once you understand how expensive this backdrop can be, that stuff sits with me.
Freddy Villalobos’ “waiting for the stone to speak, for I know nothing of aventure,” is an immersive work in which viewers can feel loud vibrations pass as they, figuratively, travel down Figueroa Street.
(Sarah M Golonka / smg photography)
We’ve talked a lot about how the past affects L.A. and the role it plays in your art. Does a future L.A. ever cross your mind?
Villalobos: I feel very self-conscious about what I’m gonna say. But as much as I love L.A. and as much as it helped me become who I am, I wouldn’t be too mad with it falling apart. A lot of people from my neighborhood have already been moving to Lancaster, Palmdale and the Inland Empire. When I go to the IE, it feels a little like L.A. and I’m not necessarily mad at that.
Ruiz: It’s really difficult to see what the future holds for anybody. Even with art, what’s going to happen? I don’t know. It’s really challenging to see a future when there’s a constant cycle of bad news about censorship and lack of funding.
Martinez: It’s murky. It’s clouded. This whole year has been so heavy, and everyone talking about it adds to it, right? We’re facing economic despair, and it’s all kind of heavy. Who knows what the future will hold? But there are definitely moves being made by the ruling class to make it into something.
FORMER Love Island star Molly-Mae Hague has broken her silence on her Behind It All documentary and the backlash she faced.
The 26-year-old successful star and mum of one, was slammed when her newAmazondocuseries,Molly-Mae: Behind It All, was released.
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Molly-Mae Hague has opened up about the backlash she received after her docuseries dropped on AmazonCredit: YouTube/mollymae9879The reality star and influencer said she deleted TikTok after seeing some of the commentsCredit: YouTube/mollymae9879
Breaking her silence on the backlash and reaction from viewers, Molly-Mae opened up in the introduction of her new YouTube video, which was shared on Monday evening.
The influencer and fashion mogul even revealed she was forced to delete TikTok amid the comments she saw about the series.
Speaking in her vlog, she said: “I had seen what people were saying about the doc and then made the executive decision to basically delete TikTok.”
Molly-Mae added how deleting the app “has been quite frankly one of the best decisions I ever made”.
The reality star then said how though she has grown a thick skin over the years, “there’s something about that app that just feels like so insanely toxic”.
Molly-Mae then explained how she saw her makeup artist scrolling on social media and spotted “at least three things within that short time of me looking at her phone that I didn’t want to see”.
“So, I just felt like, okay, definitely definitely in no way, shape or form rushing to get the app back anytime soon.
“I just want to say that I’ve also received so many incredibly lovely messages and people saying that they’ve also really enjoyed it.
“And that’s literally all I wanted for the doc. It’s never ever been to do anything other than just create something for people to watch and enjoy.
“And I think I’ve definitely definitely learned a lot,” she added.
Molly-Mae then told of how she was nervous about the documentary coming out.
“Like I think even before the premiere, there’s a bit of me in this vlog where I’m like severely anxious,” she explained.
Molly-Mae then said that she had anticipated some of the critique the documentary got.
“I literally said like ‘that’s going to cause this’ and ‘this is going to cause that’.
“I have been doing this job now for a really really long time and I feel like we kind of had a formula that we followed for years that avoids what has happened with the doc from happening.
“And with this drop of the doc like we literally did the complete opposite of what we normally do.
“Like we spoke about things we don’t speak about.
“We kept things in that probably I would never ever show of myself like because with the last drop of the doc everyone was like we want more. We want more.”
Molly-Mae went on: “So, it’s like you give it, but then it’s not like it’s too much or it’s, you know…
“I saw someone saying that they fell asleep halfway through one of the episodes because it was so boring yet they feel like the episodes aren’t long enough.”
She then said how she “really really can’t keep everyone happy” no matter how much she tries.
Molly-Mae’s documentary on Amazon divided opinion among viewersCredit: Prime Video
Diane Ladd, the Oscar-nominated actor who received acclaim for her work in films including “Rambling Rose,” “Wild at Heart” and “Alice Doesn’t Live Here Anymore,” has died. She was 89.
