show biz

BERLIN — An experiment with artificial intelligence at the famed annual Richard Wagner festival in the southeastern German town of Bayreuth drew boos from the audience after producing a staging that appeared to leave some spectators confused.

Curator Marcus Lobbes and his team were greeted with boos and whistles as they took to the stage at the end of Saturday evening’s performance of “Götterdämmerung,” German news agency DPA reported. However, there was warm applause for the singers and musicians, and particularly for conductor Christian Thielemann.

Festival organizers said ahead of the performance that it would be the first time AI took part on stage at the event, “not as a character, but as an image-generating force.” They said that singers would be “the fixed point within a visually seething cosmos of light, texture, history, and association, amidst projections that erupt, constantly shift, and merge into one another.”

The AI-assisted projections included scenes from previous performances of Wagner’s “Ring” cycle and historical themes, and drew from images preselected by Lobbes, the director of the Academy for Theater and Digitality in Dortmund, and his team.

The collage that the technology projected on stage puzzled the audience, DPA reported, with images including late former German Chancellor Helmut Kohl, the towers of the World Trade Center after the Sept. 11, 2001, attacks, and a special postage stamp marking German reunification in 1990.

The festival website said that “every performance will be unique — because the images and associations never stand still.” Two more performances are scheduled.

TAYLOR Swift and Blake Lively’s feud has taken a new turn with the latter ‘threatening to release intimate texts’.

The pair’s friendship had seemingly started to unravel in the last few years and came to a head when Blake was left off Taylor and Travis Kelce’s Superbowl guest list.

Back in 2024, Blake made an appearance alongside the singer in a VIP suite for the Superbowl. 

Clips from the night went viral but when the Kansas City Chiefs returned for the championship game in 2025, Blake was nowhere to be seen. 

It’s now been claimed that the actress was left ‘livid’ and ‘humiliated’ by being left off the guest list. 

Sources have reported to The Daily Mail, that Blake allegedly demanded through her legal team that Taylor create a post on social media detailing how much she regretted that Blake couldn’t join her. 

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The message was reportedly to read along the lines of: “So sad, my bestie couldn’t come to the Super Bowl”.

This was to give the impression that there was no ongoing feud between the pair and to explain away Blake’s absence.  

After the songstress refused a ‘threat’ was allegedly made by the Gossip Girl alum that she would expose ‘ten years’ worth of private and intimate messages to the public.

The conversations touch on Taylor’s high profile romances and other personal exchanges.

“It was the ultimate blow to their friendship,” the source said. 

“The threat to expose Taylor’s most intimate confidences unless she posted something to explain why Blake was missing at the Super Bowl was outrageous.

“There was no going back from that.”

Michael Gottlieb, Lively’s attorney, denied that any threat occurred, stating: “This is categorically false. We unequivocally deny all of these so-called allegations, which are cowardly sourced to supposed anonymous sources, and completely untethered from reality.”

The BFFs’ close bond took a hit in 2024 after Taylor got dragged into Blake’s lawsuit against her It Ends with Us co-star and director, Justin Baldoni.

Blake alleged that Justin, 41, sexually harassed her on the set of the film, in which they played love interests, and pushed for a retaliatory smear campaign.

However, the legal drama didn’t just remain between the former co-stars, as numerous other big names were pulled into their messy beef.

Taylor couldn’t escape the court battle, as Justin allegedly accused Blake of using her friendship with the billionaire performer to exert control over the film.

In January, texts between Taylor and Blake were unsealed, in which they discussed the toll the film took on the Gossip Girl alum and how it affected their friendship.

The pair became friends in 2015 and Blake’s children James, Inez and Betty have even provided a voice cameo for Taylor’s song Gorgeous. 

But as their fallout has continued Taylor, who is the children’s godmother, has had to allegedly ‘remove herself’ from the role.

Sources to The Daily Mail had said that: “It was one of the toughest decisions she’s ever had to make”

“It was very emotional because she loves the girls. It hurt her heart, but she had no choice given the circumstances.”

The decision was reportedly made a few months ago considering there was no written agreement about being the girls’ godmother.

“RuPaul’s Drag Race All Stars” winner Alaska Thunderf— will step into the spotlight this fall as the newest star to take on the title role of Mary in Cole Escola’s Tony Award-winning comedy “Oh, Mary!”

“You know how when in the ’90s in the Olympics, they would ask the winner ‘What are you gonna do now that you won the gold medal?’ and they’d say ‘I’m going to Disneyland.’” Alaska said in a recent interview. “I literally feel like that.”

Even after being cast, Alaska said it didn’t fully sink in until she began doing press for the production. Now, she’d celebrate with a flip if she could do one.

“It’s really happening, it’s just the best role, in the best play ever and I’m honored and I’m excited and I’m thrilled and I can’t wait,” she said.

The dark comedy follows a miserable Mary Todd Lincoln in the weeks leading to the assassination of her husband, who will be played by the Tony Award-winning actor J. Harrison Ghee. The one-act play reimagines the forgotten life of Mrs. Lincoln with absurdist comedy.

Since its 2024 premiere, the play written by comedian Escola — who also originated the title role — has become a Broadway sensation, earning $1 million in a single week and breaking its own box office record 13 times.

“RuPaul’s Drag Race” star Alaska will play Mary Todd Lincoln in “Oh, Mary!” at the Ahmanson Theatre this fall.

(Shaun Vadella)

The stage production received critical acclaim and earned multiple Tony Awards including best direction of a play for Sam Pinkleton and best actor in a play for Escola.

Alaska is joining a list of famed comedic actors who have played Mary Todd Lincoln, including Maya Rudolph, Meg Stalter, Tituss Burgess and Jane Krakowski. She isn’t letting the hype surrounding the show make her nervous, and said she remains focused on embracing the role.

“I’m really excited to wear the sacred bratty curls and the hallowed hoop skirt,” Alaska said.

The actor, who was also a finalist in “RuPaul’s Drag Race,” earned an Outer Critics Circle Award for her Off-Broadway play “Drag: The Musical,” which she co-wrote alongside Tomas Costanza and Ash Gordon.

Alaska is thrilled to play opposite Ghee, who won the 2023 Tony Award for best leading actor in a musical for their role in “Some Like It Hot.” Ghee said in a statement that they are excited to “set the road on fire with this electrifyingly hilarious play” alongside Alaska.

“I have seen Oh, Mary! three times and relished the beauty of this show — how different people shine so brightly in these roles, and yet you see the influence of Cole all over the production,” Ghee said. “The opportunity to get a crack at Mary’s Husband is beyond a dream come true.”

“Oh, Mary!” runs Nov. 10 through Dec. 6 at the Ahmanson Theatre. Additional casting will be announced in the coming months.

Alone and engulfed in the darkness of a Madrid cinema, Javier Bardem watched Martin Scorsese’s 1991 psychological thriller “Cape Fear” after learning he’d be starring in an episodic reimagining of the crime saga for Apple TV — the series finale is now streaming.

He arranged the private screening to symbolically request Robert De Niro’s blessing to play the dangerously charismatic Max Cady, an ex-con parched for revenge against those who had a hand in his imprisonment. De Niro received an Oscar nomination for that role.

“It was my way of honoring the work he did back then and, at the same time, to detach myself from that performance and ask his permission to create my own take,” Bardem tells me in Spanish while sitting at a restaurant inside a Beverly Hills hotel.

His informal getup, a T-shirt and shorts, contrasts with the elegant environment primed for business lunches and ostentatious dinners. He exudes an easy-going air. A quintessential cool dad casually sipping on an iced Diet Coke as he shares anecdotes about his passion for acting.

Bardem, 57, agreed to play Cady because the version of the character that the show’s creator, Nick Antosca, envisioned was not only decidedly distinct from those embodied by De Niro and Robert Mitchum, the latter of whom starred in a 1962 film adaptation, but also tailored to him as a Spanish man.

Had it been a standard remake, Bardem would have passed. Still, like the films, the show also “drinks from the fountain” of John D. MacDonald’s 1957 novel “The Executioners.” What remains intact across all versions of Cady is a devilish sense of humor and a lack of self-importance. In any of his iterations, he has nothing to lose. That makes him lethal.

In “Cape Fear,” Bardem’s Max Cady is distinct from the versions of the character played by Robert De Niro and Robert Mitchum in earlier films.

(Apple)

The cerebral Cady that Bardem inhabits spent nearly two decades in prison convicted for his wife’s murder. When the discovery of new evidence results in Cady’s freedom, his new mission is to torment Anna (Amy Adams) and Tom Bowden (Patrick Wilson), the attorney and prosecutor on his case, who are now married and have two teenaged children.

Cady turns their lives into a trap of paranoia and, indeed, fear, while procuring plausible deniability to avoid consequences. It’s a malicious and relentless barrage of the mind.

“He’s a 2026 Max Cady. It’s a different way of approaching violation of privacy, and the intrusion of the characters’ psyches. The digital world has made everything very different now,” he explains. “We are hyper-aware of what is said and written about us. We are inundated with so much information that, at times, we can’t tell what is true and what is false.”

While in the 1991 film the audience is aware that De Niro’s Cady committed sexual crimes making him “an absolutely despicable character,” Bardem says this new version portrays a complex person who’s suffered at the hands of the American justice system.

“Here we understand that he was imprisoned for something he didn’t do. He may have done other things, but he says, ‘You turned me into this monster.’ It’s true. From that point on, a vengeful and destructive mindset developed,” Bardem says of his Cady.

The final episode shows the public unmasking of Cady, just before he learns he is responsible for his own son’s death. Bardem describes him as a “dying beast” who has lost control of the narrative that he so meticulously orchestrated to rebuild his image.

The character was written to account for the actor’s Spanish accent. This Cady grew up in Spain until he moved to North Carolina at 13 and learned English on the streets. Bardem worked with renowned dialect coach Tim Monich to infuse his speech with a hint of a Southern drawl, aware that his character didn’t have to sound like a native speaker.

