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Good Morning Britain star Susanna Reid has been criticised for the comments she made about Tourettes syndrome, with some branding it a ‘totally uncaring, stupid and dismissive’ remark

Susanna Reid has been slammed by ITV viewers for a “totally uncaring, stupid and dismissive” remark about Tourette syndrome during a discussion on Good Morning Britain.

The presenter has come under fire for comments she made whilst discussing John Davidson, a Tourette’s campaigner who had his life serialised in new movie I Swear. Actor Robert Aramayo played the role of John in the movie, which he won Best Actor for last night.

During the BAFTAs last night, as Sinners stars Michael B Jordan and Delroy Lindo presented an award, John was heard shouting “shut the f**k up” and “boring” at the actors before using the N-word.

Now, Susanna Reid has been criticised for her comments about Tourettes whilst discussing the news. She said that she was still “thinking about the language'” and branded it “completely unacceptable”.

She referenced that people with Tourettes couldn’t control their ticks, but added: “There’s plenty of people watching who say, ‘Why should a racial slur ever be accepted or simply brushed away?'”

Ed then said: ‘There’s two different issues. If this racial slur was said at the awards ceremony, it shouldn’t have been broadcast. The guy who has Tourette’s – apologising for his disability is not fair or right. It’s not in his control. If it was me, I would have bleeped out the racial slur and not had the apology.”

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Susanna added: “But it’s absolutely vital that you apologise for it. A racial slur is always something, presumably, that needs to be apologised for.” Ed then replied: “They ought to have apologised for having it on the programme, but apologising for the gentleman with Tourette’s, you can’t apologise for his disability.”

Fans of the ITV show fumed over Susanna’s comment, with one writing: “The actor in the film regarding Tourette’s wins an award but Susanna states that we need to apologise for the consequence of that disability in real life.” Another added: “You shouldn’t apologise for #TouretteSyndrome, it can’t be helped. You should never apologise for an illness…no one asked to have the illness.”

Yesterday, at the awards, host Alan Cumming addressed the comments. He told the audience: “You may have heard some strong offensive language tonight, but if you’ve seen the film I Swear, it’s about the experience of a person with Tourette syndrome.

“It is a disability and the ticks you have heard tonight are involuntary that means the person who has Tourette syndrome has no control over their language and we apologise if it has caused offence.”

A BBC spokesperson added: “Some viewers may have heard strong and offensive language during the Bafta Film Awards 2026. This arose from involuntary verbal tics associated with Tourette syndrome, and was not intentional. We apologise for any offence caused by the language heard.”

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Dani Dyer opens up about her dad Danny’s past rehab stint on their new show together The Dyers’ Caravan Park

Dani Dyer discusses the emotional letter she sent to her dad Danny Dyer during his past time in rehab on their new show The Dyers’ Caravan Park.

The Sky show sees Danny, 48, who loves a caravan park, attempt to save the great British holiday by reviving Priory Hill in Leysdown, Kent.

Danny, who has fond memories of his caravan holidays in the 1980s, is investing his money, time and hard work to bring back the spirit of the classic family holiday alongside daughter Dani, 29.

The father and daughter have a very close bond, having worked together on other projects such as True Love or True Lies, their hit podcast Sorted with the Dyers and travel show Absolutely Dyer: Danny and Dani do Italy.

Opening up during the show, Dani speaks about her close bond with dad Danny, where she reflects on his past time in rehab.

At the time, Danny was on EastEnders playing Mick Carter, a role he played from 2013 to 2022, he headed to rehab in Cape Town in 2016 after he was “slowly killing himself” by being “off his head”.

Danny previously told the BBC receiving a letter from his daughter Dani while at a rehab facility in 2016 was what convinced him to continue his treatment.

The father-of-three, who first met wife Jo Mas when they were both 14, managed to turn his life around with the help of rehab, therapy and meditation.

Talking about her dad’s journey on The Dyers’ Caravan Park, Dani says: “You know when your brain just doesn’t want to remember things? Like, it just blocks it out?

“He [dad Danny] went to rehab a couple of times. I remember the first time, I didn’t really remember the first time that he went and I wrote him a letter.

“I still to this day, I can’t remember what I wrote. You know, like when everything was such a bubble and everything was just so intense at the time.

“I knew he’d gone, but I knew that there was a reason. Like, if he hadn’t gone away, like, God knows where he’d be now.”

Talking about their close bond, Dani made an emotional death admission about her famous dad: “When he goes, I’ll have to stuff him, because I’ll need him in my garden forever. He can never leave me. He has to outlive us all.”

The Dyers’ Caravan Park launches 24 February on Sky and NOW.

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This story contains spoilers for Episode 6 of “A Knight of the Seven Kingdoms.”

Ira Parker intended the very last scene of “A Knight of the Seven Kingdoms,” Episode 6 (titled “The Morrow”), to be just “something that was a little funny.”

Sunday’s season finale of the HBO fantasy series ends with everyone, including the royal Targaryen entourage, departing Ashford after the conclusion of the trial and tournament. Just before the credits roll, Prince Maekar, who notices his young son Aegon is once again missing, frantically shouts, “Where the f— is he?”

“To be honest, the very, very, very end was almost just meant as a joke,” the showrunner says during a recent video call. “But I think people — both in my writing camp and in the HBO camp and probably in the world — took that quite literally. So I’ve maybe had to deal with it a little bit more in Season 2 than I was planning to.”

“A Knight of the Seven Kingdoms” showrunner Ira Parker, right, with director Sarah Adina Smith on the set of the fantasy series.

(Steffan Hill / HBO)

Starring Peter Claffey as Ser Duncan the Tall and Dexter Sol Ansell as Prince Aegon Targaryen, “A Knight of the Seven Kingdoms” is an adaptation of George R.R. Martin novellas set in the same world as his “A Song of Ice and Fire” series. These “Tales of Dunk and Egg” stories take place around 100 years before the events depicted in “Game of Thrones.”

The moment in question could be a big deal for some fans of Martin’s novellas. The scene is not included in “The Hedge Knight,” the book upon which the first season of “A Knight of the Seven Kingdoms” is based. Whether Egg had Maekar’s permission to join Dunk’s travels as his squire is left more open ended in the novella itself.

While the young prince said he had his father’s blessing, “it’s not confirmed canonically” in the book, says Parker. “We haven’t done anything egregious here, I don’t think. [And] I believe it from a character perspective. I believe that Egg would do that again, because he’s already done it. We’ve seen him. He runs away. That’s sort of his thing. And he lies to people.”

Without sharing any details, Parker teases the situation will be addressed again next season.

Dunk (Peter Claffey) in the season finale of “A Knight of the Seven Kingdoms.”

(Steffan Hill / HBO)

The showrunner, who co-created the series with Martin, admits that approaching “The Morrow” was “daunting.” Set in the aftermath of Trial of Seven, Episode 6 involved “a lot of creation” to stretch out the remaining events from the source material.

“Very early on, all of us knew that we weren’t going to add any story,” says Parker, who previously worked on “Thrones” prequel “House of the Dragon.” “The story is the story. We’re going to be 100% faithful to the novellas in that respect. But where we could add, because we needed about another 50% of material in order to fill out even our six 30-minute episodes, was going to be in the characters.”

This has meant the show has spent more time with the very relatable Dunk and his precocious charge Egg. Its supporting ensemble including Lyonel Baratheon (Daniel Ings) and Raymun Fossoway (Shaun Thomas), who give Dunk a helping hand, have also been more fleshed out. This has allowed audiences to just “enjoy hanging out in this world.”

“I wasn’t always convinced that people would allow us to do it,” Parker says. “Hanging out in Westeros. It meant a little bit of a slower start. Luckily, people have come along with us on the ride. … We really just hoped that people would be charmed enough by these characters and the story and want good things for Dunk.”

Like “The Hedge Knight,” the episode concludes by teasing Dunk and Egg’s journey to Dorne, but Parker confirms Season 2 will be an adaptation of the second novella, “The Sworn Sword,” which takes place a year and a half or so after the events of “The Hedge Knight” and sees the pair in a part of the Reach.

“I love ‘The Sworn Sword’ because I think it’s very funny, and I think the sort of ‘will they / won’t they’ between Dunk and Lady Rohanne is just good territory for us,” he says. (Parker said they considered setting Season 2 in Dorne but that it would have taken too much time to flesh out the story even with Martin’s notes.)

In a conversation edited for clarity and length, Parker discussed his collaboration with Martin, every aspect of the show being a reflection of Dunk, and “A Knight of the Nine Kingdoms.”

Lyonel Baratheon (Daniel Ings), left, and Dunk (Peter Claffey) while a maester (Paul Murphy) looks over the injured hedge knight.

(Steffan Hill / HBO)

The show is called “A Knight of the Seven Kingdoms,” but in the finale, Egg points out to Dunk that there are actually nine kingdoms in Westeros. Can you explain that moment and actually showing the alternate title card?

The situation is so overwrought in this episode. With Baelor’s death and with everything that Egg has gone through, which we see him struggling with. Where Dunk’s head is at, going off alone again. The fact that they both get together is wonderful and uplifting, but we sort of had to reassure the audience — that even though Egg is now officially a prince and Dunk knows that, and this tragedy has come to pass between the two of them, the core of that relationship, what we learned to love about their relationship before all of this happened, actually still remains. So that was the importance of having a type of conversation like that. It didn’t necessarily have to be the conversation about the kingdoms, but just Egg, in his way, making sure that Dunk never feels like he knows anything. And it is a wink to the audience and to the fans [who have raised questions about the number], but we’re not changing the name of the show.

You mention Egg’s struggles and we do see just how much anger he has toward his brother Aerion in this episode. What were your thoughts on depicting that onscreen and what it says about Egg?

I talked to George a little bit about Egg and his motivations early on, and George said kids feel disappointment more acutely and that that is a huge part of it. It’s not to be discounted. I don’t want to go out there and say it’s because of Targaryen trauma and everything he’s been through. He’s a boy. Things were happening that were very nice for him that he was very happy about. Then it was all taken away and he blames people. He feels like he’s caused all these problems [for others], and when that doesn’t have a place to land, that’s what turns into anger. It just sort of brews up inside of you.

He sees Aerion as the true cause of all this. At that young age, he doesn’t know how to undirect that. He has some sort of a father there in Maekar. But the fact that he ends up with Dunk, that’s the whole story of Episode 6. Is Dunk, after all this, going to decide to save this kid who is just going to be thrown to the wolves otherwise? Who’s not going to get what he needs to direct his frustration and his disappointments to good energy targets? Kids who have that end up, generally, in better situations than kids who don’t.

It’s very important for me to show the importance of having a mentor in your life. We’re obviously very thematically about fathers and sons, knights and squires, and, to a certain extent brothers. But it is, at the core of it, what it is to have a teacher. Dunk had that in Ser Arlan. Dunk certainly has no obligation to do anything for this family at this point and he does it … because it was done for him. So he’s paying it forward, being a benefit to the person next to him.

Dunk (Peter Claffey) is ready for his next journey.

(Steffan Hill / HBO)

That’s one thing that sets Dunk apart. He’s one of the few people we see in this world who believes in doing good and that that’s what he’s supposed to be doing.

There’s an addition to that, which is that he wants so badly to do good and do right by his mentor who taught him what a knight was supposed to be. But there is this feeling that the world isn’t going to let you do that. We see somebody like Ned Stark, who’s very honorable, [but] probably suffered ultimately from his naivety — his belief in others. Dunk, I think, has one extra level. Or maybe I’m just projecting that onto him because sometimes I think about how to protect myself in this world where not everybody always has the best intentions. You so badly want to do good, but then there’s also the reality of that, and a big part of Dunk’s early journey in this world is learning those lessons.

Maybe that’s just because my head is also stuck in Book Two, where I think that is brought even more to the forefront. But he’s never going to change. He’s always going to be hopeful.

You did a Reddit AMA recently and you responded to someone who had asked about the show’s production budget that everything in this show was a reflection of the lead character. Can you explain what you meant by that?

