show biz

VICTORIA Beckham’s daughter Harper is set to follow in her footsteps and become a beauty entrepreneur.

It comes after the fashion designer, 51, hinted that 14-year-old Harper could become the next Kylie Jenner.

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Earlier this month the HIKU BY Harper, the proposed name for the skincare and beauty brand, was filed under two trademark applications by the business Victoria incorporated for Harper, H7B Limited, matching the teenager’s full name, Harper Seven Beckham.

A source said: “Harper loves fashion and make-up and has already started doing make-up tutorials. 

“The plan is to create a brand aimed at the younger market, taking inspiration for pop culture and Korean beauty.

“The Beckhams are incredibly encouraging parents when it comes to their kids’ talents and exploring their hobbies and business ideas.  They’re a very entrepreneurial family.”

Harper has been increasingly popping up on mum Victoria’s Instagram feed and even set up her own account earlier this year.

Victoria said: “Harper is going to be one of two things. She’s either going to be a beauty mogul or she’s going to be a stand-up. She is hilarious.”

Last year Harper, who has been stepping out in custom-made dresses by her mother’s VB label, spoke publicly for the first time to present Victoria with a prestigious award for entrepreneurship, on behalf of Harper’s Bazaar magazine at its annual Women of the Year event.

She said: “I’m so nervous. Especially as tonight’s a school night. Hopefully this isn’t going to get me in trouble.

“My amazing mummy has built an incredible business from the ground up and has shown me the value of working hard.

“But above all, she’s taught me to always be kind and, even though she has a million things to do, she rarely misses school.”

Harper is still being made to do her homework in addition to her online make-up tutorials alongside her mum.

Victoria chooses to lead by example, instilling a work ethic into each of her four children.

While eldest son Brooklyn, 26, is forging a career with his own hot sauce company Stateside, former footballer Romeo is successfully modelling.

She told The Sun: “I mean, I feel sorry for these kids that are considered nepo-babies.

“The kids are simply the kids of their parents.

“It’s not their fault. Give them a chance.

“What matters is that people are good and kind.

“It is fine to be ambitious, but it is more important to be kind.”

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The cantina on Tatooine in the first “Star Wars” film. A Greek taverna on a layover in Miami. A mermaid’s womb. Every friend I take to, or even ask about, Cento Raw Bar and its fantastical design has a knee-jerk one-liner at the ready.

The wildest new bar in Los Angeles

Walk into the West Adams space adjoined by an awning to Cento Pasta Bar — both conceived by chef Avner Levi — and the first sight of the curving walls will spin anyone’s mind. They look plastered with a mixture of stucco and meringue, smeared like a frosted cake in progress, that’s meant to evoke the shimmer and shifting light of a Mediterranean cave. A three-sided seafoam-green bar anchors the room, girded by tall white chairs with metal backs patterned in a snail’s spiral. Details fill every corner: rounded, sculptural pillars and pedestals; a blue-tile floor mosaic resembling a pond; pendant sconces in shapes that remind me of the “energy dome” hats worn by the band Devo in the 1980s.

A mosaic moment in the dining room of Cento Raw Bar.

(Bill Addison / Los Angeles Times)

The effect leans more toward trippy than transportive. As one stop during a night out for a drink and a stopgap plate of seafood or two, I’m into it.

Idiosyncrasy is welcome right now

Maybe in another era I would gawk once and move on. But in times like Los Angeles is living through, in a half-decade that has begat one trial and horror after another, the operators of new restaurants, particularly those in the highest-rent districts, tend to default to conservative choices. Menus full of comforts familiar to whatever cuisine is being served. Atmospheres easily described as “pleasant.” The decisions are so understandable, and given a particular neighborhood or desired audience perhaps it pays off economically. Familiarity is a priority to many diners. Hospitality workers deserve stable incomes.

Culturally, though? The restaurant pros who can’t stomach the status quo, who go regionally specific or deeply personal or brazenly imaginative, are the forces who inspire cities toward creative rebellion. Thinking about this, I found an article from 2011 by former Times critic S. Irene Virbila about the year’s restaurant openings. The nation was burrowing out of the Great Recession at the time, but the roster of emerging talents mentioned by Virbila would wind up shaping the 2010s as the decade that landed Los Angeles on the global culinary map: names like Bryant Ng, Josef Centeno, Nyesha Arrington, Michael Voltaggio, Steve Samson and Zach Pollack.

She also pointed out Ludo Lefebvre, who in 2011 was still in pop-up mode before launching his defining restaurants Trois Mec (felled by the pandemic) and Petit Trois. Maybe it’s a sign that this week Lefebvre came full-circle with a new occasional pop-up series he’s calling Éphémère.

