show biz

It was a very warm homecoming at the box office this weekend for Christopher Nolan’s “The Odyssey,” as the star-studded epic grossed $124.5 million in the U.S. and Canada, a welcome and massive jolt for theaters after a series of slower weeks.

The Universal Pictures film’s haul outperformed studio expectations of a $117 million domestic opening and set a record for the highest-grossing opening weekend for a live-action or R-rated film so far this year.

“The Odyssey” now ranks as the third-highest domestic debut of 2026, trailing only Disney and Pixar’s “Toy Story 5” ($159.7 million) and Universal, Illumination and Nintendo’s “The Super Mario Galaxy Movie” ($131.7 million).

The film, which stars Matt Damon as Odysseus, brought in a total of $264.1 million worldwide, according to studio estimates. That marks the biggest global opening ever for a Nolan film.

“The Odyssey” was produced by Nolan and his wife and producing partner Emma Thomas for their company, Syncopy, and had a production budget of about $200 million to $250 million.

“It delivers on every sort of promise,” said Jim Orr, Universal’s president of domestic distribution. “It is totally immersive. It is great emotional storytelling. It is something that truly has to be experienced on the big screen.”

The nearly three-hour epic is the first feature to be shot entirely on Imax cameras, a feat that required extensive cooperation between Nolan and the Canadian entertainment tech company, which operates out of Playa Vista.

Nolan first told Imax Chief Executive Rich Gelfond in early 2024 that he was considering making an entire film with Imax cameras and laid out what he’d need for that to happen, including a quieter and lighter camera, a way to make film reloads easier and getting enough trained projectionists.

“It took a fair amount of time and investment” to figure out those challenges, Gelfond said. But by August 2024, the Imax team put together a series of tests to show cinematographer Hoyte van Hoytema. Two months later, Nolan saw the tests and was impressed.

“As filmmakers and studios integrate Imax, we become an increasingly important part of the ecosystem,” Gelfond said. “When a film is released in Imax or shot in Imax, I think it’s a signal to audiences that it’s somewhat special, and the filmmaker is really leaning in in a unique way.”

Anticipation for the film has been building for at least a year, when the first Imax 70mm tickets went on sale. Pre-sales for “The Odyssey” shattered the previous Imax record by nearly double, the company said.

Enhanced formats made up 53% of the domestic weekend’s total, with both film and digital Imax revenue comprising 23.8%. Imax 70mm comprised about 4% of that total, with Imax digital making up the rest. Non-Imax 70mm film screening revenue totaled 3%, while 35mm showings made up 0.3%.

Adding to the film’s mystique is Nolan’s reliance on old-school Hollywood practical effects, such as his use of puppetry, animatronics and robotics in scenes with the Cyclops, as well as a real Viking boat that the actors learned to sail.

The massive reception for the film is a relief for theater owners, who weathered their own rough waters in the last few weeks, as Walt Disney Co.’s live-action “Moana” underperformed in its opening at the box office and Universal and Illumination’s “Minions & Monsters” had a softer debut.

“Moana” came in second at the box office this weekend with a domestic haul of $19 million. “Minions & Monsters” ($14.8 million), “Toy Story 5” ($14.8 million) and Warner Bros. Pictures’ “Evil Dead Burn” ($5 million) rounded out the top five, according to data from Rentrak.

While many are eagerly awaiting what the halftime show will bring, it’s not the same thoughts everywhwere.

The Cure star Robert Smith has furiously hit out at the upcoming FIFA World Cup 2026 halftime performance line-up curated by Coldplay’s Chris Martin

Robert Smith took to social media to share his blunt reaction and took aim at FIFA President Gianni Infantino.

He berated: “The half-time show, which has been curated by Coldplay’s Chris Martin, will feature Madonna, Justin Bieber, Shakira and the K‑pop boyband BTS. Fifa’s president, Gianni Infantosser, has described the half-time show as ‘groundbreaking spectacle’ that will ‘celebrate football, music and our shared values, ensuring a legacy that transcends the final whistle’.”

Read more.

AMANDA Holden has defended her 20-year-old daughter’s modelling career and hit back at ‘nepo-baby’ accusations.

Having been signed to Storm Models Management at 18, Lexi has already taken to the stage at London Fashion Week, following in her famous mum’s footsteps with a glam career in the spotlight.

But Britain’s Got Talent judge Amanda, 55, doesn’t believe there’s any harm in helping her kids out if she’s able to.

“Being someone’s kid is not going to secure work, make a living for you and longevity in whatever career,” Amanda told the Daily Mail. “It may get a foot in the door, but then you’re on your own!”

Amanda’s comments come as Lexi features in sultry new modelling snaps, posing topless with just a banana tree leaf covering her.

Lexi wears her long blonde locks loose in the pictures, keeping her look natural with just a sweep of heavy eyeliner on her lashes and a toussled fringe.

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She completed the beachy look with leopard print bikini bottoms and a tangle of bracelets on her wrist.

Amanda also added that showbuiness is no picnic, saying: “I think it’s unfair to sort of single out showbusiness or the music industry, because they’re the worst businesses to be in!

“I just hate the term nepo baby because it’s up to them to make it on their own. And it’s often worse having a famous parent, it’s not often a good thing.’

Amanda revealed that her younger daughter Hollie, 14, asks her mum to drop her at school at the end of the road, because she “hates” having a famous mother.

Of Lexi, Amanda believes she’s “unfazed” and “has her head screwed on”, so doesn’t fret about her foray into the world of modelling.

This comes as UK TV bosses are said to be planning a loose revival of one of reality TV’s biggest ever shows – The Simple Life – featuring Lexi.

The early 2000s programme starred Paris Hilton and Nicole Richie and followed them as they got stuck in working “regular” jobs for the first time in their lives.

Now, channel chiefs are said to be bringing the format back but with a new competition element and a cast of Brit nepo-babies, seeing the least hard-working nepo baby voted off each episode.

Katie Price‘s son Junior and Jeff Brazier‘s son Freddy are also apparently on the wish list.

A source told The Sun: “Katie Price’s son Junior and Amanda Holden’s teen Lexi have been approached for the gruelling new TV show. It will see if they can survive a REAL day’s work.

“Bosses are hoping to get twelve of the country’s favourite nepo babies and many of them are currently in talks.

“The show has already been commissioned and will almost certainly go ahead as soon as everyone is signed up.”

On paper, Lauren Meyering’s debut feature “Horsegirls” sounds like it was made in a 2000s indie movie lab: It features a quirky heroine with a unique hobby, a loved one with a devastating illness and the formation of an unlikely community that rallies around our protagonist and her dream. But surprise — the events of “Horsegirls” are inspired by a true story, one close to Meyering, who based the film on her family friends Mackenzie and Sandra Breeden. Sometimes real life can be the realest indie movie of all.

“Horsegirls” might read on paper as too sickly sweet, but Meyering’s thoughtful direction and star Lillian Carrier’s performance keep it from tipping too far in that direction. Carrier stars as Margarita, a young woman with autism who lives with her cancer-stricken mother, Sandy (Gretchen Mol). The pair are inseparable, with Margarita accompanying her mother to chemotherapy treatments and their own special celebration rituals involving karaoke and sharing combo platters.

Sandy desperately wants Margarita to get a job but her first steps toward independence come when she spies a hobby horse rehearsal and becomes fixated on joining. If you’re unfamiliar with hobby horsing, it’s a sport originating from Finland that’s growing in popularity. It involves a choreographed routine involving elements of gymnastics and traditional dressage performed while using a “hobby horse” — a stuffed horse head on a stick.

For Margarita, who loves horses but isn’t allowed to interact with them due to her mother’s safety fears, it seems the perfect solution, and she persists despite the clique-ish mean girl behavior from some of the younger participants. The coach (Jerod Haynes) sees her determination and encourages her participation, so she gets a job at a Halloween store to pay for it but keeps it a secret from Sandy. As it turns out, both mother and daughter are keeping secrets from each other.