Oscar winner Laura Dern, Ladd’s daughter with Oscar-nominated actor Bruce Dern, announced her mother’s death in a statement shared Monday. “My amazing hero and my profound gift of a mother, Diane Ladd, passed with me beside her this morning, at her home in Ojai,” Dern wrote. A cause of death was not revealed.
“She was the greatest daughter, mother, grandmother, actress, artist and empathetic spirit that only dreams could have seemingly created,” “Marriage Story” star Dern said in her statement. “We were blessed to have her.”
The Split Up is a spin-off from the hit BBC drama The Split and will follow another family’s law firm.
A spin-off from the hit BBC drama The Split has received a significant update.
Fans were gutted when the legal series starring Nicola Walker and Stephen Mangan wrapped up after three seasons in 2022, followed by a two-part special last year. Now, fresh information about the upcoming show The Split Up has emerged, including casting announcements.
The original programme featured Annika star Nicola as Hannah, grappling with the breakdown of her marriage to Nathan (Stephen) whilst juggling affairs, romance and complicated relationships, all while managing her family’s law practice alongside the chaos created by her two sisters and mother.
The Split Up will now centre on a different family law practice, this time based in Manchester and focusing on the British-Asian elite Kishan family.
The six-episode series will explore “the high-stakes world of Manchester’s divorce law circuit, where one family of lawyers, the Kishans, reigns supreme,” according to the previous announcement, reports Wales Online.
It adds: “Kishan Law is a British-Asian high net worth family law firm in Manchester, noted for its clientele and its reputation.
“They are the ‘go to firm’ for Manchester’s elite who come to them for their excellence, integrity, and discretion.
“But the future and legacy of Kishan Law hangs in the balance when a family secret from the past comes to light, throwing their professional and personal lives into turmoil.”
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The line-up for the series has already been unveiled, and it’s now been confirmed that The Good Place star Jameela Jamil is coming on board.
When the announcement was posted on social media featuring a photo of Jameela with leading lady Ritu Arya, the She-Hulk actress responded: “I love her.”
“My two favourites together,” one supporter wrote, whilst another added: “OMG can’t wait. Love you both!!!”
“Very excited for this,” a third person commented.
Jameela is joining The Umbrella Academy’s Ritu Arya, Unforgotten’s Sanjeev Bhaskar, alongside Aysha Kala (Virdee), Arian Nik (Film Club), Danny Ashok (Dinosaur), Dimitri Leonidas (Those About To Die), Mawaan Rizwan (Juice), Sindhu Vee (Matilda the Musical), Shalini Peiris (The White Lotus) and Tom Forbes (Queenie).
Celebrity guest appearances will also feature Lenny Henry and Jane Horrocks.
The BBC revealed: “The fast-rising star of Kishan Law is Aria Kishan (Ritu Arya), poised to step up and take the mantle from her father Dhruv (Sanjeev Bhaskar). However, the death of her mother has cast a new light over these plans for Dhruv, who has begun to wonder if his daughter can, or should, take on this responsibility single-handedly.
“Aria’s relationship is placed under scrutiny too with the wedding for long-term partner Neal (Danny Ashok) on the horizon, but with their personal and professional so entwined it’s unclear if their relationship can withstand any more pressure – a problem further compounded when a former secret flame (Dimitri Leonidas) arrives in Manchester unexpectedly.
“Alongside her siblings Maya (Aysha Kala) and Kav (Arian Nik), Aria must navigate the splits that divide family and those we love – and ask herself: who should you live your life for?”
Creator Ursula Rani Sarma expressed: “Having admired The Split and Abi Morgan for years, I was honoured to be asked to bring The Split Up to life. As a writer passionate about representation, it’s a dream come true to place a contemporary British South Asian family centre stage. Diversity deepens our understanding, enriches our stories, and reflects the true fabric of our society.