It’s very chilling at the beginning to realize that you have one [point of view] character, but then when you realize how many facets go into making up that one person — from costumes, cinematography, music, everything — you realize you actually are telling a lot of different stories, just about one person and how they relate to the world. You have to make sure that that is one hell of an immersive experience, because it’s not like you could just have an audience member tune out if they don’t like the Dunk story this week. We had to make you feel in every single episode that you are in that situation, that you can somehow relate to Dunk and what he’s going through. This is because it’s about to get even tougher for him. Hopefully the people who come to us for the light, fun, enjoyable take on Westeros will stick with us through some of the harder, trickier, grimmer moments. Because this is George R.R. Martin’s world, and it gets dangerous.

But it was actually a very nice, natural way for us to differentiate ourselves [from the other shows]. We’re not a prequel. These are novellas that have existed for 30 years. It’s more organic. Rather than being so grand and epic in scale, it’s still small and simple and hopeful. [Dunk’s] still basically just a kid. It’s two kids setting out to have a little bit of fun. There’s got to be some some whimsy about it. That very easily allowed us to find our own voice.

Egg (Dexter Sol Ansell) has a lot of anger for his older brother.

(Steffan Hill / HBO)

How is it like to work with George R.R. Martin?

He has been wonderfully collaborative. It’s been the most fulfilling creative partnership of my whole life. A lot of people can start out in this industry reading your stuff and telling you what they think is wrong without asking you why you did something the way that you did it. Giving you the benefit of the doubt and the conversation jumping off from there, George is very good at that. Whenever he would call me about a new script, we’d talk out what’s in my head in the version of events that led me down this path. And then he talks about why he either did it another way or has issues with it. It becomes a very natural conversation. It’s an extension of a writer’s room with a living legend, one of the greatest living writers in the world today. He just likes talking about this stuff with you, and I like talking about it with him.

What were your earliest conversations with him about “Dunk and Egg” like? Did you already have an idea of how you wanted to do the show before you talked to him?

I swung pretty wildly at the beginning from the point where HBO sent it to me — where I thought “Game of Thrones” shows are 10 episodes, an hourlong each, how could we possibly do that with these three novellas — to finding out what HBO’s intentions were for it, finding out what George’s intentions were for it. Having conversations with George about what he likes, why Dunk is his sole POV character. Why, for example, he never wrote any Egg chapters. He has so many specific thoughts on all of this that that really helped inform what my approach was going to be.

I think it was very important for me to go into that first meeting, when I flew to Santa Fe to meet him, with a mile-high preparation. I knew everything possibly in and around this world and these characters, and I had a lot of pitches, if it came to that. But I didn’t go in there and lead with that. I just went and I sat down and we had conversations. I asked a lot of questions and I listened a lot. And then I went back and I re-formed and I went off and wrote a pilot. Then we were off to the races.

Raymun Fossoway (Shaun Thomas), left, was a true friend to Dunk (Peter Claffey).

(Steffan Hill / HBO)

You worked on “House of the Dragon,” which is such a different show, even though it’s in the same world. How did your time there affect how you wanted to approach this show?

That room was one of my favorite rooms that I’ve ever been in. Ryan Condal is a true writer’s writer. He has so much love for this world. It’s funny because everybody thinks comedy rooms are just so funny all the time, everybody’s cracking jokes, and drama rooms are so serious because of the material. It’s actually often the exact opposite. In drama, because comedy is not currency, everybody’s just cracking jokes all the time. And Ryan has such a sharp wit; we share a very similar sense of humor. I think it was him who put me forward for this to HBO when they were looking for a writer for “Dunk and Egg,” and I’m very grateful.

Our room for “Knight of the Seven Kingdoms” was very different. We hired all drama writers, just people that have different sensibilities. I felt like I was living my very best days. We had 11 days in that writer’s room because the writers’ strike shut us down so quickly, but we knew that that was coming up. So we got going as fast as we possibly could and we broke as much as we could. Then I assigned scripts the very last day. But those 11 days in that room, I think we broke, ultimately, 20 seasons of a show by accident.

We were having so much fun, we were creating it all for the first season. We did it all for six episodes. As soon as we got back from the strike, a few of my writers were just like, “How do you expect us to write 35-minute episodes with these beats to be broken?” We pulled it a lot, lot back from what that was, but writers rooms are the happiest place on Earth, or least lonely place on Earth. It’s not always happy — it’s hard sometimes.

KATIE Price has proudly brandished a pregnancy test days after claiming she’s pregnant with her sixth baby.

The Sun exclusively revealed the former glamour model said I Do with businessman Lee Andrews in a plush ceremony in Dubai last month.

Over the weekend, it was revealed the pair made their marriage legal in a second ceremony.

Now Katie, 47, has taken to her bathroom to tease the next steps in their relationship.

Last week she appeared to confirm she is expecting as she claimed “I’m having his baby”.

The parent of five’s new video saw her posing in a white T-Shirt, holding a test with her pink manicured fingers.

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Her huge wedding ring was on full display in the clip, which saw her brush her dark locks over her shoulder and flash a smile to the camera.

Yet she covered up the window box on the test, meaning the verdict could not be seen.

She then said: “Hey guys so all the speculation.

“If you want to see the truth subscribe and you will see the answer”.

She then flashed a pose to end the clip and added a subscription box.

Katie married Lee after two weeks of knowing him.

She then stunned fans by appearing to confirm that she’s expecting his baby just hours after meeting his dad.

In her apparent baby announcement, Katie was also quick to take a swipe at Lee’s ex partner Alana Percival, who he was engaged to last year.

In a shock rant, Katie took to social media and said: “Alana I know rejection doesn’t feel nice and I’m married to Lee Andrews the man you want and will never have again.

“Your constant lies and put downs is clearly showing how bitter you are, go live your life little girl.

Who is Katie Price’s husband Lee Andrews?

KATIE Price tied the knot with Lee Andrews in January 2026. Yet who is he?

• Katie Price has married businessman fiancé Lee Andrews in a whirlwind wedding
• It is the fourth time Katie, 47, has been a bride. She has also been married to Peter Andre, Alex Reid and Kieran Hayler
• Katie and Lee met just after being introduced on social media
• Lee claimed he is a billionaire in a failed clip from his acting career
• He now claims to be a Dubai-based businessman
• Yet The Sun has unmasked him as a fantasist who faked celebrity links using AI-generated photos and recently talked about marrying two other women
• Failed actor is just another title to add to Lee’s questionable CV, after he claimed to have once worked as the Director of Philanthropy at The Prince’s Trust (now The King’s Trust)
• Lee also shared images – since proven to be AI – of him working with Elon Musk and Kim Kardashian
• It’s been revealed shameless Lee told former girlfriends that he had studied at Cambridge University, and has a PhD in biotechnology science
• But The Sun has seen a response from the university explaining it could not find a record of Lee being registered as a student with a date of birth they had provided
• His LinkedIn profile says Lee has been a Member of the Board of Advisors to the Labour Party since 2015
• Lee was also mocked for repeating the exact same wedding proposal on Katie – that he did for another woman just four months ago.

“I know the truth and your now embarrassing yourself, go and have the little respect for yourself that’s left.

“I know all about you and who you are.

“At least I’m the real woman he has found and deserves, but please just enjoy watching us build our empire as I’m having his child.

“I’ll enjoy the ride and big d*** energy now, I’m in the saddle.

“He’s the most beautiful human I know who never took anything from you.”

Katie furiously added: “Now disappear back under that bridge you irrelevant little troll.”

While Lee also appeared to confirm the baby news by sharing a picture of him and Katie and writing: “Perfect couple, soon to be triple.”

Over the weekend, he shared an image seemingly showing him cradling Katie’s tummy with his hand.

Katie was previously issued a warning by Lee’s exes Alana and Crystal Janke, who he dated at the same time last year. 

Last month Alana, 32, and Crystal, 40, told The Sun exclusively how they were hoodwinked by the businessman — branding him a lying swindler who preys on women.

IT’S FAIR to say that Robbie Williams’ iconic song Angels is the most famous of his back catalogue and always gets everyone singing.

However, the man who claims to have originally wrote the song almost 30 years ago has reignited the decades old feud this week as he gave fans the inside story in a slew of new TikTok videos.

Irish singer-songwriter Ray Heffernan has always maintained that he wrote the first version of Angels in 1996.

However, although former Take That star Robbie confirmed that he recorded a demo with Ray, he has maintained he rewrote it significantly with Guy Chambers.

The singer also bought the rights to Angels from Ray for £7,500 before it was released in 1997.

However, over the years there has been a lot of bad blood between the two men concerning the song, and this week the feud over the iconic tune was reignited.

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It came when Robbie appeared on Radio 2 to talk about his debut album, and said: “I spoke a lot about the album I wanted to make, but the one I did make was Life Through A Lens.

“My memories of making it are, it took me less than two weeks with Guy Chambers to write the whole album.

“That didn’t necessarily mean that it was going to be a success. My album came out and it sold 33,000 copies in three months and that is not what EMI expected to do.”

Continuing with his story, the singer said: “I was about to be dropped and then fortunately I dropped The Angels, didn’t I?

“And it gave me the career that I’ve got today. I’m incredibly grateful for that song.”

But it was this last comment that appeared to really annoy Ray.

Sharing a POV video, the songwriter was seen on his couch reacting in response to Robbie’s comment about Angels, as he wagged his finger at the video and tutted with disapproval.

Since then, Ray has been dropping videos on TikTok, where he has been talking about Angels and how he “signed his rights away” to the song.

He also posted a throwback video of Robbie from 1997 where the singer talked about how he “wrote Angels in a couple of hours”.

Ray captioned the short clip with: “Body language never lies.”

The Sun has reached out to representatives of Robbie Williams for comment.

The last time the pair’s Angels feud was reignited was three years ago – again following Rob’s comments about writing the song.

It came after Ray was left incensed after listening to a Gary Barlow podcast in 2023 where the subject of who wrote Angels popped up again.

Robbie told his former Take That bandmate: “I was off my head basically, the record company has spent a lot of money signing me.

“I made a big song and dance about leaving Take That and wanting to do my own thing, and I hadn’t done anything.

“I thought I’d better get down to it, figure out my voice, and whether I can actually do this … I was at my sister’s house in the garden with a pen and a paper and I thought, right then, I’d better come up with something..(so I wrote) ‘I sit and wait .”…

Robbie then reportedly branded Ray a “fantasist” in the comments section of the podcast, after the songwriter revealed he was unhappy with what had been said.

Ray told The Irish Sun at the time: “How can Robbie Williams call me a fantasist?

“I have always maintained that as a young man, I wrote a song with Robbie, that went on to become his hit song Angels and my story of how that came about has never changed.

“Robbie now says publicly that I’m a fantasist. My question is what part of this am I making up?”

Ray also previously shared with The Irish Sun a picture featuring himself, Robbie and his family on the day he says they wrote the song together.

It was during Christmas 1996 when he met the singer in Dublin’s Globe pub.

Later the same evening, Ray claims that he invited Robbie around to his mum’s place to hear a song he’d just written.

Ray recalled: “We didn’t waste any time, starting that night where I got the guitar out in my mum’s house and played him this song I had been working on.

“This picture was taken the next night day when we played this new song. Robbie loved the song so much, he booked a studio to record his own version the next day.”

A few months later, Ray found out that Robbie was going to record Angels for his next album.

“I contacted Robbie’s management and his people said they would give us an amount of money if I signed a waiver denouncing any rights I had to the song,” he told us.

Robbie later worked on the song Angels with songwriter Guy Chambers.

The song went on to become the singer’s biggest selling single to date AND one of the biggest songs of the 90s.

Speaking about selling the rights to the song, Ray said: “I accepted a deal worth £7,500 to pay me for ‘all and any creative input’ into the song.

“I have the legal documents to prove it. So I am not making this up. You could certainly call me a dreamer in life but not a fantasist. I have never lied about this story, and every part of it is true”.

Back in 2017, Robbie defended the decision to pay Ray for Angels.

“We could have gone to court, and it all would have been down to whether what way the judge wakes up that day out of bed … So I gave him some money, and he went away,” the singer said.

Viewers of ITV’s new true crime drama The Lady, starring Natalie Dormer as Sarah Ferguson, have voiced concerns about the timing of the series amid ongoing royal controversy

ITV’s The Lady debuted this evening, prompting immediate reaction from viewers just minutes into the Sarah Ferguson drama.