Point is, we could use more extreme individualism in restaurants right now. I appreciate the obsessiveness from designer Brandon Miradi, who has the title of “creative director” at Cento Raw Bar and who counts Vespertine, Somni, the Bazaar at SLS Beverly Hills and Frieze Art Fair as previous projects. Note the spiraling ends of the silverware, matching the chairs, and the ways napkins too are rolled into a tight coil. He managed to find colored glassware in geometries that register at once as retro and postmodern.

Cento Raw Bar, the sibling cocktail and seafood bar to chef Avner Levi’s pasta restaurant, features an all-white interior.

(Stephanie Breijo / Los Angeles Times)

Maybe no surprise, but the TikTok-magnetic vibes keep the bar full of young, beautiful groups — Angelenos or visitors modeling their best L.A. looks, who can say. In June, about a month after the place opened, a friend and I were sitting at one of the low tables and she pointed over to the bar: The women seated in the high stools all came in wearing stilettos that were now dangling half off their feet. Panning this shoe moment could have been a montage sequence during a Carrie Bradshaw voiceover in an early season of “Sex and the City.”

What to eat and drink

Perhaps to fully center or to balance Miradi’s visual extravaganza, the food and drink options are quite straightforward. A few cocktails do wink right into the camera, among them a play on a Screwdriver made with SunnyD (which the menu calls “Sunny Delight,” the branding name I also remember from my Gen-X childhood). Most are mainstays: a classic escapist piña colada, a spicy margarita, an Aperol situation spiked with mezcal. The bartenders listen kindly when I request they stir my dry gin martini well.

A martini at the bar of Cento Raw Bar.

(Bill Addison / Los Angeles Times)

Seafood towers, served on undulating green-glass plates designed by Miradi, are stylish and modest in size and arrive as two levels for $83 or three levels for $97.

A buddy and I recently split the smaller one, neatly polishing off a handful of tiny, briny oysters along with scallops served in their shells, some bouncy shrimp and a couple meaty lobster claws. We had shown up to Pizzeria Sei without a reservation — because scoring one at a prime hour is maddening, and so I take my chances as a walk-in — and were told the wait was an hour and 15 minutes. Cento Raw Bar was a 12-minute drive away, ideal for one round of drinks and pre-dinner shellfish.

On another occasion, I might skip the pricey tower and order a plate of hamachi crudo (dotted with stone fruit during the summer season) and a dip of smoked cod with bagel chips. I’ve found more substantial plates, such as ridged mafaldine tangled in lobster sauce, in need of spice and acid.

Fish dip topped with trout roe at Cento Raw Bar in West Adams.

(Stephanie Breijo / Los Angeles Times)

Desserts riffing on a Hostess cake or an ube cheesecake spangled with prismatic bits of flavored gelatins? Fun, but I’ve had my share of outlandish décor and cocktail nibbles — exactly what I came for.

4919 W. Adams Blvd., Los Angeles, (323) 795-0330, cento.group

Also …

• Food editor Daniel Hernandez writes about Mexico City, the food lovers flocking to its energized restaurant scene … and the digital nomads who are also settling in, pricing out locals in some areas. As tensions boil, he asks, is it possible to still visit and be a mindful tourist?
• Daniel, a former longtime resident of Mexico City, also names 34 of the city’s best restaurants and bars that aren’t tourist traps.
• Speaking of Bryant Ng mentioned above, Jenn Harris checks out his new project, Jade Rabbit, a new fast-casual restaurant in Santa Monica where Ng re-imagines Chinese American food.
• Stephanie Breijo reports from West Hollywood on Darling, the new restaurant from legendary Southern chef Sean Brock, who is determined not to lean on his heritage in California. “In order to fully understand the taste of this place [L.A.], and that’s my goal, I can’t cook Southern,” Brock shares.
• Farewell, lunchroom pepperoni pizza? Daniel Miller lays out the details of the new state law aimed to ban some ultraprocessed foods from school meals.

A former Strictly Come Dancing professional has revealed they wanted to return to the BBC One show after leaving in 2012 and being a part of the show for seven series.

Former Strictly Come Dancing professional Vincent Simone has revealed he wanted to return to the BBC One show but “it didn’t work out”. The dancer joined the show in 2006 for the fourth series and did seven series before leaving it behind in 2012.

Now he’s opened up about his exit as he said: “The year I left Strictly Come Dancing, there were going to be big changes.

“Bruce Forsyth was leaving, and the show was moving from Shepherd’s Bush where we were there for seven years, and we were moving to Elstree Studios, which was a big change. It got to a point where I got to the final, and although I didn’t win, I was fully satisfied with how I’d done in the show.”

However, Vincent only intended on taking a short break from the show but he got to busy doing his other work that it didn’t end up materialising.