“I’m not bilingual,” Bardem says. The statement is somewhat shocking, considering he’s worked in the U.S. for decades in numerous English-language productions.

“Acting in English is easier for me because the dialogue is set,” he says. “But when the time comes to improvise, I find it difficult. That still doesn’t come naturally to me in English.”

The Spanish actor says acting in English is easier for him but that improvising is more challenging.

(Erik Carter / For The Times)

There’s a freedom to working in English since words have less emotional significance, the Oscar-winner believes. “I can be more daring in English. I can say the words or verbalize the thoughts with much less inhibition, because I am not as emotionally attached,” he explains. “But when you speak in your mother tongue, your body tenses up a bit because you think, ‘I understand the full emotional spectrum of what I’m talking about.’ ”

At this stage in his lauded career, Bardem is interested only in roles that explore “contradictions with an underlying humanity.” He’s played one-dimensional parts in the past, but the cost of being away from his loved ones is too high.

The job has to measure up to the trade-off of precious time he’s surrendering.

The “Cape Fear” production structured the schedule for Bardem to work for two weeks followed by five or six days off, allowing him to travel back to his family, which includes his famous and just as in-demand wife, Penélope Cruz, and their two teenaged children, Leo, 15, and Luna, 13.

“Cape Fear” filmed in Atlanta and Savannah, Ga. That’s a long trip back to Spain but manageable and certainly worthwhile, he says. “One of the few things I ask for contractually is time with family, and that has always been respected; Penélope and I have always managed our projects in such a way that one of us is always present for our kids.”

Thanks to his award-winning turn as an unnerving killer in “No Country for Old Man” and the dapper cyberterrorist in “Skyfall,” audiences might associate Bardem with sinister characters (his Cady joins the ranks). And they are satisfying to portray, he says.

“It’s true that characters with that kind of darkness are very attractive to play,” he says. “The villain is always more compelling than the hero. The hero is perfectly upright. A good villain has many cracks, which is what makes him more human.”

Bardem on playing sinister characters like Max Cady: “The villain is always more compelling than the hero. The hero is perfectly upright. A good villain has many cracks, which is what makes him more human.”

(Apple)

In recent years, however, Bardem made a deliberate effort to work on projects that his children could watch, particularly when they were younger, namely the fantasy musical “Lyle, Lyle, Crocodile” and the live-action remake of “The Little Mermaid,” in which he played King Triton.

“I needed my children to see what I do,” he says. “They knew I’d leave home for two weeks and then come back, and I’d tell them about it and show them photos, but they hadn’t been able to watch any of my movies yet because they were geared more toward adults.”

Cruz and Bardem have always encouraged their children’s creative pursuits. It wouldn’t surprise them if they eventually pursue a life in the arts. “I don’t see them becoming scientists or lawyers, which makes sense. I don’t know if they will become ‘nepo babies’ or not, but we are conscious that children always feed on what their parents do,” Bardem says.

Every time either Bardem or Cruz gets an offer for a new role, the couple discuss it and then bring their kids into the conversation. It’s important, Bardem believes, that Leo and Luna know how fulfilling acting is for both of their parents.

“They know we feel immense gratitude for being able to make a living from our passion. And they understand that the way we try to live up to that gift is by doing our absolute best and giving it the full attention it deserves,” he says.

When they were younger, the kids weren’t interested in seeing their parents on screen, but that’s changed. “They have seen ‘The Invite’ three times. They love it. And they’ve watched ‘Volver’ and ‘Bandidas,’” he says. “They’ve watched me in ‘F1,’ and Leo is watching ‘Cape Fear.’ ”

In June, Bardem became part of Hollywood history when his hands and footprints were added to the entrance of TCL Chinese Theatre. The ceremony included directors Michael Mann and Denis Villeneuve and producer Jerry Bruckheimer.

“I missed my mother so much at that moment because there are so many footprints of classic actors and actresses there. I imagine my mother seeing my hands and feet next to Gary Cooper, who was one of the loves of her life,” he says.

In June, Bardem’s hands and footprints were added to the entrance of TCL Chinese Theatre: “I missed my mother so much at that moment because there are so many footprints of classic actors and actresses there.”

(Erik Carter / For The Times)

It felt surreal, Bardem says, to have Mann present at the event. They worked together on “Collateral” over two decades ago. “I was crazy about ‘Miami Vice’ in the ’80s,” Bardem says. The suit he wore in the photo shoot for this piece, he adds, reminded him of that emblematic series and film.

Bardem’s latest collaboration with Villeneuve, “Dune: Part Three” hits theaters in December. He recalls the joy of shooting the film’s opening sequence, a battle where the cast was covered in mud. It reminded him of childhood play. “Denis would laugh and say to me, ‘But why are you laughing?’ And I’d say, ‘This is what I used to do in the schoolyard, but now it’s for real. Now I look to my right, and I have 50 guys under my command,’ ” he says.

“I was lucky enough to shoot some scenes with Timothée [Chalamet]. I saw him playing a Paul who is very different from the Paul in the second film,” Bardem continues. “Years have passed, and Paul is now wielding power and is a victim of that power.”

Outspoken about the ongoing plight of Palestinians, Bardem wishes more people could apply the lessons they mine from fiction they consume to the world in turmoil.

“We root for the rebels in ‘Star Wars’ and want them to defeat Darth Vader, or we side with the Fremen in ‘Dune.’ We always take sides in fiction. Yet, when we witness oppression, abuse and the violation of the most fundamental rights by an oppressor in real life, we seem to struggle to stand with the oppressed,” Bardem explains. “That cannot be.”

Even while attending matches at the recent World Cup, where Spain won the title, the actor advocated for an end to the carnage. A viral video shows him engaging with a Palestinian man at a match. “Existence is resistance,” Bardem tells him. On social media he’s shared images of Lamine Yamal, one of his national team’s stars, waving the Palestinian flag.

“The impunity Israel enjoys regarding these crimes, both legally and in terms of international support, creates a profound sense of powerlessness,” he says.

Bardem admits he’s been asked, whether directly or indirectly, to tone down his vocal support. But he doesn’t fear backlash. On the contrary, he’s never felt more support from everyday people who share his mindset.

“If I’m so privileged to have a good life where I work doing what I love and can provide my family with stability and security, how could I not use that privilege to denounce those things that I think are wrong?”

Justin Fletcher, best known as Mr Tumble on CBeebies, has been a staple of children’s TV for over two decades

It’s fair to say most people know who Mr. Tumble is, but what is the BBC legend like off-screen?

The beloved children’s entertainer is hugely famous among young audiences for his work on CBeebies and his popular sell-out tours across the country, but relatively little is actually known about TV star Justin Fletcher away from the cameras.

In reality, the widely-celebrated performer, who was awarded an MBE honour by the late Queen Elizabeth II, generally keeps his personal life out of the spotlight, though he has occasionally offered glimpses into his home life and upbringing.

During his childhood, Justin was required to move around frequently with his parents owing to his father’s career as a highly sought-after music writer, which meant the family often needed to relocate and would regularly welcome some incredibly famous faces to their home.

The beloved TV personality is in fact the second-oldest of five children – with a 12 year age gap between him and his youngest sibling. At an early age, the CBeebies favourite opened up to his father, Guy Fletcher, revealing his ambition to pursue acting and develop his drama studies.

Net Worth

The entertainer has been presenting beloved CBeebies programmes including Gigglebiz and Justin’s House. Yet his greatest achievement has undoubtedly been the show Something Special, which was specifically designed to help children with communication by weaving Makaton signs, speech and symbols throughout.

Having remained a children’s television sensation for more than two decades, it’s hardly surprising that his endearing characters have evolved into a multi-million-pound enterprise.

According to previous reports, his Something Special DVD shifted over 100,000 copies, generating more than £1 million, while an accompanying magazine brought in a monthly income of £180,000. His net worth has therefore been estimated at around £1.5 million.

Stepping down from BBC role

Last year, the television favourite left fans gobsmacked when he revealed he was stepping away from his proudest achievement, Something Special, confirming he was passing the baton to three other presenters.

Following a remarkable 22-year run, during which the show produced 12 series and five specials, Justin decided it was the right moment to hand over to TV stars Maddie Moate, Ben Cajee, and George Webster, who announced the news on social media.

Is Mr Tumble married in real life?

Justin recently revealed that he has fallen in love with his co-star Samantha Dorrance, who plays his best friend Tootsie.

Justin, 55, and Samantha, 34, reportedly fell for each other while working on a panto and travelling on their live tour. In fact, the pair are so smitten that Samantha has moved into his £2.5million farmhouse.

According to The Sun, the couple enjoy nothing more than a quiet life and looking after their chickens.

“Justin and Samantha are madly in love and couldn’t be happier,” a source told the paper. “They are both dedicated performers and bonded over their love of musical theatre. Although there is an age gap, it isn’t an issue between them.”

Who is Mr Tumble’s famous father?

Justin isn’t the only well-known face in the family – his father Guy Fletcher co-wrote songs for legendary artists including Elvis Presley, Ray Charles and Joe Cocker alongside lyricist Doug Flett.

Justin opened up to BBC 6 Music star Chris Hawkins about what it was like growing up immersed in music and the company of musicians, revealing that his character Mr ‘Cliff’ Tumble was in fact a loving tribute to Sir Cliff Richard.

He said: “I was always brought up around musicians and we had a recording studio built onto the house. My character Cliff Tumble is a homage to Sir Cliff, who I’ve met a lot and is lovely, very charming.

“Dad wrote his Eurovision entry Power to All Our Friends. The biggest hit he wrote for Elvis was Just Pretend, which he used to perform in his Vegas shows. Pretty cool, really.”

OLIVIA Attwood has shared a series of sexy topless snaps to promote her new brand Savano.

The stunning star took to Instagram wearing nothing but a towel wrapped around her waist and hair, and a pair of sunglasses.

Olivia posed holding two cans of Savano drink to cover each of her boobs as she gazed off care-free into the distance.