The four-part true crime series chronicles the devastating story of Sarah Ferguson’s royal assistant, Jane Andrews, whose trajectory from humble beginnings to palace life ended with her being convicted of murdering her partner, Thomas Cressman, in 2000.

According to the opening episode’s description, “Working-class woman Jane Andrews wants more for her life and is unlucky in love.”

It continues: “On the brink of losing all hope, she receives a letter inviting her to interview for a job with Sarah, Duchess of York, at Buckingham Palace. Securing the job, she moves to London – but life in the palace is gruelling, and Jane struggles to fit in, but she and Sarah find common ground in their experiences of love and betrayal.”

Mia McKenna-Bruce portrays Jane Andrews in the ITV production, whilst Natalie Dormer underwent a transformation to embody Sarah Ferguson, Duchess of York, reports the Express.

Within minutes of broadcast, audiences flocked to social media to voice their opinions, with numerous commenters branding it “poor taste” and “bad timing”.

One viewer declared: “Quite possibly, the worst-timed launch of a TV series, ever. #thelady,” whilst another questioned: “Was it the best time to show #TheLady, considering all the controversy around Andrew Windsor and Sarah Ferguson?”

However, a third viewer observed: “ITV couldn’t have timed this any better. It’s pretty good too #TheLady.”

Other viewers concurred, with one stating, “Bad taste at the moment showing anything to do with Sarah Ferguson,” whilst another remarked, “I don’t think this drama could have been timed any better #TheLady.”

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

The production also garnered widespread acclaim, with one fan writing, “Ok tunes have me hooked already…..”

Another viewer shared their enthusiasm: “#thelady ok 15 mins in, and I’m hooked! Quality-made drama.”

Tomorrow evening’s second episode, which can be streamed on ITVX, promises: ” Jane meets dashing businessman Luis Castillo, and the two begin a relationship, but tensions soon erupt on a holiday in Greece and she becomes increasingly unstable.”

The synopsis continues: “As Jane’s carefully constructed composure starts to fracture and puts her position with the duchess at risk, a lifeline appears in the shape of the charismatic Tommy Cressman.”

The third episode will subsequently be broadcast next Sunday at 9pm on ITV.

The Lady continues tomorrow evening at 9pm on ITV, with episodes currently available to stream on ITVX.

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THIS is the moment Katie Price’s marriage to Lee Andrews was finally legalised – after weeks of rumours.

The new couple got hitched again in a secret ceremony just five days ago.

Katie and Lee could be seen holding hands and gazing into each other’s eyes as they repeated their wedding vows.

Towards the end of the ceremony, instead of sealing the marriage with a kiss Lee leaned and embraced the mum-of-five.

It seems it was a very casual second ceremony with the pair opting to wear jeans, jumpers and trainers.

Katie and Lee faced have faced concerns about the legitimacy of their wedding last month, but The Sun can now reveal Katie and her fourth husband’s real marriage certificate.

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The 47-year-old officially said “I do” again inside Abu Dhabi’s judicial department despite her family and friends voicing their fears over Lee.

Self-proclaimed businessman Lee, 41, and former glamour model Katie signed on the dotted line to formally register their marriage on February 17.

Katie’s whirlwind marriage to the Dubai-based Lee marks the fourth time she has walked down the aisle after her marriages to Peter Andre, Alex Reid and Kieran Hayler.

In the exclusive snaps obtained by The Sun, Katie and Lee appear to be the only ones present for the ceremony – no one attended their first wedding either.

It’s believed that podcaster Katie wanted the official marriage documents ahead of her return to the UK for a shock third ceremony.

Reality TV star Katie married Lee in a quickie ceremony last month after shocking the world with her unexpected engagement that came just weeks after she split from her long-term boyfriend JJ Slater.

Katie been spending time in the UAE on honeymoon following a brief return to the UK since their wedding – despite warnings from her pals.

And it’s been far from smooth sailing for the ex-glamour model.

After meeting up with close pal Kerry Katona and her boyfriend Paolo Margaglione in Dubai, the day descended into chaos following a row.

It led to Lee punching Paolo in a shock bust-up.

Katie was then seen slurring in a video hours after claiming she’s having Lee’s baby .

It triggered a reaction from her sister Sophie Price who shared an emotional post about “pain” and “coming to your senses” amid Katie’s out of the blue marriage.

The video dived into the complexities of family relationships, following claims their once close relationship is strained.

After the dramatic Dubai trip, which saw Kerry and Paolo leave early, Katie and Kerry’s friendship is also said to be on thin ice.

Katie’s pals say they are deeply worried for the mother of five who launched a verbal attack on Lee’s ex-fiancee Alana Percival in a damning Instagram statement.

In the aftermath, Katie’s partnership with domestic abuse charity Woman’s Trust was terminated – despite those close to her insisting she did not write it.

Another of Lee’s exes, Crystal Janke, claimed he took £123,000 from her as an investment, but had failed to give her any money back.

He said he denied all the claims made by the women.

This Disney+ crime thriller is a must-watch for fans of Netflix’s You, with one standout difference that sets this stalker series apart from the rest.

With streaming services flooded with thrillers, crime, and mystery programmes, the storylines can occasionally feel repetitive and formulaic. There hasn’t been a riveting thriller that has captured the nation’s attention quite like Netflix’s You (2018).

However, Disney+ is venturing into this sinister realm with its new stalker thriller entitled Watching You (2025). The series delivers a nerve-wracking, gripping narrative packed with twists and shocking revelations. Audiences can anticipate intricate characters whose hidden truths gradually emerge, maintaining the tension throughout.

Yet, there’s one distinctive feature that distinguishes this programme and renders it essential viewing for thriller devotees.

What is Watching You about?

Protagonist Lina has a one-night stand, which is secretly filmed by a mystery person. However, Lina is engaged to someone else, meaning this one night of passion is an affair.

Lina is subsequently blackmailed by this enigmatic individual who appears to be monitoring her every action. Intent on exposing the stalker threatening her existence, she quickly discovers the peril may be considerably nearer than she ever suspected.

There’s murder and domestic violence in this thriller with layered characters. Whilst it may not feature the most twists and turns, the programme expertly keeps you on edge as secrets steadily emerge, given that no character is entirely blameless.

Similarities to Netflix’s You

Both programmes portray domestic violence, threats against women, stalking and murder. The villains in both shows conceal their true identity while manipulating women.

The only difference is that in Netflix’s You, stalker Joe is the main character and more charismatic than the villain in Watching You. Spoilers ahead.

However, both men are completely unhinged and will do anything to keep their secret whilst convincing themselves they are relentlessly, madly in love with the women they are obsessed with.

One reason you should watch

Watching You does a brilliant job of addressing domestic violence. Unlike Netflix’s You, this show is from the perspective and follows the actions of Lina. Though she is flawed, the show does not excuse what happened to her as a victim.

Her fight against the abuser is fierce, intense and complicated, but it is well written and delivered. Netflix’s You has been criticised for the “romanticisation” of male violence against women, as seen from Refinery29, Our Wave, and feminists.co, but Watching You intensifies the feeling of danger and suspense.

Early ratings

Commenting on IMDB, one person said: “It’s a refreshing and paychpatic watch. All the characters are stupid and follow questionable and illogical choices. But haven’t we all been there? The series reminds me of ‘You’ to a certain degree.

“It’s the plot of stalking someone and manipulating them into loving you. That’s about it with the similarities. The acting could be better; there’s some nudity, which I am not appalled by, but sometimes it makes no sense. Anyway, it’s not vulgar or anything. All in all, it’s a good show. But judge for yourselves.”

Another viewer commented: “I was very entertained by the first 3 episodes. Steamy show, interesting relationship dynamics, good performances. Despite the plot being more than obvious, I enjoyed watching the story unravel.”

They continued: “After the fourth episode, the story started getting more and more ridiculous. Characters were making one stupid decision after another, and the final episode was a letdown, the way it ended. Was that even justice being served? I doubt so.

“Overall, it’s a nice show for a binge, easy to follow despite being predictable. The finale just wasn’t to my taste. It wouldn’t hurt you to watch it.”

ACTRESS Alexandra Daddario has split from her hubby after their marriage “fizzled out”.

The White Lotus star, 39, has a 15-month-old son with film producer Andrew Form, 57.

New York court records show she filed for divorce on Friday.

Her rep said: “They have made the decision to end their marriage.

“The decision was made with love and respect.”

Insiders claimed their marriage started “hot and heavy” but cooled due to work schedules, eventually suffering a “consistent loss of love”.

A source said: “Alexandra and Andrew slowly grew apart.

“Raising a child was a reason to carry on but they weren’t even doing that together often and their married life slowly disintegrated.”

Alexandra was nominated for an Emmy for her role in The White Lotus alongside Sydney Sweeney.

She has also appeared in Baywatch and True Detective.

She and Form met by chance in New York before marrying in 2022.

Form’s movies include Friday the 13th, The Texas Chainsaw Massacre, Teenage Mutant Ninja Turtles, The Purge and A Quiet Place.

Alexandra slammed critics of her acting last year, saying: “Sometimes I’m lit poorly, but I’m not a bad actress.

“I got an Emmy nomination.”

OLIVIA Attwood has begged fans to put her in touch with a higher power as she’s convinced her new London flat is cursed, amid the shock split from her ex Bradley Dack.

It was revealed back in January that ITV’s Olivia and her footballer husband Bradley, 32, had split over what was called “a breach of trust” on his part.

The stunning blonde recently moved in to a very stylish new pad in the wake of the split.

Olivia showed off her incredibly spacious home to fans as she begun a new life chapter.

She captioned the Instagram video: “2026.. a new home in the city I was born in.”

But now, despite her jaw-dropping open plan kitchen, pine oak floors and sensational floor to ceiling mirrors the star is convinced her new home is cursed.

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After having one too many accidents in the London abode, Olivia took to social media to get advice on whether she needed to move out.

The Loose Women panellist moved in just weeks ago however it seems she may already need to pack her bags.

Olivia asked her 2.5 million fans on Instagram: “Can someone who is contacted by a higher power talk to the universe and tell me if I need to move out of this apartment pls lol.

“Since I moved in something breaks EVERY single day, I actually feel like it’s cursed.”

Olivia appears to be having a string of bad luck in her new place and has now turned to fans for a helping hand.

This comes amid the stars sad split from her ex Bradley Dack. The pair had been on and off before they married in June 2023.

Olivia and Bradley married in a lavish affair at the luxury five-star hotel Bulgari in Knightsbridge.

The pair started dating before former model Olivia’s stint on Love Island in 2017 – which she has confessed she joined as revenge for his cheating on her.

Olivia recently dropped a huge hint she’s formerly divorcing her ex as she sat down for a chat with celebrity hairstylist Chris Appleton.

Chris Appleton joked on her podcast Olivia’s House: “There’s nothing like a marriage to grow an ass, and nothing like a divorce to lose it, right?”

Olivia agreed: “Yeah and now I’m like whoop [flat] from the front to the back.”

Despite pals telling The Sun she was talking about divorce and it was all feeling very final for her, this was the first time the TV presenter has publicly acknowledgment a potential divorce.

“LINDA looks so beautiful, so cool,” says Paul McCartney.

He’s just been watching a film about the decade of his life after The Beatles broke up — and it is filled with images of his much-missed first wife.

“The Linda stuff was very emotional,” he admits at the Man On The Run launch event in London.

“Linda, the kids, me and John [Lennon] — all these memories. It’s like my life flashing in front of me.”

Macca is talking to an intimate gathering that includes his daughter Stella, son James, superfan Noel Gallagher and the actor who will play him in a forthcoming biopic, Paul Mescal. Oh, and me.

He continues: “Seeing me and Linda interacting is special because, you know, she’s not here.

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“So is seeing the kids when they were little, because they’re not little any more. They’ve got kids of their own now.”

The film stirs memories of forming his own band, Wings, with Linda in 1971, prompting this from McCartney: “We tried to follow The Beatles — it’s mad!”

It also brings into sharp focus his relationship with Lennon, which broke down in the wake of The Beatles split but, as we see, they reconciled shortly before John’s death.

