show biz

You can’t help rooting for Colleen Hoover heroines, bless their bruised hearts. The bestselling novelist specializes in women who have been kicked around by life. She’s the new name brand of tragic romance, picking up where Nicholas Sparks’ terminal diseases left off.

“Reminders of Him,” directed by Vanessa Caswill, is the third film based on a Hoover book in three years and the first that the author herself has adapted alongside co-screenwriter Lauren Levine. Like the others, its lead suffers heartily before falling in love with a hunk. The previous two, “It Ends With Us” and “Regretting You,” were about, respectively, domestic abuse and adultery. “Reminders” adds more tarnish to the poor dear: She’s an ex-convict who served six years for killing her boyfriend in a DUI.

Finally freed from prison, Kenna (Maika Monroe) has returned to Laramie, Wyo., the hometown of her dead lover, Scotty (Rudy Pankow). From what we see of Scotty in flashbacks, he was a buoyant blond goofball — exactly the kind of guy that the apparently friendless and family-less Kenna would have clung to like a life preserver. But she’s not here to lay flowers at his grave. In a salty touch, the first thing Kenna does is remove his roadside cross, claiming he hated memorial shrines.

But Kenna is desperate to meet their 5-year-old daughter, Diem (Zoe Kosovic), who was born months into her incarceration. The girl’s name comes from carpe diem, as in Kenna’s vow to seize the child she never got to hold, but the script has the restraint not to make a big standing-on-a-desk speech about that. Nevertheless, the kid’s grandparents, Grace and Patrick (Lauren Graham and Bradley Whitford), who never liked Kenna to begin with, consider a restraining order in fear that Kenna might actually kidnap Diem.

The stakes are plain: Can Kenna prove herself worthy to be Diem’s mother? Her only tentative ally is Scotty’s childhood friend, Ledger (Tyriq Withers), who thinks she’s hot and intriguing until he realizes who she is. Then he wants Kenna gone too.

Caswill sets the mood with a shot of a snow-capped mountain range, fitting for a movie that proceeds at a glacial pace. (The book moves faster, with Kenna and Ledger hooking up immediately and then discovering their unfortunate connection.)

The first stretch of the movie is strong, with Kenna, who is too broke for a car or even a phone, hoofing it around town in search of any job willing to hire a broke girl with a criminal record. A grocery store manager sends her away coldly after nattering on in corporate-speak about the importance of treating people with respect — an exchange that feels so real it gives you the shivers — but his beleaguered assistant, Amy (country singer Lainey Wilson in her promising, but brief, film debut), steps in and treats Kenna like a person. “What’s your trauma?” Amy asks her and somehow Wilson delivers that line with a lilt that keeps it from sounding corny.

These female strangers share a moment of such sincere human connection that I would have happily watched a dozen more scenes of the two women leaning on each other while they endure their hard-luck lives. Alas, these nice detours don’t last long; the movie has a preordained higher parental purpose that’s bigger than anything else onscreen, from the Wyoming skies to the bond between Kenna and Ledger that’s the main reason an audience has bothered to come.

Where this is all going is as unavoidable as the fact that Scotty died on what seems to be only road in and out of town. As the title declares, there are traces of him everywhere, including Diem’s giggle.

To get anywhere with the film, you have to settle into the idea that Kenna and Ledger must slowly build trust in each other while spending most of the baggy running time talking about a little girl who is rarely around. (When Kosovic is, she’s charming.) Cinematographer Tim Ives snatches his rare opportunities to shoot the beautiful scenery, but most of the pair’s encounters take place in or near Ledger’s orange pickup truck, a totem from the book. Visually, these car chats get stagnant. At least Monroe and Withers generate decent chemistry, eyes shiny and gleaming as they try their hardest to put gas in this love story’s tank.

Ledger calls Kenna “the saddest girl in the world.” True, but the glumness of said world is central to Hoover’s zeitgeisty appeal — a point she underlines a few beats later, Kenna insisting that the radio only ever plays depressing songs. To prove her wrong, Ledger flips it on anyway and to his dismay, it plays one bummer after another, station after station, until finally, the two of them share a much-needed laugh. (Meanwhile, Tom Howe’s acoustic country score is adamantly winsome, even intercut with Coldplay covers.)

Hoover is a strong world-builder. When she writes about small towns with shuttered bookstores or dive bars with fetid pots of coffee, you feel that she truly knows these places and has made a principled choice to set her hard-earned happy endings there. Caswill gets it, keying into credible, lived-in details, like Kenna’s tiny glance at the price tag on a stuffed animal that she’s considering for Diem.

Monroe’s Kenna couldn’t be farther from the cliché romantic diva, usually a high-heeled glamazon who runs a cupcake boutique. Even her hair really does look like she fixed it in the squalid bathroom of the only apartment she can afford. The complex is called Paradise, an on-the-nose irony. The owner (Jennifer Robertson) cuts Kenna a deal if she promises to take a free kitten. (I never saw Kenna get a litter box, but the kitten’s pretty cute.)

Ledger is the fantasy: a former NFL player whose hobbies include babysitting Diem, wearing tight shirts and building himself a hilltop dream cabin that will someday belong in Architectural Digest. (He owns that dive bar but the cast stays Mormon-sober.) Withers, a former wide receiver at Florida State University, also played a football jock in the gorgeously made but narratively screwy horror film “Him,” and it’s a treat to see an actor who moves like a genuine athlete and has that “Yes, coach” politeness that comes from being humbled in a locker room. You don’t totally buy his character exists in reality, but Withers believes in it enough to get the job done.

Another Paradise tenant, Lady Diana (Monika Myers), a headstrong teenager with Down syndrome, is the closest thing the film has to comic relief. Bursting into Kenna’s quarters seemingly at will, she raids her near-empty fridge while bluntly shouldering much of the exposition. “Why are you so poor?” Lady Diana asks, following that up by wondering, “Why are you so sad?”

“Reminders of Him” could use a little more swooning, a little less of the endless middle stretch of driving and talking, interrupted by wet sprints through thunderstorms. The rain pours down so often that you can’t help but snort when the film cuts to Whitford’s granddad angrily watering his lawn.

Eventually, even the film itself seems over all of the dilly-dallying. It takes a narrative shortcut to wrap things up, leaving behind not much other than a few worthwhile scenes: Kenna and Scotty’s meet-cute at a dollar store, her and Ledger pushing through their morning-after guilt, and a powerful moment shortly after Diem’s birth when a fellow inmate gives her a friendly but stern pep talk that sums up everything this film takes nearly two hours to say.

NEW YORK — What makes life worth living? For hard-core “Harry Potter” fans with money to burn, it might be getting Broadway tickets to interact fleetingly with Daniel Radcliffe in “Every Brilliant Thing,” an ingenious and touching solo performance piece written by Duncan Macmillan with Jonny Donahoe on the subject of suicide — or more precisely, on the ordinary joys that militate against such a drastic step.

Radcliffe was breathlessly scampering up and down the aisles of the Hudson Theatre before the show began, enlisting audience members to be participants in the play. Having seen “Every Brilliant Thing” twice before, once at the Edye (the black box at Santa Monica’s BroadStage) starring Donahoe in 2017 and once at the Geffen Playhouse’s intimate Audrey Skirball Kenis Theater starring Daniel K. Isaac in 2023, I knew exactly what he was up to.

The play revolves around a list that the narrator began at the tender age of 7 after his mother first attempted suicide. While she was still in the hospital, he started compiling, as much for her benefit as for his own, sources of everyday happiness.

Ice cream, water fights, kind people who aren’t weird and don’t smell unusual. These items are given a number, and audience members assigned a particular “brilliant thing” are expected to shout out their entry when their number is called.

The list gradually grows in complexity as the narrator gets older. Miss Piggy, spaghetti bolognese and wearing a cape give way to more sophisticated pleasures, such as the way Ray Charles sings the word “You” in the song “Drown in My Own Tears” or the satisfaction in writing about yourself in the second person.

Music plays a prominent role in “Every Brilliant Thing,” which was adapted from a monologue/short story Macmillan wrote called “Sleeve Notes.” The narrator’s terribly British father takes refuge from the emotional storms of his household by listening to jazz records in his office. John Coltrane, Cab Calloway, Bill Evans, Nina Simone are favorite artists, and the narrator can tell his father’s mood simply by the record he’s decided to play.

The production, directed by Jeremy Herrin and Macmillan, involves every level of the Hudson Theatre. I assumed I would be safe, occupying an aisle seat in the murderously expensive prime orchestra during a press performance attended by critics. But I wasn’t flashing a pad as my colleague across the aisle from me was doing to ward off any intrusions. And just before the show was about to start, Radcliffe was suddenly kneeling beside my seat asking if the person I was sitting with was my partner.

