show biz

Anna Haugh and Grace Dent made their joint MasterChef debut on Tuesday

A fresh series of MasterChef has landed on the BBC with a new hosting duo.

Series 22 sees celebrated chef Anna Haugh and restaurant critic Grace Dent take over from Gregg Wallace and John Torode as judges. The pair will test 48 of the country’s best amateur cooks with an array of spectacular challenges.

The first heat of this year’s competition aired on Tuesday (April 21), with six talented cooks from all walks of life heading into the kitchen to battle it out for a coveted MasterChef apron.

They include digital portfolio manager Rosdip, 33, construction project company director Brendan, 57, tech programme manager Jhané, 29, environmental consultant Sabina, 49, accounts assistant Samantha, 39, and IT manager Matt, 41.

Just moments into the episode, viewers were left divided as Anna and Grace made their joint debut. Some fans were frustrated with the pair’s facial expressions, with one person writing on X (formerly Twitter): “I’m assuming it must be in the contract that judges/presenters on MasterChef must express shocked/surprised faces at every opportunity possible! Gregg and John did it for years and it looks like it’s continuing!”

Another added: “Someone tell Anna that she doesn’t have to replicate Gregg’s surprised face every time a contestant tells her what they are going to be cooking,” while a third said: “I can’t watch #MasterChef any longer. [Anna] and her daft facial expressions.”

A fourth fan echoed the sentiment: “Why do those two presenters keep making such stupid faces?”

Meanwhile, other viewers were delighted with Anna and Grace’s debut, with one person writing: “Loving the two ladies, Grace and Anna running the MasterChef kitchen.”

Another added: “Love Anna and Grace in this series,” while a third said: “Absolutely love Anna.” A fourth fan commented: “Loving Grace and Anna on #MasterChef.”

During the episode, Anna and Grace put their trust in the amateur’s taste buds as they introduced the Signature Dish round, which saw the contestants make their favourite dish from home.

The cooks who made the best two dishes, Rosdip and Jhané, were immediately rewarded with a MasterChef apron, while the other four fought it out for the last two aprons in the Classic Recipe Test.

The amateurs were each given the same recipe for one of Anna’s favourite brunch dishes, which put core cookery skills to the test.

The successful group of cooks, along with their newly-earned aprons, had one more hurdle to jump to secure their quarter-final place.

Anna and Grace invited last year’s final three – champion Harry Maguire and finalists Claire Syrenne and Sophie Sugrue – to sample the food on offer.

They tasted two courses from each of the cooks, before Anna and Grace revealed the three contestants who would be going through to the quarter-finals.

MasterChef season 22 is available to stream on BBC iPlayer

A BRIT rock back have been forced to cancel an impending gig after an “unexpected medical situation”.

Enter Shikari were due to play a gig at Dublin Academy in Ireland this evening but have been forced to withdraw.

The band kept details sparse but confirmed a “medical reason” was behind their decision to pull the plug on the gig in the Irish capital city.

Issuing a statement, the band revealed they were gutted to be unable to complete the concert as planned.

The band said: “Due to a medical situation both unexpected and beyond our control, we’re sad to have to say we’re having to postpone tonight’s Dublin Academy show.

“If you know anything about us, you know that cancelling/postponing shows is always the absolute last resort once all other options have been exhausted, especially at this short notice.

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“We’re very sorry for any inconvenience this causes anyone.

“We’re in conversation with our Irish promoter and will immediately start looking at potential date to reschedule to.

“Thank you in advance for your understanding, and we hope we can see you as soon as possible. ES x.”

Their fans were quick to issue their well-wished amid the uncertain situation.

One penned: “Sending you guys so much love hope you’re all ok.”

Another went on to write: “Hope all is ok – let us know when you’re planning to be back in Ireland!”

A third then said: “Absolutely gutted as flew here solo from Brighton especially *but* sending everyone so much love and hope, and thank you for still being the reason I finally visited Ireland!”

Before a fourth commented: “Sending love as this can’t have been an easy decision, get well soon.”

Whilst a fifth comment read: “Health first always. Hope all is ok. We go again even harder on the rescheduled show to make up for this. Grá mór.”

The band were first formed in 1999 and adopted their current identity in 2003.

Their debut album, Take to the Skies, was eventually released in 2007 and reached number four on the UK Albums Chart.

Their seventh record, released in 2023, became their first chart-topper.

The group’s latest record, surprise released earlier this month, managed to chart at number 16.

Karol G is taking her 2025 album, “Tropicoqueta,” worldwide.

After wrapping two bombastic headlining sets at Coachella this year, the Colombian superstar announced a stadium world tour on Instagram Tuesday morning.

The “Viajando Por El Mundo Tropitour” will kick off July 24 at Chicago’s Soldier Field. The “Provenza” artist will then head out to Las Vegas on Aug. 7 before making a stop at SoFi Stadium in Inglewood on Aug. 14. She’ll grace California with one more performance on Aug. 21 at Levi’s Stadium in Santa Clara.

The 35-year-old singer will wrap up the U.S. leg of her tour with a performance in Dallas on Oct. 15 before commencing the international section of the tour in Monterrey, Mexico, on Nov. 6. This string of shows is scheduled to finish exactly a year after commencing, with a July 24, 2027, set in Milan, Italy.

Karol G was the first Latina to headline Coachella in the desert fest’s 27-year history. She was only the second Latin music artist to get top billing at the event, with Bad Bunny being the first to ever do it with his 2023 headlining performances.

“This is for my Latinos that have been struggling in this country lately,” she told her fans during her history-making performance. “We stand for them. I stand for my Latina community. I am very proud because this brings out the best in us: unity, resilience and a strong spirit. We do this because we want everyone to feel welcome to our culture, so I want everyone to feel proud of where you come from.”

During her Coachella shows, which took place across two weekends in April, she brought out a cavalcade of guest performers — including L.A.’s own Becky G, the Colombian reggaeton revivalist J Balvin and Greg Gonzalez from Cigarettes After Sex.

The “Si Antes Te Hubiera Conocido” artist first teased that she’d be embarking on a tour at the end of her set during the second weekend of Coachella. Text reading “Nos Vamos de Tour” (We’re going on tour) was displayed as she played her final song.

ACTRESS Anne Hathaway steals the show in a red dress at the US premiere of The Devil Wears Prada 2 — but Sydney Sweeney was a no-show after her scenes were cut.

Anne, 43 — who wore a custom Louis Vuitton gown — was joined by co-stars Meryl Streep, Emily Blunt and Stanley Tucci for the screening.

British Bridgerton star Simone Ashley was also there, along with Lady Gaga, who worked on the music for the film and makes a cameo appearance.

But Euphoria star Sydney, 28, skipped the premiere in New York.

She had been pictured on set last year.

Sources said she shot a scene in which she played herself being dressed by Emily’s character Emily Charlton.

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However, it did not make the final cut as it was felt it did not work with the rest of the storyline.

The film’s stars are due back on the red carpet in London’s Leicester Square this evening for the European premiere.

The Devil Wears Prada 2 comes 20 years after the original, in which Anne played aspiring journalist Andy Sachs working for cruel magazine editor Miranda Priestly, played by Streep,

Anne has previously spoken about how it changed her career.

She said: “This film opened so many doors for me, and it gave me so many opportunities.

“It became this anchor for how audiences responded to me, and let me take a lot more risks and make a lot of weird choices in my career, because I have this warm hug to come back to.”

Former MasterChef judges Gregg Wallace and John Torode have been replaced in the latest series

Fan-favourite cooking competition MasterChef is returning for a new series on BBC One with two new judges.

Season 22 begins tonight (Tuesday, April 21), with renowned chef Anna Haugh and restaurant critic Grace Dent now at the helm, following Gregg Wallace and John Torode’s departures.

Gregg was axed from the show last year after law firm Lewis Silkin upheld 45 out of 83 complaints against the star of inappropriate behaviour. The 61-year-old said he was “deeply sorry for any distress” he caused, adding that he “never set out to harm or humiliate”.

Meanwhile, John didn’t have his contract renewed with Banijay UK – who make MasterChef – after he was alleged to have used racist language amid an investigation into his former co-star’s behaviour.

A BBC spokesperson confirmed that John denied the allegation, stating: “He has no recollection of the alleged incident and does not believe that it happened. He also says that any racial language is wholly unacceptable in any environment.”

Ahead of the new series of MasterChef airing on BBC One tonight (Tuesday, April 21) at 9pm, let’s explore where former judges Gregg and John are now.

Gregg hasn’t appeared on TV since his MasterChef axing, but recently hosted a 12-hour live cooking show on TikTok, titled Gregg’s Kitchen.

Now, the presenter has confirmed his “new chapter”, telling his Instagram followers that he will be leaving the UK for a new life in Italy by the end of this month.

Speaking in his social media video, Gregg said: “I’ve always loved Italy and we plan to move around and rent in different places, which is quite an adventure. And with the help of my autism specialist mates, I am going to home school Sid [his son] as well. It is a new chapter for us. It is a life that should be full of travel and adventure and I’m very, very much looking forward to it.”