Directed by Oscar-winning Morgan Neville, Man On The Run is a masterpiece of ­documentary storytelling.

Rich in source material, partly because Linda was a professional photographer who also shot home movies, it is raw, heartfelt, funny, poignant and, crucially, not remotely sugar-coated.

Before the screening starts, Sir Paul, looking fit and well for his 83 years, strolls on to the stage and quips: “I just want to say thank you to Morgan for keeping in all the embarrassing moments that I asked him to take out.”

But let’s get back to the big ­question: How DO you follow The Beatles?

It was a conundrum that weighed heavily on McCartney as the ­Swinging Sixties drew to a close.

As he puts it himself in the movie, the first thing he did was “escape” and then he had to learn how “to grow up”.

He had married American Linda Eastman in March, 1969, at Marylebone Town Hall, London, and soon afterwards adopted her daughter Heather from a previous marriage.

McCartney was still only 27 when, on April 10, 1970, he told the world that he, John Lennon, George ­Harrison and Ringo Starr were going their separate ways.

The announcement came amid acrimony over the band’s crooked business manager Allen Klein, favoured at the time by John and the others but later described by Paul as “a sort of demon”.

It was all over for the band of four likely lads from Liverpool who changed popular culture for ever.

In private, McCartney had known for months that his songwriting partner Lennon was leaving.

“John broke up The Beatles,” Macca affirms in Man On The Run. “But I got the rap. And that’s a bit of a weight to bear.”

Around the same time as ­Lennon’s bombshell, in late 1969, there were rumours across the US and around the world that “Beatle Paul may be dead”.

There’s a hilarious moment in the film when his younger brother Mike is asked whether it’s true.

“It’s a hoax, it’s a con,” he exclaims, before being asked when was the last time he saw his brother.

Mike replies: “The last time? It was his funeral, I think!”

It turned out that McCartney had the perfect bolthole, in an archetypal middle of nowhere, to hide away and reset his life.

In 1966, he had bought High Park Farm, a 183-acre sheep farm on the Mull of Kintyre (yes, that explains the song) in Argyllshire, only reached via a “long and winding” track.

With its corrugated iron roof and general state of dilapidation, it was, as someone in the film points out, the sort of place a poor farm labourer might baulk at accepting.

But, as the Sixties ebbed to a close, Paul, Linda, their daughters, Heather and baby Mary, plus their Old English Sheepdog ­Martha decamped to the Scottish wilds.

In the movie, McCartney suggests, “We got up there to escape”, and ponders whether he would write “another note of music” before confessing to drowning himself in one wee dram of Scotch after another.

But, with the responsibility of supporting a young family on his shoulders, he realised that “it was a question of HAVING to grow up”.

At the Man On The Run launch, McCartney reflects: “With The Beatles, we were just lads. Everyone, all our management, used to call us ‘the boys’.

“Then I got married and then there was a baby [Mary] on the way.

“I had to grow up. I thought, ‘We can’t just be these ‘boys’ any more’. It was time to think about stuff.

“Even though the film is kind of madcap and you see all our insane decisions, in the background there were some sensible decisions, too.”

He remembers how Linda was his guiding light through those years.

“If there was an idea that was a little bit crazy, I’d say, ‘Should I do that? Could I do that?’ She’d say, ‘It’s allowed’. It was a brilliant philosophy in life.”

Director Neville picks up on this theme: “I looked into the questions Paul was trying to ask of himself, questions that I felt were universal.

“How do you deal with your own legacy and the expectations people have of you? How do you balance your career with your family?

“In Paul’s case, he made them one and the same. And that, I thought, was completely inspirational.”

Though Kintyre provided a necessary respite from the dazzling glare of publicity, Macca has never been far away from making music. It’s in his blood.

In 1970, he released his debut solo album, simply titled McCartney, with its intimate DIY aesthetic and featuring at least two songs with his beloved partner in mind — The Lovely Linda and Maybe I’m Amazed.

In 1971, he formed Wings with ex-Moody Blues musician Denny Laine and, controversially, Linda, who until that point had little or no experience, as core members.

Rehearsals for their debut album Wild Life took place at Macca’s converted barn in Scotland, dubbed Rude Studio.

It felt to him as if he was starting over, at the bottom of the pile.

“It was so impossible to do something like that,” he says today.

“Just go back to square one, show up at a university, don’t book hotels, take the dogs in a van. For some reason, we thought it was a great idea!”

If Wings took time to take flight, everything changed in 1973 when they released third album Band On The Run, loaded with classic tunes such as the title track, Jet and Let Me Roll It.

Recorded in extraordinary ­circumstances at EMI’s studio in Lagos, Nigeria, not far from where Paul and Linda were mugged at knifepoint, it paved the way for ­stadium-sized shows in America.

Without the McCartneys’ sojourn to Scotland, there would have been no Mull Of Kintyre, which, at the time of its release in 1977, became the biggest selling single of all time.

A “love song” to that remote idyll, it featured Great Highland bagpipes played so passionately by the local Campbeltown Pipe Band.

Yet, interwoven with stories of Wings’ upward trajectory, there are musings on McCartney’s strained relationship with Lennon during the Seventies.

We’re reminded of John’s caustic song How Do You Sleep?, directed at Paul with its line, “The only thing you done was yesterday”.

And there’s his old buddy left thinking, “Aside from Yesterday, what about Eleanor Rigby, Lady Madonna, Hey Jude, Let It Be and the rest?”

Macca says: “As it shows in the film, I knew John from a very early age — we were just a couple of rock and roll fans.

“We enjoyed hanging out together and we started writing little songs round at my place.

“My dad had a pipe in his drawer. So we thought we’d smoke it. We couldn’t find any tobacco so we smoked tea! We had all those ­memories in common.

“Then we went through the whole trajectory of The Beatles. But John was always just that guy to me, even when he was being really mean and I was having to take it.

“At the same time, it was like, ‘Yeah, it’s just John, he does that’. He’d always done that — so that made it a little bit easier.

“But I loved him, you know. I loved all the guys in The Beatles.

“I try and think of how else it could have been, but with just me, John, George and Ringo, it was a magic grouping. And we did OK!”

Near the end of Man On The Run, you see McCartney being confronted by camera crews about the shocking death of Lennon, who had been shot the day before outside the Dakota Building apartment he shared with partner Yoko Ono in New York.

Macca was criticised at the time for a rather cool, unemotional response — but one look in his eyes reveals his utter devastation.

As for the aforementioned “embarrassing moments” on display in the film, they are what make it so refreshing and endearing.

Hence you see McCartney singing Mary Had A Little Lamb wearing a red clown’s nose with Wings guitarist Henry McCullough looking as if he wants the earth to swallow him.

There’s a moustachioed Paul in a baggy pink suit performing the cabaret-style Gotta Sing Gotta Dance, complete with dancing girls, for his 1973 variety show.

And what about him getting ­busted by Japanese cops in 1980 for having 219g of cannabis in his luggage, spending nine days in custody before being booted out of the country?

McCartney was supposed to be embarking on a Wings tour of Japan but, as it turned out, they never played together again.

He says: “So many bits are embarrassing. The look on Henry McCullough’s face! He’s not happy.

“I was thinking, ‘Maybe we could cut those bits, the dance routine, cool out my image’.

“But Morgan said, ‘No, let me keep them in. You’ll see all that stuff but because you overcame it all and found yourself, you won in the end’.”

Finally, McCartney takes a long hard look at himself — at the ­person “growing up” in Man On The Run and the man he is today.

He says: “You start to see yourself, not just in the mirror, but to realise what your character is like.

“It’s natural for me to be enthusiastic so I don’t always see pitfalls, With me, it’s, “Nah, nah, just do it’.”

Kylie Jenner did not look very impressed with one of Alan Cumming’s jokes at the BAFTA Film Awards, at which her boyfriend Timothee Chalamet lost out on the Best Actor award

Kylie Jenner was left squirming at a joke Alan Cumming made about her at the BAFTAs. The reality TV star did not look impressed with the awards’ host’s X-rated gag.

During the ceremony, Alan walked through the audience, offering them snacks. When he stopped by the seats that Kylie and her boyfriend Timothee Chalamet were sitting in, he asked the star: “Kylie, have you ever had your gums around a giant Jammie Dodger?”

Kylie shook her head and took the snack, looking visibly uncomfortable as she did so. She did not appear to be impressed by the double entendre, which earned only a few laughs from audience members.

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Viewers at home also seemed to be unamused by Alan’s jokes. One wrote on X, formerly known as Twitter: “Alan Cummings’ jokes falling flat.” Another added: “Not funny. Not a good presenter. It’s just painful to watch and hear.”

“There is absolutely nothing funny about Alan Cumming? This whole opening monologue is toe-curlingly awkward,” a third fan said. A fourth added: “Alan Cumming is making me cringe already.” While a fifth said: “Will someone purleeze get Alan Cumming off the stage.”

The 60-year-old actor, writer and presenter – known for hosting the US version of The Traitors and starring in American drama The Good Wife – hosted the event at the Southbank Centre’s Royal Festival Hall in London for the first time on Sunday.

Others said it was likely not Alan’s fault but that of the scriptwriters. “I’ve got a funny feeling Alan Cumming might have been lumbered with the same scriptwriter David Tennant had when he hosted- oh dear,” said one.

Though no more jokes were made about Kylie, the night did not improve for her boyfriend, as Timothee lost out on the Best Actor award. He had been nominated for his role as the titular character in Marty Supreme, but the award ended up going to Robert Aramayo, who won for his role as John Davidson in I Swear.

Robert also won the Rising Star award for the same role. That award is the only one voted for by the public, and by winning both that and Best Actor, Robert was the only actor of the night to win more than one award.

The other acting awards went to Jessie Buckley, who won Best Actress, Wunmi Mosaku, who won Best Supporting Actress, and Sean Penn, who won Best Supporting Actor but was not present to take home his award.

Though Kylie attended the awards, she was not seen on the red carpet and instead snuck in separately. The Kardashians star, 28, has been in a relationship with the actor, 30, since 2023. The couple have made a series of appearances during this year’s award season, including the Golden Globe Awards and the Critics’ Choice Awards.

It is believed Kylie often skips red carpets to avoid stealing her partner’s spotlight and also to keep their relationship private, opting instead to support him from the audience or enter through alternative, quieter, or back entrances. Last year, a source told Grazia Daily that another reason why the pair avoid walking the red carpet together could be that they want to keep their work and their personal relationship separate.

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LEONARDO DiCaprio treated his model girlfriend to a private pre-Bafta shopping trip.

The Hollywood legend, 51, and Vittoria Ceretti, 27, were given exclusive late-night access to the Princes Arcade shopping district in London’s Mayfair on Saturday.

Bosses made the special arrangement so the couple could browse independent designer store Segun Adelaja away from fans.

It is a fancy independent designer store where shirts start at £140.

Leo attended last night’s Baftas with his 83-year-old mum Irmelin Indenbirken.

At one point he lost her on the busy red carpet — and refused to go inside until he found her.

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An onlooker said: “Leo got cut off from his mum.

“He asked his team, ‘Where is my mum?

“‘Is she OK?’.

“She’d hurt her leg.

“So he waited to help get her up the stairs.

“It was really sweet.”

With Gordon Ramsay’s new Netflix docu-series accused of being a “sanitised” version of the celebrity chef’s family life, there are some key parts of his past that were completely missed out

Following the release of Being Gordon Ramsay on Netflix, the celebrity chef has been accused of portraying a ‘sanitised’ version of his life.

And although the six-parter mainly follows the opening of his ambitious 22 Bishopgate venture, the Hell’s Kitchen star does delve into parts of his past – including the “mess” he was born into, and his abusive father.

But there are some murkier elements of Gordon and his family’s history that were glossed over in the documentary. The docu-series is described by Netflix as “unflinchingly honest” – but some have criticised the absence of some major incidents from the Ramsays’ past.

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Prison sentences

The Ramsay family was rocked by a devastating betrayal in 2017, when it was revealed that certain members of Tana’s family had attempted to hack into multi-millionaire Gordon’s business accounts. Christopher Hutcheson, 77, and his sons, Adam and Christopher, admitted they had plotted to access his emails and finances almost 2000 times over a five-month period from October 2010 to March 2011.