While the plot unfolds in a fairly predictable manner, it’s the character of Margarita who keeps us on our toes. Carrier, who also has autism, brings an inherent authenticity to the role as well as a sense of good humor that draws people to Margarita, a character who always says what’s on her mind, whether or not it’s polite or appropriate. But her refreshing honesty is what people respond to, and both she and Sandy know she’s going to need people in the not-so-distant future.

Meyering carefully threads the themes of parental concern and young adult independence throughout her screenplay. The anxieties are universal — any parent wants to feel assured that their child is going to be OK when they’re gone; any child wants to prove that they’re capable and free to do what they want. Characters like Margarita’s store manager Hank (Iqbal Theba) prove that strangers can “get” Margarita just as she is, without her mother’s interference or interpretation, even if it takes some time for Sandy to understand that.

Meyering and cinematographer Natalie Kingston create a naturalistic and often dark look, though “Horsegirls” is beautifully shot. The distinctive photography sets it apart cinematically from other films in this genre — just like Margarita herself, who visually stands out from the other girls.

This is a simple story executed with singular panache, and while “Horsegirls” follows expected narrative beats, it’s in the moments of surprise that it works best, often thanks to Carrier and her straightforward line deliveries, which help the tone pop. The film is a reminder that conformity is never compulsory, and that putting yourself out there is the only way to find out who’s ready to catch you.

Katie Walsh is a Tribune News Service film critic.

If you feel like your favorite morning news or talk show is frequently trying to sell you something, you’re right.

Shopping segments within the program content of NBC’s “Today,” ABC’s “Good Morning America” and “CBS Mornings” have grown in recent years. Using QR codes on the screen, viewers are taken directly to dedicated e-commerce sites where they can put in their orders, with the program getting 20% or more of the revenue generated.

The segments typically feature a contributor or expert presenting household items, fashion or personal care products, alongside the host viewers know and trust. While hosts typically don’t do the actual pitching, their presence provides a seal of approval that helps drive a purchase.

The segments are also a staple of talk shows and syndicated programs such as “The View,” “The Jennifer Hudson Show,” “Entertainment Tonight” and “Inside Edition” and have spread to local TV stations. Ownership groups have signed deals with companies that match them up with brands looking for exposure that goes far beyond what they get with a 30-second commercial.

“This is the savior for media, if they really focus on it,” said Brian Meehan, co-founder of Knocking, a Connecticut-based company that specializes in embedding e-commerce into TV and digital content.

That may seem bit hyperbolic, but there is little doubt that TV outlets are looking for help as they navigate the upended media industry.

Streaming has pulled viewers away from traditional television, driving down ad revenues. Since 2022, ad spending on broadcast and cable TV has dropped 23%, to $51 billion in 2025. Consumers bypassing or canceling their cable subscriptions are cutting into the fees stations receive from pay TV providers.

As a result, both networks and TV stations have had to make significant cuts in their news operations to maintain profit margins. The daytime syndication business has declined dramatically as well, with NBCUniversal exiting the market and canceling “Access Hollywood” and “The Kelly Clarkson Show.”

Networks and stations don’t reveal how much they earn from the shopping segments, which typically run four minutes, but insiders say it’s well into the eight-figure range.

Bill Hague, executive vice president for the media research firm Magid, said more TV stations are turning to the segments to help fill the additional hours of local news they are programming instead of syndicated talk shows.

“Why invest in syndication when you can have the same audience and more revenue tied to it?” Hague said, adding that the company’s research shows consumers don’t believe the practice diminishes the quality of a newscast.

Jeff Rossen, a former consumer reporter for NBC News, recently pitched online shopping deals for Tegna’s TV local stations. The products he demonstrated sold briskly, likely helped by the credibility and trust he has accrued as a journalist.

That authority matters to viewers. NBC says its research shows that 94% of “Today” viewers trust the product recommendations made on the program.

Morning shows, with their mix of hard news, entertainment segments and lighter fare, have always had more latitude in what they present. But the current dire circumstances of the TV business explain why there is little pushback.

“If helping me buy a better blender also helps pay for an investigative reporter, I’m fine with it,” said Andrew Heyward, a former CBS News president who has consulted for TV station groups.

Heyward said consumers have gotten accustomed to editorial content being a gateway to online shopping. The New York Times gets a cut of sales linked to its Wirecutter product review site.
Book reviews in the Los Angeles Times are linked to Bookshop.org, and the newspaper gets a commission for any sales.

Amazon and other web platforms have made e-commerce account for 21.8% of all U.S. retail purchases, according to the Department of Commerce.

Direct selling on traditional media goes back decades. In 1978, a Clearwater, Fla., radio station accepted 112 electric can openers from an advertiser who could not afford to pay for commercial time. Station owner Bud Paxson had a newscaster auction the inventory over the air and it sold out quickly, leading to a regular show called “Suncoast Bargaineers.”

In 1982, Paxson moved the concept to a local Tampa cable outlet, called it Home Shopping Channel and, after a few years, took it national as Home Shopping Network. HSN soon had celebrities pitching their own product lines, a technique that is now occasionally used by the morning shows.

Candi Carter, whose Cistus Media handles e-commerce for Tegna, said viewers have long been accustomed to seeing products touted inside of programming content, going back to the days of Oprah Winfrey’s “favorite things” segments.

“Brands do it for visibility,” Carter added. “They don’t have to pay a product integration fee and they get revenue from the sales.”

The broadcast networks experimented with direct selling to viewers over the years. NBC even put its name on ShopNBC, a cable channel it co-owned in the 1990s. But the concept was not mastered until NBC’s “Today” introduced “Steals and Deals” in 2010 as an occasional segment that grew over time.

The program now has 30 contributors who present wares in about 350 shopping segments each year. They are available across digital, social, newsletters and mobile platforms after they air on “Today.”

ABC’s “Good Morning America” started its own version in 2011, brazenly calling it “Deals and Steals.” The network now has daily segments on both “GMA” and the afternoon hours “GMA 3” and “The View.” Network contributor Tory Johnson has handled “Deals and Steals” since its launch and has long been one of the most familiar faces on “GMA.” Other contributors, such as former fashion magazine editor Laurie Bergamotto, have been added over the years.

Meehan recalls the biggest hurdle to launching the segments at ABC was the language explaining the arrangement to viewers — making it clear that the network stands to benefit.

“It came down to the attorneys just saying, ‘ABC may receive promotional or financial consideration,’” he said. “It took a long time to go through that process.”

CBS News, historically cautious about any endeavors that could tarnish its legacy as a journalism organization, was the last of the traditional networks to get into e-commerce in 2022 after COVID-19 lockdowns depressed ad revenues. The division was also under pressure to improve its financial performance as Shari Redstone, then-chair of parent Paramount, was intent on improving the company’s balance sheet ahead of a sale.

“Shop CBS” segments, as they’re called, are presented multiple times a week on “CBS Mornings” and “CBS Saturday Morning” and have become key revenue drivers for the struggling news division. Any resistance from producers or on-air talent recedes once they learn how much money e-commerce takes in, according to one veteran at the division not authorized to discuss the matter publicly.

While ABC and NBC broker their e-commerce deals in-house and through some of their contributors, CBS turned to Knocking to develop its segments. The company makes deals with product suppliers looking for in-program exposure, supplies the on-air talent that does the pitching with the network’s hosts and builds the websites that handle the transactions.

While on-air network journalists appear in the segments, they are not asked to do the selling. When CBS News signed on with Knocking, the division insisted the talent and producers involved be able to test the products before putting them on air. When they can react with enthusiasm, it’s a big help.

“When ‘CBS Mornings’ co-host Nate Burleson puts on a massager and he’s like, ‘Ooh, wow, this feels like real human hands,’ — none of that is scripted,” said Meehan.

Still, programs are putting their credibility on the line by selling the products. There is little margin for error or customer dissatisfaction, as disgruntled viewers will tune out.

Meehan said Knocking does its best to mitigate that possibility by accepting returns up to six months after purchase.