I told him that we weren’t a couple, just friends, and that I would be the worst person he could possibly ask to perform anything. But Radcliffe wasn’t so easily put off. “Let’s just say that you’re an older couple who have been together for some time,” he whispered. “And all you have to do is hand me this box of juice and candy bar when I refer to the older couple.”

OK, what harm could there be? Little did I know that “older couple” was to become “old couple,” a term that seemed to be repeated incessantly, at least to my Gen X ears not yet accustomed to scurrilous millennial attacks! I composed myself by pretending that we were in the world of anti-realism. But in truth, I would like to be the kind of person who would offer an anxious kid in a hospital waiting room a juice box and a candy bar, so maybe the casting wasn’t so far-fetched after all.

Daniel Radcliffe in the Broadway production of “Every Brilliant Thing.”

(Matthew Murphy)

A theatergoer was called upon to play the vet who euthanized the narrator’s childhood pet, a dog named Indiana Bones that was symbolized by a coat someone volunteered from the audience. It was the boy’s first experience of death, a difficult concept for a young mind but an important precursor for a boy not given the luxury of existential innocence.

Other audience members, particularly those seated on the stage, played much more elaborate roles. One man, first invited to serve as a stand-in for the narrator’s father, was asked instead to play the boy. He was given one word to say in reply — “Why?” — as his father tries to explain the reason his mother is in the hospital. This same enlisted actor was later called upon to play the dad giving a toast at his son’s wedding, one of the rare occasions when he was able to summon language for the kind of deep feeling he would normally only be able to express through his records.

One kind and patient spectator conscripted to play the school counselor had to remove her shoe to improvise a sock puppet, one of the tools of her empathetic practice. Another audience member sensitively played Sam, the narrator’s love of his life, a relationship that reveals the long-term toll of being raised by a parent suffering from suicidal depression.

Radcliffe’s audience wrangling was as intuitively sharp as his deeply felt performance. He has the comfort of a good retail politician, who’s not afraid of making direct contact with crowds. Two-time Tony winner Donna Murphy, in the house at the reviewed performance, gamely went along when Radcliffe briefly enlisted her luminous services.

Obviously, Radcliffe is the main reason “Every Brilliant Thing” is on Broadway. The show, which began at Britain’s Ludlow Fringe Festival in 2013, is a gossamer piece, a 70-minute curio best experienced in close quarters without the high expectations and ludicrous prices of New York’s turbo-charged commercial theater. The Hudson Theatre lends a mega-church vibe to the proceedings, but the spirits of theatergoers are nonetheless moved.

A scruffy-faced Radcliffe, twinkling accessible geniality in jeans and a sweatshirt, zips up and down the cavernous theater as though waging a one-man campaign against the isolation epidemic. There’s no denying that Harry Potter has matured into an assured stage actor. His Tony-winning performance in “Merrily We Roll Along” should have put to rest any doubts, but the glare of his fame can still obscure his serious chops.

Sincere yet never smarmy, ironic without ever being cynical, well-groomed though far from swank, he’s a more glamorous version of the character than the one originated by Donahoe, the British comedian with an everyman demeanor whose portrayal seemed so genuine at the Edye that I mistakenly thought that the play was his personal story.

Donahoe’s performance was filmed for HBO, but “Every Brilliant Thing” is meant to be experienced in a theater. The whole point of the show is to transform the audience into an impromptu ensemble, a group of strangers emotionally united through the story of one young man’s intimate knowledge of suicide, a subject that Albert Camus called the “one truly serious philosophical problem.”

I’m of two minds about “Every Brilliant Thing.” I was moved once again by the piece, but I’m grateful I didn’t have to wreak havoc on my credit card to pay for my seats. I love the interactive, gentle humanity of the play, but I was also acutely aware of how the work has been commodified. I applaud Radcliffe’s willingness to carve an independent path as an actor, but I might have been more impressed by his adventurousness had he decided to perform in a pocket venue that didn’t have the tiers of pricing I associate with airlines.

Yet launching a conversation around mental health with an audience magnet as powerful as Radcliffe is on balance an excellent thing. And Radcliffe’s compassionate portrayal of a survivor recognizing that he’s not out of the woods just because he made it into adulthood is one of those things that makes a theater lover just a little more appreciative of the humanity at the center of this art form.

ISLA Fisher shows she’s a match for any red carpet. 

The Australian star, 50, beamed in a crimson dress at the Time Women of the Year Gala.  

Actress Lucy Liu and Oscar nominee Teyana Taylor were honoured at the LA bash. 

In 2024, Isla split from Sacha Baron Cohen after more than 20 years. 

Isla has revealed she feels like a new woman and is ready to embrace life following her divorce from Baron Cohen. 

Commenting on her split, Now You See Me star Isla, 49, said: “I’m not going to lie, it’s been a really challenging time. 

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“I definitely feel like there’s something about the divorce club that anyone in it understands in a way other people don’t.  

“It’s a different grief. 

“I feel like creating a new identity after your divorce is so fun, though.  

“You get to reflect on your values and goals, explore new interests, focus on what you want and rebuild your sense of self.” 

Isla made her comments in an interview for New Beauty magazine, for which she also posed in a series of outfits. 

JENNIFER Lopez hails the courage of actress pal Kerry Washington at a charity gala.

The singer and actress, 56, wore a blazer over a lace slip dress at the event in Los Angeles for Women’s Cancer Research Fund.

She presented the Courage Award to Kerry, 49, a cancer advocate after her mum was diagnosed with the disease.

J Lo, who was also joined by Sofia Vergara, 53, at the event, said on stage: “Kerry, you remind us that together, through sciences, support of survivors, and the relentless pursuit of answers, that real change is possible.”

J.Lo is now an independent artist after it was revealed last July that she split from her record label.

Top label BMG, also home to Kylie Minogue and Rita Ora, released her 2024 album This Is Me . . . Now — her first full project in a decade.

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But it was understood at the time to be only a one-album deal and they called it a day following disappointing sales.

A music insider said at the time: “Jennifer is obviously massively successful and talented but it’s been hard for her to find a label who she’s on the same page with.

“After her last album came out, it was decided she wouldn’t continue with BMG as it wasn’t the success she wanted.

“It only went to No 55 in the UK. But her team want to push her forward with this new music.

“She has spent a lot of time in the studio this year.”

“Well, I guess it’s a brother thing.”

The Black Crowes singer Chris Robinson is reflecting on his rollercoaster relationship with his younger sibling, guitarist Rich.

Their explosive chemistry once earned the outfit a fitting accolade — “The Most Rock ’n’ Roll Rock ’n’ Roll Band in the World”.

Chris is first to admit they’ve had their ups and downs since forming in 1984 under their original name, Mr Crowe’s Garden, as schoolkids in Atlanta, Georgia.

“Rich and I, for better or worse, were stubborn and arrogant but always strong believers in the art,” he admits.

“This has always been our path and, no matter what, we have to do it like this.

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“In rock ’n’ roll, there are plenty of show dogs, pure bred and beautiful. We’re f***ing feral.”

Following in the footsteps of other warring brothers — Ray and Dave Davies or Noel and Liam Gallagher — the Robinsons weren’t on speaking terms for five years after their so-called “contractual obligations” tour ended in 2014.

“Sometimes, you have to take your lumps,” continues Chris, employing that very American phrase for suffering setbacks. “But, right now, we’re in the zone. The chemistry is 100 per cent there.

“The way we feel goes right back to when we started — it’s f*** it, just play it — even if we are more well-mannered.”

The Black Crowes’ big reunion began in late 2019 with warm-up shows for a planned 30th anniversary tour of their debut album, the seminal Shake Your Money Maker, the following year.

But the pandemic slammed on the brakes before the dates finally happened across the US in 2021, uncorking the band’s celebrated freewheeling energy.

Back to the live arena came Jealous Again, Hard To Handle, She Talks To Angels and Twice As Hard, songs that somehow bottled up the band’s influences — Led Zeppelin, the Rolling Stones and Little Feat among them — but still refreshingly their own.

In 2024, with their creative juices flowing, The Black Crowes released their first album of original material in 15 years, Happiness Bastards.

Now the Robinsons are back again — with a bang.

The follow-up, A Pound Of Feathers, comes tearing out of the blocks with the rocket-fuelled, riff-driven Profane Prophecy, setting the tone for another of The Black Crowes’ “love letters to rock and roll”.

The album arrives with some sound advice — “This isn’t a record you play on Sunday morning, this is a f***ing Saturday night burner!”

In a world where smoothly produced pop dominates the airwaves, The Black Crowes are unashamedly sticking two fingers up at it.