Following his axing from MasterChef, John continued to host his ITV series, John and Lisa’s Weekend Kitchen, with his wife Lisa Faulkner.

The couple are also set to release a new cookbook in September, following the success of their first book together. John & Lisa’s Weeknight Dinners includes “delicious” recipes that can be used on repeat.

“Having cooked together for 10 series of John and Lisa’s Kitchen, they want to encourage people, more than ever, to cook from scratch with simple and fool proof recipes,” reads the official synopsis for the book.

“They use everyday supermarket ingredients, straightforward techniques and no fancy gadgets, to give people the confidence to cook and, most importantly, enjoy creating dishes for their friends and family.”

MasterChef 2026’s first heat will see six talented cooks from all walks of life competing to secure one of four gleaming white MasterChef aprons. The first two will be awarded to those who impress Anna and Grace with their Signature Dish.

The other four will have one more chance to shine as they fight it out for the last two aprons, taking on the Classic Recipe Test. The successful cooks will then have another hurdle to jump to secure their quarter-final place, as they aim to impress last year’s finalists with two courses.

MasterChef season 22 is available to stream on BBC iPlayer

“Gambrel roofed Barnhaus,” the listing read, “next door to the best burritos in town.”

Its photos revealed something unusual for Inglewood, which is famous for its mix of architectural styles, including Midcentury Modern homes by R.M. Schindler and Googie-style coffee shops: a brick-red barn-style house on a large corner lot, listed at $449,000.

When Meeshie Fahmy and her husband, Aaron Snyder, toured the house, they learned that the burrito claim was true. The photos, however, had clearly been touched up to make the house, located just a few miles from the Kia Forum and SoFi Stadium, look better than it actually was.

Outside, the former dirt lot is now a lush garden with towers of colorful black-eyed susans on arches, planters full of nasturtiums and vegetables, a firepit and pergola.

Inside, the house had “wall-to-wall carpets on both floors that were heavily stained and worn, dated wood paneling on the walls, holes in the walls,” Fahmy says.

Despite these flaws, the couple saw the home’s potential and decided to buy it, even though a leaning retaining wall nearly derailed their escrow. “It was a blank canvas for us to play and experiment,” she recalls a decade later.

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After they moved in, neighbors revealed the house was not original to the site. Years earlier, the original Craftsman had been torn down; the current house, a sweepstakes prize, arrived in two pieces by crane. “Our neighbors recalled it was quite a sight,” Fahmy says.

At the time, Fahmy, 44, worked as an event planner at the Getty Museum. As renovations started and she followed her passion for interior design, Snyder proudly introduced her to staff at the local Carniceria as “an interior designer.” She replied, “That’s not what I do.”

“I told her, ‘If you don’t start saying it, it’s not going to happen,’” says Snyder, 49, who pursued his own dream of becoming a professional skateboarder before moving into video editing. “Speak it to existence.”

Finishing the house took years, patience and a lot of DIY projects because of their budget. But Fahmy didn’t just dream — she made it happen. In 2018, she started working for interior designer Willa Ford, who mentored her at WFord Interiors. By 2020, Fahmy launched her own design firm, Haus of Meeshie. “It’s been a progressive layering of colors, furniture, reupholstering, adding art, wallpaper, lighting,” she says. “Low and slow; the flavor is richer.”

Meeshie Fahmy and Aaron Snyder’s family room is a colorful maximalist dream with thrifted furnishings, art and layered textures and patterns.

Ninety percent of the furnishings are thrifted. “Nothing is too precious,” Fahmy says.

Today, their home reflects Fahmy’s fearless approach — it’s a true “petri dish for experimentation.” The vibrant, layered four-bedroom house is a maximalist fever dream, packed with furniture, accessories and art sourced from Facebook Marketplace, vintage shops, flea markets (Long Beach flea is a favorite), estate sales and secondhand stores in L.A. and elsewhere.

She estimates about 90% of the furnishings and accessories in her home are thrifted, antiques or things she found on the side of the road, and nothing is too precious, reaffirming her playful approach to decor.

A Jonathan Adler dining table, found on sale, sits in front of a wall filled with art arranged salon-style. Among the pieces is Fahmy’s favorite: a wedding portrait her father, Walter Fahmy, painted of her.

The speakeasy features a vintage standing bar from Craigslist, barstools and a Geo pendant light by Los Angeles designer Jason Koharik and a mirror Fahmy found at a neighborhood estate sale.

She likes to refer to her decorating style as “creatively unhinged.”

“It all flows,” she says, curled up with her dogs on a CB2 couch she found on Craigslist. “There’s a rhythm. Every piece tells a story. Pick one — I’ll share it.” She recalls throwing herself on a vintage Baker sideboard at a Florida Goodwill without knowing how she’d get it back to Los Angeles and laughs when Snyder discovers a tiny Jack Black-as-Jesus portrait tucked into a gilded dining-room oil painting.

The sink and vanity in the guest bathroom? That used to be a dresser she found on Craigslist.

Although others have questioned their home purchase, Fahmy never doubted they could transform the space into something special.

Color ties the house together. The powder room is purple, the entry hall is red, the kitchen has blue cabinets and the hallway is painted pink.

“When I first saw the house, when they bought it, I thought she was crazy,” Meeshie’s friend and former colleague, Talene Kanian, says in an email. “Other than keeping the ‘barn’ shape, she completely transformed the interior. Now, when you step inside, you’re welcomed into a home full of color, pattern and playfulness.”

Snyder adds: “Meeshie is able to visualize things 10 steps ahead of everyone else, even things that seem like a complete mess.“

Working together, the couple removed the shag carpeting and wood paneling from the first floor and the stairway, installing drywall in their place.

Next, they painted the walls — no beige here. The deep green living room sets a bold scene: a clock worthy of Dalí, leopard prints, pink Persian rugs, a snake ottoman and a thrifted tufted chair with Art Deco vibes from CB2.

“I did not venture into interior design formally,” Fahmy says. “I feel very lucky to have found this passion.”

The color story flows through the house: The powder room is purple, the entry hall red and the dining room walls pink, with one wall in a bold 1970s-style mushroom-pattern wallpaper from Londubh Studio. The speakeasy features a vintage standing bar from Craigslist that Snyder squeezed into his car, barstools and a Geo pendant light by Los Angeles designer Jason Koharik and a mirror Fahmy found at a nearby estate sale.

In the kitchen, they removed the 1970s-era wooden cabinets and Formica countertops, replacing them with more pink walls, Moroccan-style tile flooring and blue cupboard fronts from Semihandmade, which creates cabinet doors for IKEA cabinets.

Fahmy painted a Keith Haring-style black-and-white mural at the top of the stairs and continued onto the second-floor walls using a paintbrush taped to a broomstick. She finished by painting the handrail bright blue and wrapping each stair with a Persian-style runner.

Outside, the couple leveled the once-dirt backyard, added pea gravel, built a pergola with a handyman and installed a firepit where they enjoy entertaining their friends.

The main bedroom features burgundy walls, while the bathroom next to it has Persian rug-patterned wallpaper from House of Hackney.

Now the once-empty backyard is a lush garden: towers of colorful black-eyed susans on arches, planters of nasturtiums and homegrown vegetables. A trickling fountain greets visitors as they walk through the French doors. Snyder, an avid cook, can easily step out to cut fresh herbs mid-simmer, making the outdoors a true extension of the home.

The couple’s home is full of memories, and as you walk through, you can sense how much their stories matter to them. In the downstairs hallway, Snyder smiles as he points out photos of his family in Wisconsin. Similarly, Fahmy proudly shows a photo of her great-great-grandmother Theresa “Tessie” Cooke Haskins, a noted harpist whose daughter Maud Haskins was the first harpist to perform with the orchestra at the Hollywood Bowl.

Art is everywhere, from the Polaroids pinned to the walls in the powder room to the ceramics and masks hanging throughout the house. Yet Fahmy’s favorite possession is deeply personal: a portrait of her on her wedding day, painted by her father, Walter Fahmy, who studied art in Egypt before coming to America.

Upstairs, Fahmy created a black-and-white mural inspired by Keith Haring at the top of the stairs, then kept going along the second-floor walls using a paintbrush taped to a broomstick. She finished by painting the handrail a bright blue and wrapping each stair with a Persian-style runner.

French doors connect the house to the garden, so the backyard feels like a natural part of the home.

For Fahmy, these details matter. “I feel like our home is a love letter to my upbringing,” she says, referring to her parents, who were both pharmacists. “It’s an ode to them and the sacrifices they made for me.”

Visitors feel the same way. “Their house is a true labor of love, apparent the second you enter,” Kanian adds. “It radiates warmth and love.”

Snyder feels it too. “I feel an immense amount of pride when I walk into our house,” he says.

Like a barn raising that brings people together, their house has become a welcome part of the neighborhood with its blue siding, bright yellow front door and a playful mural by Venice artist and skateboarder Sebo Walker. “We’ve had neighbors knock on our door and tell us, ‘We love what you’re doing,’” says Snyder.

“I love color,” Fahmy says. “I love to experiment.”