READ MORE: Dianne Buswell hits back at claims Stefan Dennis’ illness is ‘a cover up’ for pregnancy strugglesREAD MORE: BBC Strictly Come Dancing fans fuming for George Clarke over show decision

He continued to Daily Star: “Ideally, what I wanted was to take a year or two out of the show, and then to come back, but we all know that’s rare.

“If I could’ve had that chance to leave Strictly for a few years and then come back, that would’ve been ideal. I would’ve gone back, but those years after Strictly, I was fully committed to West End shows and my own shows.

“Then I went onto I’m A Celebrity, which I wouldn’t have been able to do if I was on Strictly. My career in touring and performing has made me feel very blessed.”

During his first series, Vincent was partnered with EastEnders actress Louisa Lytton and the pair made it all the way to the final four and were eliminated two weeks before the final.

The following year, the dancer was paired with actress Stephanie Beacham with the two being eliminated on week two but in 2008 he made a triumphant return when he came second with S Club 7 singer Rachel Stevens.

His next partner was EastEnders actress Natalie Cassidy, who he came fifth with, followed by his partnership with Felicity Kendal resulting in them being voted off in week seven.

In 2011, it was disappointment all around as he and Conservative party politician Edwina Currie were the first pair to be eliminated from the competition.

In Vincent’s final year, the performer and his partner, Tracy Beaker star Dani Harmer got eliminated a week before the final, ending their run in fourth place.

After quitting the show, he and dance partner Flavia Cacace continued to perform with stage shows and live tours.

In 2013, he took part on the thirteenth series of I’m A Celebrity, arriving as a late entrant to camp with actress Annabel Giles.

He finished in tenth place, being the third celebrity to leave in a double elimination with Matthew Wright.

The current series of the BBC One show is airing at the moment, with celebrities including Vicky Pattison, Alex Kingston, Amber Davies and Chris Robshaw attempting to lift the glitterball trophy.

The Apprentice star Thomas Skinner and his partner Amy Dowden became the first pair to leave the competition after landing in the bottom two with Chris and Nadiya Bychkova.

In his exit interview with Tess Daly, he said: “Thank you, Amy – sorry that we haven’t done too good, ’cause you’re a different class.

“I’ve never danced before and my stay was short, but Amy’s amazing. It’s been great fun and I’ve enjoyed it. I can’t really dance that well but I’ve had fun!”

Strictly Come Dancing continues tonight at 6:05pm on BBC One and BBC iPlayer.

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A year after tech firm OpenAI roiled Hollywood with the release of its Sora AI video tool, Chief Executive Sam Altman was back — with a potentially groundbreaking update.

Unlike the generic images Sora could initially create, the new program allows users to upload videos of real people and put them into AI-generated environments, complete with sound effects and dialogue.

In one video, a synthetic Michael Jackson takes a selfie video with an image of “Breaking Bad” star Bryan Cranston. In another, a likeness of SpongeBob SquarePants speaks out from behind the White House’s Oval Office desk.

“Excited to launch Sora 2!” Altman wrote on social media platform X on Sept. 30. “Video models have come a long way; this is a tremendous research achievement.”

But the enthusiasm wasn’t shared in Hollywood, where the new AI tools have created a swift backlash. At the core of the dispute is who controls the copyrighted images and likenesses of actors and licensed characters — and how much they should be compensated for their use in AI models.

The Motion Picture Assn. trade group didn’t mince words.

“OpenAI needs to take immediate and decisive action to address this issue,” Chairman Charles Rivkin said in a statement Monday. “Well-established copyright law safeguards the rights of creators and applies here.”

By the end of the week, multiple agencies and unions, including SAG-AFTRA, chimed in with similar statements, marking a rare moment of consensus in Hollywood and putting OpenAI on the defensive.

“We’re engaging directly with studios and rightsholders, listening to feedback, and learning from how people are using Sora 2,” Varun Shetty, OpenAI’s vice president of media partnerships, said in a statement. “Many are creating original videos and excited about interacting with their favorite characters, which we see as an opportunity for rightsholders to connect with fans and share in that creativity.”

For now, the skirmish between well-capitalized OpenAI and the major Hollywood studios and agencies appears to be only just the beginning of a bruising legal fight that could shape the future of AI use in the entertainment business.

“The question is less about if the studios will try to assert themselves, but when and how,” said Anthony Glukhov, senior associate at law firm Ramo, of the clash between Silicon Valley and Hollywood over AI. “They can posture all they want; but at the end of the day, there’s going to be two titans battling it out.”

Before it became the focus of ire in the creative community, OpenAI quietly tried to make inroads into the film and TV business.

The company’s executives went on a charm offensive last year. They reached out to key players in the entertainment industry — including Walt Disney Co. — about potential areas for collaboration and trying to assuage concerns about its technology.

This year, the San Francisco-based AI startup took a more assertive approach.