“A bad experience will hurt both the product or service being featured, and the broadcaster,” Heyward said. “All the parties have a vested interest in honesty, and in a good user experience.”

Protesters are inviting soccer fans to join them in issuing referee-style red cards during the World Cup final.

A coalition of artists, community organizers and advocacy groups will be handing out tens of thousands of specially designed commemorative red cards to those headed to Sunday’s championship showdown between Argentina and Spain at MetLife Stadium in East Rutherford, N.J.

In addition to the slogan “Unitas Mundi” — Latin for “unity of the world” — the mock referee cards direct people to a website explaining the coalition’s campaign and invite them to participate in a collective demonstration inside the stadium to denounce FIFA President Gianni Infantino and President Trump.

The action comes amid increased scrutiny around Infantino and Trump‘s relationship. Infantino has announced that Trump will join him at the final to present the trophy to the winner. He also awarded Trump the first-ever FIFA Peace Prize — created after the U.S. leader was not awarded the Nobel Peace Prize — in December.

And it was after Trump called Infantino to ask for a review of a red card issued to U.S. striker Folarin Balogun that the star forward’s suspension was delayed to allow him to play in the next game. The controversial move prompted an international uproar and accusations that Infantino has violated established rules around political neutrality.

FIFA has strict rules prohibiting political messaging on flags, banners and other items displayed by players and attendees in and around stadiums.

Organizers of the Final Red Card demonstration are also calling out the Trump administration’s immigration and mass deportation policies, which are back in the spotlight after three people were killed within a week during separate encounters with Immigration and Customs Enforcement officers. The fatalities include two people who were shot and killed by ICE officers in Houston and Maine during immigration operations, and another killed in a car crash while fleeing ICE officers in Florida.

At least 10 people have been killed during the Trump administration’s immigration crackdowns.

The coalition behind the campaign includes Contra-ICE, the arts collective that was also a part of the Flags in the Stands Super Bowl action that involved the “ICE OUT” rally towels. Partner organizations also include Make the Road New Jersey, 50501, People vs the Machines and South Asians for America, according to a press release.

HOLLYWOOD filmmaker Guy Ritchie has been given the go-ahead to create Airbnbs on his historic airfield.

The Brit director angered local residents with his scheme to turn staff accommodation at Compton Abbas Airfield in Dorset into holiday lets.

They have accused him of trying to build an “aviation theme park by stealth” and “by any means” with no consideration for he local environment.

They fear his ultimate goal is to have a hotel on the sensitive site which is in the Dorset National Landscape and part of the Cranborne Chase International Dark Sky Reserve.

The Lock, Stock and Two Smoking Barrels director has already opened a smokehouse restaurant and re-routed a 130-year-old public footpath since buying the airfield in 2022.

He puts on Spitfire flight experiences and has turned the airfield into a popular visitor destination with events held throughout the year.

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Now his plans for two holiday apartments – one two-bedroom and one four-bedroom – have been won planning permission.

They will allow guests to stay overnight while they enjoy flying experiences during the day.

The airfield has had permission for a flat for live-in staff since 2005.

Locals argued this was for a member of staff to live on site to provide “security and safety”.

But Dorset Council disagreed and said there was no planning reason to refuse it.

Planning officer Jamie Francis said: “The owner has been open that they are seeking to generate additional income streams for the airfield, which would have personal gain, this is also considered to bring economic benefits to the area.

“Overall, the re-use of the building for tourist accommodation in place of staff accommodation is considered acceptable.

“A condition has been applied to ensure that the accommodation is used for short term lets only and not for permanent residential accommodation.

“The conversion of one unit of staff accommodation and one office unit to two units of holiday accommodation is considered acceptable.

“In addition, two units of accommodation to two units of holiday accommodation are considered acceptable.

“Therefore, the Council see no reason to refuse the application on this basis.

“The impact of holiday accommodation is anticipated to have a negligible impact on neighbouring amenity, air pollution, and the overall business of the airfield and flight activities.”

The airfield is near Ritchie’s Ashcombe Estate on the Dorset/Wiltshire border.

He previously shared Ashcombe House with ex-wife Madonna and now he and wife Jacqui split their time between their London home and the country estate.

He has hosted celebrity pals there, including David Beckham and Robert Downey Jnr.

Neighbour Christopher Dymond said the regular flying events caused a nuisance and disturbance to neighbours and likened going into his garden to “walking onto a WW2 film set”.

Mr Dymond said: “Compton Abbas Airfield, until recently, was a polite small grass airfield run for local flying enthusiasts and was managed carefully to reflect the incredibly sensitive location and the proximity of local villages.

“The airfield now is run on a much more commercial basis and largely by stealth is morphing into an aviation theme park with numerous events, shows and visitor attractions.

“The nuisance and disturbance to local residents has increased significantly and many of the historic planning restrictions governing the airfield are not being adhered to.

“Often, on a summer weekend, entering your garden is like walking onto a WW2 film set with noisy historic aircraft constantly flying overhead.

“The current apartment was only allowed on the basis it was an absolute necessity for a member of staff to be on site for safety and security reasons.

“If this safety and security requirement is no longer a necessity there are provisions in the planning legal agreements for the use to cease, not for it to be opened up for paying visitors to stay on the site, without any staff presence.”

Philip Cayford, a neighbour and member of the Compton Abbas Airfield Monitoring Group, said: “It began as a small private strip capable of hosting up to six small aircraft.

“It has long since been accepted that the original permission was a planning mistake; councils since that time have accepted the need to curb the expansion pushed for by successive owners.

“The current application would appear to be a further attempt to increase the size and profitability of this site by any means with no regard whatever for environmental issues or the inconvenience to local residents.

“Approving this application would constitute one further step in the commercial development of one of the most beautiful and sensitive rural landscapes in southern England, and as such is quite inappropriate.”

The Sun has approached Ritchie’s reps for comment.

A TIKTOK star has left fans shocked as she revealed she’s a nepo-baby with a British TV icon mum – but can YOU guess who her famous parent is?

Social media star Dixie has 11k followers on TikTok, and recently posted a video where she teased the identity of her very well-known mother, who started out on reality TV.

In a video of her and her famous mum on holiday, the 16-year-old could be seen sweeping her brunette locks out of her face as she posed for the camera.

She captioned the post: “When I think I look hot but then my mum walks in.”

The camera then panned to none other than TV star Luisa Zissman, 39. who put on a leggy dislay as she strutted down the streets of St Tropez.

Few fans know that Dixie is the offspring of none other than Luisa, who came in second place on the ninth season of BBC’s The Apprentice.

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Dixie penned underneath the clip of them: “She knows she’s the s**t.”

“Both stunning! You are your mum’s double,” said one fan.

Another fan wrote: “Your mum is an icon.”

A third fan added: “Baddies.”

Meanwhile, a fourth person said: “Queen Luisa.”

Luisa was a very sassy contestant on the BBC reality show, often putting her co-stars in their place if they disagreed with her.

Back in 2013, the mum-of-three was already hugely successful – she ran three businesses with a turnover of around £3million.

Following her stint on The Apprentice, a year later she appeared on Big Brother finishing fourth behind Jim Davidson, Dappy and Ollie Locke.

The entrepreneur now hosts LuAnna: The Podcast alongside dating agent Anna Williamson.

Jennifer Finch, bassist for the influential Los Angeles rock band L7, has died. She was 59.

Finch died of “an aggressive form of brain cancer,” according to a statement from the band.

“We are shattered by the loss of our beloved bandmate, sister and friend Jennifer Finch, whose fierce spirit, humor and boundless creativity helped shape L7 and changed all of our lives forever,” the group said in its statement. “Jennifer was a true original who lived entirely on her own terms, and the impact she made on music, art and everyone lucky enough to know her cannot be measured. We love her beyond words and will carry her with us always. Rest in power our dear friend.”