“None of what’s going on in that world is relevant to me,” decides Chris, “and rock ’n’ roll is still huge for millions and millions of people.”

He is talking to me via video call from Aspen, Colorado, the premier ski resort in the States, playground of the rich and famous.

“My wife is an avid skier. She’s the Franz Klammer of the family,” he reports with a reference to the Austrian downhill legend.

“I get to do the cooking, the reading and the hanging out.” (And talking to people like me about The Black Crowes). Brother Rich is at home in Nashville and begins his call by apologising for being under the weather.

“I’m going to be coughing randomly,” he says. “I’m in the middle of flu that’s going around.”

After clearing his throat, Rich, the less flamboyant one who lets his guitar wizardry do most of his talking, gamely picks up on Chris’s theme.

“When we got back together, we both agreed we needed to do it properly,” he affirms.

“We knew that bringing back a toxic dynamic wouldn’t be healthy for anyone.

“We couldn’t have the overarching idea that when Chris and Rich get together, it’s a bad thing.

“We’ve always written all the songs, we own the name so coming back with a more mature approach has been very helpful.”

Rich acknowledges that the music landscape for the older, wiser Black Crowes is vastly different from when they started out. “There’s a bunch of people in the industry who like to think rock ’n’ roll is dead,” he says.

“But then there’s a bunch of people trying to keep it alive. Guns N’ Roses, the Rolling Stones, Metallica and Def Leppard are still selling out stadiums.

“Tens of millions of people still want to see bands like them. Rock ’n’ roll is one thing that no one could tame.

“And it’s still like that for us. We can go into a studio with almost nothing and, in a week, make a record.

“There’s a human, organic quality to rock ’n’ roll. We don’t have auto-tune and we don’t have to set our s**t to a grid.”

Looking back at their unfettered past, Chris exclaims: “I have to say I’m so f***ing proud of The Black Crowes, man!

“Rich and I started this band when we were teenagers in Mom and Dad’s house, as a vehicle to write songs.

“And we found our way to being musicians and performers.”

Yet the creation of A Pound Of Feathers has still blown Chris away, most notably because of the stellar contributions from Rich.

The album was made in double-quick time, carried along by the brothers’ spontaneous fusion of riffs and lyrics.

Chris says: “I’ve been on stage and sat in studios my whole life with my brother playing amazing guitar.

“But, with this album, I sat there with my mouth hanging open.

“Granted I’m very close to the flame but everything he did, I was like, ‘Wow, this guy’s taking it to a new place.’”

During the sessions, The Black Crowes were visited by Chris’s friend, Todd Snider, the singer/songwriter who died last November from pneumonia aged just 59.

Chris cherished the chance to hang out with Todd — and to get some memorable feedback from him.

“He was a storyteller, a real poet, and he and I had a great friendship. He also really liked The Black Crowes.

“He asked if he could come and check out the recording. I went, ‘Dude, yeah fine, but you’re going to be the only one here’. So he sat there taking in me and Rich putting music together.

“At the end of the day, he said, ‘Are you f***ing warlocks? Is this some kind of ESP or is it a parlour trick? You don’t say anything yet, 30 minutes later, there’s this massive song blasting out of the speakers’.”

For Rich, the studio is his happy place. “I’ve always loved being in a studio,” he says.

“It’s where you bring to ­fruition all the things you have in your head.

“With this record, we came in without any concrete ideas. By allowing ourselves just to play in the sandbox, it became fun and exciting.”

Rich gives a shoutout to producer Jay Joyce, who also helmed Happiness Bastards.

He says: “Nine and a half times out of ten, he agrees with us when we’re excited about something.

“He’s there with us, not bogging us down by trying to insert himself when its unnecessary.”

So what of the songs? There’s the aforementioned opener Profane Prophecy which captures the unvarnished sound of The Black Crowes’ live mayhem, yet recorded in the calmer confines of a studio.

You hear Chris nodding to past rock ’n’ roll excesses by hollering, tongue firmly in cheek, “My pedigree in debauchery is my claim to fame.”

He smiles, “Of course I have to embrace that life. That’s why I sing, ‘I eat casino breakfast off the kitchen floor’.”

But he maintains that while giving “a vision of a debauched rock ’n’ roller”, he’s also “confusing fact with fiction”.

The four-minute shindig concludes with the ensemble chant of the phrase that yielded the album title, “a pound of feathers or a pound of lead”.

Chris got the line from In Here The World Begins, a song by long-defunct British electro-pop band Broadcast.

“I loved the phrase and what it could mean because a pound is a pound,” he says. “It doesn’t matter whether it’s lead or feathers. There’s some weird wisdom to it.”

We turn our attention to Cruel Streak, pounding rock underpinned by funky rhythm.

“I’m adjacent to funk at all times,” says Chris. “Growing up in Atlanta, there was this multi­racial band called Mother’s Finest who played heavy funk with ‘Baby Jean’ Kennedy as lead singer.

“There’s a lot of Mother’s Finest in The Black Crowes.”

On the R&B-flavoured It’s Like That, which comes with heavy basslines and a hint of reggae, the brothers employed an amphibian guest, which, as Chris explains, fits with their anything goes attitude.

“I was staying in Nashville, and the doors were open. I heard this frog, so I recorded him. That’s my Nashville rasta frog on the solo.”

Rich says: “There are tree frogs all over the South. They were blaring one night and Chris said, ‘Man, I want to use that sound’.

“So he took his phone and pressed record. We found the right space for it on the song.” On the loose, laidback country-tinged Pharmacy Chronicles, recalling the vibe of the Rolling Stones’ Exile On Main St., Chris sings “let the demons find you” because, he insists, we mustn’t think everything is “sugar-coated, glossy and gorgeous”.

“Especially something as messy as a 40-year career in rock ’n’ roll,” he adds. “I can’t believe some of the s**t I was doing. Get some surgical gloves and get to it!”

But Chris is not one to dwell on the past, with all its euphoric highs and crashing lows. “I am devoid of nostalgia,” he says.

“I like to think I interact with the world as a poet. I’m always writing — it could be because I overheard a conversation at an airport check-in.

“I’m no Bruce Springsteen,” he confesses. “But I connect with the world through whatever inspires me.”

And, as he puts it, “a lot of the darkness that is the United States right now” informs A Pound Of Feathers.

It explains why final track Doomsday Doggerel with its line “a front row seat to the end of times” is in stark contrast to the closing song on Happiness Bastards.

“On that last record, Kindred Friend was a beautiful pastoral thing with harmonica, about me and Rich, the band and our audience,” says Chris.

“Doomsday Doggerel is much darker. We haven’t remembered lessons from our past and the f***ing racism means we’re operating at a very low frequency.

“I just hope that someone can play this record on a Saturday night, keep out the low frequency and get a better hum going.”

As Pharmacy Chronicles ebbs to a close, you hear a defiant chorus of “the good times never end”.

As far as Chris and Rich and the rest of The Black Crowes family are concerned, rock ’n’ roll is the perfect antidote to personal and universal turmoil.

“We’re loud, we can be sloppy but we are like an old cartoon of two people fighting on a train,” says Chris.

“The train goes round a bend, leaning all the way over a cliff, but then it comes back up. That’s us.”

THE BLACK CROWES

A Pound Of Feathers

★★★★☆

Here’s a hot take: South by Southwest is a Latin music festival.

When the De Los team headed to Austin, Texas, in 2024 to cover the event for the first time, approximately 60 acts that fell under the expansive Latin music genre umbrella had been invited to perform. Two years later, that number has more than doubled, with more than 150 Latin music acts featured at the iconic festival, now in its 40th year.

“Latin music has seen incredible growth at SXSW in recent years, reflecting its rise across the global music industry,” said Evelyn Gómez Rivera, associate programmer for Latin music. “2026 is shaping up to be our biggest year for the genre in over a decade, with several major labels showcasing their newest and most exciting Latin talent here.”

Ahead of the festival, which kicks off Thursday, the De Los team has assembled a list of acts that have caught our attention. And before you blow up our inboxes asking why the big acts (Fuerza Regida and Junior H are also slated to perform) weren’t included, keep in mind that what makes SXSW unique is that it’s a chance for attendees to see the next big thing before they blow up. In that spirit of discovery, our list is made up of acts you might not have heard of.