Before unveiling Sora 2 to the general public, OpenAI executives had conversations with some studios and talent agencies, putting them on notice that they need to explicitly declare which pieces of intellectual property — including licensed characters — were being opted-out of having their likeness depicted on the AI platform, according to two sources familiar with the matter who were not authorized to comment. Actors would be included in Sora 2 unless they opted out, the people said.

OpenAI disputes the claim and says that it was always the company’s intent to give actors and other public figures control over how their likeness is used.

The response was immediate.

Beverly Hills talent agency WME, which represents stars such as Michael B. Jordan and Oprah Winfrey, told OpenAI its actions were unacceptable, and that all of its clients would be opting out.

Creative Artists Agency and United Talent Agency also argued that their clients had the right to control and be compensated for their likenesses.

Studios, including Warner Bros., echoed the point.

“Decades of enforceable copyright law establishes that content owners do not need to ‘opt out’ to prevent infringing uses of their protected IP,” Warner Bros. Discovery said in a statement. “As technology progresses and platforms advance, the traditional principles of copyright protection do not change.”

Unions, including SAG-AFTRA — whose members were already alarmed over the recent appearance of a fake, AI-generated composite named Tilly Norwood — also expressed alarm.

“OpenAI’s decision to honor copyright only through an ‘opt-out’ model threatens the economic foundation of our entire industry and underscores the stakes in the litigation currently working through the courts,” newly elected President Sean Astin and National Executive Director Duncan Crabtree-Ireland said in a statement.

The dispute underscores a clash of two very different cultures. On one side is the brash, Silicon Valley “move fast and break things” ethos, where asking for forgiveness is seen as preferable to asking for permission. On the other is Hollywood’s eternal wariness over the effect of new technology, and its desire to retain control over increasingly valuable intellectual property rights.

“The difficulty, as we’ve seen, is balancing the capabilities with the prior rights owned by other people,” said Rob Rosenberg, a partner with law firm Moses and Singer LLP and a former Showtime Networks general counsel. “That’s what was driving the entire entertainment industry bonkers.”

Amid the outcry, Sam Altman posted on his blog days after the Sora 2 launch that the company would be giving more granular controls to rights holders and is working on a way to compensate them for video generation.

OpenAI said it has guardrails to block the generation of well-known characters and a team of reviewers who are taking down material that doesn’t follow its updated policy. Rights holders can also request removal of content.

The strong pushback from the creative community could be a strategy to force OpenAI into entering licensing agreements for the content they need, legal experts said.

Existing law is clear — a copyright holder has full control over their copyrighted material, said Ray Seilie, entertainment litigator at law firm Kinsella Holley Iser Kump Steinsapir.

“It’s not your job to go around and tell other people to stop using it,” he said. “If they use it, they use it at their own risk.”

Disney, Universal and Warner Bros. Discovery have previously sued AI firms MiniMax and Midjourney, accusing them of copyright infringement.

One challenge is figuring out a way that fairly compensates talent and rights holders. Several people who work within the entertainment industry ecosystem said they don’t believe a flat fee works.

“Bring monetization that is not a one size fits all,” said Dan Neely, chief executive of Chicago-based Vermillio, which works with Hollywood talent and studios and protects how their likenesses and characters are used in AI. “That’s what will move the needle for talent and studios.”

Visiting journalist Nilesh Christopher contributed to this report.

There is one very strict rule for would-be homebuyers applying to take part in the long-running Channel 4 show, producer Siobhan O’Gorman has revealed

Siobhan O’Gorman, the TV producer who leads the A Place In The Sun team, has lifted the lid on how the hit Channel 4 show picks would-be house buyers to appear on the series.

She points out that some things have changed a lot since A Place In The Sun first aired 25 years ago: “The first-ever episode 25 years ago featured a couple looking for a holiday home in the French Pyrenees with a budget of £40,000,’ she told the Daily Mail. “That wasn’t a bad budget then, but today you wouldn’t get much for that.”

But other aspects are still very much the same, Siobhan adds: “We need to be sure every applicant is in a position to put in a genuine offer,” she says. “We have great relationships with estate agents all over Europe and beyond, so it’s important to maintain that.”

While something like two-thirds of applicants are hoping for a new home in Spain, many others get in touch with dreams of finding properties in Cyprus, Portugal and Greece.

“But we’re also seeing increased interest in countries such as Croatia, Turkey and Dubai,” Siobhan says.

Wherever they want to end up, applicants start by filling in a 12-page application form. Then Siobhan and the team go through every one, to identify house-hunters who are looking for properties in the areas that align with countries that the show is planning to visit in the coming season.

The next stage is an on-camera interview to assess whether the applicants will make for good TV, and whether their aspirations are realistic.