It came after Tana’s dad was sacked as CEO of Gordon Ramsay Holdings Ltd, leading to a public fallout with his son-in-law. Between the three of them, they had managed to obtain information – including claims of a hair transplant and a fishing trip – which then later appeared in newspapers. After their crime was uncovered, Hutcheson Sr emailed his son saying: “Guess we have been rumbled. Bit late though..

Despite the family making up and Tana and Gordon not supporting the court case, the judge still deemed a prison sentence necessary. Tana’s dad was handed a six-month sentence, while Adam and Chris Jr. were each sentenced to four months suspended for two years.

Affair claims

It’s been widely reported that Sarah Symonds, claimed she was seeing Gordon for seven years, after meeting in 2001. Something he has always denied. Sarah, now 56, was was once dubbed a “professional mistress”, having had affairs with other married men, including politician Jeffrey Archer.

Sarah, who published the book Having an Affair? in 2007, ranted to the Daily Mail: “The title of the docu-series ‘Being Gordon Ramsay’ is totally fake – just like him.

“It’s misleading and disingenuous. A travesty in fact, as nothing about it was ‘Being Gordon’ at all.” She added the show is a “glossed over” version of Gordon, who she describes as a “bully, cheat, liar and serial philanderer”. Sarah said that the Netflix description of the show as “unflinchingly honest” makes her want to scream, adding that she is “trying to heal” from the trauma of her affair. Ramsay has denied ever having had an affair.

Ramsay’s brother

Gordon Ramsay was born in Glasgow, and lived on different council estates in the city, in Birmingham and in other areas of the UK. He does mention his younger brother Ronnie in the series, telling viewers when pressed that he is a heroin addict, but we don’t meet Ronnie.

He says: “We shared a bunk bed together. He’s 15 months younger than me, and he’s been an addict for the last four decades. I’ve gone to hell and back with him, and so I have a guilt complex. That could have been me. It could’ve been switched.”

Gordon has spoken more about Ronnie previously. It was revealed that back in 2007, he was arrested in Bali, after 100mg of heroin was reportedly found in his pocket, landing him a 10-month jail term. Speaking in the early 2000s to Waitrose Food Illustrated magazine, Gordon said: “I feel the pain, I feel it big time. I don’t think that my mum at 60 should still be putting up with it.

“It is hard dealing with Ronnie. He is a major responsibility. It is like having an 18-year-old to look after.” He also revealed, prior to the documentary, to the Mail that Ronnie had asked to perform at his daughter Holly’s wedding.

Gordon explained: “It was tough. It still pains me. He said: ‘Hey, have you got a music gig for the wedding? I’m free.’ I put down the phone and I said to Tana, ‘F**king hell, here we are in the house we sleep in and there’s my little brother still with two pit bulls in a council flat in Birmingham, busking.'”

Holly and Adam Peaty’s family feud

Gordon’s eldest daughter, Holly, and her new husband, Adam Peaty, were embroiled in a bitter family feud with the groom’s family in the lead-up to their wedding in December. The couple sensationally ended up uninviting all of Adam’s family, except for his sister Bethany, who was one of Holly’s bridesmaids.

The Netflix documentary makes no mention of the tension, although it does show scenes from the couples’ engagement party. According to Adam’s family, they were all cut from the show, despite being there to celebrate Adam’s proposal to Holly.

His mum, Caroline, and his cousin, Krystal, have claimed they were removed from scenes from Adam and Holly Ramsay’s engagement party. They reportedly made a number of touching speeches as part of the event, but these weren’t shown.

The pair vented on social media, with Krystal sharing a photo of her watching the engagement party scene on the doc. She said: “I was here in person, guess I didn’t make it on Netflix for my minute of fame.”

She sarcastically added: “How will I sleep at night?” And Adam’s mum Caroline shared a response in the comments section, asking: “Did they film my speech Krystal?”

She went on: ““I bet they didn’t because it was 100% full of love and positivity x.” Krystal replied: “I haven’t watched it all to be honest but no I haven’t see you and you look blurred out xx.”

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A one-size-fits-all sartorial approach is out of the question for the showmen of “Sinners,” “Hamnet,” “Frankenstein” and “Marty Supreme.” But whether the arena is theater, music, science or sports, all wear garments that accentuate their emotional states and prodigious talents — and leave an enduring mark. Here, Oscar-nominated costume designers Ruth E. Carter (“Sinners”), Malgosia Turzanska (“Hamnet”), Kate Hawley (“Frankenstein”) and Miyako Bellizzi (“Marty Supreme”) discuss defining menswear statements with The Envelope.

In Carter’s third collaboration with Ryan Coogler, Michael B. Jordan’s sharply dressed twins Smoke and Stack return to the Mississippi Delta in 1932 to open a juke joint, tapping their gifted blues musician cousin, Sammie (Miles Caton), to perform. “You see this style that [old blues players] embodied, whether it’s two-tone shoes, the hat, vest, shirts; all of that was laced into the storytelling,” says Carter. He might be a preacher’s son, but Sammie wears his passion on his blues-infused clothing in the record-breaking “Sinners.” “The vest is patched to show the wear from the guitar strap.”

Before the night goes to vampire hell, all eyes are on Sammie in earthy and gold tones as he sings “I Lied to You.” Artists spanning centuries and continents (including an electric-guitar-playing rocker and a Zaouli dancer) add to the mesmerizing sequence before returning to Sammie. “When we come back to him, we’re coming back to his own force and look,” Carter says.

A sketch of Sammie’s bluesman-inspired costume in “Sinners.”

(Ruth E. Carter)

A final scene set in 1992 shows Sammie (played by musician Buddy Guy) still beguiling audiences. Carter incorporates Guy’s real-life signature polka dots to highlight “this is a real story of the blues, and this is a real bluesman.” Stack’s authentic Coogi sweater (a nod to Biggie Smalls) contrasts with Sammie’s classic tailoring, which doubles as a memorial to his other cousin: “The color blue was an homage to Smoke and the flat cap.”

Clothing is also for remembrance in Chloé Zhao’s “Hamnet,” in which a grieving William Shakespeare (Paul Mescal) turns to a meaningful shade in paying tribute to his son during the inaugural run of “Hamlet” at the Globe Theatre in London. “Will, in my head, was imagining, remembering and holding on to the memory of Hamnet,” Turzanska says. “And in a super crude, simplified way, putting the paint and the colors that he remembered onto Hamlet’s character with those brushstrokes.”

Turzanska constructed the players’ costumes from raw linen, using slightly enlarged, period-accurate shapes combined with contemporary latex paint. Using this stage language, Hamlet’s (Noah Jupe) jerkin is “quilted and painted flat,” to conjure Hamnet (Jacobi Jupe): “It was a memory of the vertical stripes.”

There are echoes among the costumes for William Shakespeare, Hamlet and Hamnet in Malgosia Turzanska’s costumes for “Hamnet.”

(Malgosia Turzanska)

Offstage, growing slashes in Will’s leather doublets depict “emotional turmoil.” Still, his turn as Hamlet’s murdered father (the Ghost) is the most overt example. The off-white cloak caked in clay is deliberately drained of all color. Turzanska tested the symbolic shroud (“You put this little harness on”) to ensure Mescal could move freely. Catharsis comes after Will exits the play: “The clay is cracking and falling off. Finally, when he washes it off, we see him break down for the first time and actually cry.”

Not every stage has a paying audience. In Guillermo del Toro’s “Frankenstein,” Victor Frankenstein (Oscar Isaac) reanimates a corpse during a disciplinary hearing demonstration. Clad in red, white and black, the renegade scientist’s sartorial inspiration is not bound to a single era.

“That was the first note from Guillermo [about Victor]. He goes, ‘Dandy, rock star. Look at David Bowie. Look at Prince,” says Hawley. “When we started talking with Oscar, he came in with his Prince stuff. When you look at his performance, you see all those subtleties, the physicality, the swagger.” Piping on the waistcoat is “a kick” to stand out against judges in black.

Hawley embraces “wonderful peacock” 1850s menswear shapes: Victor’s puffed-out chest accentuates the “wasp waist” likening him to a matador. An exaggerated period heel adds flair. “Shoes are what root the actor to the ground and their character,” Hawley says. “It elevates every gesture from there.”

Victor Frankenstein’s costumes in “Frankenstein” were inspired by musicians like David Bowie.

(Kate Hawley)

“Marty Supreme’s” Bellizzi is equally mindful of footwear. Bellizzi “worked with Keds to find the shape” resembling a narrow 1950s sneaker for Timothée Chalamet to wear as ambitious table tennis player Marty Mauser. “When he was training, I would give him a few different sneakers to see what looked good but also what felt good,” says Bellizzi. “Because he had to wear them all day and play in them.”

Marty switches from a sedate black polo shirt and high-waisted wool pants while playing at Wembley in London to an eye-catching pink satin set on tour with the Harlem Globetrotters during a lighthearted interlude in Josh Safdie’s propulsive comedy-drama. “We overexaggerated the pants and the sleeves in the body so it is big and flowy,” says Bellizzi.

By the time Marty arrives in Japan, his everyday suit “has been through the wringer.” Luckily, a rigged ping-pong exhibition match allows Marty to embrace his theatrical talents. “It was an opportunity to show him as someone else. He’s undercover,” says Bellizzi. “He has the cap and the jumper.” Ever the showman, Marty relishes ditching the pretense and his wardrobe onstage, embracing his competitive streak. “He turns it into a bigger situation than it should have been, and maybe part of the surprise is that he’s derobing,” Bellizzi says. “It shows how much passion comes out.” Across venues and centuries, each man’s attire is ovation-worthy.

SINCE my exclusive story broke about Kim Kardashian and Lewis Hamilton, everyone wants to know how long they’ve been together.

And now I’ve been given a little more insight into their top-secret romance.

While it was thought that Kim and Formula 1 star Lewis started growing closer over Christmas, I can reveal it was a lot earlier than that.

My moles tell me Kim visited Lewis in Las Vegas in the days before the Grand Prix there on November 22.

From what I know, they went all-out to keep it hush-hush.

One insider said: “Lewis invited Kim to be his guest inside the garage over the week. That included for the preparation and the race itself.

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“She was there when the race happened and was alongside him, talking to him and hanging out with him before he took to the circuit.

“Nicole Scherzinger did that back in the day when they were together.

“People saw it and didn’t think much of it — but now it all makes sense.”

A second source in the F1 world added: “Three days before the race, Kim was spotted coming out of a garage where Lewis’s car was.

“She headed to his trailer. That was one of the few times Kim was seen.

“Something was definitely happening between them then. Why else would she have been there?”

Why, indeed?

I revealed Kim and Lewis enjoyed a night at posh Estelle Manor in the Cotswolds on January 31, before heading to London for a second date and Paris for a third.

Lewis then flew back to Los Angeles with Kim on her £100million private jet, and days later they made their first public appearance together at the Super Bowl on February 8.

Since then, the A-list couple have been apart, with him flying to Bahrain, where he spent time last week doing pre-season testing in his Ferrari F1 car.

Lewis said he had a new-found vigour ahead of the season, adding: “I’m reset and refreshed.”

I’m sure that Kim has helped boost his drive . . . 

ESTEEM DREAM

SELF ESTEEM will be in Manchester this Saturday for the Brit Awards – and she may have a very special man by her side.

I’ve learned the singer-songwriter, who is nominated for Artist of the Year at the ceremony, is dating actor Wilf Scolding.

And I’m told they have been seeing each other since 2023, when they were cast in West End show Cabaret together.

The singer, whose real name is Rebecca Lucy Taylor, hinted they are an item when Wilf appeared in the video for her song The Curse in August.

A source said: “Rebecca and Wilf have been together for a while – they live together and even have a dog.

“But they aren’t showy with their personal lives so haven’t flaunted the relationship in the public eye.

“She’s had bad dating experiences in the past but Wilf is a good guy. He has the seal of approval from her mates.”

Wilf, who starred in Game Of Thrones and BBC One drama The Passing Bells, is a sea-change from the singer’s last boyfriend, who she has never publicly named but said was “a real nasty bastard”.

Self Esteem referenced her “current male lover” in an interview back in November.