Big Soto

“Terminé siendo rapero cuando quería ser doctor,” Gustavo Rafael Guerrero Soto, better known as Big Soto, confesses in his pandemic-era collaborative session with Argentine mega-producer Bizarrap. It’s safe to say that he made the right career move. The 29-year-old from Venezuela (he now lives in Mexico) is signed to Rimas Entertainment and has been at the forefront of the Latin trap movement. — Fidel Martinez

Mariangela

Mexican-born singer Mariangela started off as a tender pop darling when she first uploaded covers to her YouTube channel in 2019, drawing inspiration from indie-pop singers like Carla Morrison and Mazzy Star’s Hope Sandoval before releasing her alt-pop debut album “Sensible” under Sony Music Latin in 2024. Now the Texas-based artist is taking her musical stylings in a new direction, drawing from her Monterrey roots with the release of her latest “Cuando Una Mujer,” a cumbia norteña about fierce female empowerment. — Andrea Flores

Esty

First-generation Dominican American singer Esty doesn’t like to be boxed in. From one track to the next, she’ll shift from a mix of dembow and alternative rock to bachata and pop, as seen in her recent single “V3n3n0,” from her upcoming album, “Domi Star.” — Cat Cardenas

Marilina Bertoldi

De Los contributor Ernesto Lechner is 100% responsible for this entry — he included the avant-garde alt rocker from Buenos Aires in his 2025 list of indie artists who deserved to win a Latin Grammy, calling her “the resident hurricane of Argentine rock, blessed with a corrosive sense of the absurd, a knack for pop-punk melodies, and attitude to spare.” How could you not want to see that? — FM

Ruido Selecto

Hailing from Medellín, Colombia, Ruido Selecto drives forward the Caribbean rhythms of cumbia, salsa, electronic dub and Afro-diasporic styles that have been traditionally transmitted through Picós, hand-painted sound systems popular throughout the country’s coast. His hybrid mixes also include elements of sonideros, most audible in tracks like “Lo Que Esconde.” I’m fascinated by his attention to detail in his project “Los 14 Cañonazos Bailables,” where he created experimental and contemporary tropical mixes using archives from Discos Fuentes, a Cartagena record label largely responsible for disseminating 1960s Caribbean sound across the coast of Colombia. — AF

Delilah

The Mexican American singer got her start in mariachi, eventually learning piano, guitar, violin and vihuela. At just 17 years old, her impressive vocals and ability to mix traditional and contemporary Mexican music have already gotten the attention of artists like Becky G and Iván Cornejo. — CC

Danny Felix

Among the biggest feathers in Danny Felix’s hat is being the producer behind the “Soy el Diablo (Remix),” a Natanael Cano track that also doubled as Bad Bunny’s first venture into the world of música mexicana. The Phoenix-based multihyphenate (in addition to producing, he is also a multiinstrumentalist and singer) has played a major role in shaping the current sound of corridos tumbados and will be repping the subgenre in Austin. — FM

60 Juno

Originating from Merced, Calif., this Central Valley post-punk band radiates a hazy, dreamlike sound, so much that one of their most popular tracks is titled “zzz.” While 60 Juno initially began as a solo project led by Jericho Tejeda in his bedroom during the pandemic, it has now expanded to include three additional members from Whittier, Calif. There’s a bit of everything in this band, mellowed surf-rock wading into punk territory that can be heard in songs like the upbeat “Enjoy the Sunset” and their most popular, hypnotic track to date, “J Song.” — AF

RIA

Before she stepped into the spotlight, Ria was writing songs for other artists. Now, she’s combining her knack for emotional lyricism with her soulful voice, recently opening for Tito Double P in Mexico, and breaking out with her recent single, “Pagana.” — CC

Sebaxxss

Sebaxxss is the on-tour DJ for Feid, the pop reggaeton singer and fellow Colombian. I’m interested to see how his set translates into a smaller, more intimate venue. — FM

Diles que no me maten

Diles que no me maten is an experimental, psychedelic rock band from Mexico City named after the famous short story by Mexican author Juan Rulfo about a man who pleads for his life after being captured for killing his neighbor decades earlier. If listeners didn’t know any better, they would think this band started in the late 1980s during the rise of homegrown rock, with its untouched vocals in songs like “Outro.” Tracks like “El Circo” sound like a gentle birth, while “(Radio Sonora Edit)” presents itself as a ghostly acoustic jazz ballad. — AF

Eydrey

Since competing on Netflix’s Latin music competition show, “La Firma,” in 2023, Eydrey has landed a record deal and released a steady stream of R&B, Mexican and reggaeton-infused tracks. Her borderland upbringing in El Paso has also shaped her Spanglish lyrics. — CC

Lena Dardelet

Hailing from Cabarete, Dominican Republic — the same beach resort town is home to the Bachata Academy, the only bachata school in the world — Lena Dardelet fuses pop with various Caribbean genres, including— yep, you guessed it — bachata. — FM

Mosmo

Signed with Rimas Entertainment, Hermosillo singer Mosmo is bringing his own crooning element to the corrido world. The rising singer first came into the spotlight in 2022 on Netflix’s “La Firma,” a competition looking to find the next Latin urban music star. Mosmo’s raw, drawled vocals can be heard in the romantic bélico “Modo B” and the agonizing “Terapia” that implores a past lover for their return. Mosmo also incorporates elements of trap and reggaeton in songs like “Dimensiones,” as well as pop in the bilingual track “Siempre Tú.” — AF

Selines

Inspired by artists like Natalia Lafourcade, singer-songwriter Selines’ guitar-based songs draw on the traditions of boleros, classical music and jazz, bringing a warm nostalgia and romance to her sound. — CC

Baby Reindeer creator Richard Gadd is back for his first drama since the multi-award winning Netflix series.

BBC is set to release an “intense” drama that explores “brotherhood, violence and the fragility of male relationships”.

In 2024, Netflix subscribers went mad for Richard Gadd ’s gripping drama Baby Reindeer revolving around a comedian dealing with his obsessive female stalker.

Now, two years on, Richard Gadd is back for the first time since the Netflix hit’s release with the BBC revealing details for its upcoming drama Half Man.

Filming for the original six-part drama wrapped up last year in and around Glasgow with the series set to launch in April on BBC One and BBC iPlayer in the UK and on HBO Max in the US.

Gadd will star in Half Man alongside BAFTA winning actor Jamie Bell, famed for All of Us Strangers and Rocket Man, with the pair portraying Ruben and Niall, respectively.

The official synopsis reads: “Niall and Ruben are brothers. Not related in blood but the closest you can get. One, fierce and loyal. The other, meek and mild-mannered. Inseparable youth.

“Brought into each other’s lives through death and circumstance, all they have is each other…

“But when Ruben turns up at Niall’s wedding three decades later, everything seems different.

“He is on edge. Shifty. Not acting like himself. And soon, an explosion of violence takes place which catapults us back through their lives, from the eighties to the present day.”

Half Man, which has been created and written by Gadd, will follow Ruben and Niall throughout the past 30 years of their lives, exploring “brotherhood, violence and the intense fragility of male relationships”.

For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website.

The synopsis concludes: “After all, when things fall apart… it is sometimes the closest relationships which break the hardest.”

Gadd and Bell aren’t the only familiar faces starring in Half Man either with an abundance of other familiar faces joining the cast.

These include SAS Rogue Heroes actor Stuart Campbell, Rivals’ Charlie De Melo, The Nevers star Amy Manson, Outlander actor Tim Downie and T2 Trainspotting’s Scot Greenan, to name just a few.

Half Man will debut in April on BBC One and BBC iPlayer.

Tensions rose in The Apprentice as a candidate shared a decision he would “regret for the rest of my life”.

BBC The Apprentice said goodbye to yet another candidate this week but not before Lord Sugar addressed someone’s “slimey” actions.

In week seven of the hit BBC business show, the remaining candidates took on virtual reality fitness where they were tasked with building demos and brands before chasing investment.

Unfortunately, when it came to the boardroom, it was game over for Team Eclipse, headed up by project manager Lawrence Rosenberg who scored an investment four times lower than Team Alpha.

The drama really began in the boardroom when it came to Lawrence choosing who he would be bringing back with him.

He first decided to pick Rajan Gill for his “lack of contributions” before sharing the controversial reason for his second choice of Levi Hague.

Lawrence said: “With respect Lord Sugar, I think you have made it quite clear about your mind on Levi so I will need to bring back Levi as well.”

Prior to his decision, Lord Sugar had questioned Levi what he had achieved in the past seven weeks of the process but despite his own reservations, The Apprentice legend wasn’t happy with this “naughty”, tactic.

“This is not how this process is supposed to work, you’re supposed to bring people back in who you think did not contribute to this task.”

Lord Sugar described it as a “nasty move” with Lawrence apologetically saying that “I’ll regret it for the rest of my life”.

The Apprentice legend said he was going to be “fair” to Levi though and keep him for another week, putting him forward as next week’s project manager with the candidate laughing “happy days”.

Despite this business between Lawrence and Levi, it was actually Rajan’s turn to be fired for his lack of contributions to the task.

This didn’t stop Lord Sugar from giving Lawrence one last telling off though as he warned: “You were this close to getting out of here.”