Finch was receiving ongoing treatment for brain cancer, and just last week backed out of the band’s planned final tour. The group said those dates were “planned along with Jennifer when all four of us were in good health and spirits,” and Finch had asked the band to continue the shows while she sought treatment.

Finch, raised in Los Angeles, was an outspoken and ambitious fixture of ‘90s rock. She briefly performed in a band with Courtney Love pre-Hole and Babes In Toyland’s Kat Bjelland, and once dated Dave Grohl. But she came to prominence in L7, a foundational act in the alt-rock scene of the ‘90s.

Formed in 1985 by guitarists and singers Suzi Gardner and Donita Sparks, drummer Dee Plakas and Finch, they made a fast impact on L.A.’s punk scene, which was growing out of the hyper-masculine hardcore era of the ‘80s. Alongside Hole and Sleater-Kinney, L7 helped usher in the riot grrl wave of confrontational, female-led rock acts onto charts and festival bills.

“Rock ‘n’ roll was invented and became popular because of its rebellious nature,” Finch told the Times in 1993. “But the world has seen every form of rebellion–from throwing TVs out the windows to heroin abuse to just the guy in the leather jacket with greased-back hair–and the rebel image is becoming tired and burnt out. So (the press) is finding new interest in women who (rebel), creating a whole new aspect.”

“The unfortunate thing is that journalists are trying to create a genre out of gender, which trivializes it,” she added. “That’s extremely ignorant, because it bypasses the uniqueness between the groups.”

Bolstered by Finch’s ferocious basslines, hit single “Pretend We’re Dead” received significant airplay on alternative rock stations and became the group’s signature song, along with the biting anti-war anthem “Wargasm.” Finch wrote several songs across the group’s catalog, including the scabrous single “Everglade.” L7 went on hiatus in 2001, but reunited in 2014.

Finch was a talented photographer, whose intimate shots of SoCal bands lent an air of tragic grit to an ascendant punk and rock scene. “The irony is not lost on me when I’m driving from my house just blocks from where I grew up, and I’m heading to the L.A. Weekly to publish pictures of us as kids hanging out and shooting up, 20 years ago,” she told L.A. Weekly in 2006.” It feels weird but strangely hopeful. That was a totally unique time and it defined who we are, so then maybe it’s not a bad thing to be nostalgic about.”

Beyond L7, her song with OtherStarpeople, “Then There’s None,” appeared on the beloved “Office Space” soundtrack, and founded the punk band The Shocker in 2002. She acted in John Waters’ dark comedy “Serial Mom” as a member of the fictional band Camel Lips.

L7’s last album, “Scatter the Rats,” was released in 2019, and its final tour, “The Last Hurrah,” is booked to kick off in San Diego on Oct. 6.

L7 and Finch’s family opened a GoFundMe to support her medical care, saying “We love her, and we want her to feel the full strength of the community that has loved and supported her for so many years.” Information on surviving family was not immediately available.

BBC Breakfast hosts Lewis Vaughan Jones and Luxmy Gopal shared some sad news on Sunday

The hosts of BBC Breakfast announced a heartbreaking death during the latest show.

Lewis Vaughan Jones and Luxmy Gopal were on the red sofa on Sunday (July 19) to deliver the latest headlines from across the UK and around the world.

Later in the programme, the presenters announced the death of beloved Australian actor Terence Donovan. The 90-year-old actor was best known for playing Doug Willis in Neighbours, Senior Detective Mick Peters in Division 4, and Detective Sergeant Vic Cameron in Cop Shop.

Terence’s son, Jason Donovan, confirmed the news on Instagram, posting a joint statement with his brother, Paul.

The statement read: “It is with great sadness but also a sense of celebration of a long, full life that myself and my brother Paul announce our father Terence died peacefully last night here in Melbourne.

“Obviously, this is an extremely emotional time, and we ask you to respect our privacy. We want to pay tribute to all the wonderful staff at Cabrini Hospital, Melbourne, who looked after him in his final days.”

Jason and Paul added, “Our dad was a huge character. Larger than life. He was our best friend… Our world. We will desperately miss him, but we take comfort knowing we were all here by his side in his final days.

“Knowing that he lived life to the max. Knowing that in life it’s either a daring adventure… or nothing at all! How lucky are we to have a dad like you.”

Announcing the news on the latest episode of BBC Breakfast, Luxmy shared: “The Australian actor Terence Donovan has died at the age of 90.”

Lewis added: “He was best known for his role as Doug Willis in Neighbours, who returned to the show several times over the years. His son, the actor and singer Jason Donovan, announced the news on social media.

“[He] described his father as a huge character and his best friend, saying he lived life to the max.”

Jason Donovan has been supported on social media after announcing his father’s death, with Dannii Minogue writing: “I am so sorry you have lost your father.”

Someone else added: “Sending lots of love to the family at this very sad time. What a legacy to leave, an absolute trailblazer. Fly high, Sir Terence.”

A third said, “So sorry for your loss, Jason and Paul. What an absolutely fantastic actor and man your dad was! Sending love and condolences to you all.”

Another fan wrote: “What an amazing man, thinking of you and all your family at this difficult time.”

BBC Breakfast airs daily on BBC One at 6am

L7 BASSIST, vocalist and songwriter Jennifer Finch has died aged 59, it has been announced.

Finch passed away after battling an aggressive form of brain cancer, according to a statement.

Her former group has paid a moving tribute to their late bandmate.

They wrote in a statement: “With a very heavy heart we announce that our beloved bandmate, friend, and fellow troublemaker Jennifer Finch has passed away today.

“She had a long courageous fight with brain cancer and was loved by many wonderful friends, musical peers and fans worldwide.

“We love you Jennifer.”

‘LEAVES A VOID’

Digital Underground member dies as band pay tribute to 90s hip-hop star

ROCKER DEAD

90s punk rockstar lead singer of band Amen dies aged 59 as tributes pour in

L7 recently shared the news that Finch had been diagnosed with cancer and would be missing their upcoming Last Hurrah Tour in October.

She had suffered serious complications and required extensive treatment and in-home support, the band said.

Posting to Finch’s own Instagram, the band described her as a “true original who lived entirely on her own terms”.

“The impact she made on music, art and everyone lucky enough to know her cannot be measured”, the post added.

Finch helped power L7 through the 90s alternative-rock boom.

She played base alongside guitarists Donita Sparks, Suzi Gardner and Dee Plakas and helped define L7’s place at the intersection of punk, metal and grunge.

Formed in Los Angeles in 1985, L7 became known for break-out tracks including “Pretend We’re Dead,” “Shove,” “Andres” and “Fuel My Fire.” 

But Finch’s creative work spanned far beyond the stage.

She was also a photographer, writer and visual artist.

The statement announcing her death also acknowledged “the extraordinary outpouring of love and support” shown to Finch.

It comes after another popular 90s band cancelled their entire UK tour following the tragic death of a band member.

The band said in a post online: “We are completely heartbroken over the tragic and untimely loss of our bandmate, brother-in-arms, and friend for 30 years, Justin Cary.

“We were looking forward to connecting with new and old fans around the world this summer and fall, but for now we need time to be still and grieve.”

Heartbroken by the loss, the band added: “Hundreds of pictures. Thousands of memories, 30 years worth. Thank you, Justin.”

The performer died at the age of 50 after suffering a stroke on June 18.

The Kiss Me musician had been receiving treatment at Albany Medical Center in New York.

He underwent two surgeries following the stroke and was placed in intensive care.

More to follow… For the latest news on this story keep checking back at The Sun Online

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Not many people would even think of getting a chance to come face to face with Madonna, but for singer and activist Emmanuel Kelly, he will be one of the very few sharing the stage with her at the first of its kind World Cup Half Time Show.

Alongside the Confessions singer, Justin Bieber, Shakira, BTS, Burna Boy and more, in a special show curated by Coldplay’s Chris Martin, Emmanuel will join some of his musical heroes for the performance of a lifetime.