When asked how often she has sex, she said: “Oh, often. That is one thing I don’t compromise on.”

Good on them both.

JUSTIN TIME FOR UK GIGS

JUSTIN BIEBER is set to embark on his biggest tour in more than a decade.

I’m told the Baby hitmaker will announce a string of global dates after playing two headline slots at US festival Coachella in April, as well as plans for a new pop album.

A source said: “This year is set to be a huge one for Justin.

“He kicked things off with his Grammy performance earlier this month and bosses hope his Coachella sets will remind the world why he became one of the most successful singers on the planet.”

As part of his upcoming world tour, Justin is expected to announce a show at BST Hyde Park in London.

He previously played BST in 2017 – but hasn’t done a full concert on UK soil since then.

ANTI’S EURO VISION

LOVE Island fans might spot a familiar face at the Eurovision Song Contest in the spring.

While the UK will be represented by YouTuber Look Mum No Computer, Cyprus’s act is Antigoni, who starred in the ITV2 series in 2022.

She wore this striking red dress in the video for her entry song, Jalla – and eagle-eyed viewers might recognise someone else in the promo.

Antigoni, who was born and raised in London but is of Greek-Cypriot descent, managed to get Stavros Flatley star Demetri Demetriou to make a cameo.

Currently, Antigoni is tenth favourite to win, while Look Mum No Computer is 14th.

I’ll keep my fingers crossed for them both.

KEEP an eye out for LA-based singer Amelia Moore, who has just completed a UK tour supporting Ashnikko.

She has been getting rave reviews off the back of her latest EP He’s Still Just Not That Into You! and I’m expecting big things in the coming months.

FOO FIGHT FOR GIGS

FOO FIGHTERS have announced a set of surprise shows this week – leading to thousands of fans queuing in the streets for a ticket

Tonight they will play The Academy in Dublin, before a show on Wednesday at the O2 Shepherd’s Bush Empire and the O2 Ritz in Manchester on Friday.

Tickets were released yesterday but fans had to queue at the venues’ box offices in a bid to stop online touts ripping people off.

The gigs come ahead of the release of their 12th album Your Favourite Toy on April 24.

I’ll be in Manchester to see the band – I can’t wait.

THE SEX PISTOLS BACK ON ROAD

THE SEX PISTOLS ft. Frank Carter have announced a brand new tour celebrating 50 years of punk.

Anarchy In The UK will see them play five shows at the end of the year, kicking off in ­Ireland at Dublin’s 3 Arena on December 7.

They will then play Edinburgh’s Corn Exchange on December 9, before hitting Glasgow’s O2 ­Academy the following evening.

Frank and Co will then head to London to play the Brixton Academy on December 18 and the Eventim Apollo in Hammersmith two days later.

MARGOT IS SHEER DELIGHT

MARGOT ROBBIE skipped the Baftas and headed Down Under for Tropfest 2026 in Sydney.

The film festival, which celebrates the best short films and new rising stars of the industry, enlisted Margot as the president of this year’s jury.

Next year, I know Margot will be front and centre at the Baftas in London – with her new film Wuthering Heights expected to pick up a raft of nods, including Best Actress for her star turn.

Emerald Fennell’s adaptation of Emily Brontë’s 1847 novel has caused a storm among cinema lovers, with Margot’s co-star Jacob Elordi expected to be shortlisted for Best Actor.

Jennifer Hudson raised more then a few eyebrows in 2022 when she was close to realizing her dream — becoming a daytime talk show host.

At the time, she had just become the youngest member of the small elite group of artists who are EGOT — Emmy, Grammy, Oscar and Tony award — winners. She was also aware that the highly competitive daytime talk show arena had been a notorious minefield for several top stars, leading to quick failure.

But she was unfazed. Just days before the premiere of the “Jennifer Hudson Show,” she called it the perfect birthday present.

“This is going to be such a gift,” she said near the set of the show at Warner Bros., which produces the series. “If I were not working on my birthday, that is what I would be wishing for — performing on a stage or a platform … I love a challenge … It is a difficult arena. You will always see me try.”

The entertainer expressed even more excitement Thursday after her syndicated show was renewed for a fifth season, bringing some welcome sunlight to the afternoon landscape which has been shaken in the last several weeks by the upcoming departures of popular hosts Kelly Clarkson and Sherri Shepherd.

Hudson and Drew Barrymore, who has hosted her own eponymous show since 2020, are now the sole survivors in the celebrity-oriented afternoon talk genre. (The talk show hosted by Tamron Hall is more focused on topical issues and trends.)

Insiders say the continuing economic difficulties in Hollywood and the explosion of video podcasts hosted by stars such as Amy Poehler, Conan O’Brien, Dax Shepard and the “Smartless” trio consisting of actors Jason Bateman, Will Arnett and Sean Hayes has substantially crippled the traditional daytime talk format.

Shock waves have resonated through the daytime TV industry since early February when Clarkson said she would be ending her Emmy-winning talk show at the conclusion of its current seventh season for personal reasons. Just hours later, producers of “Sherri” announced they were pulling the plug on that series, attributing the cancellation to “the evolving daytime television landscape.” Shepherd in recent days has said she was fighting to save the show.

Rumors about the future of Hudson’s show have been circulating since those announcements. Although some insiders considered Hudson an unlikely entrant in daytime, she has established herself as an engaging and warm host, connecting with her enthusiastic studio audience and highlighting the show with musical performances and duets with her guests.

The show has also aggressively employed social media to promote its “Spirit Tunnel,” where staff members lining a corridor greet celebrities with chants on their way to the stage. Producers say the ritual has surpassed 6 billion views.

“The Jennifer Hudson Show” replaced Ellen DeGeneres’ talk show, which ended in 2022, had run for nearly 20 years and was produced by Warner Bros.

Experts say the current landscape is indicative of the cyclical nature of daytime talk, recalling the era of “trash talk” during the 1990s when afternoon talk shows such as “Sally,” “Jerry Springer” and others emphasized fierce confrontations and provocative, often sexually oriented topics.

“Daytime has always gone through these cycles, so this is nothing new,” said Rachel Schwartz, head of the Daytime Emmys and Children & Family Emmy. And video podcasts appear to be part of this latest cycle.

“Now audiences are proving that they are really hungry for podcasts, which is impacting the landscape of daytime TV,” she said. “The podcast can be narrowly focused on one celebrity. It’s like the listener is sitting down with a friend. And the guest can be more comfortable.”

Pamela Rutledge, director of the Media Psychology Research Center, which explores the psychology of human interaction with media and technology, said that while daytime talk shows offer familiarity with the same host, tone and daily presence, podcasts give celebrities more control, intimacy and influence without the constraints and pressures of broadcast TV.

“Podcast hosts tend to be partners in conversation, not ‘hosts’ or moderators,” she said. “Talk shows are in the middle of the voyeurism spectrum — too curated by time, pacing and commercial interruptions to feel really intimate and too restrained to be thrilling.”

Rutledge added that maintaining TV studios, crews and accommodating large audiences is becoming increasingly costly for producers, who are looking more to other types of digital and social platforms that are more attractive to advertisers.

Despite the string of storms that have hit the Los Angeles region in recent days, the skies cleared up long enough on Wednesday for thousands of aspiring actors to swarm a beachfront in Marina del Rey and take their shot at landing a role in the upcoming “Baywatch” reboot.

The open casting call brought old Hollywood magic to Los Angeles, as the show intensified its search for raw and local talent, reminiscent of how original “Baywatch” stars were discovered, said Brittainy Roberts, the vice president of casting at Fox.

The soapy drama series, which premiered in 1989 and ran for 11 seasons, followed the lives and relationships of lifeguards who patrolled L.A. County beaches (and later Hawaii). It was not only a hit stateside — internationally it was a success, becoming the most-watched show in the world at the time. A film adaptation starring Dwayne Johnson and Zac Efron was released in 2017, and despite negative reviews, it was considered a commercial success, signaling an appetite for more.

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The casting team has “big bathing suits to fill,” Roberts said. The show famously created a slew of stars, including Pamela Anderson and Carmen Electra, who got their start on the show, and catapulted David Hasselhoff to new heights of fame.

Uncommon in a post-pandemic era of self-tape auditions, the open and in-person auditions attracted actors hungry for their big break and locals hoping to leave with a fun story to tell. Many donned “Baywatch” visors and sweaters while others sported bright red bathing suits, popularized by the original show. It was “an opportunity to really get people in the room in a large-scale way,” and allow “people an opportunity that maybe they aren’t getting in this new landscape of auditioning,” Roberts said.

The casting team saw live auditions from about 2,000 “Baywatch” hopefuls, and about 14,000 applications were submitted, said Joseph McGinty Nichol, known as McG, the reboot’s executive producer who will direct the first episode. His past projects include the “Charlie’s Angels” movie and “The O.C.”

Pat “The Jaguar” Uland, 31, of San Francisco, on the red carpet at the “Baywatch” open casting call.

(Allen J. Schaben / Los Angeles Times)

Beach-ready candidates filed in and out of a Marriott hotel in Marina del Rey for the in-person auditions. The casting call, which ran late into the night, embodied the joy of Hollywood, McG said.

Bri Ana Wagner, a 29-year-old living in Los Angeles, has been pursuing acting for around a decade. The open casting call was a reminder that the Hollywood “dream is alive,” she said.

“It’s like the way it used to be and the way it should be,” McG said. “You can come to a Marriott in Marina del Rey and change your life and blow it wide open.”

Hopefuls try to catch a break

David Chokachi hadn’t acted much before auditioning for “Baywatch” in the 1990s. Douglas Schwartz, one of the show’s original creators, and his wife, Deborah, had seen just about a thousand auditions for the role of Cody Madison. None of the actors matched the couple’s vision for the character, until Chokachi strolled in.

“It’s one of the most surreal things that’s ever happened in my life,” said Chokachi, the only actor from the original series confirmed for the reboot.

David Chokachi, who was on the original “Baywatch,” is reprising his role as Cody Madison.

(Allen J. Schaben / Los Angeles Times)

The aspiring actors who auditioned Wednesday hoped to get their chance at a big break similar to the one Chokachi got decades ago. Casting for the reboot began late last year, Roberts said, and people “have come out of the woodwork” since, with some messaging her directly on social media.

“The fact that we’re shooting in L.A., it’s certainly ignited a flame for a lot of agents and managers in town hoping to get their clients working here,” Roberts said.

The casting executive was hopeful that Wednesday’s auditions would bring together a talented pool of actors that the show can continue to pull from.

Massiel Taveras was among the many in attendance at the casting call: “I belong to this group. I belong to the show. I just feel it.”

(Allen J. Schaben / Los Angeles Times)

Massiel Taveras was crowned Miss Dominican Republic in 2007 and has pursued acting since, finding success in the Latino market. She arrived to the Marriott hotel sporting a bright red sports bra and leggings, paired with a large fur coat to shield her from the beach chill.

“I just love the show so much … It’s iconic. It’s something that everybody loves,” Taveras said. “I belong to this group. I belong to the show. I just feel it.”

Meanwhile, Dominique Lopez, a broadcast student from Monrovia, had never been to an audition before her boyfriend Colin Bolick, an actor, convinced her to attend the casting call together. The experience was “super easygoing” and intimate, she said as she walked out of the audition room.

“It’s making the industry exciting again. It’s putting people in the mind space of … ‘Let me put myself out there,’” said Lopez, 25. “Just for that, I feel like a better person, that I went and did something new.”

Could ‘Baywatch’ could help revive Hollywood?

Marko Dobrasinovic, 24, who made the trek from Chicago to audition, bumped into an old high school classmate, Alyssa Frey, while in line to check in. The pair attended the same high school as Hasselhoff, who played Mitch Buchannon on “Baywatch,” one of the actor’s best-known roles.

The impromptu reunion felt like a full-circle moment, said Frey, who moved to Los Angeles to pursue acting about two years ago. She landed in the city just as the actors’ and writers’ strikes froze Hollywood. Wednesday’s casting call was “one of the few opportunities to get in front of someone,” she said.