She cheekily captioned the series of photos with the caption: “Nice cans,” and tagged the official account for her new drinks brand Savano.

Fans of Olivia went wild in the post’s comments section, loving her energy.

One user said: “A living breathing icon.”

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A second shared: “Smokin’ hot.”

A third added: “Getting divorced looks good on you!”

Olivia started up her page for Savano last month, advertising canned alcoholic drinks for who she calls the “wild ones.”

The line of beverages is inspired by 70s and 80s beach clubs and aims to “bring people together” to celebrate “the little moments.”

The sexy snaps follow Olivia seemingly taking a swipe at ex husband Bradley Dack‘s new girlfriend Emily.

A TikTok user posted a video with the caption: “You’re either an Emily or an Olivia and I know who I’d rather be.”

Then former Love Island star Olivia popped up in the comment section, writing: “OMG [crying emoji].”

Olivia and footballer Bradley, 32, split in January over a “breach of trust” on his part.

Olivia has since moved on with long-time friend Pete Wicks, who she made her relationship official with only a matter of weeks ago after months of speculation.

Adam Rowe joined BBC Breakfast presenters Emma Vardy and Roger Johnson on the famous red sofa to discuss his thoughts on the cancellation of Live at the Apollo.

A comedian has shared his thoughts on the axe of BBC’s Live at the Apollo, arguing that comedy audiences still “need something”.

34-year-old stand-up comic Adam Rowe appeared on Sunday’s instalment of BBC Breakfast to discuss his career highlights at the Apollo.

Talking to news presenters Emma Vardy and Roger Johnson, Adam said he wasn’t “surprised” the BBC decided to let the show go.

However, he did mention that it would still be good to have a programme that showcases talent live on stage. He said: “It was a massive platform.

“I think it should still be there; I think there should be a home for British stand-up.” He later added: “We need something. We need something like ‘you can watch the best of British stand-up here’ and if it’s not going to be Live at the Apollo, it’s going to have to be an independent that does it online. Maybe YouTube or something.”

The star also added that Live at the Apollo introduced a whole “generation” into the world of stand-up comedy, adding: “It’s not going to be there now.”

After more than two decades, it was recently announced that Live at the Apollo has become the latest casualty of the broadcaster’s cost-cutting plans. The stand-up series, filmed at London’s iconic Hammersmith Apollo, will not return after its next run, the BBC has confirmed.

The decision forms part of wider savings measures as the corporation looks to reduce spending by hundreds of millions of pounds in the coming years. Describing the move as a “difficult decision”, BBC bosses paid tribute to the programme’s legacy, highlighting its role in introducing audiences to both established comedy stars and rising performers in a prime-time slot.

Since launching in 2004, Live at the Apollo has become one of the broadcaster’s most enduring entertainment shows. It has also provided a platform for countless stand-up comics and helped many of them rise to mainstream success.

Before the curtain falls, one final series will be recorded at the Hammersmith Apollo later this year, giving the long-running format a final send-off.

Despite the bad news, Live at the Apollo is not the only show to be affected by the changes. The BBC has also confirmed that Blankety Blank and Celebrity Mastermind have been dropped as part of the same round of cuts.

Part of an official statement from the BBC reads as follows: “We are incredibly proud of all three of these much-loved shows and would like to thank everyone involved, both in front of and behind the camera, for bringing them to screen and making them such a success over many years.”

BBC Breakfast airs daily from 6am on BBC One.

A producer sued Netflix on Wednesday, alleging the streamer lost an unreleased copy of a new Nicolas Cage movie and seeking damages of at least $105 million.

Producer Simon Afram invested more than $45 million of his own money making “Fortitude,” a film that takes place during World War II and features actors including Cage, Sir Ben Kingsley and Ron Perlman, according to the lawsuit. The movie, described as “Ocean’s Eleven” meets “Inglourious Basterds,” is based on Operation Fortitude, an effort during World War II in which double agents set a trap for Adolf Hitler and his armies. The movie has not yet been released and is seeking buyers.

“Fortitude” had its own mystery last month when the drive that once held the movie went missing.

On June 15, Daniel Haido, an associate producer of “Fortitude,” dropped off an unencrypted copy of the movie for Netflix to view and instructed the staff to delete the files after the screening. Haido also told Netflix to notify him when the drive was ready for pick up, but Netflix was unresponsive to several efforts to pick up the drive, the lawsuit said. On June 25, Netflix notified Haido that the drive had been stolen.

“Unfortunately, someone stole a good amount of drives from our office desks this past week,” Sean Berney, a director for original film at Netflix, wrote in a June 25 email, according to the lawsuit. “We’ve been working through this with our security teams to no luck.”

Berney in his email offered to reimburse Afram’s company for the missing drive or create a new digital cinema package, according to the lawsuit.

But Afram in his lawsuit said the damage was much greater than that. He is seeking economic damages of at least $105 million, along with other costs.

“By losing control of the Film, Netflix destroyed that exclusivity and materially, if not completely, impaired the Film’s marketability,” his lawsuit said. “It is not fathomable that a sophisticated buyer would invest tens of millions of dollars to acquire the Film — and tens of millions more to market it — while facing the constant risk that it could appear online to be viewed widely for free at any time.”

Netflix in a statement said it is conducting an investigation and is offering to monitor piracy sites for any unauthorized distribution or sale of the film. The streamer accused Afram’s law firm of “hostile attempts to extort money from Netflix over this situation — including immediately demanding $165 million for the film rather than work with us in good faith.”

“Netflix disputes any claim that it bears the risk of loss for a film delivered without the proper industry-standard safeguards,” the company said in a statement. “While we do not own the rights to ‘Fortitude,’ we take content security seriously and have taken extra measures to support the filmmaker and his team.”

Akerman LLP, one of the firms representing Afram in his lawsuit, declined to comment, citing pending litigation. Johnson & Johnson LLP did not immediately return a request for comment.

Regarding Netflix’s statement, a spokesman for Afram said, “Our lawsuit speaks for itself.”

BRITISH filmmaker Justin Hardy, who directed the sequel to his dad’s horror classic The Wicker Man, has died aged 61.

The director’s family said Hardy died on Friday – just weeks before his latest film premiered – after suffering a heart attack.

In a statement the grieving family said: “Our family is devastated to share that Justin Hardy passed away last night.

“He was so full of life right to the end, and incredibly energised to be working towards premiering his latest film this month.

“We are all so proud of him and heartbroken he won’t be with us at his premiere.

“He was a man of family, of boundless creativity, and of devotion for everyone he held dear.”

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Hardy studied history at Oxford University before going on to study film in Bournemouth and scriptwriting in California.

During his career Hardy directed series and films including The Bill, Princes In The Tower, Trafalgar Battle Surgeon, The Relief Of Belsen, Spanish Flu: The Forgotten Fallen and London’s Burning.

He was also nominated for an Emmy and a Bafta, and in recent years had been teaching screenwriting at University College London.

His brother, Dominic Hardy, said Justin would be remembered as someone “with an incredible appetite for life.”

In 2024 the brothers released the documentary Children Of The Wicker Man.

It covered their complicated relationship with their dad’s hit film, which initially bombed at the box office before becoming a cult classic.

Filming of The Wicker Man saw dad Robin sacrifice his family life for a film that performed poorly initially.

Before his death aged 86 in 2016 the legendary director of The Wicker Man – Robin Hardy – spoke publicly about his desire to complete trilogy after he released The Wicker Tree in 2011.

After he died, the brothers were contacted and asked about plans for the third film, which Dominic said they then saw as the “impetus to close the chapter on the films.”

The brothers then decided to wrap up their father’s film trilogy.

Released this month, Wrath Of The Gods was inspired by a concept discovered in a recently unearthed script written by Robin and stars Game of Thrones’ Francis Magee and Norwegian actress Christiane Schaldemose.

Dominic: “I really love writing projects like this and if I could write things like this for the rest of my career, that would be great.’”

Justin Hardy is survived by his wife Larissa, and children Sam, Ludo, Nico and Summer.

Wrath Of The Gods will premiere at FrightFest in Leicester Square on August 28.

If your summer could use a little energy boost, forget the complicated smoothie — turn to one of these fresh book releases instead. From fast-paced World War II history to a slow-burn rescue in rural Wyoming, along with an art-world mystery and a punchy look at modern America, you’ll find something to galvanize your bedside book stack. Happy reading!

FICTION:

Appraisals: A Novel
By Claire Boyles
W. W. Norton: 288 pp., $30
(Aug. 4)

While Boyles’ debut novel ostensibly follows the fate of an Eastern Colorado family farm, its deeper purpose involves showing how dire water resources are for all agricultural endeavors in the region. Maggie and her husband Fish have inherited their land from her grandparents, but they and their teenage daughter Ozzie all know that without irrigation, even defeating big development plans won’t make much of a difference to locals.

The Seekers of Deer Creek: A Novel
By Thao Thai
Mariner Books: 320 pp., $30
(Aug. 4)

Vietnamese American sisters Vivi and Calla are also a curator and an artist. When their father dies and leaves behind a sketch that might be the work of renowned Vietnamese painter K.P. Lý, the siblings embark on a quest to find out whether Lý had connections to their family. Along the way they reexamine their difficult upbringing and find new ways to communicate that matter more than any artwork.

Etna: A Novel
By Paul Yoon
Scribner: 208 pp., $28
(Aug. 4)

Anyone who has seen “The Odyssey” with Matt Damon or is anticipating “Heart of the Beast” with Brad Pitt (about a veteran and his war dog), should pick up Yoon’s remarkable tale of a combat survivor in an alternate present who happens to be a former military dog named Etna. His adventures traversing a broken land of haunted people and animals may be less the stuff of future myth and more about trauma, but Yoon brilliantly creates voices for human and canine that make both more whole.