As he prepares to meet Madonna – whom he describes as an artist who has created a whole “generation of music” – he just has one question on his mind. “I’m just going to embrace the moment. I’m going to ask every one of them, ‘Hey, listen, can you please just put me on your songs?'” he tells us in an exclusive chat ahead of the Half Time show.

Just four weeks ago, Emmanuel heard from Chris with an offer he couldn’t refuse. The pair have been friends for some time now, with Emmanuel having joined the band of their iconic Music of the Spheres World Tour. He was also part of the Club World Cup Half Time show last year, curated by Chris too – but having starred in the other, he didn’t think there would be any chance of doing this one too.

“About four weeks ago, it wasn’t even gonna happen. I sent Chris a text and said, ‘Hey, congratulations.’ And he wrote back saying, ‘Do you wanna join?’ I didn’t tell anyone but my partner and then suddenly we got this email from FIFA and Global Citizen confirming it all, as if it was planned all along,” he recalls.

Emmanuel’s current predicament is a far cry from the start of his life. He had a devastating and tough childhood, being found as an infant, abandoned on a battlefield in Iraq, before being taken in by those at Mother Teresa Orphanage in Baghdad where he met his now-brother Ahmed. Because of his birth mother’s exposure to chemical warfare, he was born with underdeveloped limbs.

When found by his future adoptive mother, Australian humanitarian Moira Kelly, in 1998, him and Ahmed moved to Australia two years later and following surgery, which allowed him to be fitted with prosthetic limbs, he became a citizen of Australia in 2009.

A viral appearance on Australia’s X Factor in 2011, where he was voted off before getting into the top 24, and it wasn’t long after that he came to meet the Coldplay star. They were introduced several years ago through a mutual friend, with Chris quickly giving Emmanuel the nickname “natural antidepressant”. The pair’s bond has only grown over the years, with Emmanuel describing his friend as more like a “brother”.

“I grew up in Iraq and I was a brother to a lot of people in that orphanage where I had to take care of these kids. I always say the only thing thicker than blood is love,” he tells us,

“In an entertainment industry that sometimes focuses too much on the superficial, Chris was there for me. For the first time in a long time, I was in a very dark place. It was then I met Chris.

“He became a brother to me. He became a mentor. He became a guide. He became the shining light. He feels his purpose is spreading love and happiness and joy and he has been doing that for so many years. He gave love and joy to me in a time of darkness and in a time I really needed it.”

As Emmanuel’s fiancé Joanne so wonderfully puts it: “In Chris’s mind, Emmanuel just has the secret to joy. He values him as someone that, despite everything he’s gone through, he approaches everything from a perspective of joy.”

Summing up the half time show for us in just a few sentences, Emmanuel didn’t want to give anything away but he did tell us the focus was on unity and love.

“There’s more good in this world than there is bad. We see the bad more so we just need to start focusing on the good more. Focus on the good, love yourself and global unity. That’s the message of the show.”

As well as his musical endeavours, Emmanuel co-founded 0utlyer, which has a mission to employ 1,200 differently abled people in the entertainment industry across film and television production and music and live events curation company.

“Our goal as a company is to help the world and reshape the question. It’s not about what this community needs or necessarily what can we do for this community; but it’s how do we repay the favour of what the community’s already done. There’s two billion people that have already done, but done it in the shadows and we need to shine a light of what this community is actually doing,” he says.

Emmanuel has also just released a new song called Hello. “Hello just sends a message about loving yourself. When things are down and out, just smile to yourself. Smile in the mirror. Tell yourself you love yourself.

“Go up to some random individual on the street and just say hello to them. It brings joy. Sometimes the simple thing of just saying hello to somebody, you don’t know what that does to that person.”

*In further news Kelly has now signed with UK-based Champions Speakers the UK and Europe’s leading keynote speaker agency , and will share his story via a series of inspirational public speaking events, bringing his message of resilience and inclusion to audiences across business, education and beyond.

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Casualty fans were left both surprised and baffled on Saturday’s episode to see a returning face

Casualty aired explosive scenes involving Dylan Keogh on Saturday night.

Viewers will recall that only recently, recovering alcoholic Dylan, played by William Beck, relapsed after struggling with the news that his colleague, Stevie Nash, had been having an affair with his son Dr Matty Linlaker.

Since relapsing, Dylan has pushed his loved ones away, including son Matty, and he has caused concern in recent scenes after he was seen driving erratically with a bottle by his side.

At the start of Saturday’s episode, Dylan headed to a care home to visit his father, Brian Carroll. However, alcoholic Brian didn’t recognise his son due to his years of drinking and things soon got unpleasant when Brian said some horrible things about his son, claiming he never loved Dylan.

Taking to Twitter, now X, viewers were quick to do a double take over Brian as they quickly spotted that he had been recast with a different actor. Brian made his first debut in 2015 and he was last seen on the BBC medical series in 2018.

In the earlier episodes, Brian was played by actor Matthew Marsh but on Saturday’s episode, the character of Brian was being played by actor David Beames.

Viewers were quick to share their reaction to Brian’s return after eight years, especially as it was a new actor playing the character. One person said: “Woah that is a different Brian? What happened to Dylan’s little sister with Hazel? #Casualty”

Another person wrote: “Dylan’s father is back?! #Casualty”, a different viewer put: “they’ve recast dylan’s dad! oh! #casualty” while another fan added: “Hang on… That’s not Matthew Marsh… Dylan has a new dad? #Casualty.”

Later in the episode, upset by his father’s cruel words, Dylan rushed out of the care home and started drinking from the clear bottle as he drove off, leaving his son Matty a voicemail saying: “Things are going to change”, adding that he’s not like his own father and that he cares about Matty.

Upon listening to the message, Matty and Stevie were concerned to hear a crash at the end, where it looked as though Dylan had been involved in a serious car crash.

However, thankfully, Matty discovered his dad uninjured and upon confronting his father for drink driving, Dylan insisted he hadn’t drunk since his initial relapse. A breathalyser later confirmed that he was telling the truth.

The emotional episode ended with Dylan vowing to make things right again and start AA meetings, as well as therapy to tackle his addiction.

Casualty continues on BBC One.

SINCE stepping out of the stand-up spotlight, Johnny Vegas has embraced a calmer life running an antiques business – and now his long-term partner is getting involved.

In a new interview, the Benidorm star has opened up about Vikki Jones in a rare glimpse int his love life.

Johnny, 55, has been dating Vikki for three years and says the pair love working together.

He told The Times: “They say never work with your partner, but it’s great. She and Bev make fun of me most of the time.”

Bev is Johnny’s self-described “long-suffering” childhood friend and assistant, who appears alongside him in his Quest series Johnny Vegas’ Little Shop Of Antiques.

Explaining why he rarely speaks about Vikki publicly, Johnny said: “I wasn’t keeping it under cover, but I don’t share much about it on social media.”

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His antiques venture, Vintage Vegas, began as a pop-up shop at Dagfields Craft and Antique Centre near Nantwich, Cheshire.

It featured in his eight-part TV series, which followed Johnny and Bev as they hunted for unusual treasures to sell.

Johnny describe his business venture as “collectable things of all sorts, really.

“I have a very dangerous bit of knowledge on lots of things. I couldn’t tell you about 18th-century furniture or anything, but I have to think I like it and hopefully I have an eye for this stuff.”

The Benidorm star admitted he was initially unsure whether customers would visit just to get a selfie.

He said: “It’ll be an interesting experiment to see if people come in not just to see me.

“We’ll find out if it’s viable down the line when the circus has left town, so to speak. We’re learning as we go. I never thought I’d see myself as a shopkeeper.”

Johnny has also opened up about stepping away from stand-up comedy after years of struggling with nerves.

He said: “Stand-up was great, but it was manic. The nerves took their toll. Never say never, but I just see that as a project that needs to rest.”

Johnny was previously married to Kitty Donnelly from 2002 until 2008, and they share an adult son, Michael.

He wed his second wife, Irish broadcaster Maia Dunphy, in 2011.

The former couple, who share 11-year-old son Tom, announced their separation in 2018 and later briefly reconciled before splitting again.