Competition is intense, Siobhan says: “‘It’s fair to say we have at least ten applications for every show and it’s 20 for some of the more popular resorts.”

Siobhan adds: “We like to reflect a variety of budgets and areas in each country, though, so we wouldn’t do six shows with the same budget and the same wish list in Mijas Costa in Spain, but we may do two shows there with differing budgets.”

All of this behind-the-scenes work helps A Place In The Sun look smooth and well-organised on screen. However, presenter Laura Hamilton, who has been with the show since 2012, describes one incident that she playfully christened “Mudgate” where anything that could go wrong, did go wrong.

As the team were trying to help a would-be expat find a retirement home in Abruzzo, Italy, a massive downpour caused mayhem.

The team were in multiple vehicles for social distancing reasons, and one by one, each one of them become mired down in slippery mud.

“We were there for three hours and had to have tractors pull us out,” Laura recalled. “I’m known for wearing high heels on the show because I’m quite short. I remember having these ridiculously high heels on and they got caked in mud.

“House hunter Sue was “mortified,” Laura recalled, blaming herself for choosing a remote rural location that didn’t even have proper tarmac roads. house. Laura tried to reassure Sue, telling her “It’s not your fault – and I always say you’ve got to love a house come rain or shine,” to which the embarrassed homebuyer replied: “Well, I definitely don’t love this one!”

A MAJOR supermarket chain is set to close one of its branches soon, with another 34 also on the way out.

The food store announced the “difficult decision” it has made to close the store next month.

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Co-op in Leicestershire’s Derby Road in Ashby-de-la-Zouch will permanently close its doors on Saturday, November 22.

A statement from a Co-op spokesperson read: ” ‘Our store in Ashby-de-la-Zouch will close next month.

“Our priority is to fully support colleagues, who have been informed.

“We would like to thank the community for its support of this store.”

The supermarket giant has come under some fire for some time now for having two of its stores in close proximity with the Ashby Town Centre.

This came after the Central Co-op moved from the top of Market Street to near the existing Co-op.

The spokesperson added: “We carry-out reviews of our existing store locations, and, sometimes, only after very careful consideration, we take the difficult decision to close a store.”

The Central Co-op will remain open, with the next nearest one approximately three miles away in Moira, Swadlincote, Derbyshire.

It comes as the supermarket could shutter another 34 of its stores due to financial struggles.

The Sun previously reported that stores in Braintree, Chelmsford, Basildon, Thurrock and Southend are among other locations that are at risk.

Chelmsford Star Co-op said it is “struggling financially” and needs to merge with the larger Central Co-op society.

Issues are also said to have been “exacerbated” by increases in National Insurance contributions and the living wage.

Late last year, Co-op announced plans for a “portfolio reshape” which included relocation of stores.

The Co-operative has over 7,000 registered branches owned by 17 million members, and is reported to contribute around £35 billion annually to the British economy.

Co-op as an organisation organisation has, like most companies, been hit by the cost of living.

In December last year it was announced 19 Co-operative stores would be shut down across the UK due to “financial sustainability issues”.

The locations, based in various areas around Central England, include Leicestershire, Yorkshire, Norfolk and the West Midlands.

B&M bought three of the 19 stores, while Samy Ltd, a convenience retailer, snapped up 16.

OTHER CO-OP NEWS

This comes as Co-op is rolling out a major change to stores across the country.

The supermarket giant is replacing paper product tags with electronic labels throughout its whole estate over the coming months.

The retailer has already made the change in 340 branches but will roll out the tags more widely.

The chain said 1,500 stores will have the labels by the end of the year and will be rolled out across all its nearly 2,400 by the end of 2026.

The electronic labels are designed and created by VusionGroup, which also works with Asda.

Steven Logue, Co-op’s head of operations, said: “With convenience at the heart of everything we do Co-op is committed to continually exploring innovative technology that can improve how we operate.”

Co-op said the new electronic labels will show allergen and nutritional information and products’ country of origin, as well as deals and savings.

Watching comedians perform under the thumb of a government that is actively attacking swaths of its population is nothing new for Angelo Colina.

The 31-year-old joke teller was born and raised in the Venezuelan city of Maracaibo as the South American country faced continuous political turmoil under the prolonged presidencies of Hugo Chavez and Nicolás Maduro, among other economic, humanitarian and democratic challenges — such as hyperinflation, increased rates of starvation and decreased access to adequate healthcare services.

Colina — who carved a lane in the Americas as a Spanish-language comedian and has garnered millions of views across social media due to his whip-smart jokes and playful crowd work — left his home country at 21 and began pursuing a comedy career after moving to the neighboring Colombia.

It was the audacity of Venezuelan acts — like Nacho Redondo, Led Varela, Erika de la Vega and Luis Chataing, who spoke out against oppressive government rule — that inspired Colina and informed his worldview.