A Tender Age: A Novel
By Chang-Rae Lee
Riverhead: 368 pp., $30
(Aug. 11)

Jeon-Gi, known as J-G, is a relatively happy 10-year-old in 1976, until a neighbor’s attack on him fuels his own violent ideas. Although he gets a relatively easy sentence after threatening a classmate, J-G’s parents decide to send him to a Christian summer camp. Incidents there that might be sweet nostalgia for other kids only remind him of how different and lonely he feels inside. However, it’s J-G’s adult reason for sharing his experience that hits home.

Sunrise: A Novel
By Téa Obreht
Random House: 368 pp., $29
(Aug. 11)

Many, so so many, historical novels seek to tie a contemporary protagonist to a long-ago event or story; so so many fail to make the connections mean anything. That’s why Obreht’s superb and fascinating new book should earn a place on your 2026 reading list: She not only meaningfully connects the stories of a stranded young woman, an early-20th-century gunslinger, and a historical reenactor, but manages to make them illuminate each other.

NONFICTION:

Triage
By Claudia Rankine
Graywolf: 192 pp., $28
(Aug. 4)

The book’s epigraph says a great deal: “Any attempt to name and describe our lives will always seem unstable because all language is a form of triage.” Rankine’s new attempt at triage focuses on her long friendship with a person identified only as “the theorist.” Anecdotes and analysis are interspersed with photos of all sorts of sofas and couches, calling into question ideas about where and how we find respite and support — or not.

Your Fellow Americans: Dispatches Across the Country We Call Home
By Peter Santenello
Simon & Schuster: 336 pp., $30
(Aug. 4)

Santenello has over 4 million subscribers on YouTube, where he posts videos about every kind of place in America — rich and poor, renowned and hidden, busy and abandoned. Love or hate the author’s self-described nonpartisan approach, you’ll find this book surprising, particularly as it reveals how geography, climate and infrastructure affect community and communication. Think Anthony Bourdain crossed with Michael Moore.

Empire of Ashes: Truman, Hirohito, and the Descent into Total War
By James M. Scott
W. W. Norton & Co.: 528 pp., $42
(Aug. 4)

Historian Scott (“Black Snow”) creates a propulsive read about the last days of World War II, in which America’s development of the atomic bomb pushed against Japan’s aggressive majority, with tragic results that many — including the author — believe necessary. The contrast between President Harry S. Truman, who had been in office for a matter of weeks, and Emperor Hirohito, whose military seemed unstoppable, remains shocking.

The People’s Historian: The Outsized Life of Howard Zinn
By Dave Zirin
Dutton: 320 pp., $33
(Aug. 4)

Recently a friend showed me a list of books recommended by a pundit and asked which one to read first. Without hesitation I told her she should pick up “A People’s History of the United States” by Howard Zinn, first published in 1980 and still the most comprehensive remedial tonic to received wisdom I know. Zirin’s lively biography of this activist should remind everyone that history isn’t just about facts and figures but also context and compassion.

The Rise and Fall of the Artificial State
By Jill Lepore
Liveright Publishing Corp.: 336 pp., $30
(Aug. 25)

Hannah Arendt, one of the 20th century’s defining political thinkers, posited that modern life was making “being human superfluous”; her learned successor Lepore warns that our present bears out that idea. One day scholars will teach Lepore’s work alongside Arendt’s, seeing that Lepore interrogates not simply a modern moment, but traces our current machine age back to the 17th-century conceit for artifice as improvement. According to her, the way out is to get back to nature. Meet you in the woods.

One of the most read — and debated — stories from the Arts team this week was an interview with Oskar Eustis a day after he announced that he would step down as the artistic director of the Public Theater in 2028. The New York Times broke the news July 22 in an interview with Eustis in which he also said that the American nonprofit theater movement was over.

I followed up in a phone interview the next day and asked him to explain what he meant, which he did, noting that the broad consensus that nonprofit theater mattered to the country — a belief held by national endowments, state arts agencies, public policy institutes and corporate philanthropic departments — had disappeared. So, too, have many of those very same agencies and their budgets that provided funding to the arts. The case for sustaining any particular theater now comes down to that theater and how relevant and necessary it can make itself to its surrounding community, Eustis said.

There is never enough room in an article when you’ve had a good conversation with someone, so I thought I’d use the newsletter to publish a bit more of what Eustis shared with me. I was particularly interested in something he said about the Public’s famed Shakespeare in the Park program, which is free and takes place every summer at the Delacorte Theater in Central Park. Since its inception, more than 160 productions have been staged, reaching more than 6 million people.

The free tickets the Public gives away for these shows are “the prime driver of our income at the Public, and this has been true since our founding,” Eustis told me.

That may sound counterintuitive, but it goes directly to the case Eustis is making for modern nonprofit theaters to be as relevant as possible to their communities. Ticket sales will never bring in the kind of money theaters need to sustain a robust slate of diverse programming — that will always have to come from donors. These very same donors, Eustis said, are the ones who feel most excited to be sitting among the citizenry in Central Park, watching the beauty of public art unfold in a joyous communal atmosphere.

“It’s not just when they make a donation that they get to see the show,” said Eustis of uber-wealthy donors. “They absolutely viscerally feel that — sitting in that theater when 75% of the audience hasn’t paid a penny to be there — they are getting to be part of their dream city. They’re feeling, ‘Oh, this is what New York is supposed to feel like.’”

By giving away free Shakespeare in the Park tickets, Eustis said, the Public is “making an unbelievably powerful case for why we need subsidy … and that’s why the money comes, because we are [showing] that democratic access is more fun for a better city.”

I like the idea of free theater being more fun, and rich people paying for the privilege of being a part of that fun when it is so removed from their cordoned-off daily lives. But I do worry that so much of what we now rely on culturally comes down to the whims and fancies of a handful of ultra-rich patrons. Newspapers are run by them, public school art and music programs rely on them, as do museums, symphonies, ballets and operas.

As Eustis pointed out, these donors no longer represent a broad consensus that is channeled into a civic vision via government support, but that is precisely why the situation feels so precarious. We might be one serious AI-driven stock market crash from artistic oblivion.

I’m Arts editor Jessica Gelt staring gloomily into the distance. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

“Ulises Carrión, a bookwork in many places” exhibition at Joan Los Angeles.

(Evan Walsh)

Ulises Carrión, a bookwork in many places
The exhibition, in its final two weeks, examines the Mexican-born conceptual artist’s influence on reimagined systems of exchange through printed matter by artists, librarians, publishers and alternative spaces. The show focuses on Southern California in particular, spanning the 1970s, ’80s and ’90s, featuring artist books, correspondence, video and ephemera.
11 a.m.-5 p.m. Thursdays-Saturdays. Through Aug. 9. Joan, 1206 Maple Ave., Suite 715, Fashion District, downtown L.A. joanlosangeles.org

Puppet Up!
Brian Henson’s adventurous stage show featuring improv and sketch comedy with the iconic Henson puppets and puppeteers is back for a limited eight-performance run. Also on tap is “A Conversation With Brian Henson,” a live presentation by the Emmy-winning producer, director and puppeteer about the rich history of the Jim Henson Company, 2 p.m. Sunday at the Montalbán.
8 p.m. Friday; 3 and 7 p.m. Saturday; 5 p.m. Sunday; 8 p.m. Aug. 7; 3 and 7 p.m. Aug. 8; and 5 p.m. Aug. 9. Ricardo Montalbán Theatre, 1615 Vine St. puppetup.com

Tchaikovsky Spectacular with Fireworks
L.A.-based circus company Troupe Vertigo and the USC Trojan Marching Band join the Los Angeles Philharmonic, conducted by France’s Chloe Dufresne, for the 1812 overture — with pyrotechnics.
8 p.m. Friday and Saturday. Hollywood Bowl, 2301 N. Highland Ave. hollywoodbowl.com

SATURDAY

A scene from “Acquaprofonda” at the Aquarium of the Pacific.”

(Andres Leon for Long Beach Opera)

Acquaprofonda: A Deep-Sea Opera for Families
Long Beach Opera Education collaborates with the Aquarium of the Pacific for this free, family-friendly, 30-minute adventure about a young girl who finds an ailing whale and stands up for what’s right. Music by Giovanni Sollima, libretto by Giancarlo De Cataldo and English libretto by Elle Moody.
Noon and 3 p.m. Saturdays and Sundays, through Aug. 9. Aquarium of the Pacific, Honda Pacific Visions Theater, 100 Aquarium Way, Long Beach. longbeachopera.org

Boleros De Noche
The 10th annual celebration of romance, nostalgia and cultural pride features Puerto Rican singer iLe and a special performance by the L.A.-based trio Voz Bohemia.
8 p.m. Ford Amphitheatre, 2580 Cahuenga Blvd. East. theford.com

Free 4 All
Claremont Lewis Museum of Art opens its doors for this annual one-day takeover by local artists who will display their work with no fees to exhibit and no gatekeepers to choose whose work gets seen. With live music by the Kamran Curlin Trio, Home Again Home Again and Coupe Deville.
1-8 p.m. Claremont Lewis Museum of Art, 200 W. First St., Claremont. clmoa.org

People of Pompeii
A new comedy by Los Angeles Drama Critics Circle Award-winning playwright Bernardo Cubría, co-directed by Ellen Geer and Xochitl Romero, is set in Topanga Canyon itself and focuses on community in a time of climate catastrophe.
Through Oct. 4. Will Geer Theatricum Botanicum, 1419 N. Topanga Canyon Blvd., Topanga. theatricum.com

Two Gentlebots of Verona
The annual Actors’ Gang Free Shakespeare in the Park for Families features a cyber-inspired Shakespeare adaptation by Rynn Vogel, directed by Adam J. Jefferis.
11 a.m. Saturdays and Sundays, through Aug. 23. Media Park, 9091 Culver Blvd., Culver City; noon, Aug. 29-30. Buena Vista Branch Library, 300 N. Buena Vista St., Burbank. theactorsgang.com

SUNDAY

Sidney Jacobs & the Monsters
The jazz vocalist and his sextet perform original music with reimagined standards.
8 p.m. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org

St. Vincent with the Hollywood Bowl Orchestra
The six-time Grammy-winning singer-songwriter guitarist goes orchestral with the HBO led by conductor Jules Buckley.
7 p.m. Hollywood Bowl, 2301 N. Highland Ave. hollywoodbowl.com

TUESDAY

Louis Langrée
The French conductor leads the L.A. Phil in works from Felix Mendelssohn and Joseph Haydn on Tuesday at the Hollywood Bowl; two nights later, Langrée returns with pieces by Johannes Brahms, Georges Bizet and Louise Farrenc.
Mendelssohn & Haydn, 8 p.m. Tuesday; Brahms & Bizet, 8 p.m. Thursday. Hollywood Bowl, 2301 N. Highland Ave. hollywoodbowl.com

“Saint Luke” from Irmengard Codex shortly after 1053. German. Tempera colors, gold, and ink on parchment 22.2 × 18.7 cm (8 3/4 × 7 3/8 in.)