SINGER Lily Allen legs it backstage during her recent concert tour in a range of eye-popping lingerie.

The 41-year-old Smile hit-maker showed off a pale blue body suit and matching fur trimmed neglige by Italian label Intimissimi.

The mother-of-two is a brand ambassador and wore the outfit during her recent West End Girl tour described as a highly personal piece of musical theatre.

The stage show was inspired by her acrimonious split with American actor husband David Harbour in 2025 also documented in her hit album of the same name.

The bodysuit inspired by Intimissimi’s Pretty Flowers Collection, the Italian’s brand core fashion lingerie offering.

Lily finished the UK run earlier this month with sell out shows at London’s O2 arena.

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She was later snapped riding an electric hire bike in London depsite owning a £120,000 Porsche.

Lily hasn’t been seen driving the German sports car since she said a a truck ran it off the road back in January.

A winess said: “She probably thinks pedal power is the way to go around London’s crowded roads.”

Lily has defended herself against complaints that the setlist of her West End Girl Tour is “too short”.

The singer released the album in October of last year and it features 14 songs.

The album in its entirety is only 45 minutes, which has led some to question if the £86 ticket fee is value for money.

Influencer brothers Andrew and Tristan Tate, whose social media empire promoting wealth, male dominance and misogyny has made them among the world’s most polarizing internet personalities, were arrested Saturday in Miami as British authorities sought their extradition on rape and sex trafficking charges.

The brothers were taken into custody by the U.S. Marshals Service on a sealed warrant, agency spokesperson Brady McCarron told the Associated Press, placing the United States at the center of an international legal saga that has stretched from Romania to Britain.

British prosecutors announced Saturday that they were seeking the brothers’ extradition on charges alleging they raped and trafficked women between 2010 and 2017.

The dual U.S. and British citizens moved to Romania in 2016. They were arrested there in 2022, accused of participating in schemes to lure women for sexual exploitation. They denied those allegations, and the Romanian case hasn’t gone forward because of legal and procedural problems.

Last year, they were allowed to leave Romania and flew to Florida on a private jet.

The brothers are expected to appear in Miami’s federal court early next week, according to a person familiar with the matter who spoke on the condition of anonymity to discuss sensitive law enforcement operations.

The pending charges in the United Kingdom accused the brothers of abusing women in an area north of London, where they grew up. Their lawyers had said they denied the allegations.

Joseph McBride, an attorney representing the Tate brothers, said in a phone interview Saturday evening that he has not been able to speak with his clients but called the new charges in the U.K. “filth and slander” intended to derail defamation lawsuits filed by the brothers in the U.S.

“They’re pulling out all the stops to make sure these guys never get their day in court,” McBride said.

“We are confident that once a competent judge sees the facts, and once the Department of Justice confronts this egregious abuse of its own authority, Andrew and Tristan Tate will walk free. America does not do Britain’s political dirty work.”

Andrew Tate, 39, first reached a mainstream audience as a contestant on the U.K. reality television show “Big Brother” in 2016. He was removed from the show when a video surfaced that appeared to show Tate assaulting a woman. He and his brother Tristan, 38, are vocal supporters of President Trump.

Andrew Tate has amassed more than 10 million followers on X but has been banned from platforms including YouTube, TikTok and Instagram for violating hate speech guidelines. His most widely condemned rhetoric includes comments that women who are sexually assaulted should bear some responsibility for their attacks, graphic descriptions of how he might attack women and criticisms of people who seek treatment for mental illness.

The Tate brothers have consistently denied allegations of abuse and human trafficking, claiming that violent and misogynistic statements have been taken out of context or were intended as jokes.

In a statement Saturday, the U.K.’s Crown Prosecution Services said that in addition to the charges announced against the brothers in 2025, involving alleged crimes against three women, it was bringing a total of 38 new charges related to “four further victims.”

Both brothers are accused of rape and human trafficking. Andrew Tate faces an additional charge of profiting from prostitution, and 19 charges “for offenses relating to indecent images of a child and extreme pornography,” according to U.K. authorities.

“There is no place for male violence against women and girls, and we will continue to work tirelessly to support victims and investigate all reports made to us,” said Karena Thomas, an assistant chief constable of the Bedfordshire Police, which investigated the case.

Durkin Richer writes for the Associated Press. AP writer Savannah Peters in Santa Fe, N.M., contributed to this report.

Hardly anyone walking up Peppertree Lane notices the Hollywood Bowl Museum on the way to the amphitheater entrance. The overlooked museum, however, has been refreshed with an enchanting new exhibition. Well-timed, it provides an excellent primer on changing L.A. mores seen through the history of the Bowl over the past century.

Change is again upon us. As Angelenos have evolved, so have our ideas about the Bowl. A concert was a concert and audiences of yore dressed for the Los Angeles Philharmonic, indoors or out. Men wore coats, ties and fedoras. I have a photo of my mother at the Bowl on a chilly 1940s evening sporting, like other ladies around her in the inexpensive bleachers, her mink stole.

The Bowl was said to boast, before the construction of the Hollywood Freeway, a natural acoustical, well, bowl. Even so, sonic adventurers, beginning with Leopold Stokowski in the 1930s, experimented with amplification in an obsessive, seemingly quixotic effort to locate a mythical sonic grail on the Cahuenga Pass. Boys with their toys, thought The Times’ feisty critic Isabelle Morse Jones.

We now have it with a spectacular new sound system along with the old caveat: Beware of what you wish for.

The Bowl, of course, remains the Bowl. Last week when the Los Angeles Philharmonic opened its summer season in the venue it built and has managed for over a century, there were all the familiar alfresco and musical pleasures: convivial picnicking, fine weather, inimitable atmosphere, a white-jacketed orchestra on an iconic stage. The museum’s panorama of ageless ambience is this summer enhanced by increased yet snappy security and a handsome “John Williams Stage” plaque honoring L.A.’s beloved composer.

The newly designed white French loudspeakers suspended over the Bowl stage along with ground-level white cubes of super-effective subwoofers have clean, unobtrusive lines that well fit the shell. Their unobtrusive placement complements their immersive musicality, hitherto only possible outdoors with high-end earphones or headphones connected to sophisticated digital acoustic conversion equipment costing a bundle. For the first time, a dollar seat (there are still a few for the L.A. Phil) strives for such sonic bliss.

It feels miraculous. You are in an excellent concert hall-like acoustical environment while in the great outdoors. Our earbuds have already trained us to think of music as a private escape from reality. Even so, to be in that environmentally exclusive sonic world while sharing music with thousands of others in a special setting, ironically begins to feel more artificially escapist than a crummy sound system that reminds you of where you are.

Will we — should we — learn to love it and find anything less artificial? Car audio systems creating concert hall conditions suggest we will. Audiophiles well know that you get used to new equipment, no matter how revelatory it first sounds, very quickly.

A few years ago, when I heard a demonstration of a souped-up, hi-res recording in surround Dolby Atmos of excerpts from Wagner’s “Die Walküre” on a 32-speaker Burmester audio system crammed into a fancy Mercedes SUV, I was scared out of my wits. “Apocalypse Now” on the 405 is not for the faint of heart.

Yet I’ve spared no expense on what I find a more refined sound system in my Volvo, which I now use more and more for audio books than music. The richer, more human quality of a recorded voice is like having a virtual companion reading to you. I’m less in a hurry. It’s nice to have a pal at rush hour.

It is far too soon to say what ways the fabulous new Bowl sound system, which happens to be AI-endowed, might become friend and/or foe. In the first two L.A. Phil classical concerts, the white speakers brought out wonders and caused problems. But the minimal Bowl rehearsal time allows little opportunity to fine-tune.

One big change in Bowl priorities has been the rise of pop as king. Not that long ago, the L.A. Phil’s opening night was the Bowl opening night, suitable for conspicuous socialite picnicking. Not only has the Bowl opener been turned over to star pop performers (who bring in bigger bucks), this year there wasn’t even a first L.A. Phil Tuesday. That date became yet another money-maker with private event — a screening of “Moana” with live orchestra, luckily before the disappointing reviews and box office performance. The first L.A. Phil concert of the season was moved to Wednesday and poorly attended.