“As someone who grew up watching [them] perform and doing jokes about the government in Venezuela while they still could, that was my example,” Colina told The Times. “They really fought censorship as long as they could.”

As a self-described “double immigrant,” first to Colombia and subsequently Salt Lake City, the New York-based comedian said he felt as though he’s already lived four lives — all of which have helped shape his comic eye and sharpened his observational skills.

The current political climate, the continued artistic acceptance of Latino art in the U.S. and the ongoing Immigration and Customs Enforcement raids throughout the country were at the top of mind as Colina spoke with The Times ahead of his Oct. 11 performance at the Hollywood Improv.

This interview has been edited and shortened for clarity.

What has it been like doing comedy shows for a Spanish-speaking crowd in the time of ICE raids?

I start my shows by saying, “We’re doing comedy. You guys are not noticing, but we’re doing comedy in Spanish. In the United States in 2025. This is the closest to punk that we’ve ever been.” And people start laughing about it, because [federal officials] backed up by the law to say that if you speak Spanish, then they can ask about your current immigration status. And it’s like, all right, let’s speak Spanish. We’re not doing anything wrong. We’re just celebrating our culture in every show we do.

Do you like the idea of being a little punk?

I think it just became that; it was more organic. I wasn’t thinking that I’m part of a larger movement that started by other people of doing comedy in Spanish, which has always been and it’s certainly been a cool thing to me, but now it’s counterculture for sure. But I don’t need to invite people to my show because it’s counterculture, that’s not the reason why I want to sell. People have been freely celebrating being Latino for years already and I don’t think there’s any way to stop it, honestly.

Have you felt a change in your audience at all in recent months?

Unfortunately, I have. I do, however, have to give a shout-out to all the non-Latinos coming to the shows. They are coming because they want to see a form of Latinidad in its own rhythm and they are in love with our culture and they come and they support it.

I see the hesitance to come to shows a lot more with people that used to come with their parents. A lot of people born in the States, but with immigrants parents, used to come to my shows. My shows have always been a place where people finally can do something with their parents. Normally, they don’t find a lot of activities where they can share something like that. So their parents are now the ones that are faster on the joke and they are the ones that are catching up. It’s always been part of my whole demographic.

That’s the shift I’ve been seeing. A lot of people have reached out to me and said, “I would love to go to your show, but I don’t think it’s a good idea right now.” I got a lot of Venezuelans coming to my shows and saying, “This is the last show I’m going to in the States. I’m leaving next week. I got a deportation letter.” I got screenshots of it and they’re saying they’ll see me in Colombia or Argentina. It’s been pretty emotional. Honestly, this might be the first time I actually get emotional talking about it, but it’s hurt a bit.

It must be nice for the audience to have that time at your show to be who they are, but are you addressing the craziness of everything in your act?

I’m not pretending that’s not happening out there. Comedy gave me the opportunity to become a resident in the United States. I got my visa because of the people coming to my shows. It would be disgraceful for me not to talk about what’s happening or not to at least try to be of help, even if it’s by making people laugh.

Has it been difficult navigating the U.S. comedy scene as a fully Spanish act?

I would say dealing with the industry can be tougher sometimes because of the lack of awareness of how powerful Latino crowds can be. Luckily, it’s changing a bit because of musicians like Bad Bunny and Karol. Everything artists like them have done has made people organizing shows say, “Hmm, let’s see. Maybe I won’t give the Spanish act a Tuesday night slot. Let me try them on a Thursday or Friday night or a Sunday.” And then they see the room packed and people spending money, just having a great time.

I complained a lot about the industry last year and now I’m in a phase where I just want to do this for my people for as long as I can. I’m just enjoying being able to perform.

How has it been seeing Latinos in the U.S. further embrace Spanish-language content?

It’s not only Latinos; people from all backgrounds are interested in our culture. In L.A., a lot of Latinos that were born here didn’t have the chance to learn Spanish or practice it as much, but they love the culture. You also see a lot of people that are non-Latino at my show because they’re interested in Spanish.

It’s like music. There’s no merengue in English because there’s no need for merengue in English. If you are a non-Spanish speaker and you like the rhythm, you’re gonna come to the music. And that’s happening at my show and I’m learning how to navigate it. Sometimes I see people making faces and you don’t hear the laugh coming back at you. Then the show ends and everyone’s DMing me and then they’re signing at the very end of the DM because white people love doing that.

Casualty aired a dramatic final episode of its latest boxset recently – but the BBC show’s cast has teased some huge scenes ahead, new arrivals and much more drama

Casualty ended this latest boxset with a dramatic series finale, which saw drama, heartbreak and a tragic death. The BBC show is very popular amongst their fans – and it looks like there’s some huge drama ahead in the coming months.