The drama wasn’t quite over yet though as when the saved pair went back to the house, Lawrence admitted to the rest of the group that he was “beyond embarassed”, having made a “weak decision”.

Levi wasn’t going to let him off the hook just yet though as he simply stated to the remaining candidates: “Don’t ever use me as a scapegoat in there, don’t ever do that to me.”

The Apprentice continues every Thursday at 9pm on BBC One.

For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website.

Amber Davies has broken her silence on an alleged feud with her Legally Blonde co-star Hannah Lowther amid rumours of ‘backstage tension’

Amber Davies has broken her silence on her alleged feud with her Legally Blonde co-star Hannah Lowther. The former Love Island star has been forced to pull out of her starring role as Elle Woods.

Giving an update to fans about her ill health, she wrote on Instagram earlier today: “Ok update: after talking to my DR, being on antibiotics and trying to recover whilst doing shows is getting me and my health NOWHERE. Been working on this lingering illness for a month now so I’ll be off again from my beautiful Elle Woods.

“This is the last thing I want but there’s no other way. I fear if I keep “pushing through” I will be battling with this for longer than I need to be. I can’t wait to be back on stage and feel like me again!!!”

However, there have been rumours about a feud between Amber and her co-star Hannah Lowther. Hannah found fame on TikTok in the pandemic and is a successful musical theatre star.

Insiders have said to the Daily Mail that “tension” had developed backstage after audiences seemed to be preferring Hannah’s portrayal of Elle over Amber’s. A source said: “When Hannah goes on, the energy is completely different.

“She gives it ten times more energy than Amber ever has, and just has that sparkle that Amber lacks. Everyone backstage is professional, but it would be fair to say the atmosphere between the two girls can be a bit tense at times.”

Now, Amber has appeared to address the feud head on. Taking to Instagram to comment on Hannah taking on the role, she also shared a personal message to Hannah, writing: “An extra special appreciate message to @hannahlowther who has given me all the grace and space to be poorly and recover. The show is in safe hands ALWAYS.”

Amber previously spoke out to defend herself, given her hectic schedule in the recent months. She added: “Also I keep having to remind myself I went from Gatsby, to a last min Strictly, then to Elle so my body’s evidently fighting for its life.

“I also keep reminding myself that it’s ok to be poorly, we are human. Just a reminder there’s absolutely never a right time to be poorly in a musical theatre schedule so you must, for your own sanity, go with the flow!”

At the time of writing, Hannah has not responded to the post but confirmed she would be playing Elle this evening.

Like this s tory? F or more of the latest showbiz news and gossip, follow Mirror Celebs on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .

Universal Pictures will now keep its new films in theaters for at least five weekends, a reversal from the studio’s previous policy of at least 17 days that was set during the pandemic.

The change takes place immediately, the studio said Thursday. That means it will apply to its newest film, the Colleen Hoover romance “Reminders of Him,” which is out in theaters this weekend. Other upcoming films include Christopher Nolan’s “The Odyssey,” which will be released in July.

“Our windowing strategy has always been designed to evolve with the marketplace, but we firmly believe in the primacy of theatrical exclusivity and working closely with our exhibition partners to support a healthy, sustainable theatrical ecosystem,” Donna Langley, chair of NBCUniversal Entertainment, said in an email to the New York Times, which first reported the news.

Focus Features, Universal Pictures’ specialty film arm, will keep its existing theatrical exclusivity policies, which vary on a case-by-case basis. Chloé Zhao’s “Hamnet,” for instance, was in theaters for 99 days, while 2024’s “Nosferatu” played for 58 days. The minimum is 17 days.

The amount of time films are available exclusively in theaters — known as “windowing” in industry jargon — has become a contentious topic of conversation in Hollywood.

That debate ramped up during the pandemic, when some studios shortened theatrical exclusivity periods in order to move films to release for video on demand or streaming.

Prior to the pandemic, those windows could be as long as 90 days. Now, the average is around 30 days.

Theater owners have argued that shorter windows cut into box office profits and train audiences to wait to watch a movie at home. Distributors have countered that a one-size-fits-all approach doesn’t necessarily work for smaller or mid-budget films, which may find a bigger audience via at-home viewing.

At last year’s CinemaCon trade conference, top theater lobbyist Michael O’Leary called on distributors to establish a minimum 45-day window, arguing there needed to be a “clear, consistent starting point” to set moviegoers’ expectations and affirm commitment to theatrical exclusivity.

The debate has become even more fierce as box office profits still have not recovered from the pandemic. Last year, theatrical revenue in the U.S. and Canada totaled about $8.87 billion, just 1.5% above 2024’s disappointing $8.74-billion tally.

KATIE Price’s furious sister Sophie has revealed her true thoughts on the glamour model’s whirlwind marriage to Lee Andrews – admitting she was left shocked over the nuptials.

The mum-of-five married Lee in Dubai just ten days after meeting him, leaving her friends and family back home blindsided.

Following the nuptials, we revealed how Katie’s family were worried for the star and concerned Lee was a ‘conman’ .

It came after he was unmasked as fantasist businessman who faked celebrity links using AI-generated photos.

Katie and Sophie even pulled the plug on their weekly podcast, The Katie Price Show, as the eponymous star admitted her family were ‘angry’.

But now, they have made up and returned to the show with a comeback episode – during which Sophie revealed her true thoughts on the situation.

KATIE’S FEAR

Katie Price warns ‘Harvey will die of a heart attack’ as she begs for fat jabs

family woes

Katie Price admits hospitalised mum cried and ‘was traumatised’ after marriage

Opening the show – which is their first since late January – Katie revealed that her year so far has been ‘fantastic’.

While Sophie said her has been ‘s**t’ due to her sister’s antics.

She began: “I’m not going to lie, this year for me has not been great.

“Mine has been a really f***ing s**t start to the year.”

Katie replied: “But you have had s*** as well. Do you know what I mean?”

“Yeah, caused by you,” said Sophie.

She added: “You, this year, you, this year have been a pain in the a**.

“No, it’s not funny. Mum has been horrendous, is she talking to you yet?”

Katie confirmed that she is talking to her mum, who is currently in hospital.

As they spoke about their mum Amy, Sophie added that Katie had “traumatised” the whole family with her shock romance.

The pair then moved on to other news throughout the episode as Sophie said she “didn’t want to hear it” when it came to conversation surrounding Lee.

Gardening expert Charlie Dimmock has presented numerous TV shows beyond Ground Force and Garden Rescue and fans rated them highly

Fans of gardening expert Charlie Dimmock could be excused for not exploring much beyond Ground Force and Garden Rescue.

With over 150 episodes of Garden Rescue available to watch and 97 instalments of the ’90s favourite Ground Force, there’s no shortage of content. However, throughout her career, she’s created numerous other gardening programmes that slipped beneath most people’s notice.

One such programme is Charlie’s Garden Army, which aired in 1999 and 2000 across 12 episodes. The series featured Charlie alongside volunteer teams transforming derelate wasteland into beautiful public gardens.

She subsequently secured a presenting position on 2002’s The Joy of Gardening and 2001’s Charlie’s Gardening Neighbours, reports the Express.

In 2005, Charlie featured at the Hampton Court Palace Flower Show as a television presenter, and she’s also participated in coverage of the Chelsea Flower Show throughout the years.

Judging purely by IMDb ratings, though, several programmes actually surpass Ground Force in terms of viewer scores.

Ground Force’s typical rating stands at 7.2 stars out of 10 – but it’s eclipsed by Garden Rescue at 7.9 stars, and the Great British Garden Revival with an identical rating.

Charlie inadvertently fell into a television career whilst employed at a garden centre, and during the ’90s, she maintained that she “wasn’t famous” and didn’t perceive herself as a TV personality.

Reflecting on her television work in a 1999 interview with The Guardian, Charlie remarked: “In some ways, the television stuff isn’t unsatisfying, it’s very interesting.

“But the other day, I was at work [at the garden centre], the first time I’d been there properly for three or four weeks, and I thought, ‘God, this is nice!’

“‘You see people you know, regular customers, and there’s no hassle. You fall out of bed, go to work, potter around. It’s all right, really.'”

Garden Rescue is on BBC One and BBC iPlayer

For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website.

GEMMA Collins has won £20k at the Cheltenham races and made £5k off of just one bet.

The reality star, 45, was left overjoyed today when she raked in the cash and took home the huge amount of money.

A source told The Sun: “Gemma was over the moon and kept showing her wads of cash to James Nesbitt in the Paddy Power box. She made £20k the whole day – and £5k off one £500 bet.”

In an exclusive video obtained by The Sun, Gemma was seen shouting: “I’m f***ing loaded!,” as she revelled in her glory, before adding: “I’m coming home with 20 large ones.”