(Getty Museum)

The Making of a Medieval Manuscript
If you ever wondered how the beautiful manuscripts in the Getty’s extensive collection were created, this is the exhibition for you. Tools and materials used illustrate each phase of the process from parchment making, writing and illuminating through the final binding. Christian manuscripts from Europe, Armenia and Ethiopia, plus objects of Jewish and Muslim origin, will also be on display, along with a video component.
Through May 2, 2027. Getty Center, 1200 Getty Center Drive, L.A. getty.edu

WEDNESDAY

Kalean Ung as the Chanteuse in “The Comedy of Errors.”

(Mike Ditz)

The Comedy of Errors
Melissa Chalsma directs Indie Shakes’ production of the Bard’s wordplay and slapstick set in a Mediterranean port town, with an original score.
7 p.m. Wednesday-Sunday; through Sept. 6. Old Zoo Picnic Area, Griffith Park. indieshakes.org/free-shakespeare-2026

THURSDAY

Annie and the Caldwells/The Campbell Brothers
The Skirball concludes its 29th season of Sunset Concerts with this family-fueled pairing of disco soul and sacred steel gospel groups, respectively, plus DJ sets by Sonrisita.
7 p.m. Skirball Cultural Center, 2701 N. Sepulveda Blvd. skirball.org

JazzPOP 2026
The summer series marks its 19th season with three concerts showcasing West Coast creative jazz: Kasey Knudsen Sextet (Thursday); Malachi Whitson Quartet (Aug. 13); and Machado Mijiga Trio (Aug. 20).
8 p.m. Thursdays, through Aug. 20. UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. hammer.ucla.edu

— Kevin Crust

Retrospective

L.A. Times arts coverage from the the past …

Playwright/director Moises Kaufman of “The Laramie Project” was on the cover of Sunday Calendar, July 29, 2001.

(Irfan Khan / Los Angeles Times)

At the Heart of a Modern Tragedy

Sunday Calendar, July 29, 2001

NEW YORK — Moises Kaufman could not turn off the television. He could not put down the newspaper. Like much of America, he was mesmerized by the news of the horrific beating, robbery and eventual death in 1998 of Matthew Shepard, a gay university student attacked and left for dead by two young men near Laramie, Wyo.

“For the five days until he died, you couldn’t turn on a television or a radio and not hear about it,” says the 37-year-old playwright and director. “Matthew Shepard put a face on hate crimes. He was young, beautiful, starting his life. The nation as a whole said, ‘Oh, my God. What’s going on?’ ”

It was exactly the sort of question that Kaufman and his colleagues at the Tectonic Theater Project here try to ask, if not answer, onstage. So unlike much of America, Kaufman did not simply move on to the next news tragedy. The man who created the widely produced “Gross Indecency: The Three Trials of Oscar Wilde” had found his next theater project. READ MORE

— Barbara Isenberg

Culture news and the SoCal scene

Artist Betye Saar visits her pet tortoise named Ms. Rojo on Tuesday, Feb. 3, 2026, in Los Angeles.

(Jason Armond / Los Angeles Times)

Pioneering Los Angeles assemblage artist Betye Saar died Sunday, just a few days shy of her 100th birthday. The Times had the privilege of profiling her a few weeks earlier in a story that also included some wonderful photos of Saar still hard at work in her Laurel Canyon home studio. After Saar’s death, we published an obituary written by former Times columnist Carolina Miranda, and I put together a list of five of Saar’s most compelling works.

Watts Towers is poised to break ground in October on a $22-million campus renovation — the first such work done to the arts campus since it opened in 1970. The work is set to begin as funding for a 15-year project to preserve the towers themselves has dried up, with work about 90% complete. Community leaders say the situation represents the frustrating piecemeal approach taken over the years to preserve one of the city’s most important cultural landmarks. Times contributor Jane Horowitz has the scoop.

Evan Lugo (George Page), Sonya Cooke (Margaret Page), Zane Caputo (Abraham Slender), Zach Trent (Skateboard Fenton) and Heriberto Cruz Jr. (Doctor Cayo) in “The Merry Wives of Windsor Cove.”

(Elijah Waller)

“The Merry Wives of Windsor’” got a ’50s-themed SoCal beach blanket bingo musical makeover at UC Irvine’s New Swan Shakespeare Festival, and Times theater critic Charles McNulty was there to weigh in on the result. “The pastiche score, indebted to the pop charts of the 1950s, isn’t allowed to dominate,” McNulty writes. “As modern musicals go, this is a low-key affair. The comedy is still the thing in this frolicsome outdoor production, which takes place in the charming ambiance of the festival’s portable, mini-Elizabethan venue.”

McNulty also took time to praise the work of stellar older actors in a rare revival of Nöel Coward’s “Waiting in the Wings,” which is running in repertory at Will Geer Theatricum Botanicum through Oct. 10. The play, “which is set in ‘The Wings,’ a charity home for retired actresses, provides a feast for veteran thespians for whom it would be impolite to ask their age,” writes McNulty. “Led by Susan Angelo, Jan Wikstrom and Ellen Geer, this ensemble, under the direction of Willow Geer, diverts and distracts from the mustier aspects of Coward’s style.”

The Lucas Museum of Narrative Art announced its inaugural film programming, which is set to screen nonstop during museum hours in two dedicated 299-seat theaters. One theater will play mostly documentary films, and the other will be devoted to the more experimental aspects of the art form.

Alaska Thunderf— will play Mary Todd Lincoln in “Oh, Mary!” at the Ahmanson.

(Daniel Rampulla)

“RuPaul’s Drag Race” star Alaska Thunderf— will play Mary Todd Lincoln in Cole Escola’s Tony-winning comedy “Oh, Mary!” when it arrives at Center Theatre Group’s Ahmanson Theatre in the fall. Broadway star J. Harrison Ghee has been cast opposite Alaska in the role of her famous husband.

Joey McIntyre of New Kids on the Block performs during Audacy’s 11th annual We Can Survive at Prudential Center on Sept. 28, 2024, in Newark, N.J.

(Manny Carabel / Getty Images for Audacy)

The Wallis Annenberg Center for the Performing Arts announced some additions to its 2026-2027 season, including the world premiere of a new play, “Radio Galaxy,” written by Michèle Aldin Kushner, directed by Kimberly Senior and starring Joey McIntyre (yes, that Joey McIntyre) and Olivier Award winner Lesli Margherita. The show is about a 17-year-old from a working-class New Jersey town who wants to become an astronomer but must deal with the harsh realities of daily life, including his half-sister’s need for a bone marrow transplant. The show is scheduled for 18 performances in the Lovelace Studio Theater Nov. 6-22. Tickets are available here.

A few reduced-rate spots remain for Camp Build at the Gamble House in Pasadena, which runs from Aug. 1 to 5 for three hours each day. Two hours are devoted to learning the art and craft of woodworking, and a third hour is spent on activities inspired by nature and architecture in the historic home. The cost of the camp is assessed on a sliding scale according to income and need with four payment tiers ranging from free to $650. The remaining slots are in the second tier, which costs $350.

— Jessica Gelt

And last but not least

Want a glimpse into the hedonistic L.A. of yore? Check out this story about Eve Babitz’s personal letters. It will not disappoint.

“Today” show host Savannah Guthrie said Saturday on social media that her family was “desperate” and “begging for help” in the disappearance of her mother, a day after authorities released two ransom notes including one saying that she had died.

Authorities released an early note in the investigation into the disappearance of 84-year-old Nancy Guthrie, hoping that someone will recognize the writing style. A second note said Guthrie died shortly after she was kidnapped and “is buried in nature now.” Both notes initially were sent to a Tucson television station days after Guthrie went missing from her home outside Tucson on Feb. 1.

Desperate plea

“We are begging for help. We are desperate. We need someone to come forward. Someone knows something. Someone suspects something. Someone recognizes the writing in the ransom demand notes,” Guthrie wrote on her Instagram account, alongside a photo of her mother.

“Someone has noticed something different, strange, troubling or just unusual — perhaps with someone they deeply love,” she wrote. “Perhaps they are afraid to come forward. Perhaps they are conflicted. Perhaps they are angry or upset for being in this situation. There is a way out — to tell what you know.”

Guthrie went on to say she and her family “wanted to find out what happened to her, so that we can give her the dignity of a proper goodbye — a celebration of her remarkable life that she so deserves.”

Missing since February

Saturday is the six-month mark since Guthrie disappeared. No suspects have been arrested. The investigation has been dogged by unanswered questions, such as how many people are believed to have taken part in her abduction and whether she was taken by someone who knew her.

The FBI in Washington did not respond to questions about the ransom notes, including whether both messages sent to the Tucson station have been deemed legitimate.

In releasing the notes, the Pima County Sheriff’s Department said that “we believe these distinctive linguistic characteristics may be recognizable to someone who knows or has interacted with the notes’ writer.”

Ransom notes released

The first note, sent Feb. 2, said Guthrie was safe but scared and would be released unharmed once her captors received $4 million in cryptocurrency, with the ransom amount increasing if the first demand was not met. It said Guthrie would be released within 12 hours if the payment was received. It also included a threat to kill her if the ransom wasn’t paid.