“It’s thrilling to watch our amazing cast led by Ritu and Sanjeev bring the Kishan family to life. I can’t wait for audiences to meet them and to witness the drama as it unfolds.”
Abi Morgan chimed in: “The chance to take all that was loved about The Split and use it to inspire the next generation of British South Asian talent, to create a new family of dynamic lawyers spilling over with all the messiness of life, both personally and professionally, has been a brilliant challenge, beautifully realised by lead writer Ursula Rani Sama. I hope audiences will take it to their hearts.”
LAURA Dern has revealed her mother, Diane Ladd, has died in an emotional statement.
The actress shared the sad news on Monday.
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Laura Dern revealed that her mother, Diane Ladd, died at the age of 89Credit: Getty Images
Laura’s statement read, “My amazing hero and my profound gift of a mother, Diane Ladd, passed with me beside her this morning, at her home in Ojai, Ca.
“She was the greatest daughter, mother, grandmother, actress, artist and empathetic spirit that only dreams could have seemingly created.
“We were blessed to have her.
“She is flying with her angels now,” Laura concluded.
Diane appeared to have no plans of slowing down anytime soon, as her last social media post shared her latest project.
In September, the actress posted a picture on Instagram of a promotional photo for her new film, The Last Full Measure, which was recently released on numerous streaming platforms.
Diane also shared a screengrab of one of her scenes in the movie, opposite Christopher Plummer.
She gushed about the production, which was halted due to the Covid-19 pandemic, and her co-stars, including Peter Fonda, William Hurt, Ed Harris, Samuel L. Jackson, and Sebastian Stan.
Diane also teased a potential career pivot into podcasting, sparking a slew of comments from fans excited for what’s to come for the movie star.
“Looking forward to the movie and podcast! Much love to you!” one person wrote.
“Miss Diane, I cannot wait to hear what your podcast will contain,” said another.
“I’d love to hear your podcast Mrs. Ladd. You’re also one of the greats. Will never forget you in Wild at Heart. ICONIC. love,” boasted a third.
Diane’s death comes two months after her husband, Robert Charles Hunter, tragically passed.
Robert, who was the former PepsiCo CEO, was 77 when he died in August while visiting his family in Fort Worth, Texas.
He was the third husband of Diane’s, following her marriage to Laura’s father Bruce Dern from 1960 to 1969 and businessman William Shea Jr. from 1973 to 1976.
Jon Stewart’s biting satire may have made his new bosses squirm, but they went ahead and extended the comedian’s run on Comedy Central through December 2026.
The channel’s parent company, Paramount, announced Monday that Stewart will continue to host “The Daily Show” on Monday nights and serve as an executive producer through the end of next year.
Members of the show’s news team will continue to share Tuesday through Thursday hosting duties. Terms of the contract were not disclosed.
“Jon Stewart continues to elevate the genre he created. His return is an ongoing commitment to the incisive comedy and sharp commentary that define The Daily Show,” Ari Pearce, Comedy Central’s manager said in a prepared statement. “We’re proud to support Jon and the extraordinary news team.”
Stewart’s contract was re-upped nearly four months after Paramount-owned sister network CBS notified Stephen Colbert, who rose to fame on “The Daily Show,” that it was dumping his late night show at the end of the season. The cancelation was revealed days after Colbert lambasted a $16 million settlement Paramount agreed to pay President Trump to end a lawsuit over edits to “60 Minutes.” Colbert called the arrangement “a big fat bribe.”
Paramount settled the Trump suit to win approval from the Trump administration of its sale to David Ellison’s Skydance Media and RedBird Capital Partners. CBS has said the reason for Colbert’s cancellation was financial, not political, although many people have expressed doubts.
Ellison took ownership of Paramount in August. Stewart has joked that he, too, might be tossed as the company tries to reposition itself to the political center.
Last week, the company began a deep round of layoffs, cutting 1,000 employees with plans to terminate another 1,000 in the coming weeks, in an effort to trim its workforce by 10%.