She took to Instagram to give fans a peek into her winnings as she showcased just one of her successful betting slips.

On the slip, it revealed that the former TOWIE star had won £5k from a £500 bet.

READ MORE ON GEMMA COLLINS

JUNGLE GOSSIP

Harry Redknapp reveals Gemma Collins had nasty fall on I’m A Celeb All Stars

GEM’S GARMS

Gemma Collins flogs her clothes on Vinted after losing 3 stone on Mounjaro

The television icon wrote over it: “I won @paddypowerofficial. Best day ever!,” alongside horse and four leaf clover emojis.

Gemma certainly looked the part at the Cheltenham Festival as she stunned while standing on a balcony with pals.

She kept warm in an eye-catching blue and purple checked coat with brown fur sleeves and a belt which perfectly synched in her waist.

She accessorised with a white and red headscarf and a pair of blacked out sunglasses.

Her winning moment was captured as she enjoyed a glass of bubbly and was hugged by friends surrounding her.

One of those people was Danny Dyer, who was seen throwing up a fist in celebration for the Celebrity Big Brother star.

In true Gemma fashion, she was spotted looking very animated as she celebrated her exciting victory.

Her big win comes after she was announced as part of the line-up for the second series of I’m A Celebrity… South Africa.

The show was filmed last year and will see familiar faces return for a second stint on the hit ITV series.

After it was announced earlier this week, Gemma revealed she nearly pulled out of it but was put in her place by her make-up artist.

Speaking at the press launch, Gemma said: “It didn’t work out for me the first time around in there and ever since it’s been like this black cloud hanging over my head.

“Obviously I’m older now and I just thought, I have to do this. It was one regret that I had that I left.

“I was absolutely bricking it. I was petrified. My makeup artist slapped me at Heathrow Airport because I actually said I don’t think I can actually go through with this.

“But do you know what? I took a deep breath. I went in strong. And to be honest, I think I shut it down.

“It’s not the GC in there. It’s Gemma Collins as you’ve never seen her before. You’ll see me vulnerable in there.

“I was so stripped bare going in there. And because I knew it was so disastrous the time before, I had no chance to back out of any of it.”

“The one thing that troubled me was the copious amounts of washing up,” said Gemma.

“I was on camp duty with Adam and obviously, it was a massive camp, and I’m not going to lie, I’ve got two dishwashers at home.”

ITV viewers will remember Gemma’s meltdown back in 2014 and refusal to get into a helicopter to get into camp on day one.

She was then forced to make her own way to camp, but things went from bad to worse.

After struggling with camp life and the food rations, she sensationally quit the series on day two.

ITV has shared images from its upcoming true crime series about convicted sex offender John Worboys

Broadcaster ITV has released a first look at its new true crime drama Believe Me.

Filmed in Cardiff, the four-part series tells the story of John Worboys – who was dubbed the ‘black cab rapist’ after preying on women under the cover of being a licensed taxi-cab driver.

He was convicted in 2009 for crimes including sexual assault and drugging with intent against 12 women.

His modus operandi was to claim that he’d had a win at a casino or on the lottery, then offer women he’d picked up in his cab after a night out a glass of champagne, which he’d laced with drugs, and which rendered his victims unconscious.

ITV said the drama “tells the story of how the victims of one of the most prolific sex attackers in British history were failed by the system”.

The series focuses on the ordeal of Sarah (played by Peaky Blinders‘ Aimée-Ffion Edwards) and Laila (played by Raised By Wolves’ Aasiya Shah), who reported sexual assaults by Worboys (Daniel Mays), and how their allegations were not thoroughly investigated.

Sarah and Laila – both pseudonyms – joined forces with solicitor Harriet Wistrich, played by Philippa Dunne and barrister Phillippa Kaufmann QC, played by Rachael Stirling, to sue the Metropolitan Police under the Human Rights Act for their failure to properly conduct investigations into their allegations of sexual assault, leading to their being subjected to degrading treatment and contributing to their distress.

They won, and when the Met appealed that judgment to the Supreme Court, they won again.

As these women fought to have their cases heard, looming in the background was Worboys’ first parole hearing. Eight years after he was convicted for his crimes, his victims had to fight again to keep him behind bars.

Sarah, Laila, Harriet and Phillippa were joined by Carrie Symonds (played by Industry’s Miriam Petche), a senior figure in the Conservative Party press team. She put her career on the line to spearhead a huge media and political campaign pushing for an unprecedented judicial review of the Parole Board’s decision. The campaign, with Sarah, Laila and Carrie at the forefront, was successful, and Worboys’ parole was quashed.

Sarah, whose identity has been protected, said: “Believe Me is about the courage of every woman who came forward to help put John Worboys behind bars.

“What happened to me changed my life, but in many ways the hardest part was not being believed for so many years. Without the people who stood by me, Worboys would have been freed and continued to pose a huge risk to women. Seeking justice shouldn’t mean more trauma. We shouldn’t have to fight to be believed or feel like we’re the ones on trial. The shame never belongs to the survivor.”

Believe Me will air on ITV

If you or somebody you know has been affected by this story, contact Victim Support for free, confidential advice on 08 08 16 89 111 or visit their website, http://www.victimsupport.org.uk.

The new season of Virgin River unveiled some major twists.

Virgin River fans were exposed to a disturbing death and other tragedies.

WARNING: THIS STORY CONTAINS SPOILERS

Season seven of Virgin River has just arrived on Netflix, sending fans on an emotional rollercoaster as each character faces a life-changing event.

The new season saw Mel (played by Alexandra Breckenridge) and Jack Sheridan (Martin Henderson) navigate their lives as newlyweds while facing the prospect of becoming adoptive parents.

Meanwhile, Lizzie (Sarah Dugdale) and Denny (Kai Bradbury) welcomed their baby daughter, but Lizzie began to struggle with post-natal anxiety.

Elsewhere, Brie Sheridan (Zibby Allen) and Brady (Ben Hollingsworth) were trying their best to get along as friends, but they were both in denial about their feelings for one another.

Also, Brie was on a mission to track down Charmaine Roberts (Lauren Hammersley), who had gone missing following a disturbing death. Here are just some of the major plot points from the finale.

Brady was in a motorcycle accident

The final moments of the season saw Brady on his way to meet Brie for breakfast after the pair rekindled their relationship.

While they had tried their best to remain just friends, Brie realised Brady was the only one who had made her feel alive and free.

They made their relationship official at a huge community event, and Brady was excited to spend the morning with his girlfriend.

However, whilst on his motorbike, he was distracted by thoughts of Brie and did not see a lorry approaching.

Viewers saw Brady come off his bike after it collided with the huge vehicle, but his ultimate fate remained a mystery.

Preacher wanted to leave Jack’s bar

Jack’s best friend and business partner, Preacher (Colin Lawrence), was keen to explore new opportunities at the bar and took on a whole new menu.

He was excited to share his vision of expanding the bar, but when he put the idea to Jack, he was not keen on taking such a big risk.

Feeling that Jack was unappreciative of his work, Preacher asked Jack to buy him out of the business so He could explore his own opportunities.

After some deliberation, Jack decided to grant Preacher his wish and draw up the paperwork, but it appeared Preacher was starting to have second thoughts.

Fans are still waiting to find out whether Preacher signed the paperwork, ultimately cutting ties with Jack and the business.

Roland confessed his love for Hope

Hope McCrea (Annette O’Toole) and Doc Mullins (Tim Matheson) ended up falling out after Doc began having second thoughts about partnering with the doctors at Grace Valley.

Feeling he had gone behind her back in making such an important decision, Hope stormed out on Doc and ended up spending time with her ex-husband, Roland (John Ralston).

During an emotional conversation, Roland revealed the truth about Hope’s father, who was the reason she had come to hate Roland so much, and it transpired that neither was to blame after all.

Roland eventually admitted he still loved Hope and helped her scatter her father’s ashes, so fans may be left wondering whether they will start to rekindle their romance.

Charmaine was kidnapped by Grant and he killed Calvin

A huge storyline in season seven was the disappearance of Charmaine after it was revealed her ex Calvin (Josh Blacker) had been shot and killed.

It transpired that Charmaine’s boss, Grant, had developed an obsession with Charmaine, and they had clearly spent a lot of time together.

Recalling the events of the night of Calvin’s death, Grant, who was holding a gun, revealed Calvin had not wanted him around the babies, and he had come to Charmaine’s house to threaten her.

As Calvin and Charmaine got into an altercation, Grant shot and killed Calvin in order to protect Charmaine. Grant was ultimately arrested for killing Calvin and kidnapping Charmaine and the twins.