With the main house finished for now, Fahmy hopes to turn the garage into an accessory dwelling unit, or ADU, in the style of Mexican architect Luis Barragán: bold with color and texture. “I’m envisioning a mini boutique hotel,” she says. “Simple to execute, yet unique in L.A. I’d love a pink building.”

Like the possibility of a pink building — or not — Fahmy’s freewheeling style proves it’s OK to experiment and make mistakes. (She wants to demo the kitchen next for a fresh look.)

“You’re not tattooing your face. You’re painting your walls,” she says as a way to encourage others to experiment. “Your home should be a reflection of who you are. I hope our home inspires others to live how they want to live.”

Amid the bustle and glitz of last week’s CinemaCon in Las Vegas, one question loomed over the annual trade convention — how will the proposed Paramount Skydance-Warner Bros. Discovery deal affect the movie theater business?

That anxiety showed up in a state of the industry speech from Cinema United trade group President Michael O’Leary, who reiterated his organization’s opposition to further industry consolidation.

It showed up in a trailer for Amazon MGM Studios’ upcoming film “Spaceballs: The New One,” when a voiceover poked fun at Hollywood studios “merging willy-nilly” as images of the Paramount sign and Warner Bros. water tower flashed across the screen.

And the subject again took center stage — literally — when Paramount Chief Executive David Ellison himself gave a speech during his studio’s presentation at Caesars Palace. He sought to reassure the assembled movie theater operators and exhibition executives that the combined company would indeed release a minimum of 30 films a year.

“I wanted to look every single one of you in the eye and give you my word,” he said during an onstage speech, in which he also committed to a 45-day theatrical window and 90-day period before films go to streaming services. “People can speculate all they want, but I am standing here today telling you personally that you can count on our complete commitment. And we’ll show you we mean it.”

It’s true that Paramount has nearly doubled its theatrical releases since Ellison took over. As he noted in his speech, the storied studio is now planning 15 films this year, up from eight in 2025.

But as I’ve written previously, theater owners and other studio executives question how releasing 30 movies a year across the combined Paramount-Warner Bros. would work — not only in terms of giving each film the proper marketing campaign to succeed in theaters but also because of the massive cost cuts that will inevitably occur once the merger is final.

Still, Ellison’s commitment to 30 films a year got a round of enthusiastic applause — and at least one high-profile boost.

A day earlier, AMC Entertainment Holdings Inc. Chief Executive Adam Aron told me in an interview that he backed Ellison’s takeover of Warner, saying he and AMC believed in the tech scion’s talent as a filmmaker and a movie executive, as well as his pledge to release those 30 films a year.

“We’re enthusiastic that David will fulfill his promises,” Aron said. “And that in the end, this will prove to be a good thing for our company and our industry.”

Not everyone shares that enthusiasm.

More than 4,000 people have now signed an open letter opposing the Paramount-Warner deal, arguing that consolidating two studios will lessen consumer choice and job opportunities for creatives, particularly at a time when Hollywood is already struggling. (Notable signatories include “Dune” director Denis Villeneuve, actors Glenn Close and Emma Thompson, as well as director and producer JJ Abrams.)

O’Leary of Cinema United similarly wasn’t convinced.

“While recent pledges attempt to address the threats of consolidation to our industry, they are not yet sufficient in addressing our concerns,” he said in a statement released hours after Ellison’s speech. “We remain open to tangible commitments that will ensure a vibrant global theatrical exhibition industry for years to come.”

Elsewhere at CinemaCon, the mood was upbeat.

Warner Bros. film chiefs Mike De Luca and Pam Abdy struck a triumphant tone after an award-winning year for the studio, capped off by the best picture win for “One Battle After Another.”

They unveiled footage from new films like the upcoming “Digger” from director Alejandro G. Iñárritu and brought out lead actor Tom Cruise to a sustained standing ovation from the audience. And both De Luca and Abdy espoused optimism for the future of the theatrical business. The studio plans to release 14 films this year and as many as 18 for 2027.

“The film business has always required smart betting, and we have 4 billion reasons from last year to think we’re holding the right cards,” De Luca said during the presentation, referring to the studio’s worldwide box office revenue last year.

“We all know they’re not all going to work. That comes with taking swings,” Abdy said of the studios’ films. “There’s no version of this business that’s risk-free. But our job is to step up, make our bets and own it when it doesn’t work.”

But the end of the presentation felt more somber, with the executives asking the heads of Warner Bros.’ labels to come to the stage and be recognized. Shortly after, they asked Warner Bros. employees in the audience to stand for applause. It was hard to escape the feeling that this may be the end of an era.

Stuff We Wrote

Film shoots

Number of the week

1,000

Last week, Walt Disney Co. began a sweeping round of layoffs that’s expected to cull 1,000 jobs across multiple divisions.

As my colleague Meg James reported, the cuts hit Disney’s television and movie studios, sports giant ESPN, its product and technology unit, corporate functions and marketing. Even Marvel Studios’ visual development team was affected.

The layoffs are one of the first major moves under new Disney Chief Executive Josh D’Amaro, who took the reins of the company last month. In a message to employees, he said the company needed to “constantly assess how to foster a more agile and technologically-enabled workforce to meet tomorrow’s needs.”

What I’m watching

Some friends and I watched “Fukushima: A Nuclear Nightmare” this past weekend, a truly eye-opening documentary that explains what happened during the March 11, 2011, nuclear accident and whether the world has learned anything from it.

The sequel to The Handmaid’s Tale focuses on the young teens of Gilead

The Testaments couldn’t have come at a more depressingly relevant time given the state of the world.

From the reversal of the historic Roe vs Wade ruling in America, to the erosion of women’s bodily autonomy across the world, to Incel culture via Andrew Tate and the Manosphere, to the continuing unfolding horrors emerging from the Epstein Files, being a woman in 2026 has never been a more frightening prospect.

That’s why I believe Disney+ and Hulu drama The Testaments should be compulsory viewing in all schools and serves as a warning that if we don’t try to change things now, all hope could be lost forever.

The series is adapted from Canadian author Margaret Atwood’s Booker Prize-winning 2019 novel The Testaments, which itself was a sequel to her seminal 1985 classic The Handmaid’s Tale.

The follow-up novel came about thanks to the success of Hulu’s adaptation of The Handmaid’s Tale starring Mad Men’s Elisabeth Moss in the title role. The original series first hit screens in 2017 – not long after Brexit and newly elected President Trump’s first term in office – and instantly captured the zeitgeist thanks to its dystopian, Black Mirror take on the world.

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Atwood has previously said how The Handmaid’s Tale was originally based on things that had already happened across history and were still happening, however, since she published her novel over 40 years ago, it appears those times have become a disturbing and tangible new reality for us.

The Testaments TV show follows a group of teenage girls from the upper echelons of Gilead society preparing to become Wives to Commanders, many of whom are much older than them. Their destined husbands are determined by the Aunts in a series of arranged marriages to ensure there isn’t any accidental incest, given the use of Handmaids and babies getting handed over to Gilead’s finest families.

The girls known as ‘Plums’ – thanks to the Cadbury shade of purple they wear – are forbidden from reading or writing at the risk of losing a finger; their sex education is non-existent; they witness Gilead’s harsh brand of Old Testament justice; and they are constantly warned not to tempt men, who apparently can’t control their urges.

Amid the Plums is Pearl Girl Daisy (played by Lucy Halliday), a Canadian teen from Toronto posing as a Gilead convert after she’s sent into Gilead by the resistance movement Mayday. Street-wise and sex-savvy, Daisy serves as the audience’s perspective in the show as she challenges the Plums in the face of the regime’s fallacies.

While the drama isn’t as dark as its predecessor, The Testaments delves into issues of consent and sexual abuse in a more age-appropriate way. The Testaments shows why we all need to be educated about sex and making informed choices about our bodies.

The Testaments is also one of the few shows to feature periods and menstruation so prominently. Gilead celebrates menstruation as a sign of fertility to the point that the Plums ring a bell heralding the news and then embark on a catwalk of sorts while their fellow pupils cheer them on. Not since reading Judy Blume have I seen so much discussed about periods, if only there were more positive depictions of period in media.

Sadly, it’s a double-edged sword for the girls as it means it’s now time for them to find a husband as they essentially become child brides. Again, this complexity is intriguing and one that feeds into grooming teens – the way the Commanders eye up Agnes MacKenzie (Chase Infiniti) as a potential bride-to-be when she greets her father during a meeting is chilling.

But amid all the bleak dystopian misogyny, hope springs: Daisy is trying to stoke a fire from within Gilead and give the Plums agency. It’s this message that’s so important: you may be a teenage girl but you still have the power to shape the world and make your voice heard.

I’ve always believed that TV has the power to change things for the better in this world. If you can see it, then you can be it. Whether it’s onscreen representation from the likes of Netflix’s Heartstopper depicting blossoming queer love, to soaps brilliantly covering a myriad of topics from domestic violence and stillbirth, to Adolescence, which led to discussions in Parliament about male radicalisation. Meanwhile, a whole generation of women pursued STEM careers thanks to Gillian Anderson’s iconic performance as medical doctor and scientist, FBI agent Dana Scully in The X-Files.