“Your mother is aware of this and her life is in your hands,” the first note read. “It is in the best interest of everyone to have this completed as soon as possible.”

The second note was sent Feb. 6 and said Guthrie died shortly after she was taken. “She is buried in nature now,” it said. “Nothing you could have done could have changed the outcome.” The note ended with an apology: “We are truly sorry.”

The Pima County Sheriff’s Department said the notes reveal a distinctive pattern of word choices and provide insight into the writer’s mindset. The agency said someone who knows the notes’ writer may recognize the patterns.

Authorities similarly used a suspect’s writings as a tool to find Theodore “Ted” Kaczynski, branded the “Unabomber” by the FBI. Kaczynski, who killed three people and injured 23 others with mail bombs over a 17-year span, pressured the Washington Post, in conjunction with the New York Times, to publish his 35,000-word manifesto in 1995. He was finally arrested after his brother realized his sibling was the suspect and notified authorities.

Signs of preparations

The sheriff’s office also said Friday that two videos recovered from Guthrie’s doorbell camera might be from two separate days and indicate an unidentified male prepared ahead of when Guthrie was taken. Authorities are seeking information on anyone who was behaving differently, changed their physical appearance, suddenly left the Tucson area or had a noticeable or unexplained interest or disinterest in the case.

“Investigators continue to pursue every available technological and investigative lead,” the sheriff’s office said. “However, community members remain a vital resource as we seek to provide answers for Nancy’s family.”

The FBI had released surveillance videos of a masked person who authorities said appeared to tamper with a camera on Nancy Guthrie’s front porch and block it with a plant. They described the person as a male about 5 feet, 9 inches tall.

Casey writes for the Associated Press.

Vincent Pastore, best known for playing gangster informant Salvatore “Big Pussy” Bonpensiero on HBO’s “The Sopranos,” has died. He was 80.

Pastore was found dead in his Bronx residence Saturday by a friend who did a wellness check after he had not been heard from for three days, his manager Steve Atterman confirmed to The Times. No cause of death was revealed.

While Pastore was best known for his time on the HBO drama starring the late James Gandolfini, he was often cast as an Italian American bad guy in other film and TV projects. His early credits include “Goodfellas,“ “Carlito’s Way” and “The Jerky Boys: The Movie.” He also appeared in the 1996 HBO TV movie “Gotti,” alongside future “Sopranos” co-stars Tony Sirico, Dominic Chianese and Frank Vincent.

A New York native, Pastore was born on July 14, 1946, in the Bronx. He fought in the Vietnam War and went on to graduate from Pace University with a degree in drama. He spent most of his young adulthood running bars and nightclubs in New Rochelle.

He didn’t get into acting until he was in his 40s in the late ‘80s at the encouragement of acting siblings Matt and Kevin Dillon. In a 1999 interview with The Times, Pastore offered his thoughts on why the brothers saw potential in him: “I guess because I looked like a gangster!”

“They used to live in a nearby town, and they used to come to my club a lot, and I became good friends with these guys,” Pastore said. “Kevin brought me down to meet his manager, and I had an interview. I took acting classes and some classes in college, but I didn’t have a clue how to break into film and the New York business. The agent gave me a guidepost, and I started doing some independents and a lot of theater. I started to study acting at 42!”

Pastore appeared in nearly 200 movies and TV projects, and twice in singing roles on Broadway (2007’s “Chicago” and 2014’s “Bullets Over Broadway” productions). But it was his role in David Chase’s 1999 drama “The Sopranos” that became his signature role.

Big Pussy was seminal to the show’s lore as Tony’s longtime best friend and trusted mob enforcer; his betrayal in becoming an FBI informant led to his murder and became one of the show’s most memorable scenes early in the show’s run.

Given his propensity to be cast as a mobster, Pastore was once asked whether he ever considered turning down a job because he thought it portrayed Italian Americans in a bad light.

“No, I haven’t turned any work down,” he told The Times. “The only time I turned work down is when I can’t do it because of ‘The Sopranos.’ I don’t think I am in a position [to turn down work] … when you got a daughter in grad school and you are paying her expenses, it’s pretty hard to turn a job down…You just hope the films are going to be good.”

Pastore is survived by his daughter, Renee.

SIX months after being diagnosed with cervical cancer, Jersey Shore star Nicole “Snooki” Polizzi has undergone a radical hysterectomy.

The reality star, 38, documented her emotional journey to the operating theatre in a tearful video shared with fans on social media.

Snooki, who previously admitted she was too terrified to schedule the operation, said before: “I’m so scared, I just don’t know what is going to happen.”

Surgeons went on to remove her uterus, cervix, fallopian tubes and part of her vagina to ensure all the cancerous tissue was taken away.

Her ovaries were preserved to prevent her from going through early menopause.

Snooki hopes the operation has left her cancer-free and previously said doctors believed she would not require chemotherapy or radiotherapy.

‘I’M SCARED’

Jersey Shore’s Snooki admits she’s putting off major surgery in cancer battle

SCARY NEWS

Jersey Shore’s Snooki reveals cervical cancer diagnosis and issues plea to fans

The mum-of-three also filmed herself preparing for surgery, joking: “Got the gown, got the cap. I feel like an alien serving this look.”

Speaking from her hospital bed afterwards, the MTV star admitted she was struggling with the painful recovery.

She said: “So the first couple of days is hell, and then it’s gonna get better.

“I’m trying to stay in good spirits, and the nurses and doctors and everybody was so great.”

Snooki also revealed surgeons repaired her diastasis recti, a separation of the stomach muscles which can occur during pregnancy, while carrying out the procedure.

She signed off the video by telling fans: “I love you. Thanks for being here. And get your Pap smears, okay?”

Snooki shares sons Lorenzo, 13, and Angelo, seven, and daughter Giovanna, 11, with husband Jionni LaValle.

Although she said their family was complete, the star has said that losing her ability to carry another baby had been difficult to process.

She previously said: “That’s a part of being a woman, and even though I’m done having kids, the thought of not being able to really upset me.

“It messes with you a little bit.”

Snooki revealed in February that a biopsy had confirmed she had stage-one cervical adenocarcinoma, a cancer which begins in the glandular cells of the cervical canal.

She had received abnormal smear-test results for four years but admitted putting off follow-up appointments because she found the examinations painful and frightening.

The biopsy removed the visible tumour, while subsequent scans found no evidence that the cancer had spread elsewhere in her body.

Snooki rose to fame on MTV reality hit Jersey Shore, which followed a group of young housemates spending their summers together on the New Jersey coast.

CHERYL TWEEDY is set to make a huge comeback with her own documentary.

The Girls Aloud singer has kept a low profile in recent years, but remains one of the UK’s most successful female solo artists and telly stars.

I’m told she is in early talks to create a film about her life and look back at her past successes.

The plan is to document her rise to fame auditioning on Popstars: The Rivals and being a judge on The X Factor as well as touching on her love life.

She is currently single after high-profile marriages to footballer Ashley Cole and restaur­a­teur Jean-Bernard Fernanzed-Versini plus relationships with US dancer Derek Hough and the late One Direction singer Liam Payne, who is the father of her son Bear.

A source said: “Cheryl is incredibly picky about what she chooses to do these days and spends a lot of time on motherhood, but she feels like she has a story to tell.

WHAT NOW?

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not my name

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“The doc could create a bidding war between all of the big streamers — Netflix, Amazon Prime and Apple.

“She would also have creative control over the project.”

Cheryl’s TV project comes after successful documentary series from David and Victoria Beckham, Robbie Williams and Katie Price.

Her PR man did not respond when I reached out for comment.

Last year it was reported that Cheryl was in talks to make a telly comeback by appearing on The Voice, and she was spotted having a low-key dinner in Italy with pal Will.i.am, who is a mentor on the ITV talent show.

Over the years Cheryl has featured in several high-profile documentaries including Access All Areas, which followed her first solo arena tour.

Speaking about the 2012 doc, she said: “I literally had a friend of mine filming so that I would not feel like I had a camera crew in my way and at times forgot myself.

“I have since regretted this decision. The number of times I cringed watching it.”

I’m sure fans would love to go behind the scenes with Cheryl.

SLIPKNOT ‘CUT TIES’ WITH SID

SID WILSON has been “kicked out” of heavy metal band Slipknot after 28 years, according to sources.

The American DJ and keyboardist, who joined the group in 1998, is understood to have been sent packing on Friday.

It comes just five months after Sid – known in the band as #0 – split from his fiancée Kelly Osbourne.

I can reveal Slipknot have also parted ways with the PR company that has represented them since 1995.

A source close to the band told TMZ, “Sid was notified late Friday afternoon that he has been permanently kicked out”.

The musician proposed to Kelly backstage at her dad Ozzy Osbourne‘s final Black Sabbath gig at Villa Park in Birmingham last July.

Just weeks later, Kelly suffered heartbreak when Ozzy passed away.

She and Sid had started dating in 2022 and had son Sidney at the end of the same year.

However, she has since sparked fresh romance rumours with her supposed new hairdresser partner Kiinicki – a Los Angeles-based barber and creative behind the brand Hella Good Hair.

Kelly shared snaps of herself with Kiinicki, who uses they/them pronouns, in April.

And the pair were spotted at an after-party following Lily Allen‘s gig at the London Palladium in March.

Sounds like Kelly has got Sid out of her hair.

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AMERICAN singer Jessica Simpson is set to have her life made into a Netflix documentary.

It will be developed by director Joe Pearlman, who created Robbie Williams’ docu-series and Lewis Capaldi How I’m Feeling Now film.

A source said: “It will be a four-parter similar to Robbie Williams’ one. Like him, Jessica has faced her demons and been through trauma having started in the music industry aged 17.

“Filming is expected to start this year and will show Jessica talking about everything she’s been through.”