The back-to-back Wednesday and Thursday night programs featured music composed and performed by Americans. Each included a short new work commissioned by the L.A. Phil. On Wednesday, moonlighting Hollywood Bowl Orchestra music director Thomas Wilkins led the premiere of Shaina Taub’s “Suffs” Song Cycle — orchestrations of four songs from her recent musical about women’s suffrage that played just down the road at the Pantages last year. The next evening, Tito Muñoz made a strong L.A. Phil debut in a program that included the premiere of “The Art of the Goal,” celebrating Los Angeles Football Club, and that was credited jointly to filmmaker Josh Kahn and composer Adam Schoenberg.

Both premieres were reminders that the sound system will have many purposes. In “Suffs,” stalwart amplification emphasized the predictability of forthright lyrics and score. AI is supposed to make voices stand out, but it is not helpful to singers’ limitations. On the other hand, is brought out the sumptuous quality Alex Newell’s voice potently making the adamant “Keep Marching” keep marching.

Muñoz’s program was titled “The Classical World Cup,” with music by Argentine composer Alberto Ginastera, Mexican composer Silvestre Revueltas and U.S. composers Samuel Barber and Aaron Copland along with Schoenberg. As it turned out, Mexico and the U.S. were already out of World Cup competition, and “Art of the Goal” came across as an eight-minute advertisement for the L.A. footballers. They’re in the dressing room revving up and, on the field, revved up, sped up, cut up with music that excites and far too many shots of a soccer field lined with advertisements, just the kind of branding we hope to escape at the Bowl.

Then again, even though “Goal” was shown only on video monitors, the Bowl with its new sound system worked brilliantly as the grandest cinema on the planet. Hollywood may be hurting, but let the Bowl now save the day by inspiring Hollywood to reinvent, in its backyard, film with live music.

As for regular orchestral music, the sound system was hit and miss. On Wilkins’ program, Valerie Coleman’s dark “Fanfare for Uncommon Times” brought a listener inside brass and percussion. Leonard Bernstein’s lavish orchestrations of his “Three Dances from ‘On the Town’” and Ellington’s “Harlem” benefited from Wilkins’ low-key conducting, offering ease and freedom to the players.

Muñoz’s program was bookended by dance scores — Ginastera’s “Four Dances from ‘Estancia’” and Copland’s ballet “Billy the Kid” — that evoke the prairie and the people in it in both viscerally and spiritually. The new sound system and eager performances made the prairie feel close. In between, violinist Randall Goosby brought richness to Barber’s Violin Concerto and the L.A. went in for gripping weirdness in “Sensemayá.”

But who did what? Were balances the conductors’, the sound engineers’, AI’s? While the amplified soundstage is now as huge as the Bowl, attention was increasingly drawn to individuals, heightened by video closeups. A horn flub (and horns flub) stands out. The sound is not just big and bold, but scrubbed clean by AI with the goal of maddening perfection. Will such scrutiny, in the end, make players uptight or liberate them? It’s well to remember that in the early days of synthesizing instruments, violins with perfect vibrato sounded especially fake, until tiny errors generated by chance were added to the sine waves.

The Hollywood Bowl has created a beast. If humanized, the Bowl could serve as antidote to a worrisome AI future. But the question remains whether we can change AI or the newly potent sound waves only make matters worse.

The 2002 drama stars late Jurassic Park legend Sam Neill, Keira Knightley and Hugh Bonneville

A ‘gripping’ long-forgotten Sam Neill drama is now streaming on ITV.

It was announced earlier this week that Jurassic Park legend Sam Neill had died at the age of 78. Sam sadly died after contracting pneumonia, his management has confirmed.

The Northern Ireland born and New Zealand actor, best known for playing Dr Alan Grant in the Jurassic Park franchise, died on Monday, just months after he was deemed “cancer-free” following a battle with angioimmunoblastic T-cell lymphoma.

Sam was best known for his legendary Jurassic Park role but the actor also once appeared in a ‘masterpiece’ 2002 drama series alongside Keira Knightley.

Doctor Zhivago was released in 2002. It is based on the 1957 novel of the same title by Boris Pasternak, which was also turned into a film in 1965.

The 2002 series is available to watch on ITV and ITVX, who have described it as: “Keira Knightley stars in this gripping drama set in the tumultuous era of WW1 and the Russian Revolution. Dr Zhivago finds himself tormented by his his love for two women.”

Meanwhile, a synopsis adds: “Having witnessed his father’s suicide, Yury is sent to live in Moscow with his uncle, aunt and cousin. Whilst there, he becomes captivated by a stunning young girl called Lara.”

The character of Yuri Zhivago is played by Hans Matheson, Keira plays Lara Guishar Antipova and Sam plays Victor Komarovsky. Other cast members include Kris Marshall as Pasha Antipov/Strelnikov, Celia Imrie as Anna Gromeko and Hugh Bonneville as Andrey Zhivago – to name just a few.

The series, directed by Giacomo Campiotti, has an impressive 78% Rotten Tomatoes score with many viewers calling it a ‘masterpiece’. One person said: “A masterpiece by Giacomo Campiotti”, adding: “It deserves an Oscar.”

Another fan put: “Wow – this was fantastic! It really all came together with the last installment and truly broke my heart. I don’t see how anyone could not fall madly in love with Hans Matheson as Yury, and Kiera Knightley brought such maturity and worldliness to such a difficult role (amazing at such a young age).

“Both actors should be commended. And as for Sam Neill! He was amazing. The screen practically frosted up when he appeared!”

A different viewer commented: “I haven’t seen the 1st version of Dr Zhivago or read the book but this film is absolutely amazing. I suppose i can’t really judge because of not really knowing the story before this, but as far as I can tell Its a wonderful love story although it is shocking in bits of it.”

Meanwhile, another person added: “I have never seen the original Doctor Zhivago film, so I can’t take any prejudged bias. This mini-series is possibly the best UK mini-series I have ever seen and is a sign that perhaps the UK networks are serious about creating some top quality drama television that HBO have been producing for ages!

“The acting is top quality, however, Sam Neill on top form steals every scene he’s in, and that’s saying something with the quality around him on screen.”

Doctor Zhivago is available to watch on ITV and ITVX

One year ago, when tickets first went on sale for “The Odyssey” in Imax 70mm, nearly every screening sold out instantly.

The unprecedented ticket mayhem built hype — not just for the film, but for the format. By the time a second round of tickets were made available last month, buyers swarmed with such frenzy that they crashed the AMC Theatres app.

In Los Angeles, home base for cinephiles of every stripe, scoring one of these coveted opening weekend tickets was particularly challenging. Much of the excitement revolved around the fact that “The Odyssey” was the first feature shot entirely on Imax 70mm film, a technical achievement that involved the invention of a new camera.

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Want to see The Odyssey in 70mm but couldn’t get tickets? Glendale’s historic The Alex Theatre has you covered.

For 28-year-old Van Nuys resident Chase Stanley, who tried and failed to secure a ticket, that milestone was top of mind.

“Ultimately, I’m just jealous that I’m not included,” he said. “Since it’s the first movie to capture the whole thing in 70mm Imax, it’s my due diligence to see it like that.”

Despite the enthusiasm from moviegoers, film projection has been considered a dying art since most movie theaters worldwide switched to digital projection in the early 2010s.

More than a marketing tactic, the scarcity of tickets for Imax 70mm screenings underscored both the dearth of theaters capable of projecting films in the premium large format — only 41 — and projectionists with the requisite skills.

A number of renowned directors, including “The Odyssey’s” Christopher Nolan, prefer to shoot on film and strongly encourage analog viewing. But because few theaters own the necessary equipment or employ full-time projectionists, coordinating a release as massive as “The Odyssey” is its own arduous journey.