If The Handmaid’s Tale was sounding the alarm for my generation, then The Testaments is the wake-up call for this generation. The future of the world is in your hands, and you have the chance to change it right now.

The Testaments airs weekly on Hulu and Disney+ on Wednesdays

JACQUELINE Jossa has posed for a new snap wearing both her wedding and engagement rings – despite splitting from husband Dan Osborne. 

The Sun revealed last month how EastEnders actress Jacqueline, 33, and former Towie star Dan, 34, had called time on their relationship after 13 years. 

Today Jacqueline took to social media to share a new mirror selfie, showing her looking straight-faced as she snapped the photo. 

The Lauren Branning star was dressed casually in a white T-shirt and some high-waisted jeans, with her rings visible on her left hand. 

She has become known for repeatedly reconciling with her other half — despite his flaws.

Their marriage has been rocked by multiple cheating allegations against Dan, who admitted in 2020: “I’ve made mistakes.”

CRYPTIC POST

Jacqueline Jossa shares cryptic heartbreak post amid Dan Osborne split

FAMILY TIME

Jacqueline Jossa escapes to Cornwall for family trip after Dan Osborne split

However, having given their relationship multiple chances, friends claim Jac has accepted it is doomed after living separate lives for months.

A source close to Dan told The Sun: “Everyone knows they’ve had their troubles, but after spending some time apart this year, they’ve decided to make the split permanent.

“Their two daughters are their main priority.”

It’s claimed former Towie star Dan moved out permanently in February into the house he was said to have bought behind Jac’s back in 2024.

His “secret” Essex pad came to light after the on-off couple announced last March that they had split. The following month, they appeared to rekindle their marriage on a “make or break” family holiday to Mexico.

Our insider revealed: “After all Jac’s been through, she’s finally had enough. They’ve been living separate lives all this year and she’s over it.

“There’s only so many times she can put herself through living in limbo and taking him back.

“She has mentally checked out and Dan has panicked.”

“For Want of a Horse,” a play by Olivia Dufault receiving its world premiere in an Echo Theater Company production at Atwater Village Theatre, wants to have a rational conversation about a taboo topic that can provoke instant outrage.

The subject is zoophilia, not to be confused with bestiality, though for many of us it will be a distinction without much of a difference.

Calvin (Joey Stromberg), a good-looking, mild-mannered married accountant, has harbored a secret for much of his life. He has a thing for horses. His erotic interest began at an early age, and all his efforts to lead a normal life have left him depressed and contemplating suicide.

His wife, Bonnie (Jenny Soo), is a permissive kindergarten teacher who’s having difficulty restraining a girl in her class who has discovered the joys of masturbation. Worried about her husband, she discovers through his browsing history that he’s once again visiting strange animal sites.

She suggests he keep a horse, explaining that she doesn’t want to end up a widow or divorcée. Calvin is taken aback by her generosity but has come to recognize that his preference is more than a kink. It’s part of his identity — and maybe the only part that makes his life seem worth living.

Joey Stromberg and Jenny Soo in “For Want of a Horse” at the Echo Theater Company.

(Cooper Bates)

A horse named Q-Tip (Griffin Kelly) enters the couple’s lives. A stable is secured, and the mare, who senses that something strange is going on, is indulged with apples and caresses.

Kelly, a statuesque presence in a dress, harness and boots, brings the horse to life with wild, unpredictable movements. The sheer size of the animal poses a threat to humans. One kick, as Q-Tip herself explains in one of her thought-bubble monologues, is capable of penetrating a steel wall. But controlling an animal’s food supply is an effective way of winning over its trust.

Calvin has found support in the online zoophilia community. PJ (Steven Culp), a man whose current inamorata is a bichon frise, is considering moving to a country where zoophilia isn’t illegal. He’s tired of the shame and the secrecy. He’s proud of his attachment to pooch, even if his thing for dogs has cost him contact with his daughter and ex-wife.

Dufault doesn’t shy away from sexual details. For PJ, intimacy depends on peanut butter. Calvin describes the physical signals that reveal Q-Tip’s erotic satisfaction. The play occasionally descends into sitcom humor. (PJ says he’s considering creating a human-dog dating app called Rin Tin Tinder.) But mostly the subdued tone steers clear of sensationalism.

The production, directed by Elana Luo, is scrupulously well-acted by the four-person cast. Stromberg makes Calvin seem not only reasonable but surprisingly sensitive. Soo’s Bonnie sweetly embodies the excesses of a kind of progressive piety. As PJ, Culp gruffly embraces his role as the play’s polemical fire-starter. And Kelly’s Q-Tip, in the production’s most physically demanding performance, straddles the human-animal divide with theatrical aplomb.

Steven Culp, left, and Joey Stromberg in “For Want of a Horse” at the Echo Theater Company.

(Cooper Bates)

The open-mindedness that Dufault, a trans playwright, brings to the play creates some dramatic slack. Possibly the same fear of making value judgments that has inhibited Bonnie from imposing common-sense discipline in her classroom has robbed “For Want of a Horse” of a propulsive point of view.

The play moves monotonously between Calvin and Bonnie’s bedroom and the stable. Scenic designer Alex Mollo has worked out an efficient way of shifting between these realms by employing the same set of wooden trunks. But the argument of the play doesn’t so much build as elapse.

Time takes its toll, and Calvin eventually has to make a decision. But the character who interested me most was Bonnie, whose reality is only glimpsed. The play tacitly uses her husband’s threat of suicide as a trump card. Zoophilia isn’t merely a fetish for Calvin but a nonnegotiable part of his identity.

This questionable assumption can be psychologically scrutinized not only from Calvin’s point of view but also from his wife’s. The play wants to have an intelligent debate, but it doesn’t want to interrogate certain political positions too skeptically.

At one point, Bonnie objects when Calvin compares his situation to that of homosexuality, but the conversation ends there. The reality is that the right wing has been making a similar claim, arguing that same-sex marriage opens the door to bestiality, polygamy and incest. “For Want of a Horse” inadvertently lends legitimacy to this line of reasoning.

Griffin Kelly in “For Want of a Horse” at the Echo Theater Company.

(Cooper Bates)

Not that extremist positions should be off limits, but they ought to be more rigorously addressed. Similarly, Bonnie’s concern about the issue of consent — how can a horse say yes to intercourse with a human — is introduced only to be dismissed in a shrug of mild-mannered bothsidesism.

While watching “For Want of a Horse,” I recalled a program on PBS called “My Wild Affair” that wasn’t about zoophilia but about the problematic nature of human bonds with untamed animals. Relationships with a seal, an elephant and a rhino, for example — obsessive, protective, loving friendships — all seemed to end if not in outright tragedy, then in shattering heartbreak.

Q-Tip is rightfully given the play’s last word, and Kelly, an actor (HBO’s “The Book of Queer”), writer and comedian, is the production’s driving force. We can never know what’s inside this mare’s mind because Q-Tip’s brain has evolved so differently from our own. Kelly plays the anthropomorphic game while retaining some of the inscrutability of a four-legged creature.

It is through language that we, as humans, traverse the chasm separating us from one another. That’s not possible with animals, even with our closest domestic companions. (Try explaining a necessary medical procedure to a cat.)

“For Want of a Horse” sets out to speak about the unspeakable, but its construction may be too tame for such a wild subject.

Netflix’s eerie cult thriller features a disturbing opening scene.

Unchosen’s dark opening scene has left viewers curious.

The show has just arrived on Netflix and the star-studded cult thriller follows a wife and mother who feels trapped in an oppressive Christian sect.

Echoing themes from The Handmaid’s Tale and Happy Valley, the dark psychological series sees Rosie (played by Molly Windsor) question who she can trust.

After she comes across an escaped convict called Sam (Fra Fee), he offers her a taste of life outside the religious cult, while her husband Adam (Asa Butterfield) continues to chastise her.

The thriller opens with Rosie, Adam and their daughter Grace (Olivia Pickering) enjoying a party outside with the other members of their extended cult family.

A storm suddenly closes in on them, forcing them all inside, and Grace looks particularly concerned as she calls it “the Rapture” – but what does this mean?

What does the Rapture mean in Unchosen?

At the start of the series, viewers learn that the Christian cult is part of the church of The Fellowship of the Divine.

Their beliefs quickly become apparent when Mrs Phillips (Siobhan Finneran) curses Grace for reading a children’s magazine – a forbidden item.

During their street party, a storm appears overhead and Grace looks particularly terrified, believing the black clouds and thunder are the signs of the Rapture.

In Christianity, the Rapture is the concept of an event when all dead Christian believers will be resurrected and reunited with Christians who are still alive.

Together, they will will rise “in the clouds, to meet the Lord in the air”.

The storm clouds in the series represent the concept, which suggests live Christians will leave the earth to meet Jesus Christ.

Grace may have been scared at the thought of being ‘taken’ in order to meet Jesus Christ at the Second Coming.

The actual term ‘Rapture’ is not mentioned anywhere in the Bible, it is instead a concept that has developed over time.