SAM THOMPSON and Pete Wicks seem to be building an empire – having joined forces on a new financial venture.

I can reveal that former Made In Chelsea star Sam and ex-Towie hunk Pete, who own Staying Relevant Productions and co-host a podcast, have set up PWST Investments Ltd.

Details lodged with Companies House show the nature of the business is “security dealing on own account”, which relates to investing in stocks and shares, futures, securities and commodities.

A source said: “Sam and Pete have become comedy gold on their podcast, but they are serious when it comes to business.”

Move over power couples, bromances are big business.

LIAM Payne allegedly flew into a drink and drug-fuelled fit of rage in his tragic final hours, according to sex workers who spent the day with the One Direction star.

The troubled singer died after falling 46ft from his third-floor hotel room balcony in Buenos Aires, Argentina, on October 16, 2024.

Sworn statements from call girls Aldana Serrano and Lucila Goitea were taken hours after the tragic fall.

Now the documents, obtained by the Mail on Sunday, detail harrowing accounts suggesting the singer was on a path to destruction that day.

The pair say they were called to the CasaSur Palermo Hotel by Liam, 31, on the morning before he died and had consensual sex with him.

But they claim that the singer, who was worth £21m, became frustrated when it became difficult to pay for an agreed $5,000 (£3,700) fee as he had no cash.

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He allegedly smashed his £30,000 gold Rolex telling them he could “get ten of those,” before punching the hotel room TV three times.

After calming down, he is said to have fallen to his knees and asked the women to stay, claiming that “money didn’t make him happy”.

They say that Liam drunkenly serenaded them with his own songs before asking them for cocaine.

A toxicology report taken after his death revealed that the star had cocaine, alcohol and the powerful sedative Klonopin in his system at the time of the fatal fall.

Hotel worker Ezequiel Pereyra, 22, and waiter Braian Paiz, 26, have been charged with supplying the drugs and are awaiting trial.

They spent months in jail but were later released on bail. They deny the charges.

The singer, who had a history of addiction, arrived in the Argentine capital 16 days earlier to wait for his US visa renewal.

He spent the first two weeks of the trip with girlfriend Kate Cassidy and Argentinian businessman Rogelio ‘Roger’ Nores, 38, and was said to be sober for the entire fortnight.

After Kate returned to Miami on October 14 and Roger also left, Liam is believed to have fallen off the wagon.

He was told to leave the plush five-star Park Hyatt after trashing his room and launching into an alleged drink-fuelled tirade at the staff.

Liam then checked into the more modest, four-star CasaSur Palermo, where he reportedly called the two sex workers.

The women, who investigators treated as key witnesses, alleged Liam contacted one of them via WhatsApp after finding her profile online.

According to their statements, he sent photos of himself in bed at the hotel and a video to prove his identity after one of the women struggled to believe she was speaking to the One Direction star.

They say they arrived at the hotel around 11.30am where they showed their IDs to the front desk before being sent up to Liam’s room.

They said there was a communication barrier as the star only spoke English and they only spoke Spanish, so they relied on a translation app.

They claimed he initially tried to pay by international bank transfer, but they were unable to receive the money.

One woman said: “During our time there, we had sex with him, which was consensual sex, only once, and he wore protection.”

After spending around two hours in the room, the pair said they again asked to be paid the agreed $5,000 (£3,700).

Liam instead offered them his £30,000 gold Rolex, according to the statements.

One woman said: “We told him we only wanted money so he took it and smashed it. He told us he didn’t care about the money.

“And then he broke the TV, he punched it. He made us understand that he could smash everything because he knew he could pay for it.”

The women claimed they decided to leave, but Liam followed them downstairs into the hotel lobby, where they told staff he had smashed the television and refused to pay them.

While waiting in the lobby, they claimed Liam repeatedly paced around the hotel before returning to his room and then coming back downstairs.

The pair later returned briefly to collect belongings they had accidentally left behind.

One recalled: “He apologised for giving us a bad time.”

The women claimed they left shortly before 4pm and where Liam continued to act erratically.

Liam fell to his death at 5.07pm.

Aldana and Lucila only learned of Liam’s death after returning home and scrolling on social media, before police arrived later that evening to take their sworn statements.

It is unclear if they ever received the money.

THE Sopranos star Vincent Pastore has been found dead at the age of 80.

Cops have launched an investigation into his death, as tributes flood in for the well-loved actor.

Vincent played a number of mobster characters in film and TV in a long and illustrious career.

He was found dead on August 1 in his Bronx home by a neighbour, according to sources.

Vincent had not been heard from in three days before being discovered on Saturday, reports say.

The circumstances surrounding his death are being investigated.

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Pastore’s manager Robert Attermann said in a statement: “I had the privilege of representing Vinny for more than 30 years, long before The Sopranos made him a household name.

“To the world, he will always be remembered as the unforgettable ‘Big Pussy,’ but to those of us who knew him, he was so much more.”

He added: “Vinny was one of the kindest, most generous people I have ever known. “He treated everyone with warmth and respect, never turning down a fan who wanted a photograph or an autograph.”

Vincent’s manager continued saying that Pastore “genuinely appreciated the people who supported him and always made them feel valued.

“He loved being an actor. He was passionate about his craft and was always encouraging, respectful, and generous with young actors, taking the time to offer guidance and support whenever he could.”

Atterman wrote that losing Pastore was “deeply personal.”

“Over more than three decades, I had the honour of watching not only his remarkable career but also the incredible person he was,” he went on. “I will miss his friendship, his loyalty, his humour, and his heart.”

He ended his personal statement by saying: “My deepest condolences go out to his family, friends, colleagues, and the countless fans whose lives he touched.

“He leaves behind a legacy that extends far beyond his memorable performances. He will be greatly missed and never forgotten.”

Vincent was born in the Bronx, New York City, on July 14, 1946.

He fought in the Vietnam war before going to graduate with a degree in drama from Pace University.

Vincent had a number of small parts in films such as Goodfellas, Carlito’s Way and Men of Respect in the 1990s.

He came to wider attention though in The Jerky Boys: The Movie in 1995 and the HBO TV movie Gotti, the following year, where he appeared alongside future Sopranos co-stars Tony Sirico, Frank Vincent, and Dominic Chianese.

Vincent though became a household name in David Chase’s 1999 drama The Sopranos, where he played Big Pussy, Tony Soprano’s, played by James Gandolfini, longtime best friend and mob enforcer turned FBI Informant

His extensive credits also include Mickey Blue Eyes, Shark Tale, Once Upon a Time in Brooklyn and Guy Ritchie’s Revolver.

Vincent also made a number of appearances on reality TV shows, including Celebrity Apprentice, Celebrity Family Feud, Dancing With the Stars, Shark Tank and Celebrity Fit Club.

Pastore is survived by his daughter, Renee.

OLYMPIC hero Adam Ramsay-Peaty wants to reconcile with his estranged family following their bitter bust-up.

Adam, 31, who is married to telly chef Gordon Ramsay’s daughter Holly, 26, said: “For me, as a Christian, there has to be forgiveness.”

He added, however, that he needs to feel his family have “improved as people” before they can make up.

The fall-out started in 2024 after a row over engagement party invites.

Adam’s mum Caroline, his brothers and aunt were then barred from his and Holly’s December wedding.

The tearful star blamed the feud in part for his poor performance in the pool at the Commonwealth Games in Glasgow, which end today.

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Triple Olympic champion Adam got two individual bronzes and a silver in the mixed 4x100m medley relay.

He told The Guardian: “It’s hard because I know how hard I’ve worked.

“I know the s**t I’ve been through, which is no fault of my own. It does take a toll.”

Holly, expecting her first child with Adam, who has a son from a previous relationship, said online: “It’s not been an easy journey . . . we will keep going, through the good and the bad together.”

Adam vowed to get back to his best for the 2028 LA Olympics and to shake off his Commonwealth Games experience “very quickly”.

Meanwhile, Caroline, 60, from Uttoxeter, Staffs, said she will “always support” her son “from afar”.

SHANIA Twain has recalled being “kicked around” by her parents as she shared harrowing details of her abusive childhood.

Thanks to her catchy songs, the legendary singer has paved the way to huge female stars, including Taylor Swift – but behind the glittery cowboy boots lies a tragic past with childhood poverty and abuse.

The star, 60, explained her parents loved each other but they fought a lot, and they got violent often.

She said she witnessed brutal fights between her mother, Sharon, and stepfather, Jerry Twain, and that their violence often included her and her sisters, Jill and Carrie Ann, who were “smacked” and “kicked around a lot.”

Shania said on NPR’s Wild Card with Rachel Martin podcast: “If I was standing in the wrong place at the wrong time, definitely. I mean, both my parents were pretty harsh physically.”

She added: “‘It was very violent. So my mom, you know, she would lose clumps of hair.

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“She was bruised often in the face and… it was pretty bad sometimes.

“I mean, our house would shake. Those walls would shake.

“It’s very traumatic. It gets loud and scary, like a really bad thunderstorm.”

It’s not the first time Shania has spoken about the violence within her childhood.

Shania was born in Ontario, Canada, in 1965, one of three girls to parents Sharon and Clarence Edwards.

However her parents divorced when Shania was two and her mother’s second husband, Jerry Twain, adopted the sisters.

Their home life was wrecked by poverty, with Shania and her sisters often going to school hungry.

So when Sharon spotted her daughter had a talent for music, she knew she had found a way to make money to help the family.

“Really, my mother was the one that made me get on stage,” Shania recently told The Independent. “I did not want to be in the spotlight. I was petrified of it.” 

From just eight, Shania would be woken up to perform in bars after midnight.

“I would go to do the after-hours set and everyone was already intoxicated,” the five-time Grammy winner revealed.

“It was not fun,” Shania continued of those early shows. “I had school the next day, and my parents would often fight.”

Shania quickly learned that if she came back home with no money from her gigs it meant trouble.

“If I didn’t earn anything from it, it was going to be a domestic problem,” Shania explained.