The BBC drama ended last month with some devastating scenes, as it seemed Ngozi had died after suffering a relapse at the airport as her and her young son plan to travel back to Nigeria. Elsewhere, there was trouble for Iain and Faith, who seemed on the verge of splitting from one another as Iain continues to struggle over his mum’s death.

The Mirror got all the gossip from the cast at the Inside Soap Awards, where the stars dropped some huge hints about what’s coming next and what the future holds for their characters.

Two new arrivals

Olly Rix – who plays Flynn – teased there would be drama ahead, and some new arrivals. “We have two new characters coming into Holby and that’s a big part of the next season,” he said.

“When any new character comes in, everyone has to re-orientate themselves. So you see everybody across the breadth of the NHS dealing with these two people.”

Relationship drama

Anna Chell – who plays Jodie – warned it wouldn’t be plain sailing for some of the couples. She said: “There’s quite a few relationship break-ups and new relationships formed. Some maybe the audience don’t expect.”

Naomi Wakszlak – who plays Indie – also gave us an insight on what we can expect for Indie and Cam (Barney Walsh) after the pair finally found love with one another this series.

“We’re going to see them getting a lot closer, which is really nice. I think at first Indie is a bit more into it than Cam is so we have to pull Cam out of his shell, which is really nice. It’s been a lot of fun, I love Barney so it’s been really great working with him. We don’t really get to go inside that much and be with the doctors and nurses so it’s nice to do a bit inside!” she said.

Past wounds revealed

Last series, we learned that Flynn had suffered a devastating loss of a child. This devastating past trauma is set to continue to be explored over multiple boxsets going forward.

“I think when you join this show, everybody’s so well drawn that when you come in, you’re relentlessly exploring this new character and you have to serve everybody else still,” Olly said.

“So it’s something that you do over quite a dragged out period of time, so each boxset, we’re pulling another thread and there’s space to do it over multiple boxsets.”

Real-life drama

Documenting the real life struggles of the NHS – like the BBC drama did one Christmas about the issues with blood supply – is important to the cast, and raising awareness of conditions that might not be well documented on TV.

Sammy Dobson – who plays Nicole – shared: “Doing the postpartum psychosis storyline, the amount of people that reached out to me who have been in a similar situation who have never ever seen that reflected in TV.

“Casualty finds those stories and connects with people who might not see those things on TV and in other places. I think it’s so important to tell those stories.”

Milo Clarke, who plays Teddy, added: “It’s a privilege to be able to tell these stories. For as long as we’ve known, we’ve all been affected or used the NHS or known someone who works for the NHS. It’s very important to represent that.”

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HAMAS does not believe in peace and still poses a chilling threat to the West, analysts have warned.

The terror group signed up to Trump’s peace plan which says it must disarm, but has not specifically pledged to do so – and experts have taken this as a bad omen.

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A ceasefire officially came into force on Friday – clearing the way for the first phase of Donald Trump’s sweeping peace plan to return the hostages and demilitarise Gaza.

The US announced it would deploy up to 200 troops to Israel to help support peacekeeping efforts in Gaza.

However, signs of trouble are already brewing after a Hamas official rejected the idea of Tony Blair running the strip – one of Trump’s cornerstone measures.

Egyptian-born scholar Dalia Ziada said the much-heralded Gaza ceasefire could prove a deadly illusion.

Ziada, who defied her country’s consensus by backing Israel and was forced to flee after death threats, told The Sun: “Part of me is very happy because finally this brutal war is coming to an end.

“The hostages will be returned. The people in Gaza will be relieved from the horrors of the war.

“Hamas is obviously defeated to the point that they had to finally accept a ceasefire deal.”

But she praised Washington’s muscular return to Middle East power politics: “I am excited to see the United States coming back to the Middle East with its heavy weight and being involved on that level as a partner.”

Ziada’s optimism about a deal stops there, however – warning that the world is underestimating the nature of the enemy.

“This deal is being made with a terrorist organisation, Hamas,” she said.

“Hamas adopts the jihad ideology, violent resistance ideology. They do not believe in peace.”

Even the language, she noted, betrays Hamas’s intent.

“Actually, what they believe in is Hudna. Hudna is truce,” Ziada explained.

“It’s mainly: ‘Let’s take a break so we can rearm, regroup and come back and kill you again’.”

Hussain Abdul-Hussain, an experienced war journalist and researcher, agrees that Hamas will “absolutely not” honour disarmament.

He pointed to their reluctance throughout negotiations to relinquish weapons – and emphasised they have agreed to “freeze their activity and take a break” rather than “give this up for good”.

Abdul-Hussain believes the ceasefire will hold for a while, but not forever.

He ominously warned: “It [fighting] will come back. We just don’t know when.”

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Ziada argues that Hamas only accepted Trump’s ceasefire plan because they ran out of options.