In his First Letter to the Thessalonians, Paul – one of the Apostles – wrote that Jesus would return one day, and “we who are alive, who are left, will be caught up”.

Some believe the Rapture is when Christ’s followers will be taken up to Heaven, while those who do not follow him will be left behind on Earth.

Unchosen is on Netflix

JACK Whitehall’s countryside wedding to Roxy Horner over the weekend may have appeared to be oozing class, but the comedian says he actually had a wardrobe disaster during the ceremony.

In fact, the dad-of-one, 37, says he was left with his “a** hanging out” at the end of the aisle.

Jack ripped his luxe Tom Ford suit when picking up their two-year-old daughter during the ceremony.

“I squatted down to pick up Elsie and my trousers split, my whole a** was hanging out,” he told Vogue.

Luckily, the comedian had a back-up suit and later changed into one by menswear brand Dunhill.

Meanwhile, his bride also donned two outfits during the day, but hers were both by choice.

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Roxy donned two stunning wedding dresses from designer boutique Galia Lahav, changing between the ceremony and reception.

She added a lengthy veil and pulled her blonde tresses into an up do, with two strands framing her face.

Roxy and Jack’s wedding took place in the grounds of £12million stately home Euridge Manor, near Chippenham, Wilts.

The Georgian-style property is owned by Kate Middleton’s former boss, Jigsaw tycoon John Robinson.

Jack and Roxy shared the details of their big day with Vogue, explaining how Elsie was one of the model’s three flower girls.

They also had a whopping eight bridesmaids, with Jack’s brother, Barnaby, serving as Best Man.

After Jack predicted a “brutal” best man speech from his brother during a chat with The Sun earlier this year, due to his own ‘below the belt’ speech at his sibling’s nuptials, Barnaby didn’t hold back.

“He threw me under the bus, because that’s what I’d done to him,” confirmed Jack in his post-wedding chat.

Celebrity guests included TV pals James Corden and Jamie Redknapp, who Jack worked with on Sky’s A League of Their Own.

Guests were asked to turn off their phones during the ceremony and were put on a social media blackout.

The newlywed pair are now headed to Venice for a stunning Italian honeymoon.

Dishing about what you’re reading is one of life’s greatest pleasures. Even better if your audience has read the same book. Reading with others also provides space to deepen community, ignite conversations and share moments of joy. Los Angeles needs that more than ever right now as we continue to shoulder a heavy 2025 marked by fires and ICE raids. But how to choose a book to get started? The best books to read in groups inspire a dialogue. They have sparkling prose and unshakable narratives. These were the guiding factors for compiling our recommendations for all kinds of readers.

We surveyed 200-plus luminaries in the book and journalism worlds to make this in-depth list. The voters included prizewinning authors, indie bookstore owners, a Man Booker Prize judge, Ivy League professors, literary agents, lauded journalists and several zealous book club members. To ensure an especially varied selection, the editors gave a final curatorial pass.

The list includes 10 categories for every type of reader, whether you reach for literary fiction or romance. We also crowned an “Ultimate Book Club Pick,” which is the title that received the most votes out of all the books by a landslide, and happens to be eerily prophetic (find it among the “Make-Believers” selections). Of course, we couldn’t include every worthy book. Let us know your picks and pull up a chair next to us. Why not read together?
— Sophia Kercher

If you buy books linked on our site, The Times may earn a commission from Bookshop.org, whose fees support independent bookstores.

THE oldest member of a much-loved 70s pop group has passed away, his family has announced.

Alan Osmond, the founding brother and guitarist of The Osmonds, died on Monday aged 76.

The family said in a statement that his wife Suzanne and their eight sons were beside Osmond at his bedside when he passed away, but did not reveal an official cause of death.

Alan Osmond had battled multiple sclerosis for 40 years after being first diagnosed in 1987.

He was the third-born child of parents George Virl Osmond Sr. and Olive Osmond, and in 1958 performed alongside his younger brothers Wayne, Merrill and Jay on a TV show at the age of 12.

The group first found fame as a barbershop quartet on The Andy Williams Show.

This early success set the stage for their siblings to join the lineup; once younger brother Donny arrived, the group transitioned into pop music as “The Osmonds,” quickly achieving superstar status as teen heart-throbs.

They had hits such as One Bad Apple, Yo-Yo, Down by the Lazy River and Love Me for a Reason.

Alan left the group in 2007, and his brothers went on with solo careers.

Alan and his brother Merrill founded the Stadium of Fire in Provo, Utah, a massive Fourth of July celebration, and he also co-founded and ran the OneHeart Foundation.

He then published his memoir, “One Way Ticket,” in 2024.

Osmond is survived by his wife, their eight sons, 30 grandchildren, and five great-grandchildren.

During a recent Zoom interview from his studio in Switzerland, Peter Zumthor offered a candid look at the making of the Los Angeles County Museum of Art’s new David Geffen Galleries.

The Pritzker Prize-winning architect addressed long-standing criticisms of the building and answered questions about his craft. He noted that the structure is a rejection of the overly “slick” architecture he believes defines the present moment, and shed light on the building’s early development, describing a contained process in which the concept was shaped before being presented to the public.

Finally, he discussed the broader ambition of the endeavor: dissolving traditional circulation and prioritizing emotional experience over institutional order.

The following interview excerpts have been edited and condensed for length and clarity.

You are well–known as both an architect and a craftsman. I think the biggest place for that focus was the concrete. I’m curious about how you formed it. It’s not the typical museum concrete.

I work like an artist in building. This means I custom-make buildings. I can use a few standard details or products, like in the basement. But where the building has an identity, becomes visible, it’s almost all handmade. I have an image of what I want to do, what the building should do, how it should look. So I need people who can help me make custom-made products.

The people who did the formwork — the concrete pouring — [worked in] groups of 100 or more. They were fantastic. They loved their work. At the beginning, formwork leaked on a door, and it looked terrible. They said, “Peter, we’re sorry. We made a mistake. We can fix this. You will not see this afterwards.” But if you make a mistake, you cannot mend it, because what you’re doing here is a concrete sculpture. Sculptures are never mended.

It’s not a perfectly smooth concrete. I’m assuming that’s on purpose?

I love this kind of rawness. This was what I gladly learned. Michael [Govan] in a very friendly, careful way let me know that he would like more “American details” and fewer “European details.” OK, my European details, they stand. That’s what I did 20, 30 years ago. My background as a furniture maker shows, and I can do this. But the challenge in this museum is to get the right “American” roughness. And I think I pretty much succeeded.

What I learned in California [came] back to Europe, and many times we now say in the office, “Let’s do this more L.A.-style.” Because we have too many slick magazines in the world. We have this corporate architecture which doesn’t want to see any touch of a hand. No mistakes. What we need is not refinement. We need wholehearted directness. This is what I take back from America. There’s a certain freshness. It’s not overly refined. I’m proud of that. The roughness has to do with our times. Because our time is slick and glossy, right? The time to make refined, slick architecture is over.

Horizontal light enters from floor-to-ceiling windows around the perimeter of LACMA’s new David Geffen Galleries, which use concrete as a kind of living building material.

(Iwan Baan)

In a 2023 interview with [architecture critic] Christopher Hawthorne, you said there were no “Zumthor details” left in the building. Do you think there are any Zumthor details now?

Of course there are Zumthor details. And I love them. They are not Swiss details. I think Christopher got this wrong. I was actually proudly speaking of how I learned a new way of looking at details. It doesn’t have to be refined all the time.

[Editor’s note: Zumthor told Hawthorne verbatim, “There are no Zumthor details any more,” in the 2023 interview with the New York Times.]

There’s always a tension with every building when it comes to value engineering. Were there any other places where you would want [David Geffen Galleries] to be different?

Basically, I say no. I’m very proud of this building. This is what I wanted to do, and this is what Michael helped me to do. This is exactly it. It’s one of my children and I love it.

Do you see this approach as an evolution in your work? Or is it more specifically for L.A.?

L.A. has changed me. And it’s in a good way. I would [not] have changed and reacted to our slick times the same way without L.A.

There were complaints that the project, and the process, were not as public as some people thought they should be. What is your reaction to that criticism?

I think I can say this: Michael said, “We cannot make a competition or anything like it, because competitions in the U.S. always end up with a winner who doesn’t build because he found out his own way of staging this whole procedure. The first, the most important thing, is that we start on a small budget, just the two of us.” That’s what we did. So when we started to talk about this museum, it was him and me, basically, and he gave me a little bit of money. And he said, “There will come a time when we will have to show something to the public. Let’s see whether people say yes.” They could have said no, but I think what they saw at that point was already too convincing.

Architect Peter Zumthor speaks at the press preview for the David Geffen Galleries at Los Angeles County Museum of Art.

(LACMA/ Museum Associates / Gary Leonard)

Because the museum’s not organized in a traditional way, it might be harder than normal to navigate for some people. It might be a little confusing. What do you say to that concern?