“We were living hand to mouth.”

Tragically, Jerry wasn’t just violent towards wife Sharon, once beating her unconscious.

Shania recalled how her cruel stepfather would also make her walk around the house topless and touch her inappropriately.

“He just had issues… It was like he was two people,” she told 60 Minutes. 

“I would get physically involved sometimes with my parents’ fights… I just thought that he would kill her. One of these times – he was gonna kill her.”

“I hid myself and I would flatten my boobs,” she told The Sunday Times in an emotional interview.

“I would wear bras that were too small for me, and I’d wear two, play it down until there was nothing girl about me. Make it easier to go unnoticed.”

“It was terrible – you didn’t want to be a girl in my house.”

Aged 22, Shania was about to get her big break when her parents were both tragically killed in a car crash.

She had to return home to care for her younger siblings and Shania became ”a single mum overnight,” she recalled.

She added: “It was a very touch and go period in my life.

“It was a lot of pressure. I barely slept.”

But despite the setbacks, Shania didn’t give up on her dream.

Once her sisters were old enough, she compiled a demo tape to present to Nashville music execs and within a few months they had snatched her up.

It was the first step to Shania finally becoming the international country pop superstar the world knows today. 

Viewers have been left furious over the Channel 4 announcement, ahead of upcoming documentary The Great ADHD Myth?

An upcoming Channel 4 documentary has been blasted by viewers for suggesting a “dangerous” message.

The broadcaster has announced a programme on ADHD, titled The Great ADHD Myth?, which has sparked immense backlash.

The documentary, according to Channel 4, “seeks to determine whether ADHD is a genuine neurodevelopmental disorder, or a social construct”.

It apparently asks: “With so many questions on what ADHD is, should we really be giving so many children powerful psychiatric drugs to medicate it?”

This comes after the NHS released information about the number of people affected by ADHD. Data from May 2025 reports that it is estimated that 2,498,000 people in England have ADHD, including those without a diagnosis.

Of those, an estimated 741,000 are children and young people aged between five and 24. The report also stated that in March 2025, up to 20,000 people were newly referred for an ADHD assessment to mental health services, an increase of 13.5% from the previous year.

The Channel 4 programme, featuring NHS psychiatrist Dr Max Pemberton, will be looking into “why” the traits of ADHD exist.

A press release for The Great ADHD Myth? States: “While the traits of ADHD undeniably exist – the question is why they exist. Is ADHD actually a neurodevelopmental disorder? Do people with ADHD have differently wired brains? Or does our world – with phones, ultra-processed food, and regimented education system – serve as the catalyst for certain responses and patterns of behaviour? And with such uncertainty around the condition, should we really be giving children mind-altering drugs to treat it?”

The documentary hears from medical experts who are questioning “the conventional narrative” around ADHD, and will follow a young family who “want to see whether holistic lifestyle changes can eliminate one boy’s use of ADHD medication”.

Dr Pemberton said: “As a psychiatrist, I’ve watched ADHD go from a diagnosis that was only occasionally made and after careful assessment, to one that is increasingly demanded and dispensed, and I wanted to understand why. There’s no doubt that the people seeking these diagnoses are genuinely struggling; that isn’t in question. What the film asks is whether ADHD is really the best explanation for that struggle and my hope is that we come away with permission to ask better questions about what modern life is doing to all of us.”

The Channel 4 announcement has left some social media users appalled, with one writing: “The endless hostility toward people with ADHD, autism, and anxiety is reaching a terrifying point.” Another said: “Who signed off on this man? I don’t even have ADHD and I’m outrageously offended.”

One person blasted: “What ableist bulls**t is this, @Channel4??” Someone else said: “More demonising and minimising those with mental health struggles. Fabulous.” One person called it “absolutely disgusting”, while another said it was “incredibly hurtful”.

Another wrote: “I don’t have ADHD, but I never thought Channel 4 would stoop so low.” Yet another echoed: “Demonising neurodivergence. What a time to be alive.” Someone else said: ““Myth? It’s not a myth if you have ADHD. What a way to frame it.”

Another person called the documentary “irresponsible and dangerous,” as someone else wrote: “As someone recently diagnosed, I am already sick and tired of ADHD being framed as “not real”. It made school utter hell for me, and impacts my day to day life. Why Channel 4 seem intent on pushing stuff like this I will never know.”

Other people expressed their interest in the show, with one saying: “I’ve been diagnosed and I wonder this too!” Someone else said: “The outrage this has caused illustrates why it is needed. No diagnostic neurodevelopmental process has ever been established as constitute of ADHD, despite what is implied and many have been led to believe. The question posed by the doc, then, is entirely legitimate.”

In a statement, a Channel 4 spokesperson said: “This documentary does not deny the lived experience of people with ADHD traits, but does hear from a group of senior medical and academic experts – many of whom work or have worked with the NHS or have held presidential roles at professional membership bodies – who seek to question whether ADHD is a neurodevelopmental disorder. They also ask whether modern living has contributed to a rise in diagnoses, and whether there may be better alternatives for children than medication.”

Who pissed off Ariana Grande? Well, who didn’t?

On her new album, “Petal,” the pop superstar opens the spigot on what she’s described as an “unfiltered rage” to blast any number of feckless exes, a prying public obsessed with her body and her personal life — and not least herself for allowing anyone the power to hurt her in the first place.

“Tell me who’s to blame — is it the people or myself?” she wonders against the icy synth stabs of the title track.

Her answer, delivered as a sneering little aside: “Yeah.”

“Petal” marks a dramatic shift from Grande’s previous LP, 2024’s “Eternal Sunshine,” a tender and melancholy electro-pop collection that laid out a kind of emotional philosophy of heartbreak. She recorded the new album with the same team — the hit-making writer-producers Ilya Salmanzadeh and Max Martin — but here they go for a murkier, more percussive sound to match Grande’s dark mood.

Tolling electric guitar accompanies her in “Freak” as she muses on “all of the life I’ve been denied,” while “Oh Well” puts a jittery U.K. garage beat under her sneering farewell to an unnamed antagonist: “Good luck on your way to hell.” In “Hate That I Made You Love Me,” which debuted at No. 1 on Billboard’s Hot 100 when Grande released it as “Petal’s” lead single, she sings, “I’ve held your projections when you’ve felt so insecure,” over a trudging groove that moves like a funeral march.

These downcast observations arrive at what would seem to be a professional high point for Grande, who recently wrapped her extended stay in the “Wicked”-verse and who’s in the middle of a tour that’s drawn adoring fans to arenas across the country.

But perhaps that’s the point: Almost every song on “Petal” can be interpreted two ways — as a story about a broken relationship between two people or as a tale about the toxic connection between an idol and her audience. (More than once did this record make me think about Taylor Swift’s “The Tortured Poets Department.”)

“My pain is music — do you hear me everywhere?” Grande asks in “Warning Signs (Interlude),” which climaxes with a pithy diagnosis of pop stardom in the parasocial age: “You don’t deserve me / You know you don’t, you never have / But I want you to feel me / I wish someone could hear me.”

Complaints about celebrity can be pretty tedious, of course; sometimes it feels as though famous pop singers have forgotten how to write about anything other than life in the social-media fishbowl.

Yet “Petal” gets some creative traction from how Grande chooses to use her voice; instead of belting, she rarely rises above a whisper, which gives a spooky, slightly creepy quality to her thoughts on being endlessly scrutinized. The airiness of her singing provides some comedy too in a hard-edged song such as “Like I Do,” where after noting that “all that s— talk keeps me well-fed,” she tells whoever needs to hear it, “No one f— you like I do.”

Having gotten all this off her chest, Grande finishes the album by allowing in some light: Over a zippy new wave arrangement, “Bad Thing (Bunny Hop)” ponders the renewing energy of a fresh romance — or maybe a rekindled old one — while the glistening “Nowhere, Nobody” has her taking deep breaths with a lover she’s convinced might finally give her what she needs.

“Convinced” is probably the wrong word.

“Hard to believe in a perfect ending,” she admits, “But that’s all right.”

BRITNEY Spears bares it all while showing off her risque dance moves to fans on social media. 

The toxic hitmaker, 44, stripped off to just trousers and a hat, a day after flashing her boobs on a horse riding trip.

In a number of dance videos uploaded to the popstars Instagram page, Britney was snapped performing some racy dance moves for the camera. 

One clip saw her twerk around on the floor whilst whipping her long blonde locks back and forth. 

Dressed in a cropped pink T-shirt and mini black shorts, Britney shows off a fast paced dance routine as she moves to the track Mi Gente.

Another video shows the star outside in a bikini as she stares into the camera lens.

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Britney prances around to piano music before abruptly smacking her behind. 

The series of video clips then take an even raunchier turn with Britney posting a video of her topless. 

The singer edited symbols over her breasts to conceal her modesty as they flash on and off the screen. 

Britney goes on to move her arms in a rhythmic style dance sliding her hands across her breasts and stomach, 

What seems to be a dance routine is met with occasional chants from the Star.

In some frames the hitmaker almost exposes herself multiple times throughout the racy display. 

The Gimme More songstress turned off the comments on the post, but it has already been liked by over 60k fans. 

Britney is no stranger to going topless on her Instagram page, just a day ago the singer flashed her boobs while on a horse riding trip. 

The clip, which sent fans into a frenzy, showed Britney sitting on a horse as she exposed her chest. 

She pulled her red top down whilst basking in the sun covering her modestly simply with just two diamond emoji’s. 

Sticking her tongue out she was all smiles as she galloped through a dirt road backdrop. 

Many fans took to X reeling over the video, one user said: “I really can’t believe that Britney posted her boobs on top of a horse on Instagram.”

“Brittney spears be riding horses in Malibu, top off in just a skirt I wanna be her,” penned another. 

“That top was so hanging on for dear life, we all know Britney doesn’t wear a bra a lot,” added a third. 

Many also came to the singer’s defence, one fan commented: “Leave her alone. Let her be naked. She’s ok.”