After a nine-year absence, Stewart returned as a host in February 2024. He had helmed the show for 16 years before taking a break in 2015. His current contract was expiring.
The show was hosted by Trevor Noah until 2022, when he stepped down. That prompted a rotation of guest hosts, including Kal Penn, Charlamagne tha God, Sarah Silverman and Michelle Wolf.
Last month, during a conversation with the New Yorker at a cultural festival, Stewart was asked whether he might stick around longer. “We’re working on staying,” Stewart told the New Yorker’s David Remnick.
The rotation of “The Daily Show” hosts also will include Ronny Chieng, Josh Johnson, Jordan Klepper, Michael Kosta, and Desi Lydic with Troy Iwata and Grace Kuhlenschmidt.
Helen Flanagan was left humiliated after she struggled to remember the name of a TV legend while appearing on an episode of the celebrity version of The Weakest Link
Former Coronation Street star Helen Flanagan’s memory was put to the test while appearing on the celebrity version of The Weakest Link. When asked by host Romesh Ranganathan to name which month shared the surname of a Top Gear host, the former soap star, 35, took an awkwardly long pause while figuring out the answer.
And this left the other contestants, including rapper Konan from Krept and Konan, in utter disbelief. This came after she was shown a picture of James May, who co-hosted the hit motoring show for many years, alongside Jeremy Clarkson and Richard Hammond.
When the image was revealed, Romesh asked the now turned reality TV star: “Look at your screen, this TV presenter shares his surname with which month of the year?”
Taking an awkwardly long pause she then answered the question after a reported 20 seconds. But she gave a correct answer, to which the mum of three yelped “yes”, in response to being told the good news.
Speaking about the show, former Coronation Street actress Julie Hesmondhalgh, who does the voiceover said : “Helen took so long to get the month question that I had enough time to make a cup of tea and go to the shop for biscuits – but she did getit right in the end.”
After receiving the most amount of votes, Helen said: “Wow – that is so bad, I am so shocked. I got the main question right.” And comedian Tim Vine added: “The thing that made me do it was just before a correct answer when you waited for, I think, six minutes. It was quite a long time.”
In an attempt to redeem herself, Helen hit back saying: “But did I get that answer right?” Biting back Tim answered: “Yes, but the clock was going down.” Doing his best to keep the peace, host Romesh chimed in saying: “If it makes you feel any better she seems pretty chilled about it.”
But this is not the first time Helen has appeared on the show as she attempted to excel last year. The mum of three has been off our screens for many years since playing Rosie in the popular ITV soap.
During her previous stint, Romesh asked her: “In geology, the White Cliffs of Dover are principally formed of what substance, chalk or cheese?”
But, assumingly without thinking, she answered “cheese,” which undoubtedly left her fellow contestants bowing their heads. And it also caused a stir on social media.
Away from the spotlight, it looks as though Helen is keen to get her love life back n track. In an interview with the Mirror, she admitted: “I’m open to dating, but I’m just so, so busy with the kids. “
She added: “When you’re 19 you can go out in Manchester and come home with a boyfriend a few days later, but I’m 35 now, I’m not really going to go on a night out am I, really?”
President Donald Trump’s razing of the White House’s East Wing to build a ballroom has put some news organizations following the story in an awkward position, with corporate owners among the contributors to the project — and their reporters covering it vigorously.
Comcast, which owns NBC News and MSNBC, has faced on-air criticism from some of the liberal cable channel’s personalities for its donation. Amazon, whose founder Jeff Bezos owns The Washington Post, is another donor. The newspaper editorialized in favor of Trump’s project, pointing out the Bezos connection a day later after critics noted its omission.
It’s not the first time since Trump regained the presidency that interests of journalists at outlets that are a small part of a corporate titan’s portfolio have clashed with owners. Both the Walt Disney Co. and Paramount have settled lawsuits with Trump rather than defend ABC News and CBS News in court.