This will take some time, to see the benefits of this new type of museum. I think if you start to like this building in one corner or in another, or you get lost, you start to understand what it is all about. When something new comes, you have to learn, right? But I hope you can see this building never looks down on you. This building is, in a way, deeply human. And it lets you have your opinion.

There are people who have said, very loudly, this space shouldn’t have lost square footage. What is your response to that?

Small museums are beautiful, big museums tend to be really difficult. And the bigger the museum gets, the more difficult it is to make it easily accessible. So I’m very glad that this is not bigger. But it feels bigger.

What is this with bigness? What kind of a hang-up is this? You don’t have to be big. It has the right scale. We were often asked, “Can you experience this building and this collection in one day?” And we said, “Maybe. But maybe it will be better to come back.” Start from the other end. You have your own personal path. And then you research a little bit further. I think these are the beautiful ideas of how to experience the building. And I think it’s endless.

The interior of LACMA’s new David Geffen Galleries encourages guests to wander and make their own connections rather than follow a linear path.

(Eric Thayer / Los Angeles Times)

Can you go back to the beginning and talk about the core concept for the museum?

There are three major things that I always have to answer, whatever I do. What does the building do with the place? Does it help the place? Does it interpret the place? And then, what is the content of the building? What does the building have to do? Why are we building this?

To start out, there was a museum here which was modeled a bit after Lincoln Center. Later, it got clogged up with new buildings and you didn’t recognize the initial idea anymore. These things we took away. Whenever a building is there, whether it’s beautiful or ugly, it will always have grown into the soul of somebody. There will always be people saying, “No, no, I want to keep it.” This is part of my life. I understand this kind of thing always comes up.

The place was rather difficult because I couldn’t see any big urbanistic concept in L.A. L.A. [is] not urban in the European sense with, for instance, the market square.

There was a master plan, which was made by Renzo Piano. And this presented a long axis, and I tried to follow it. It just did not feel right. So I started to react in a more organic way, inspired by the tar pits. This whole area, which to me, is the ancient part of the site, became the starting point.

There was more: like the idea that side light is the most human light. Yeah, no skylights. And another thing was the museum had to be open to its surroundings. So contemporary L.A. should be present at all times. It should come in, whenever you can look out.

Another important thing … was to create or enlarge the public space that Michael [Govan] had started to create between his buildings. Friday evenings, Saturday, you saw so many families there. There is a desire here, a wish, for public space. This is not exactly the strength of L.A. So I think it was amazing that we were allowed to lift up the building and have the whole ground free for people.

Also, let’s do the museum on one level only. Classical museums have a main level, then they have a second level and a third level, a south wing and north wing and so on. And then, as an artist, you can have your work on the main level in the most beautiful spot. But as an artist, you can also land top left, third level near to the attic. So let’s make a building type which treats everybody equal.

LACMA’s David Geffen Galleries are hoisted above the ground on discrete piers, allowing for ample public space below.

(Eric Thayer / Los Angeles Times)

And then we started to think about how we wanted something open for wandering, experiencing and dreaming. This is always difficult to explain — let’s have the knowledge of art, of the history of art, coming second. It’s not because I think this is a secondary thing. It’s just because our experience should come first.

As a boy, I saw the opposite. There’s a tour and there’s a guide, and the guide starts to tell you what you should think. And I never liked this. We thought we should lay out things on a big plane where you can stroll and wander and develop your interest in art. Follow your own path.

You’re overturning a lot of unspoken rules in the art world. And I guess that’s the point in a lot of ways?

This is our point. You see other rules. For instance, if you do a new museum, the conservators say art can be exposed to less daylight. I told them as a joke, “If it goes on like this, soon the art will be in the basement, locked away.”

We have a building wide and long enough that within the building, you can find strong daylight for, let’s say, china or pottery, which love daylight. Then you can go deep into the building where it gets darker, and you can put pieces you don’t want to expose too much to the light. All without having to flip a switch.

Emmerdale’s Moira Dingle actress Natalie J Robb has hinted her character could take a deadly revenge on evil Joe Tate in a gun showdown, and she ‘could kill him’

There’s dramatic scenes on the way on Emmerdale as Joe Tate is finally rumbled by Moira Dingle.

Robert Sugden confesses his part in Moira being arrested over Celia Daniels’ drugs and human trafficking crimes. When he explains what really happened, Moira finds out Joe was blackmailing him and Victoria Sugden.

But she’s left even more rage-filled when she realises Joe is a huge part of the reason she’s been in prison over a double murder she did not commit. Preparing to take revenge, it all leads to a gun showdown at Home Farm.

Will Moira end up in prison again though if she takes a deadly revenge on Joe? Actress Natalie J Robb has revealed what fans can expect from the moment, and what the future holds for Joe…

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Robert tells Moira the truth about planting the documents. How does she react?

Robert starts to feel guilty because he finds out that it’s Moira’s birthday and everybody has kind of forgotten about it. She says that it doesn’t matter and then he gets really guilty about it.

Moira starts to get a little bit suspicious and thinks: ‘What’s going on here? This is odd’. He gives her some pictures that Holly did, and things like that, which he found in the attic.

And then he just says something and she says: ‘How did you know about that?’ Because he wouldn’t have known where the documents were hidden. Then of course she gets it out of him and he confesses that it was him and she goes ballistic.

She’s really hurt actually, because she doesn’t expect that of him. She actually thought he’d turned a corner and changed as a person. Then he admits that it was down to Joe Tate – that he forced him – and why he had to protect Victoria and it was down to Joe Tate.

Moira plots revenge doesn’t she…

I’m fuming then, so I go back to the house to tell Cain but he’s having a bit of an argument with Sam. He’s just not in the mood so I think, good old Moira style, she gets her shotgun and goes to visit Joe Tate.

And literally at that point, she’s going round there to kill him. She has the shotgun, she makes him sit down and try to confess. He’s trying to play dumb but she knows it’s down to him.

Then more people get involved. Obviously she doesn’t kill him. But she swears to him at this point that she will make it her priority to make his life a living hell. Or a non-living one…

Why does she decide not to tell Cain about Robert?

She thinks if he finds out, he’s going to go ballistic and do something stupid. She’s just got out of prison, the last thing she wants is for him to go to prison.

But that’s going to eat him up because he knows what she’s been doing for Robert as well. And the fact that he’s in my farm, it’s just a hard pill to swallow. But I’m trying to prevent something terrible happening and protect the marriage as well, because we’re dealing with something that’s a lot bigger than money.

When she has the shotgun, does it not enter her head that she might end up back in prison?

I don’t think she cares at that point. In that split second, she’s so angry because he’s [Cain] had to deal with the cancer on his own. He’s [Joe] kept me away from my children and she thinks: ‘Really? Are you really that horrible and that cruel? Are you really that greedy? It’s all about power’.

It’s a bit like the world we’re living in now, all about power and it’s not actually about being humane to people. And at that point she’s definitely going there to kill him and she nearly does.

Can you tease what’s to come for Joe?

Well I think he’s going to be under her radar, it might just be quietly. He might try to worm her round. But we don’t know how that’s going to pan out with the writing and which route they’re going to go.

But when I was filming the scenes, it was pretty certain that she was going to get him back in some way or another. And she does, she does team up with people to get him to suffer in a similar way, but that would be by him losing everything, so that he has no power. So we’ll see.

Would you like Moira and Kim to become friends after their recent heart-to-heart at the prison?

It’s nice that they don’t get on but they have that mutual respect for each other. You really see how Kim knows what that farm meant to Moira. And for her to do that for him, it really opens Kim’s eyes. Like: ‘Oh right, okay, it’s a proper love’.

She really respects that and it’s about family roots and values. So there’s that respect for each other. I think that’ll always be there in the background now but they’ll still have fights – probably because of Joe to be honest, he’ll be the main factor!

Emmerdale airs weeknights at 8pm on ITV1 and ITVX. * Follow Mirror Celebs and TV on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .

HE came second on Eurovision at 2022 with his song Space Man.

Now Sam Ryder is gunning for a first place finish, after signing up to BBC series Celebrity Race Across The World.

And he is in good company, as Came Here For Love singer Ella Eyre is also taking part.

A source said: “Sam loves a challenge and he wanted to test his mettle off stage.

“He signed up with his tour manager Kaz Coles.

“Ella also decided to give Celebrity Race Across The World a go after being tapped up by the casting team.

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“A challenge like this is definitely not in Ella’s comfort zone but she wanted to experience something new and push herself. Both Sam and Ella are competitive and they’re in it to win it.

“They filmed the show earlier this year but their fans will have to wait until it airs before they can see who did the best.”

Earlier this month, I revealed that Sky Sports legend Jeff Stelling had signed up to take part with his son Matt.

They’re also competing against Junior and Princess Andre — who are making their reality TV contest debut together.

On Friday, Sam was one of Chris Evans’ first guests on his new run of TFI Unplugged on Channel 4, to promote his telly series Your Song with Paloma Faith and Alison Hammond.

Sam’s show invites amateur singers to take to the stage in a live roadshow across the UK.

Sam explained: “It’s berserk. We go up and down the country, we bring a stage with us for people who have probably never sung in public before with a live band. They come, share a story and sing a song that’s attributed to that. The connection you see being made is beautiful.”