Marley’s baby was born with a rare heart defect

Mel’s patient Marley (Rachel Drance) had spent the entire season debating whether or not she wanted Mel and Jack to be the parents of her unborn child.

After the baby’s father came back into her life, the pair decided they were not ready to have a child and agreed Mel and Jack could keep the baby once it had been born.

In a tragic twist, it was discovered that the baby had a rare heart defect that he would need to have a series of operations.

Marley was whisked off to the hospital the next day, and Mel helped deliver the baby, who was then taken off in an ambulance with Mel and Jack present.

Fans were left wondering whether the baby would recover.

Virgin River season 7 is on Netflix

For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website

FEARNE Cotton has revealed she felt “shamed, stared at and ignored” by colleagues after the arrest of her former boyfriend Ian Watkins.

While she does not mention him by name, the former Radio 1 star discusses a “life-altering” news story connected to her in her new book.

In Likeable, released this week, the former BBC Radio 1 host hints at the difficult period she endured after the Lostprophets frontman admitted to 13 child sex offences.

The now 44-year-old recalls being live on air when “a horrible news story that doesn’t involve me yet has a tenuous and life-altering link to me will be broadcast on my own radio show again that day”.

Fearne briefly dated Lostprophets frontman Watkins in the mid-2000s after the pair met at the Kerrang! Awards.

The relationship is believed to have lasted around a year, and the presenter largely kept it out of the spotlight at the time.

HARD TIMES

Fearne Cotton’s ex Jesse Wood reveals he’s jobless & living on £1,000 a month

hard time

Fearne Cotton reveals she’s not sleeping days after death of paedo ex Ian Watkins

His offending only came to light years after the pair had split.

Watkins was arrested in 2012 over child sex offences and convicted the following year, during which time Fearne was hosting BBC Radio 1’s weekday mid-morning show.

The radio star wrote: “I feel simultaneously glared at, stared at, yet utterly ignored by those in the office.

“Are they all talking about me behind my back? Or am I a narcissist for thinking that?”

Ian Watkins later pleaded guilty to offences including the attempted rape of a child and was jailed for 29 years in 2013.

In quotes obtained by The Mirror, Fearne writes that she struggled with intense shame and nausea as she tried to keep broadcasting.

Trying to push through, she explained that she “shoved down the anger, the rage, the sorrow and tears” in order to keep going, describing the period as one of “depression and a heaviness”.

However, she said she has since worked through those feelings in therapy and realised the shame was never hers to carry.

Instead, she wrote that it “belongs to others” and mostly the men from her past.

The mother-of-two added: “Men who have shamed me, treated me badly and left me lumbered with it.”

Watkins died from blood loss at HMP Wakefield in October after being stabbed in the neck.

West Yorkshire Police later charged two men, aged 25 and 43, with murder. Their trial is set to begin in May.

Shortly after the news of his death, Fearne shared a reflective post on Instagram in which she spoke about struggling with shame and sleep.

“Here are four things that I learned this week,” she said in the video.

“The first one was from the Happy Place podcast where I spoke to Charlie Mackesy who talked a lot about shame which I greatly appreciated.

“And the one reminder that I had from that episode was that so many of us feel shame but we assume it’s just us because that is what shame does.

“It wants you to believe that it’s just you but it’s not…”

She added in the caption: “Four life lessons from this week. I’m not sleeping well.

My brain is a bit wobbly at the moment but I’m grasping the lessons life is chucking my way.”

Insiders previously told the Mail the presenter is “haunted” and “very, very humiliated” each time his name is mentioned.

KATIE Price has warned that her son Harvey “will die of a heart attack” as she begs the NHS to put him of fat jabs.

The former glamour model, 47, revealed her worst fears for her 23-year-old son, who has a rare genetic disorder called Prader-Willi syndrome, which causes insatiable hunger, alongside autism, septo-optic dysplasia.

Last April Katie told fans that she was worried for her son’s life as he weighed nearly 30 stone.

And now the TV personality has shared another serious health update on the latest episode of her podcast.

A worried Katie said: “I’ve been on the case to doctors about putting him on the Monjaro.

“I’m actually going to put some up on Instagram to say, is there any private doctors out there because the NHS are so – I’m not slagging the NHS off, but they know he’s in the obese category.

family woes

Katie Price admits hospitalised mum cried and ‘was traumatised’ after marriage

PRICEY MISTAKE

Katie Price reveals Harvey has ‘smashed up’ her car after getting upset

“When he sleeps, I worry because he’s snoring and wheezing.

“Then sometimes he holds his breath and I’m like, he’s massive, Sophie.

“He’s just getting bigger and he’ll end up dying of a heart attack.

“They’ve already told me years ago that if you don’t lose weight, he’s prone to a heart attack.”

She added: “I just feel so bad, so I’m going to have to do something.

“I mean, I’m not going to inject him myself because that’s not medically right to do for him. But something needs to be done.

“He’s just huge. So that’s that. But I’ve enjoyed having him.”

In January, Katie said Harvey was set to start fab jabs soon.

Katie confessed: “Things are definitely going to change for Harvey when we move because although he’s moving to adult residential, he’s also going to be starting Mounjaro.”

She explained she would be keeping an eye on him while he takes the medication, adding: “So, he’ll be losing weight.”

Harvey has several complex medical conditions, including Prader-Willi Syndrome, which causes an excessive appetite and weight gain, and autism.

Back in November, Katie spoke out in one of her podcast episodes, saying: “He’s not started fat jabs,” after speculation he had already started the weight loss injections.

She went on to say: “There are talks of fat jabs – of Mounjaro – for him.

“But when he was there, they’ve actually got a new weight loss drug coming out, and it’s new.

“They’ve clinically tested it on people and they’ve got a few people they’re putting it on first.”

Katie then said: “And if it works, then Harvey can go on it in the new year.

“But they want him to start the Mounjaro.

“Because if he goes on Mounjaro first and then goes onto this new one, it will work a lot quicker.

“The reason he hasn’t started Mounjaro yet is because they were trying to get him to lose weight through his diet, to try all avenues,” she explained.

Despite not being on fat jabs yet, Harvey has still lost a substantial amount of weight

Back in October, Katie opened up about how much weight he had lost.

“Last I heard, he lost 22lbs, is he still going?” Katie’s sister asked on their podcast last month.

Katie then revealed: “He’s lost a stone and a half. I can notice it on his chest, but not the belly yet.”

MAURA Higgins continued her American takeover as she ditched her underwear for a daring red carpet look.

The former Love Island star, 33, turned heads in a stunning plunging cut-out gown, posing for cameras at a swanky fashion bash.

The TV star posed alongside model Brooks Nader and TikTok star Dixie D’Amelio in Los Angeles on Wednesday.

Maura looked every inch the Hollywood star as she arrived at Vanity Fair’s The 2026 Vanities Party: A Night For Young Hollywood.

The Irish beauty flashed plenty of skin in the bold, black velvet and mesh Black Swan-inspired ensemble.

Maura was spotted at the event with Sports Illustrated model Brooks, 28, and social media sensation Dixie, 22.

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Maura Higgins turns heads as she steps out in her BRA with oversized coat

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The trio mingled with guests at the star-studded bash.

It’s just the latest in a string of swanky events where the Irish former Love Island star has been making serious waves Stateside. 

Maura is currently starring in The Traitors US alongside Lisa Rinna, best known for The Real Housewives Of Beverly Hills. 

Last week millions of viewers watched the Love Island 2019 contestant make it to the final as a Faithful before the grand finale next week. 

The show may not have aired in the UK yet, but Maura’s sharp sense of humour has already made her a fan favourite in the States.

It was that same quick wit that made her hugely popular on Love Island, before she won over viewers again during her stint on I’m A Celebrity… Get Me Out Of Here!

After filming wrapped on the US series at Ardross Castle in Scotland last June, Maura walked away feeling confident she had smashed it, according to pals. 

Traitors US began on January 8 and attracted 638 million viewing minutes which proved a streaming record for the show, now on its fourth series. 

Viewers have noted the chemistry between Maura and 27-year-old Love Island USA star Rob Rausch.

Maura was asked about their relationship when she appeared on US talk show Watch What Happens Live recently.

Host Andy Cohen told her: “The internet wants you and Rob to get together.” 

Rob certainly showed his appreciation for the Irish star by gifting her a £17,000 Hermès Birkin bag.

A credit to her rising popularity, Maura has now signed up with top-tier agency Align PR, whose clients include Madonna and Hollywood stars Matthew McConaughey and Bryce Dallas Howard. 

In March last year, the star revealed that she had been invited to lunch with Margot ­Robbie.

The actress is a huge Love Island fan and previously described Maura as one of her favourite contestants.

Maura wrote on Instagram: “When Margot Robbie invites you to lunch . . . you go.” 