It was one that almost slipped away from the city. Showrunners were eyeing Australia as an alternative to filming in L.A., until Gov. Gavin Newsom and state legislators granted the production, along with 16 others, California’s film and TV tax incentive in November. Hollywood has struggled to return to its former status as a production mecca after the COVID-19 pandemic and 2023’s dual strikes. The wildfires early last year, coupled with studio spending cuts, added another blow to L.A.‘s waning film and TV industry.

The open casting call was a rare event in Los Angeles, as the TV and film industry struggles to recover.

(Allen J. Schaben / Los Angeles Times)

Chantal Groves left a stable job in international relations around two years ago, setting her sights set on Los Angeles. The 25-year-old, originally from the Dominican Republic, said acting was always her true passion. The career change has been fulfilling, but navigating such a fraught industry is difficult, she said.

“It’s basic laws of supply and demand,” Groves said. “There’s not a lot out there. There’s not a lot casting, and so just in general, it’s a really hard time to start in the industry.”

The “Baywatch” reboot received a $21-million credit, aimed at revamping the state’s entertainment industry.

“This was about keeping an iconic, world-famous brand right here in L.A.,” said Traci Park, a councilmember for District 11 who helped lead efforts to secure the tax incentive and attended the event. “We have the talent, we have the resources, we have the sets … it is exactly why we are fighting so hard to keep these productions in Los Angeles.”

A love letter to Los Angeles

“Baywatch” showrunner Matt Nix was in the middle of fighting off the wildfire that ravaged his Altadena neighborhood and got dangerously close to his home when he first got the call to lead the reboot. His house survived the fires, and he says a show like “Baywatch” felt like exactly what the city needed after such tragedy.

“This is a show about paradise and the people who keep it that way,” Nix said. “There’s something fundamentally earnest and positive about ‘Baywatch,’ the idea of heroes on the beach taking care of each other and the people that they protect.”

Others can relate to that sentiment. “Baywatch” was “right up my alley,” said Ava Cherlyn, a 19-year-old from Newport Beach. The aspiring actor, who moved to Hollywood six months ago, was a lifeguard growing up and played water polo competitively.

“I’m surprised that I haven’t been nervous,” Cherlyn said as she posed for photos in a red bathing suit.

Aspiring actor Ava Cherlyn, 19, in a red swimsuit made iconic in “Baywatch.”

(Allen J. Schaben / Los Angeles Times)

The original show attracted a worldwide audience because of its focus on “heroic people with complicated and interesting lives” while still feeling like an easygoing “hour-long vacation,” Nix said.

That nostalgic magic won’t be lost in the upcoming season, which Nix said is more of a continuation rather than a reboot. It will follow Hobie Buchannon, Mitch’s son, a character featured in the original series, played by “Arrow” protagonist Stephen Amell.

Hobie’s life will be derailed when he meets Charlie, a 21-year-old daughter he never knew he had who’s eager to continue the family’s legacy by becoming a Baywatch lifeguard. Hobie, now a Baywatch captain, will navigate the familial troubles throughout the season, Nix said.

“I don’t want to imply that ‘Baywatch’ is going to save the world or save America,” Nix said. “But, at the same time, I think it’s a good time for an unapologetically heroic show about people who care about each other and the people that they’re trying to save.”

RAPPER Wiz Khalifa filmed himself punching his son in the stomach 13 times in a sick birthday tradition that he shared on Instagram.

In the shocking clip shared to his stories, the 38-year-old lands a series of blows on his son Sebastian who grimaces and tries to grab the wall behind him to brace for the impact.

His father repeatedly tells him to raise his arms above his head for each punch – one for every year of his life.

“We still doin’ birthday licks in this house!” he wrote in a caption with the video.

“Took it like a g tho.”

Just before the second blow, Sebastian can be seen lowering his arms and grabbing the wall behind him before his dad tells him “hands up,” looks directly at the camera and punches him in the stomach before laughing.

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Meanwhile, his son puts his hands on his stomach and grimaces.

“You’ve got to take it like a G, you’re 13 years old,” Khalifa tells him.

“That’s only four, tighten your stomach,” he later told his son who groaned and fell away from the wall on the fourth punch.

He gave his struggling son bizarre and twisted advice, telling him, “every time you get hit, breathe out,” as he continued to hit him.

Wiz, whose real name is Cameron Jibril Thomaz, shares Sebastian with his ex-wife and model Amber Rose.

The pair celebrated their son’s 13th birthday on Saturday night with a basketball-themed bash packed with friends and family.

“He’s officially a teenager. We are so proud of you and we love you,” his dad said during a speech shared by Amber on her Instagram stories.

More to follow…

“That’s my pot dealer!” exclaimed Michelle Phillips in a crowded movie theater in 1977. Months earlier, the Mamas & the Papas singer had only known Harrison Ford as a stoner-carpenter with a few bit parts to his credit. Now he was Han Solo in “Star Wars,” directed by a young upstart, George Lucas. Clearly the world was changing.

How much, though? Conventional wisdom about the Hollywood renaissance of the ‘60s and ‘70s suggests that starting with “Bonnie and Clyde” and “Easy Rider,” a batch of emerging auteurs shook the studios out of a rut and transformed American film. There’s plenty of truth to that: Francis Ford Coppola’s shift in 10 years from a director-for-hire on an old-hat musical, “Finian’s Rainbow,” to the auteur behind “Apocalypse Now” is just one of the era’s most remarkable achievements.

A pair of new books, though, suggest that the overall shift was only so modest, ultimately shoring up not just the old-school studio system but the social norms the interlopers were supposed to be upending.

Paul Fischer’s lively history of the new wave of California directors, “The Last Kings of Hollywood,” concentrates on Lucas, Coppola and Steven Spielberg. (New York contemporaries like Martin Scorsese and Brian De Palma are present but relatively off-screen.) Fischer has a gift for highlighting the ways that moments that we now accept as inevitable were often the product of dumb luck, pyrrhic victories and tough decisions. Coppola made “The Godfather” out of financial desperation, averse to adapting a mob novel; Spielberg’s “Jaws” was beset with mishaps, from a foolhardy attempt to train a real shark to its malfunctioning mechanical one; only when Lucas learned that the rights to Flash Gordon were unavailable did he pursue a space-opera concept all his own.

Their brashness and can-do spirit were worth cheering for: As the trio delivered films that broke box office records — ”The Godfather,” “American Graffiti,” “Jaws” and more — there were reasons to believe that big-budget films could operate outside the studio system. Lucas in particular was driven as much by resentment of the old as passion for the new. He never forgot how Warner Bros. manhandled his debut feature, “THX 1138” and was driven to muscle “Graffiti” into existence to spite the suits who said he couldn’t. In 1969, Coppola and Lucas launched their own studio, American Zoetrope, in San Francisco, with a passel of scripts in progress (including “Apocalypse Now” and “The Conversation”) and a $300,000 investment from Warner Bros. But Coppola wasn’t much of a businessman, and he had an easier time putting the office’s fancy espresso machine to work than the suite of state-of-the-art editing bays: “He ran his business like he ran a film set — on vibes,” Fischer writes.

A decade later, both Coppola and Zoetrope would declare bankruptcy, and he would split with Lucas, who’d used the success of “Star Wars” to cut his own path as a Hollywood kingmaker via his own production company, Lucasfilm. It allowed him to indulge his love of classic cliffhanger serials, and he tapped Spielberg to direct “Raiders of the Lost Ark.” But Fischer frames Lucas’ career arc as a disappointment, despite all those dollar figures — Lucas wanted to return to artsier “THX”-style fare, but needed cash flow. “If George was ever going to be independent from Hollywood, he thought he wouldn’t get there by making abstract mood poems,” Fischer writes. By the ‘80s, with two “Star Wars” sequels done, Lucas was out of the mood-poem business entirely.

While “Last Kings” focuses exclusively on directors’ relationship to movie economics, Kirk Ellis’ “They Kill People” considers “Bonnie and Clyde” and the New Hollywood from a variety of angles — filmmaking, the social turmoil of the ‘60s, America’s complex relationship with outlaws in general and guns in particular. It’s a meaty yet accessible book that captures the lightning-in-a-bottle nature of the generation’s ur-text, capturing the unlikely nature of its creation and the somewhat dodgy nature of its legacy.

“Bonnie” was such a provocation — nakedly, almost giddily violent — that its studio, Warner Bros, all but willed it not to exist. It was given a shoestring budget, was mocked by studio chief Jack Warner (who sarcastically referred to director Arthur Penn and producer-star Warren Beatty as “the geniuses”), and initially released largely in Southern drive-ins. “They figured the redneck kids would like the guns,” Penn said.

Everybody liked the guns. A few scolding critics lamented the film’s violence, especially its then-shocking bloody finale, but Beatty and co-star Faye Dunaway were deeply seductive onscreen. (Ellis notes that the two are always the best-dressed characters in the film.) And its outlaw sensibility resonated with young audiences in the late‘60s. Moreover, writes Ellis (a historical-drama screenwriter best known for “John Adams”), it represented the culmination of decades of American culture that equated American gun culture with freedom — a notion that would’ve baffled the founding fathers, who dwelled little on gun-rights matters in the Federalist Papers and other constitutional drafting documents, but gained traction thanks to gun manufacturers. “In the printed legend of American history, guns and freedom have become synonymous,” Ellis writes, but it was a new legend — stoked in part by “Bonnie and Clyde” — not America’s origin story.

It’d be a mistake to reduce the New Hollywood to the filmmakers highlighted by these two books — though, focused as they are on white men, they echo the way women and people of color were largely shut out of the system, or relegated to more marginal blaxploitation work. Artists looking to operate outside the system have plenty of inspiration to draw from in the ‘70s. Yet the books also expose how commerce does what it always does — take provocations and sand the edges off of them, then look for ways to make them profitable. In the early ‘80s, a decade after Coppola and company stormed the barricades, Paramount chief Michael Eisner shared a fresh and contradictory vision, such as it was: “We have no obligation to make history. We have no obligation to make art. We have no obligation to make a statement. To make money is our only objective.”

It would take another decade — and auteurs on the East Coast — to launch another attack on that sensibility, via films like “Do the Right Thing” and “sex, lies, and videotape.” They would help usher in the Miramax era — but that’s another story, with its own problematic twists.

Athitakis is a writer in Phoenix and author of “The New Midwest.”

The cast of “Scrubs” knows that the show’s creator, Bill Lawrence, has a habit of building communities with his series, which include “Ted Lasso” and “Shrinking.” But the “Scrubs” crew knows they are the closest.

“Since I work on all those shows, I can say that we’re the tightest-knit group,” says Zach Braff on a video call with his fellow fake doctors Sarah Chalke and Donald Faison. “We vacation together.”

Lawrence, just a day later, has to concede that Braff has a point. “It’s annoying because I have to admit that they are right,” he says. “We’ve stayed the tightest because we all still spend way too much time together.”

And now the gang is back together for a new, nine-episode season of the beloved series premiering Feb. 25 on ABC, and the next day on Hulu. When “Scrubs” debuted in 2001, narrator J.D. (Braff), his best friend Turk (Faison) and on-again, off-again love interest Elliot (Chalke) were interns at Sacred Heart Hospital. Now, J.D. is a concierge doctor, while Turk and Elliot have advanced to leadership positions at Sacred Heart. There’s a new batch of interns, a new cheery hospital representative (Vanessa Bayer) whose job involves making sure no one gets offended, and a new doctor (Joel Kim Booster) who is not too fond of J.D. But there are also other familiar faces including John C. McGinley as J.D.’s begrudging mentor Dr. Cox and Judy Reyes as nurse Carla, who also happens to be Turk’s wife.

“Scrubs” then and now: Sarah Chalke, Zach Braff and Donald Faison in the original series, left, and in the ABC revival. (Chris Haston/NBC) (Brian Bowen Smith/Disney)

In the Season 8 finale — before the show reset with a medical school setting — J.D., always prone to elaborate fantasy sequences, sees a vision of how his life is going to turn out. His reality doesn’t exactly resemble that.

“We say midlife crisis or whatever, but it’s a time of questioning, a time where you take stock of your life,” says showrunner Aseem Batra. “That’s really a cool time to catch up with our characters because when we saw them last, they were in their quarter life.”