On working with Paloma and Alison, Sam joked: “They’re mad as a box of frogs but great to be around. All of our laughs are so cackly, it’s unreal.

“The three of us laughing together is like the Witches Of Eastwick.”

Sam added: “There is no winning a record deal. There is an event at the end of it and every singer is invited — they rinse the free bar, and a couple of people from each round perform on the night. That is the prize.

“It’s a show that’s got heart.”

LOOK MUM, I’M ALL SET

THERE is less than a month to go until Eurovision and the UK act is now out of the gates, with Look Mum No Computer giving his first live performance of zany track Eins, Zwei, Drei.

The singer– whose real name is Sam Battle – performed at the London Eurovision Party on Sunday night, but admitted it was a struggle to get there after becoming a dad less than a fortnight ago.

In an exclusive chat with Bizarre’s Howell, he confessed: “The concept of sleep is something I fondly miss.”

But it isn’t just his newborn Max who has taken up his time, as he has also built his set for the contest in Vienna.

The YouTuber and inventor said: “Just before we went to the hospital for the baby, I was finishing the props – making and soldering all the bits for Eurovision.

“I didn’t build all of the props – the BBC didn’t trust my welding! – but I’ve built the synthesiser bits for it, and it’s already on a lorry on the way to Vienna.”

Sam has also been working on his voice and dance moves as he prepares for the contest, which starts on May 12.

He added: “I’ve been singing, and I’ve also been working out. I just need to get my stamina up.”

On his staging, he said: “It’s quite complicated. There are some things that require coordination, which is not my forte. I’ve got two left feet.

But (choreographer) Benke Rydman, who I’m working with on the stage setup – he’s very much pushing my boundaries.”

Also at the event in London on Sunday was Boy George, who features on the San Marino act Senhit’s song Superstar.

He was in chipper spirits before the show and spent over an hour talking to journalists, so I’m sure he’ll be hoping to one-up our British act at the final on May 16.

ARNIE TO BACK AUSTRIA

HE is the most famous living Austrian and despite it being rather at odds with his macho persona, Arnold Schwarzenegger has been invited back to his home nation to attend the Eurovision final.

I’m told that organisers are preparing for the Terminator star to be in the audience at the Wiener Stadthalle in Vienna, with the hope that his presence will help celebrate Austrian culture and draw in viewers.

Arnie already has a surprising soft spot for the contest after meeting with 2022’s Ukrainian winners KALUSH ORCHESTRA and then starring in the music video to their song Shchedryi Vechir in 2023.

Reflecting on the response after they won, frontman Oleh Psiuk previously said: “In Los Angeles, we met Arnold, who has been actively supporting Ukrainians since the early days of the war.

“He invited us over to his house and came out to greet us with a pet donkey.

“We talked about the situation in Ukraine and thanked him for his support and shared how important it was to us.”

Unfortunately though, I don’t think the movie hero’s donkey will be coming with him to the final.

APPLE Music is getting behind Eurovision in a big way, with the streaming service conducting interviews with all the key stars which will air in the run-up to the event.

And you can get to the heart of this year’s songs on Apple Music’s Eurovision 2026 official playlist, which has translated and phonetic lyrics for each of the tracks.

NOW WOODY TELLS HIS OWN TOY STORY

WITH Toy Story 5 hitting cinemas on June 19, the bigwigs over at Mattel invited Bizarre to visit their top-secret studios in LA – where characters Woody and Buzz were once again working their magic before our eyes.

Nick Karamanos at Mattel revealed: “We are bringing to life what happened in Andy’s room for the first time.” (Andy is the central child character in the original film.)

And that means fans of the films won’t just hear Tom Hanks and Tim Allen voicing the characters on screen – they’ll be able to hear them having full-blown conversations in their own homes.

The new Toy Story 5 toy range lets Buzz and Woody actually talk to each other, with no imagination required.

And Hollywood star Tom’s brother Jim Hanks was brought into the studio to bring the speaking toy version of Woody to life.

Mattel designer Baxter Crane explained: “He sounds just like him (Tom), and he knows how to sound like him. He said, ‘To be Tom you’ve just got to yell more, like whatever you wanna say you’ve just got to yell it instead.’

“And it really worked – he sounds just like his brother.”

The craftsmanship behind it all is next level, with Nick revealing that Mattel still uses manual sewing machines to make the characters’ clothes.

Nick explained: “When we think about Toy Story and taking inspiration, a lot of it is just being true to what the characters are and what is the best way to bring them to life.”

It’s not just Toy Story characters being reimagined either, with Camila Mendes, Idris Elba and Nicholas Galitzine all working with Mattel to create figures for Masters Of The Universe.

Andy and his pals will go on sale this Sunday, just in time to get us all excited about the film’s release.

SECRET SOLO SPOT FOR STONES’ RONNIE

THE ROLLING STONES are coming back this summer with their new album Foreign Tongues – but I’m told any plans for Sir Mick Jagger, Keith Richards and Ronnie Wood to take the record on the road are still up for debate.

Despite this, I hear fans of the Stones will be able to see Ronnie in action at a top-secret gig later this year.

My music moles say he is putting on a special, intimate show at the O2 Forum in Kentish Town, London, on August 31.

They revealed: “Ronnie is doing a show and some big rock names will join him. This isn’t a Stones gig, so it’s not with Mick and Keith, it’s other well-known industry names.

“So far, he’s got Imelda May on board to sing and Ronnie is currently talking to other artists about getting involved.

“He absolutely loves to play live. The show should be announced next week, with tickets on sale soon after.”

Confirming the gig, Ronnie told me: “I’m looking forward to kickin’ ass with my back catalogue and some new songs – look out London!”

I revealed last month that the band was back with a brand new record, and that the legends had signed up actress Odessa A’Zion to star in their comeback video.

Last week, they proved their fan base is still crazy for their music. The Stones released an ultra-limited white label vinyl single, Rough And Twisted, under the alias The Cockroaches – with all copies snapped up within seconds.

They are now being flogged online for more than a grand.

HUGH’S PREMIERE LEAGUE

HUGH JACKMAN and his actress girlfriend Sutton Foster couldn’t have looked happier as they attended his latest movie premiere – three years after he split from his wife.

The Greatest Showman actor stepped out in a blue suit to the launch of The Sheep Detectives in New York City on Sunday evening, alongside Sutton in a sequin gown.

He moved on after his 27-year marriage to Deborra-Lee Furness came to an end, with their divorce finalised last summer.

Patrick Muldoon, known for his roles on “Days of Our Lives,” “Melrose Place” and “Starship Troopers,” has died. He was 57.

The actor and producer reportedly died Sunday, his manager confirmed to Variety. According to Deadline, Muldoon died suddenly after a heart attack. The Times has reached out to Muldoon’s reps for comment.

Muldoon originated the role of Austin Reed on the daytime soap opera “Days of Our Lives.” He first portrayed the aspiring boxer and brother of Lisa Rinna‘s Billie Reed from 1992 to 1995, and returned to reprise the role from 2011 to 2012 (the character had since become a forensic accountant).

“Austin is a wonderful role,” Muldoon told The Times in 1995. The actor explained he took his “sweet time” mulling over whether to leave the show because “it was one hell of a decision to make.”

“I’m leaving for no other reason than why other people leave soaps,” Muldoon said at the time. “To take a shot at doing other things like nighttime, movies and other things. … I feel confident right now so I figured I better take the shot sooner than later. If I don’t, I’ll always wonder ‘what if.’ ”

He played the recurring villain Richard Hart on the primetime soap “Melrose Place” for three seasons beginning in 1995. Muldoon’s big-screen roles include Zander Barcalow, a pilot and rival of Casper Van Dien’s Johnny Rico, in Paul Verhoeven’s 1997 movie “Starship Troopers.”

Born September 27, 1968, in San Pedro, Muldoon’s early passions included football. He started playing at the age of 6 and would go on to play at Loyola High School and then at USC.

“I did fairly well for being a smaller tight end,” Muldoon told The Times in 2012, adding that getting run over during practice by USC teammate Junior Seau — the late linebacker who had a 20-year NFL career — was among the factors that led him to pursue acting instead. Muldoon began his acting career during the sport’s offseason, and his earliest roles were on shows such as “Who’s the Boss?” and “Saved by the Bell.”

In addition to acting, Muldoon was a producer with credits on films such as “Riff Raff” (2024), “Marlowe” (2022), “The Card Counter” (2021) and “The Comeback Trail” (2020). Most recently, he shared on Instagram his excitement of being among the executive producers for the upcoming film “Kockroach.”

An ITV newsreader has shared a rare insight into why he needed to take some time off.

An ITV News journalist has opened up about taking three months off work after suffering a “breakdown”.

Newsreader Tom Bradby took the break from work back in 2018, and now he is speaking candidly about that time.

He opened up about it to Radio Times as he discussed new ITV thriller Secret Service, which was adapted from his book and stars Gemma Arterton as MI6 officer Kate Henderson.