“This is Trump’s Washington,” said Chuck Todd, former NBC “Meet the Press” host. “None of this helps the reputations of the news organizations that these companies own, because it compromises everybody.”
Companies haven’t said how much they donated, or why
None of the individuals and corporations identified by the White House as donors has publicly said how much was given, although a $22 million Google donation was revealed in a court filing. Comcast would not say Friday why it gave, although some MSNBC commentators have sought to fill in the blanks.
MSNBC’s Stephanie Ruhle said the donations should be a concern to Americans, “because there ain’t no company out there writing a check just for good will.”
“Those public-facing companies should know that there’s a cost in terms of their reputations with the American people,” Rachel Maddow said on her show this week, specifically citing Comcast. “There may be a cost to their bottom line when they do things against American values, against the public interest because they want to please Trump or buy him off or profit somehow from his authoritarian overthrow of our democracy.”
NBC’s “Nightly News” led its Oct. 22 broadcast with a story on the East Wing demolition, which reporter Gabe Gutierrez said was paid for by private donors, “among them Comcast, NBC’s parent company.”
“Nightly News” spent a total of five minutes on the story that week, half the time of ABC’s “World News Tonight,” though NBC pre-empted its Tuesday newscast for NBA coverage, said Andrew Tyndall, head of ADT Research. There’s no evidence that Comcast tried to influence NBC’s coverage in any way; Todd said the corporation’s leaders have no history of doing that. A Comcast spokeswoman had no comment.
Todd spoke out against his bosses at NBC News in the past, but said he doubted he would have done so in this case, in part because Comcast hasn’t said why the contribution was made. “You could make the defense that it is contributing to the United States” by renovating the White House, he said.
More troubling, he said, is the perception that Comcast CEO Brian Roberts had to do it to curry favor with the Trump administration. Trump, in a Truth Social post in April, called Comcast and Roberts “a disgrace to the integrity of Broadcasting!!!” The president cited the company’s ownership of MSNBC and NBC News.
Roberts may need their help. Stories this week suggested Comcast might be interested in buying all or part of Warner Bros. Discovery, a deal that would require government approval.
White House cannot be ‘a museum to the past’
The Post’s editorial last weekend was eye-opening, even for a section that has taken a conservative turn following Bezos’ direction that it concentrate on defending personal liberties and the free market. The Oct. 25 editorial was unsigned, which indicates that it is the newspaper’s official position, and was titled “In Defense of the White House ballroom.”
The Post said the ballroom is a necessary addition and although Trump is pursuing it “in the most jarring manner possible,” it would not have gotten done in his term if he went through a traditional approval process.
“The White House cannot simply be a museum to the past,” the Post wrote. “Like America, it must evolve with the times to maintain its greatness. Strong leaders reject calcification. In that way, Trump’s undertaking is a shot across the bow at NIMBYs everywhere.”
In sharing a copy of the editorial on social media, White House press secretary Karoline Leavitt wrote that it was the “first dose of common sense I’ve seen from the legacy media on this story.”
The New York Times, by contrast, has not taken an editorial stand either for or against the project. It has run a handful of opinion columns: Ross Douthat called Trump’s move necessary considering potential red tape, while Maureen Dowd said it was an “unsanctioned, ahistoric, abominable destruction of the East Wing.”
In a social media post later Saturday, Columbia University journalism professor Bill Grueskin noted the absence of any mention of Bezos in the Post editorial” and said he wrote to a Post spokeswoman about it. In a “stealth edit” that Grueskin said didn’t include any explanation, a paragraph was added the next day about the private donors, including Amazon. “Amazon founder Jeff Bezos owns The Post,” the newspaper said.
The Post had no comment on the issue, spokeswoman Olivia Petersen said on Sunday.
In a story this past week, NPR reported that the ballroom editorial was one of three that the Post had written in the previous two weeks on a matter in which Bezos had a financial or corporate interest without noting his personal stakes.