Batra herself has followed a similar path to the characters. After working as an assistant at ABC, her first writing gig was on “Scrubs.” Now she’s in a position of authority. “Truly, it was the best job I had and it was my first job and I’m doing it again out of pure love,” she says. (Longtime “Scrubs” writer Tim Hobert was originally announced as co-showrunner but departed the project.)

Lawrence, who serves as executive producer on the new incarnation, can also see a parallel between his path and that of his fictional creations. “I’m only good at writing about stuff that’s at least tangentially part of my life and the idea that of those young goofballs who are the students now being the teachers, it’s very much part of my life right now,” he says.

“Scrubs” creator Bill Lawrence has handed the reins to Aseem Batra, who is the showrunner of the revival. “Truly, it was the best job I had and it was my first job and I’m doing it again out of pure love,” she says.

(Christina House / Los Angeles Times)

Still, Lawrence says the reason the revival of the show was able to work is because of the closeness of the original cast. Faison and Braff are still constantly collaborating whether that’s on a podcast or commercials, and even though she’s decamped from Los Angeles to Canada, Chalke makes a point to keep in touch. On a boisterous Zoom call, we spoke about returning to their beloved characters.

What were your reactions coming back to this world?

Donald Faison: Please. Please. Revive it. Do me that solid and revive it.

Sarah Chalke: I manifested it. A couple years ago, I was like, “Oh, I miss ‘Scrubs.’ I want to do a comedy like ‘Scrubs’ that shoots in Vancouver, and then it all happened.”

Zach Braff: To be honest, I was very surprised when it actually started happening that ABC was going to put it in prime time. I thought it might be something on Hulu. That felt like a giant audience with Hulu the next day and a really big scale and really a belief in the project. That was really exciting.

Why do you think the show’s legacy is so strong that there is that belief?

Braff: I think that it’s Bill’s unique mix of comedy and pathos and emotion and fantasy. It’s such a unique recipe. But in execution, as he did with the first pilot, it was undeniable. It was so groundbreaking at the time. No one had done that in the network space. It was also at a time when there was no streaming. So, the show was on at 9:30 and Bill was trying to push what you could still do on network [television]. That’s why it was a more risqué version of what we’re doing now. I think now the goal was — well, there’s streaming for that. What’s a show that we can have on at 8 that pairs with “Abbott Elementary” that parents can watch with their kids? Maybe some jokes will fly over the kids’ heads, but it’s not trying to compete with what people are doing on streaming.

What do you remember about getting cast? You were all in your 20s.

Faison: I was the oldest one. Still the oldest one. I remember how big of a deal it was. This was the pilot of the season. I remember everybody and their mama was talking about how great the script was and how they wanted to be on the show. I remember my agent telling me, “This is a big one. The creator of the show really likes you. Let’s see what you can do.”

Chalke: I didn’t know this until two days ago. Our casting director came up to set to visit, and she said I was the first person to audition on the first morning of casting. In the character description, it said she moves and talks at a faster pace than normal humans. And in every single job, I’ve been told, “Slow down.” It felt like the luckiest thing; I’ll never forget when Bill called me and said that I got it and I truly couldn’t believe it. And the experience far exceeded any expectation I could have had about what it was going to be.

When I think back on it, what I remember is what that felt like to be at work every day, genuinely laughing so hard to the point where it would get late at night and there was one sound that Zach and Donald could make that would make me laugh.

Sarah Chalke on being cast in “Scrubs”: “I’ll never forget when Bill called me and said that I got it and I truly couldn’t believe it. And the experience far exceeded any expectation I could have had about what it was going to be.”

(Christina House / Los Angeles Times)

What was the sound?

Faison: It’s almost like a fart.

Braff: No, it’s not a fart.

Faison: I’m not trying to make a fart joke. But do you know how when you fart, it always sounds like a question mark. So, that’s the sound.

Braff: Esther, do not use this, please. It’s a high-pitched noise like this [does noise]. We would do it quietly enough that no one would hear we were doing it. And then she would break down laughing and ruin the take and we’d be like, “Sarah, what are you doing? It’s late. We want to go home.”

Zach, what were your initial thoughts about the project?

Braff: I was waiting tables at a French-Vietnamese restaurant called Le Colonial at Beverly and Robertson [in L.A.]. And I had to wear a tunic, which I put into “Garden State.” I’d been auditioning for so many things and not really getting much traction in the sitcom space, but I read this and I thought it was so funny. I was like, “Oh, I think I could really sell this because I find it so funny.”

How did you know the chemistry between the three of you was going to work?

Braff: When we were shooting the pilot, I was just like, “Wow. I really love these people.” I was obsessed with Sarah. I thought Donald was the funniest person I’d ever met. And then Bill was legitimately the funniest person I’ve ever met. I just felt in really good hands.

Chalke: We were all so excited to be there and we’d just hang out and watch the other scenes that we weren’t in. And I remember just being by the monitor, watching everybody else work and just being so blown away.

Braff: We would hang out after we were wrapped, which Sarah still does occasionally. This time Donald came early because there’s this really weird coffee robot in the production office that Donald seems to think is amazing coffee. So, I caught him a few times coming in early for the coffee robot.

Faison: That’s not why I came in early. I was notoriously late and unprepared the first go of “Scrubs.” I heard Tom Hanks talking about how he was a young actor and a very established actor kept forgetting their lines. And the director finally goes, “Ah, come on, come on guys. Three things. Show up early, know the text, have an idea. Let’s take 10,” and walks away. And Tom Hanks goes, “Oh, if that’s what it takes, I can do that s—.” So, I took that to heart and this is the second opportunity.

Braff: I thought it was the coffee robot.

Zach Braff on his co-stars: “When we were shooting the pilot, I was just like, ‘Wow. I really love these people.’ I was obsessed with Sarah. I thought Donald was the funniest person I’d ever met.” (Christina House / Los Angeles Times)

But Sarah would hang out after you wrapped?

Chalke: We are all executive producers on this. Zach is producing and directing and editing and writing and doing all of the things, and that’s been really neat to watch. I legitimately do want to learn. Obviously, there’s a balance of that with also going back into work full-time and having two kids.

Braff: Sarah gave me this whole speech at the top of the show. She’s like, “Hey, I really do want to learn this stuff. I want to sit by your director’s chair. I want to ask you questions. I want to learn to genuinely [executive produce], genuinely direct.” And I was like, “Great.” The first week I was like, “All right. Sarah, we’re going on a big tech scout. It’s probably going to be about…”

Chalke: “In a van for seven hours.”

Braff: I go, “You’re going to learn more on the tech scout than you could in film school.” And she’s like, “No, I won’t be able to do that.” And then by the end of the nine episodes, Sarah was like, “I think my EP thing is morale.”

Faison: I want to piggyback on something Sarah said though. Zach has done a lot, these nine episodes. For this revival, he’s done so much and has worked so hard on this. And that’s made us all feel very safe and secure also because we know we have the No. 1 guy on the call sheet who cares about the show completely putting in 100% to make sure that we’re coming out the gate with something very, very, very, very strong and undeniable for the fans.

What were your conversations about where your characters would be after all these years?

Braff: One of the big conversations we had was we wanted to reground the show because the show got really broad over the years and we wanted to dial it back and go back to where we started, where it exists in a real place. We have the luxury of the fantasies where we can be super silly. And obviously, we dip our toe over the line sometimes and stuff is a little broad. But for the most part, the new show is back to Season 1 and grounded again.

As we all know, especially when you reach 50 years old, a lot of things in life don’t turn out the way you hope they would. And that’s why we opened the show with J.D. living this fantasy that he is this heroic trauma ER guy when in fact he’s fixing toes in the suburbs. Also, I think with regard to me and Donald, [Lawrence] said, “I want them to be silly as those two guys are in real life, but … when they drop in and they’re teachers, they’re really good teachers.”

Donald Faison on returning for the revival: “When we did the table read, I laughed so hard when the first voice-over kicked in, when Zach read the voice-over.”

(Christina House / Los Angeles Times)

Was it easy to fall back into your rhythms?

Faison: When we did the table read, I laughed so hard when the first voice-over kicked in, when Zach read the voice-over.

Braff: The whole room did. It was really funny because no one had heard me do that voice in 20 years.

Chalke: One of the coolest things that helped with the show was Bill would just write to everybody’s strengths or write to their quirks or write to their personalities and weave it in. That happened this season, but it happened all through the first eight years. And so, to a certain extent, the lines blurred sometimes between ourselves and our characters. So, stepping back into them, there’s a reason why it felt so comfortable.

Braff: Sarah is a fast-talking klutz.

Chalke: I am. We met all the interns and Zach said, “So, guys, Chalke’s going to come in every day and something’s going to be broken. Every day there’s going to be a story.” And then I proceeded the very next day, which was the day before filming, to fall and break my finger. So, I did have to come in on the first day and say, “So, I broke my finger.”

How did you break your finger?

Braff: Walking.

Chalke: It’s part of who I am, but it’s also part of who Elliot is.

Braff: I think if we put in the show how really klutzy you are, people would think it’s too much.

Was there anything you were nostalgic for that wasn’t in the new incarnation?

Chalke: Sam Lloyd.

Braff: Sam Lloyd who played the lawyer was such a big part of the show and not only a fan favorite, but our favorite. He was just the funniest, nicest man. And Bill calls people like Sam Lloyd “comedy assassins.” They come in and they have one line and you’re laughing. And he was one of the greats.

Faison: It’s not the same “Scrubs.” And I kind of miss a little bit of that. There are so many new stories to tell. And you get nostalgic when you see the stuff that we’re doing in it, but I do sometimes miss some of the stories that we told in the past. It’s like capturing lightning in the bottle again, and I feel like we did it. I really do hope we have that opportunity again. I really do hope that this isn’t just nine. But it’s important for the audience to know that we’re definitely older. That’s just real talk. I’m not a 26-year-old man anymore. I’m 50.

KELLY Osbourne has penned an emotional message about grief seven months after her father Ozzy’s passing.

The Black Sabbath singer died aged 76 at home with wife Sharon, 73, and his kids by his side, back in July.

Ozzy passed away weeks after he took to the stage one final time with his bandmates at Villa Park in Birmingham.

Kelly, 41, has been candid in opening up on the difficulties of processing her tragic loss.

She previously told how she slept in her late father’s bed along with her mum Sharon as they dealt with their grief.

The mum and daughter duo also broke down in tears this month at a Grammys tribute to Ozzy.

ALWAYS REMEMBERED

Sharon & Kelly Osbourne left in tears after Grammys tribute to Ozzy

‘RIP DEAR FRIEND’

Finding Prince Charming contestant dies as Kelly Osbourne leads tributes

Now Reality TV star Kelly has taken to her Instagram post for a lengthy message pouring out her feelings.

She wrote in white text on a black background: “Some grief doesn’t end. It changes shape.

“It becomes the quiet weight you learn to carry, the ache woven into your days.

“Making it through doesn’t mean leaving it behind.

“It means finding the strength to live and love and keep going even with forever resting in your heart.

“When grief feels endless and disastrous, like it’s unmaking you from the inside out, surviving isn’t about conquering it.

“It’s about enduring it.

“It’s about standing in the wreckage of our own heart and whispering, ‘I am still here,’ even when every part of you feels shattered and like you don’t want to be here!”

Ozzy died at home in his stunning mansion in Welders, Buckinghamshire “surrounded by love”.

Sharon, his wife of 43 years and mum to their children Aimee, Jack and Kelly, was by his side.

A statement from his family said at the time: “It is with more sadness than mere words can convey that we have to report that our beloved Ozzy Osbourne has passed away this morning.

“He was with his family and surrounded by love. We ask everyone to respect our family privacy at this time.

“Sharon, Jack, Kelly, Aimee and Louis.”

Ozzy became known as the “Prince of Darkness” in his six-decade career thanks to his on-stage antics that attracted a legion of heavy rock fans.

He last graced the stage this July when he reunited with his bandmates Geezer Butler, Tony Iommi and Bill Ward and played a five-song set in a farewell to music.

The gig was touted as “the greatest heavy metal show ever,” with Ozzy grinning to chanting fans as he thanked them for all they had done for him.

Over the weekend, we told how removal boxes have been seen outside Sharon’s £13million LA mansion as she downsizes following her spouse’s passing.