Meanwhile back home, the Love Island favourite has also just bagged a six-figure deal with Victoria’s Secret.

Ella Bruccoleri looks unrecognisable from her days at Nonnatus House as she takes on the leading role in new BBC period drama

Call the Midwife star Ella Bruccoleri has landed the leading role in new BBC period drama The Other Bennet Sister.

The 10-episode series, which is based on Janice Hadlow’s novel of the same name, follows the “overlooked” character of Mary Bennet, played by Ella, who looks unrecognisable from her days at Nonnatus House, where she featured as Sister Frances until 2022.

The series begins at Longbourn, where the Bennet family’s five unmarried daughters navigate the rigid expectations of Regency society.

“Her journey sees her leave her family home for the soirées of Regency London and the peaks and vales of the Lake District, all in search of independence, self-love, and reinvention,” the synopsis says.

“The series follows Mary as she steps out of her sisters’ shadows in search of her own identity and purpose, finding herself in the middle of an epic love story along the way,” it goes on.

Fans don’t have long to wait for the show to drop as it had since been confirmed that it will premiere on BBC One at 8pm on Sunday ( March 15) and all episodes will be available to stream on iPlayer.

Speaking to the BBC about her new role, Ella explained: “Mary’s not your typical period drama heroine.

“She lives in a world where, particularly for women, appearance is everything, and she doesn’t understand that value system at all.

“Instead, she turns to literature that offers a different viewpoint. Her favourite book is Fordyce’s Sermons to Young Women, because it argues that women shouldn’t have to be beautiful — they should be intelligent and pious.”

Giving fans further insight on her character, she added: “Mary Bennet has been written off by many members of her family, and as a result she’s written herself off too. When we meet her at the beginning of the series, she’s living with her family in a small village and has never really left that world.

“These are the only people she knows, and she understands herself through the values they impose on her. We know these characters from Pride and Prejudice, but it’s fascinating to see the impact they have on someone like Mary.”

Giving her thoughts on the new adaptation, the star said: “When I read Jane Austen, I’m always struck by how witty it is so witty, with humour in every line.

“Sarah Quintrell really brings that into the scripts, and Janice Hadlow’s book does the same. The novel is very different in style from Austen, but it feels like a genuine extension of Pride and Prejudice.

“Sarah’s scripts tread the line between comedy and drama better than anything I’ve ever read. It feels like a tragicomedy – it doesn’t take itself too seriously, but it’s also not afraid to delve into emotionally weighty material. That feels very true to Jane Austen.”

The Other Bennet Sister debuts on BBC One and iPlayer on Sunday (March 15) at 8pm

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The outgoing Director General for the BBC, Tim Davie, has spoken out in the defence of the licence fee, which has risen to a huge £15 a month, making it more expensive than multiple streaming services

The BBC is in “crisis,” departing Director General Tim Davie has said. The broadcaster has been criticised for its planned increase to the licence fee, which will rise to £180, from April 1.The increase, required by the 2022 Licence Fee Settlement, will rise by £5.50 for the year. This means a standard colour TV licence will now cost each home £15 a month, more than a subscription to various streaming platforms.

Speaking on The Rest Is Entertainment podcast, Davie insisted that the BBC – and other institutions – are certainly in “crisis”. He says: “Trust is built and I’m semi-obsessed by this – trust is built by people absolutely believing that someone is acting in their interest and that they listen to them. And if you think about an old-school broadcaster, it broadcasts….

“I think there have been too many instances where institutions and the BBC is definitely not exempt from this – where, call it what you will, metropolitan, a certain lens on life.”

According to Davie, as long as the BBC is providing value, then there should be no problems about an increase in the licence fee.

“We’re at a consultation phase, but we have set out a very clear preference which is and I would do this to the point about restarting where we’re at – I think there is a model which says: look, if we can deliver value for every household and really work at that, then everyone contributes fairly, and I think that is a model that’s worth fighting for,” he says.

“I don’t see it as something potentially trapped in the past. I actually think it could be something exciting for the future – quite enlightened. You don’t have to go exactly where the market is going currently. You have to make markets, and I think we can do that.”

The BBC have been hit by serious allegations that one of their Panorama documentaries misled viewers by editing a speech by Donald Trump. The BBC’s director general Tim Davie and head of news Deborah Turness both resigned in November.

It had been alleged in a leaked internal BBC memo that those working on the Panorama programme edited two parts of the speech together so that Trump appeared to explicitly encourage the Capitol Hill riot back in 2021. Trump has since launched a multi-billion dollar lawsuit against the BBC, which is scheduled to go to trial in February 2027.

He did not explicitly reference any specific errors the BBC had made under his tenure but he said the world was in an age of “weaponisation”, where the broadcaster was under strict scrutiny over one thing – but not referencing all the good work they’ve done.

“We’ve made mistakes, sometimes serious mistakes, which we regret. But weaponisation is selectively taking one fact – it may be a fact, so you’re standing on a fact – but what you’re not standing on is any effort to be proportionate,” he says.

“You’re not saying, look, a thousand stories run, we’re running, and one didn’t get it right, or overall this is where there’s no balance of data. It’s literally just selecting a fact to make a case.”

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A jury found Ye, the controversial music impresario formerly known as Kanye West, liable in the legal dispute brought by his former contractor and ordered him to pay $140,000.

Tony Saxon, who also worked as Ye’s security guard and caretaker at the Malibu property, sued the rapper in Los Angeles Superior Court in September 2023, claiming a slate of labor violations, nonpayment of services and disability discrimination.

The $140,000 judgment announced Wednesday is far less than the $1.7 million in damages that Saxon’s lawyers had originally requested. Ye will also have to pay for Saxon’s legal fees, which is expected to put the total sum that West will have to pay at more than $1 million.

Although Saxon’s attorneys at the Los Angeles-based firm West Coast Trial Lawyers called the verdict a “mixed” one, they characterized it as as a “vindication for our client.”

“Ye’s lawyers called him a liar, a fraud, and a malingerer in court. His medical records, bank records, and personal family history were dissected, mocked, and vilified,” said attorney Ronald Zambrano in a statement.

“In true David-vs.-Goliath fashion, Mr. Saxon stood firm against one of the biggest celebrities in the world, with the truth on his side,” Zambrano said.

Saxon alleged that while working as a security guard on the property, he was forced to sleep on the floor and was fired in November 2021 for failing to comply with Ye’s “dangerous requests.” He also said that he frequently complained to West about these and other issues, but that the rapper failed to address them.

In a statement, Ye’s spokesperson noted the jury had “rejected almost all of his [Saxon’s ] claims,” and that Saxon only recovered “a small fraction of what his lawyers demanded.”

“The jury also found that Saxon acted in the capacity of a contractor and did not qualify for the employee exception under California’s contractor licensing statutes,” according to the statement. “We believe the damages award is legally barred and we’ll be seeking post-trial relief from the court.”

Ye purchased the beachfront concrete mansion in 2021— designed by Pritzker Prize-winning Japanese architect Tadao Ando — for $57.3 million. He then gutted the property on Malibu Road, reportedly saying, “This is going to be my bomb shelter. This is going to be my Batcave.”

Three years later, the hip-hop star sold the unfinished mansion (he had removed the windows, doors, electricity and plumbing and broke down walls), at a significant loss to developer Steven Belmont’s Belwood Investments for $21 million.

In court filings Ye denied Saxon’s allegations. In a November 2023 response to the complaint, he disputed that Saxon “has sustained any injury, damage, or loss by reason of any act, omission or breach by Defendant.”

In January, Ye sued Saxon and his law firm over a $1.8 million lien placed on the Malibu mansion, alleging they “wrongfully” placed an “invalid” lien on the property “while simultaneously launching an aggressive publicity campaign designed to pressure Ye, chill prospective transactions, and extract payment on disputed claims already being litigated in court.”

The Malibu mansion that Ye purchased and gutted was later purchased and restored to its original design.

(The Oppenheim Group / Roger Davies)

That case is pending.

Ye’s spokesperson said the lien “clouded the home’s title and interfered with its sale, destroying substantial value at the time of sale.”

In recent years, the mercurial superstar has faced a number of public and legal dramas.

In 2022, Ye lost numerous lucrative partnerships with companies like Adidas and the Gap, following a raft of antisemitic statements, including declaring himself a Nazi on X (which he later recanted).

Two years later, Ye abruptly shut down Donda Academy, the troubled private school he founded in 2020.

Ye, the school and some of his affiliated businesses faced multiple lawsuits from former employees and educators, alleging they were victims of wrongful termination, a hostile work environment and other claims.

In court filings, Ye has denied each of the claims made against him by former employees and educators at Donda.

Several of those suits have been settled.