In a public appearance last December, Bezos acknowledged that he was a “terrible owner” for the Post from the point of view of appearances of conflict. “A pure newspaper owner who only owned a newspaper and did nothing else would probably be, from that point of view, a much better owner,” the Amazon founder said.
Grueskin, in an interview, said Bezos had every right as an owner to influence the Post’s editorial policy. But he said it was important for readers to know his involvement in the East Wing story. They may reject the editorial because of the conflict, he said, or conclude that “the editorial is so well-argued, I put a lot of credibility into what I just read.”
As the nights start to draw in even earlier leading up to Christmas, TV viewers will be looking for sumptuous dramas to get lost in
Doctor Who’s Jenna Coleman portrays the iconic monarch(Image: ITV)
ITVX is presently broadcasting a popular period drama featuring a British ruler that’s ideal for a comfortable binge-watch throughout the lengthy winter nights.
With darkness falling increasingly early in the run-up to Christmas, television enthusiasts will be seeking lavish dramas to lose themselves in.
Viewers need look no further than ITV’s digital streaming platform, which boasts an extensive range of celebrated programmes to select from.
Among the finest choices available this winter is the successful series Victoria, which launched in 2016 and featured Doctor Who’s Jenna Coleman as the youthful sovereign, charting her journey from defiant adolescent years through to responsible adulthood over three captivating seasons.
Whilst critics have targeted the programme’s shortage of historical precision, it’s undeniable that the series crafted by Daisy Goodwin provides tremendous entertainment that’s ready for exploration, or potentially a second viewing, reports the Express.
The Guardian’s favourable critique captured the essence: “As ever, it all hinges on Jenna Coleman’s performance as Victoria and her ability to conjure up a portrait of this queen as understanding, sympathetic, kind and decent, even under unimaginable and possibly imaginary pressures.
“It might not be elegant and it might not survive the strain of putting its plot points to the search engine test, but as diverting drama it gets the job done.”
An enthusiastic review from an IMDb viewer declared: “Rather captivating, I loved it. Every inch a Queen.
“I love [Coleman’s] portrayal of Victoria, she has some presence and a definite strength of character. Rufus Sewell I thought was exceptional as Lord Melbourne too, the complex relationship the pair had in real life was explained very well.
“The settings, costumes, and general production values were first rate, the show felt incredibly plush and lavish, I shudder to think of the budget for this series. Totally engaging, this was first rate viewing 9/10.”
Sadly, the series left many fans feeling let down when it was cancelled after just three seasons, leaving Queen Victoria’s story incomplete.
However, ITV gave a glimmer of hope in 2021, stating “there are no plans presently to film Victoria, but that’s not to say we won’t revisit the series with the production team at a later date”, hinting that a fourth season featuring an older Victoria might eventually be on the cards.
One hopeful fan penned: “This has been the most amazing series since Downton Abbey I have watched. I laughed, I cried, I got angry. I felt every emotion humanly possible through watching it.
“My mother and I binge watched it together and couldn’t believe how much it draws you in from beginning to end. I am so heartbroken that it has not yet come out with a 4th season. My mother and I both are. We pray they decide to release another season.
“I plead to ITV or whoever, to please give the green light for the 4th season and then some. This is an amazing love story that NEEDS to be completed.”
There’s a glimmer of hope for the series to carry on if enough viewers rewatch the series on ITVX, so it’s time to start binge-watching.
“At the same time, I’ve used shared experiences as the basis for songs which try to delve into why we humans behave as we do, so the record is a mixture of fact and fiction.”
The tour –Lily AllenPerforms West End Girl – will see the singer perform the album in its entirety in the order the songs feature on her record.
When is Lily Allen’s 2026 tour?
Lily Allen’s 2026 West End Girl tour is scheduled to take place throughout March 2026.
The British singer is set to perform her acclaimed fifth studio album at venues, theatres and concert halls across the UK.
This tour marks her first headline shows since her No Shame Tour in 2018-19.