She said: “Actually, it’s the last card in Hamas’ hands. The last card in Hamas’ hands was hostages. And that’s why they did everything they can to avoid giving away this card.

“But now Hamas has no other option but to accept, especially after President Trump’s very clear and very direct threatening to them that in case they do not agree, there will be total obliteration.”

But the deal is being struck with “Hamas leaders in suits” in Doha, not the hardened fighters still embedded in Gaza.

That split could prove explosive.

Ziada warned: “I don’t expect that the militia on the ground will be very cooperative.

“We started to see the first sign of this lack of cooperation from the very confused reports coming out of Hamas.”

‘Heavyweight murderers’ loose on the streets

While the remaining Hamas leaders have decided to make enough of the right noises to satisfy the peace deal conditions, they have had no contact with the prisoners who are to be released from Israeli jails.

As part of the deal, Israel will release 250 life sentence prisoners – who likely harbour a severe grudge against Israel and the West.

Richard Pater, CEO of the Britain Israel Communications and Research Centre (BICOM), said: “250 heavyweight murderers, Palestinian terrorists, are being released,

“They’re not being released back into the West Bank and they’ll never be allowed to enter Israel – but some of them are going to be moved to Gaza.”

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He said it is a major concern that one of the released convicts will become the new Yahya Sinwar – the terrorist mastermind of October 7.

Sinwar was himself released in a similar prisoner exchange.

Pater fears this deal is “kicking the can down the road”, because “there will be the motivation and the ability of these hardened terrorist leaders to potentially rebuild”.

‘Zero trust’

Asked whether she believed Hamas would stick to the deal, Ziada was brutally clear: “There are no guarantees. First of all, I have zero faith or zero trust in Hamas.

“One hundred per cent. I mean, zero, zero trust in Hamas.”

Even with heavyweights like Egypt, Qatar and Turkey leaning on Hamas to comply, she believes this first stage — halting fighting and releasing hostages — will be the easy part.

The rest of Trump’s 20-point peace plan will be far harder.

She said: “This is, by the way, the easiest step because this is mainly about stop the war, release the hostages, exchange prisoners. That’s it.

“The most difficult part is the other 19 points on the plan.”

Pater warned “there are 101 problems that can still occur” throughout stages two and three of the peace plan – when Hamas is supposed to disarm and the IDF eventually withdraw entirely.

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‘They will never disarm’

If anyone imagines Hamas laying down its weapons, Ziada said, they are deluding themselves.

“At this moment Hamas did not say very clearly that they will disarm,” she said.

“They will not disarm under any condition or any pressure. I cannot even picture it like Hamas going and handing their weapons because this means their end.”

Even a temporary pause in violence could serve to revive Hamas’s jihadist ambitions.

“Hamas was drained in the past month to the extent that they started to reach out to the camps of the people displaced inside Gaza and recruit teenagers,” Ziada revealed.

“This will once again revive Hamas appetite to go back to this jihadist struggle.”

And Hamas has already signalled its intent.

Ziada said: “Only days ago in the anniversary of October 7, Hamas and Palestinian Islamic Jihad issued a celebratory statement wherein they said, ‘we will continue our Jihad, we will continue our violent resistance’.”

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The terror within

Ziada’s most chilling warning, however, goes far beyond Gaza.

She said the threat has now metastasised into Western societies themselves.

“People are so focused on Gaza like we are all zooming in into Gaza, but we fail to see the consequences of what the past two years has done to our world,” she said.

“The threat to the UK is coming from inside the UK. The threat to the US security is coming from inside the US.

“The attack on the West will continue — the attack on Western values and Western principles and Western way of life will continue in different forms, either by violence or even through nonviolent means as we see in political arenas.”

Abdul-Hussain reminded us that violent Islamist attacks predate October 7, and similarly warned that threat is not going away.

He said: “This is an issue that the West will have to deal with, with or without peace or ceasefire or whatever arrangement exists between Israel and the Palestinians.

And Pater insisted that the UK needs a programme of deradicalisation just as much as Gaza.

He said: “For example, the UK banning the Muslim Brotherhood movement, proscribing it as a terror organisation, not being afraid to call out Islamic extremism for what it is, will be important steps to deradicalise the population.”

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“Palestine has become the all-encompassing flag and image for this Islamist global movement. But this movement exists.

“It exists in the West and Gaza is just an extension of it.”

A fragile hope

Yet even amid the warnings, Ziada said there is reason to hope.

She said: “The tears I saw in the eyes of the hostages’ families, their excitement that their children and family members will finally be coming back from this hell… it puts a smile on my face.”

For now, she admits, the world will celebrate a pause in the bloodshed.

But her message is clear: Hamas is not finished — and the West ignores that reality at its peril.