Tom said he wrote that particular novel faster than any of his other books, saying that when he reflects on the speed it “poured out” of him “it seems obvious that Kate – as a result of all the pressure heaped upon her – is skating on the edge of acute insomnia and some kind of breakdown”.

“And shortly after I finished it, this is exactly what happened to me,” he said. “I took three months off, rebooted and recovered.

“But when I read the book now, I do wonder at the way the character was a direct reflection of my own psychological state of mind.”

Tom has previously been open about his time off, revealing it happened after he developed insomnia, which resulted in what he said was an “addiction” to a sleeping pill.

Secret Service, which also stars Rafe Spall, was adapted from Tom’s best-selling novel and ITV has promised viewers “high-stakes drama” and “political intrigue”.

The five-part series explores the world of espionage against the backdrop of escalating tensions between the UK and Russia.

A synopsis for the show said: “The drama follows senior MI6 officer Kate Henderson (Gemma). On the surface, her life appears ordinary – a civil servant married to Stuart (Rafe) with two teenage children.

“However, to those who don’t know her well, Kate’s true role is heading the Russia Desk at the Secret Intelligence Service.

“When her undercover operations reveal alarming evidence that a high-ranking UK politician may be a Russian asset, Kate finds herself in a desperate race to uncover their identity.”

It continues: “As a brutal murder thrusts her team into the spotlight, Kate must navigate the dangerous world of espionage while trying to hold her family together and protect her reputation.”

Secret Service will launch on Monday April 27 at 9pm on ITV1 and ITVX.

Gregg Wallace, who was sacked from Masterchef last year following an investigation into 83 historical allegations of workplace misconduct, has confirmed his “new chapter”

Former Masterchef host Gregg Wallace is leaving the UK for Italy after being forced to sell his “enormous” £1million home.

The TV chef, 61, was axed from the popular BBC programme last year after he was accused of “inappropriate behaviour”, including allegations of touching an assistant’s bum on the show. An investigation into 83 historical allegations of workplace misconduct, with 45 accusations against him subsequently upheld.

Reports emerged in October Gregg was claiming up to £10,000 in damages from the BBC and one of its subsidiaries following his axe from MasterChef. The TV presenter claimed they allegedly caused him “distress and harassment” by failing to disclose to him his personal data.

But now the presenter has confirmed his “new chapter”, telling his Instagram following he will leave the UK for Italy by the end of the month. Gregg added he will homeschool his autistic son there.

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Gregg’s wife, Anne-Marie Sterpini, whom he met on Twitter, is Italian. They tied the knot in 2016, four years after Gregg’s divorce to his third wife Heidi Brown.

Speaking in his social media video, Gregg said: “I’ve always loved Italy and we plan to move around and rent in different places which is quite an adventure and with the help of my autism specialist mates, I am going to homeschool Sid as well. It is a new chapter for us. It is a life that should be full of travel and adventure and I’m very very much looking forward too it.”

But the entrepreneur, who also hosted Saturday Kitchen, is also planning to buy a “much more modest”house in Yorkshire — close to where his daughter lives. He will then divide his time between Italy and Yorkshire, it is thought.

It comes after Gregg revealed earlier this month that he is selling his £1million Kent home after being left “unable to live the life he used to have”. The chef has not had a TV job since the BBC sacked him from Masterchef, a role he had held for nearly two decades.

The ex BBC star plans to sell the “enormous” home which sits on five acres of land along with its stables and pond. Gregg, who bought the home back in 2017, said he was making the move not only for a slower pace of life but also to ensure financial security for Anne-Marie, 38, and son Sid, six.

He said: “I can’t have the life I used to have but whether you chose to believe it or not, I really wanted to come out of that anyway, but obviously not in the dramatic way that I did.

“I want to ease off a little bit, I want to relax a little bit. but that also comes with wanting financial security for me and my family because I’ve got a wife that is much younger than me and a special needs little boy, Sid.”

Eddie Murphy is celebrating not just his lifetime achievement award, but also the arrival of his third granddaughter, perhaps the funniest baby alive.

Murphy’s son Eric and Martin Lawrence’s daughter Jasmin have welcomed their first child together, baby Ari Skye.

On Saturday, Murphy was honored with the 51st AFI Life Achievement Award at a gala in Hollywood and told reporters that he had recently celebrated back-to-back milestones.

“I just had my first grandson two months ago, and I had my third granddaughter two weeks ago. And I turned 65 a month ago,” he told “Entertainment Tonight” ahead of the gala. “It’s raining blessings on me.”

The ceremony celebrated his storied career across comedy and film, and featured tributes from fellow funnyman Dave Chappelle and “Shrek” co-star Mike Myers. The special will premiere May 31 on Netflix.

The “Dr. Dolittle” star also gushed about his new grandbaby to E! News, and told the outlet that being honored for his work was “a wonderful thing” but that his legacy wasn’t his work.

“My legacy to me is my children,” he said.

Asked whether he or Lawrence offered their kids any parenting advice as they prepared to welcome Ari Skye, Murphy said he’s more of a lead-by-example kind of dad.

“You don’t give advice like that,” he told the outlet. “Your kids don’t go by your advice. Your kids go by the example you set. They watch you. Stuff you be saying, they don’t even pay that no mind. They watch and see what you do.”

In March, Jasmin and Eric posted photos from their lavish baby shower on social media. The shindig included a three-tiered pink cake, pink cocktails garnished with meringue that looked like clouds and balloons galore. “The most beautiful and special celebration for our baby girl,” the couple captioned the post. “Thank you to our parents and everyone that made this day so magical! Ari Skye Murphy, you are SO loved already!!”

Excitement around Ari Skye’s arrival had been brewing in the media long before the couple even announced they were expecting. Murphy joked about a potential grandbaby when Jasmin and Eric were dating back in 2024, during an interview with Gayle King.

“They’re both beautiful,” he said. “They look amazing together. And it’s funny — everybody’s like, ‘That baby gonna be funny!’ Like our gene pool is just going to make this funny baby.”

Murphy agreed, saying: “If they ever get married and have a child, I’m expecting the child to be funny.”

MADONNA has been left heartbroken as she revealed that someone has “stolen” her vintage clothes after performing at Coachella.

The 67-year-old music legend teamed up with Espresso singer Sabrina for a show-stopping finale – dressed-to-impress in purple lingerie.

Two decades after her own epic headlining slot at the Californian festival, the queen of pop turned heads in a flesh-flashing frilly outfit.

Wearing a purple corset with matching lilac gloves, purple stockings and knee-high stiletto boots, the comeback queen accessorised with tinted shades and her long blonde hair down in waves.

She joined a lingerie-clad Sabrina, 26, who wowed in a white lace sparkly bodice and heels during her headline set at Coachella.

But now pop icon Madonna has been left with a sour taste in her mouth after precious pieces from her wardrobe went missing following the set.

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Madonna strips down to lingerie for duo with Sabrina Carpenter at Coachella

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She shared on Instagram today: “Still flying high since Friday night at Coachella!

“Thank you to Sabrina and everyone who made it possible.

“Bringing Confessions II back to where it began was such a thrill.

“This full circle moment hit different until I discovered that the vintage pieces that I wore went missing – my costume that was pulled from my personal archives – jacket, corset, dress and all other garment.”

The musician stressed how irreplaceable these items are and issued an appeal for them to be returned.

Madonna continued: “These aren’t just clothes, they are part of my history.

“Other archival items from the same era went missing as well.

“I’m hoping and praying that some kind soul will find these items and reach out to my team.

“I’m offering a reward for their safe return. Thank you will all my heart.”

Over the weekend, Madonna and Sabrina delighted the crowds with classic hits including Vogue, Like A Prayer and I Feel So Free from Madonna’s new album.

Sabrina had been mid-performance when an instrumental tease of Madonna‘s 1990 hit song Vogue weaved in.

Madonna told the cheering audience: “Wow, thank you.

“Sabrina, thank you so much for inviting me on your show.”

Holding hands, she replied: “No thanks needed, Madonna.”

“Well, I have a few things I want to get off my chest. So, 20 years ago today I performed at Coachella,” admitted the Ray of Light singer.

“I was in the dance tent and it was the first time I performed Confessions On The Dance Floor part one in America.

“It’s a full circle moment, you know? Very meaningful for me.” 

She urged: “Let’s try to be together. Let’s try to avoid disagreements.

“And to that point, the great thing about music is that it brings people together. 

“It’s the one place that people have to put their differences aside, put their s**t down and just everybody have a good time together, right?

“So I am thrilled to be a part of that healing experience…”

The Vogue singer confirmed this week that she will release her first record in seven years this July — a sequel to her 2005 smash Confessions On A Dance Floor.

The original, inspired by disco and Eighties electropop, shifted more than 10million copies.

It featured No1 singles Hung Up and Sorry, and ushered in a new era of dance music.

In 2024, Sabrina paid ­tribute to Madge by attending the MTV VMAs in a vintage strapless gown previously worn to the Oscars by her musical hero in 1991.

Sabrina said of Madonna last year: “She’s so lovely and exactly how you expect her to be — just, like, so magnetic.”