The tour dates and venues for Lily Allen Performs West End Girl UK in March 2026 are:
March 2: Glasgow, Royal Concert Hall
March 3: Liverpool, Philharmonic Hall
March 5: Birmingham, Symphony Hall
March 7: Sheffield, City Hall
March 8: Newcastle, City Hall
March 10: Manchester, Aviva Studios (The Hall)
March 11: Manchester, Aviva Studios (The Hall)
March 14: Nottingham, Royal Concert Hall
March 15: Cambridge, Corn Exchange
March 17: Bristol, Beacon
March 18: Cardiff, New Theatre
March 20: London, Palladium
March 21: London, Palladium
How can I get tickets for Lily Allen’s 2026 tour?
Tickets go on general sale from 10am GMT Friday, November 7, 2025, via Ticketmaster and LiveNation.
For fans who want to secure tickets before the general release, thankfully there is a presale, taking place from 10am on Wednesday, November 5, 2025.
But to access this presale, you will need to register with co:brand before midnight on Tuesday, November 4, 2025.
Selected venues have already confirmed ticket prices for Lily Allen’s UK tour.
The Glasgow Royal Concert Hall said they start at roughly £40 and go up to around £85.
Guillermo del Toro’s “Frankenstein” didn’t exactly wow audiences and critics when it premiered at the Venice Film Festival, and when it landed at the Telluride Film Festival a day later for a pair of late-night screenings, the response was even more muted. Leaving Colorado, the airport gate was full of hushed conversations between people registering their disappointment with the movie.
“Frankenstein,” the talk went, had three strikes against it — a plodding story, computer-generated imagery that looked appalling and was employed to often ridiculous effect and, outside of Jacob Elordi’s affecting turn as the monster, acting that seemed wildly excessive (Oscar Isaac) or hopelessly lost (Mia Goth). In short: a mess.
But then “Frankenstein” traveled to the Toronto, a city Del Toro regards as his “second home,” and finished as runner-up to “Hamnet” for the festival’s People’s Choice Award. Now playing in a theatrical limited release ahead of its Nov. 7 Netflix premiere, the movie has found favor with the filmmaker’s devoted fan base, selling out theaters, including dates at Netflix’s renovated Egyptian Theatre in Hollywood, where admission lines wrapped around the block. And some prominent critics, including my colleague Amy Nicholson, have written some thoughtful reviews of the movie, praising Del Toro’s lifelong passion project. Amy calls it the “best movie of his career.”
So in this update to my post-festival Oscar power rankings for best picture, you’ll find “Frankenstein,” a movie that’s hard to place on this list but harder still to ignore. Previous rankings are parenthetically noted.
Falling out of the rankings since September: “A House of Dynamite,” “Jay Kelly”
10. ‘Avatar: Fire and Ash’ (Unranked)
A scene from 2022’s “Avatar: The Way of Water.”
(20th Century Studios)
The last “Avatar” movie grossed $2.3 billion and, yes, earned an Oscar nomination for best picture. Yet I’m hard-pressed to find anyone who’s truly excited about devoting half a day to see the next installment, which clocks in at 3 hours and 12 minutes. Just because the first two movies were nominated doesn’t mean this one will be. But underestimating James Cameron’s ability to connect with audiences — and awards voters — seems dumb. So here we are, No. 10, sight (still) unseen.
9. ‘Bugonia’ (10)
Emma Stone in “Bugonia.”
(Atsushi Nishijima / Focus Features)
Better than “Kinds of Kindness” but not nearly the triumph of “Poor Things,” this is mid Yorgos Lanthimos — off-putting, punishing and misanthropic but also featuring another showcase for Emma Stone’s bold, creative energy. There are a number of movies that could displace it as a nominee. Park Chan-wook’s “No Other Choice” offers a more humane — and funnier — look at ugly things people can do when desperate. But I’ll stick with “Bugonia” for now. After all, how many movies inspire people to shave their heads for a ticket?
8. “Frankenstein” (Unranked)
Oscar Isaac in “Frankenstein.”
(Ken Woroner / Netflix)
Netflix has four movies arriving during the awards season window — the meditative stunner “Train Dreams,” Katherine Bigelow’s riveting, ticking-clock thriller “A House of Dynamite,” the George Clooney meta-charmer “Jay Kelly” and “Frankenstein.” (That’s how I’d rank them in terms of quality.) One of these movies will be nominated. Maybe two. At this moment, nobody, including the awards team at Netflix, knows which one(s) it will be.
7. ‘It Was Just an Accident’ (7)
Mohamad Ali Elyasmehr, left, Madj Panahi and Hadis Pakbaten in “It Was Just an Accident.”
(Neon)
Jafar Panahi’s Palme d’Or-winning thriller possesses a withering critique of the cruelty and corruption of an authoritarian regime, combined with a blistering sense of humor. Panahi (“The Circle,” “Taxi”) has been imprisoned by the Iranian government many times for criticizing the government, and his courage has been celebrated for its spirit of artistic resistance. He has been a ubiquitous presence on the festival and awards circuit this year, eager to share both the movie and his story. As the Oscars have thoroughly embraced international movies the last several years, “It Was Just an Accident” feels like it’s on solid ground.
6. ‘Wicked: For Good’ (6)
Ariana Grande, left, and Cynthia Erivo in “Wicked: For Good.”
(Giles Keyte / Universal Pictures)
An academy member recently expressed some reservations about this movie to me — not about the sequel itself, but about the prospect of seeing stars Cynthia Erivo and Ariana Grande embark on another tear-soaked promotional tour. Whatevs. The first “Wicked” movie earned 10 Oscar nominations, winning for production design and costumes. With the added casting category, the sequel might just surpass that number.
5. ‘Marty Supreme’ (8)
Timothée Chalamet in “Marty Supreme.”
(A24)
Josh Safdie’s wildly entertaining, over-caffeinated portrait of a single-minded ping-pong player premiered on its home turf at the New York Film Festival and people left the Lincoln Center’s Alice Tully Hall caught up in the rapture of the movie’s delirium. It might be the movie that wins Timothée Chalamet his Oscar, though he’ll have to go through Leonardo DiCaprio to collect the trophy.
4. ‘Sentimental Value’ (3)
Stellan Skarsgård, left, and Renate Reinsve in “Sentimental Value.”
(Kasper Tuxen / Neon)
Neon won best picture last year with Sean Baker’s “Anora,” and it’s not unreasonable to think it could run it back with “Sentimental Value,” Joachim Trier’s piercing drama about a family reckoning with the past and wondering if reconciliation is possible — or even desired. The three actors cast in familial roles — Stellan Skarsgård, playing a legendary director angling for a comeback, and Renate Reinsve and Inga Ibsdotter Lilleaas as his daughters — are excellent, and Elle Fanning has a choice role as an A-list actor who becomes entangled in the family drama. And like “Anora,” this movie ends on a perfect, transcendent note. That counts for a lot.
3. ‘Sinners’ (4)
Michael B. Jordan in “Sinners.”
(Eli Ade / Warner Bros. Pictures)
“Sinners” made a lot of noise when it was released in April and, months later, belongs in any conversation about the year’s best movie. The job now is to remind voters of its worth at events like the American Cinematheque’s upcoming “Sinners” screening with filmmaker Ryan Coogler and Michael B. Jordan. With the level of its craft, it could score a dozen or more nominations, with only “One Battle After Another” as a threat to best that count.
The Gotham Awards did away with its budget cap a couple of years ago, allowing indie-spirited studio movies like “One Battle After Another” to clean up and, one supposes, the show’s sales team to move more tables at its ceremony. It was no secret that Paul Thomas Anderson’s angry, urgent epic would score well with film critics groups. (Panels of critics vote for the Gothams.) It’s just a question of how many dinners Anderson will have to eventually attend for a movie that has easily become the most widely seen film of his career.