Jimmy Gonzales is Cepheus, left, Matt Damon is Odysseus and Himesh Patel is Eurylochus in “The Odyssey.”

(Melinda Sue Gordon / Universal Pictures)

Venues new and old

There are 25 theaters in the United States showing “The Odyssey” in Imax 70mm, eight of which are located in California. One of L.A.’s favorites is the Universal Cinema AMC at CityWalk Hollywood, where veteran Imax projectionist Taylor Umphenour has worked for the last three years.

On his Instagram page, Umphenour shares “projectionist POV” photos and videos with more than 22,000 followers, giving them a unique glimpse into the projection booth for movies like “Sinners,” “One Battle After Another” and “Project Hail Mary.” His company, Film Leader Co., supervises film restorations and runs technical operations for a smattering of cinema houses across the country.

In addition to his work at CityWalk, Umphenour has been busy for weeks overhauling the projection setup at the historic Alex Theatre in Glendale.

Releases such as “The Odyssey” have renewed interest in film projectionists and specialty theaters, including the historic Alex Theatre.

(Allen J. Schaben / Los Angeles Times)

The 100-year-old venue opened in 1925 as a vaudeville and silent movie house where Walt Disney previewed his animated shorts, but it changed identities many times over the course of its history. Now, Umphenour and his team are working with Miles Williams, the theater’s artistic director, to transform it into a “premier cinema house” in time for “The Odyssey’s” release. It marks the first time the theater has been used for a first-run film release since “Terminator 2: Judgment Day” in 1991.

“What better opportunity to relaunch this venue than to open with Christopher Nolan’s ‘The Odyssey’? That’s why this project is on such a tight turn,” Umphenour said.

His team built an entirely new, massive booth in just three weeks to house sound equipment and projectors capable of running both 35mm and 70mm film. To secure the Alex a last-minute 70mm print of “The Odyssey” — which costs tens of thousands of dollars to manufacture, ship and distribute and runs about four miles long — Umphenour relied on his relationship with distribution executives at Universal.

The Alex will screen the movie in 70mm, which uses the same film stock as Imax 70mm but runs vertically instead of horizontally, making each physical frame roughly three times smaller than its Imax counterpart. Audiences seeking the larger-than-life Imax experience will have to look elsewhere — like CityWalk — but Umphenour believes that analog screenings will still draw a crowd.

“What’s special about these — about running on film, about running 70mm, about handling premium large formats — is that it does remind people how much they love going to the movies,” he said.

“What it’s all about is expanding that sense of scope and horizon, the analog color, that sense of immersion.”

Not a job for ‘popcorn projectionists’

In advance of “The Odyssey’s” release, Imax contracted 130 experienced projectionists and required each to attend an intensive, weeklong training program.

“I’ve said for years that the projectionist is the last performer in a long chain of people that started with an idea,” Umphenour said. “They are the final person to deliver the vision of the filmmakers to the audience, and therefore, one of the most crucial.” Far from simply pressing a button, film projectionists must actively guide a screening, threading and splicing reels and closely monitoring for mechanical issues.

But thanks in large part to the dwindling number of theaters projecting analog film since 2013, finding capable, actively working projectionists for releases like “The Odyssey” can be a struggle.

Sean McKinnon, director of specialty presentations and AV integration at Boston Light and Sound, is in charge of hiring these projectionists for about 60 venues across the country screening “The Odyssey” in 70mm. He did the same for “Oppenheimer” in 2023, which had the longest theatrical window of the year.

“It was pretty challenging finding people for ‘Oppenheimer,’ especially because the film was so amazing, it was in theaters for so long,” he said of the 122-day release. Staffing projectionists for “The Odyssey” has been “definitely easier,” he said, as the “word has gotten out.”

The talent pool McKinnon pulls from includes theater managers, retired projectionists, trainees from specialized college programs and even workers in other professions who take PTO for the occasion.

“We get people from really all walks of life,” he said. “It’s a special event and people want to be a part of it.”

Taylor Umphenour checks the projector’s focus at the historic Alex Theatre in Glendale.

(Allen J. Schaben / Los Angeles Times)

Outside of big cities, the lack of local projectionists also means McKinnon’s company has to fly people to Morrow, Ga., or Valley View, Ohio, for instance, to run the booth for the duration of a film’s run.

Leah Saint Marie, a filmmaker and former projectionist at the Vista Theatre in Los Feliz, attributed the staffing struggle to the experience and knowledge divide between hobbyists and experts.

“Training is pretty easy if you want to be what they call a ‘popcorn projectionist,’” she said. They “can thread the movie and push start, but if there are any mechanical issues, they can’t fix it.”

“I don’t think anybody who’s going to run a 70mm Imax are popcorn projectionists, because it’s very technical,” she added. Each Imax film print of “The Odyssey” is 11 miles long and weighs roughly 600 pounds.

The most recent data from the U.S. Bureau of Labor Statistics estimated that in 2023, there were 2,610 motion picture projectionists employed in the U.S. — an increase from 1,900 in 2022. In 2012, the BLS estimated roughly 8,000 projectionists and predicted the number would decline by 26.5% in the next 10 years — but it ultimately decreased by 76%.

“If you want to maintain expertise in the field, what you want are enough [movie] theaters out there running film that somebody can try their hand at it and get better,” Umphenour said.

Why film matters

Could the overwhelming audience demand for Imax 70mm screenings translate into a resurgence of fully equipped theaters? According to Imax Chief Executive Richard Gelfond, it’s more complicated than that.

“The problem is they haven’t made new Imax film projectors in about 50 years,” Gelfond told Variety on Wednesday. “We build new projectors every day, but film projectors, using this film, it’s not practical. So we’ve got to find them and retrofit them and rebuild them, which is what we did for ‘Odyssey.’ But can all 2,000 of our theaters be film projectors? No. There’s just not that many around.”

That said, Cinemark reportedly installed Imax 70mm projectors at three of its theaters ahead of “The Odyssey’s” release, and there are 11 more theaters projecting “The Odyssey” in Imax 70mm than there were for “Oppenheimer.”

Cinema engineer Justin Dennis is working with projectionist and production manager Taylor Umphenour to build a new projection booth capable of running both 35mm and 70mm film at the Alex Theatre.

(Allen J. Schaben / Los Angeles Times)

Saint Marie recalled working as a projectionist in Pennsylvania during the period when most theaters transitioned from film to digital. While training at a new theater, she was surprised to find an old film projector still stored in the booth, and even more surprised to learn it was for Nolan’s sake.

“When he releases a [movie] on film, we have to have the projector. A lot of places around the United States kept their projectors specifically for Nolan,” she said.

Nolan isn’t the only director with an affinity for large format film and analog media. Quentin Tarantino, Paul Thomas Anderson and Ryan Coogler (whose 2025 hit “Sinners” made quite a splash in Imax 70mm) are others associated with what Umphenour dubbed “the 70mm renaissance.”

According to Saint Marie, theaters worldwide transitioned from film to digital projection mainly because the cost of shipping a Digital Cinema Package is much cheaper than shipping a film release print. But the community of skilled laborers and enthusiastic audiences who champion analog projection say it’s worth it.

“I think there’s something to be said about what film gives you as an artistic community, versus what digital gives you is just consuming as a capitalistic society,” Saint Marie said. To McKinnon, it comes down to the “tradition of humans telling a story by flickering light” harking back to prehistoric times.

For Umphenour, the story of “The Odyssey’s” release and all of the 70mm fanfare is one of preservationists triumphing over countless obstacles.

“There are 70mm theaters running this film throughout the world that, frankly, have been kept alive through the deep devotion of people who care about this format,” Umphenour said. “They really do deserve to be celebrated because, like so many things in life, if you don’t have people that care about it, you don’t end up with a thing.”

“The results of all this work are not images projected on screen,” he continued. “It’s a community brought together to hear a story well told, which allows them to create a life memory they get to carry forward for years and years.”

Film projection takes center stage at the Alex Theatre.

(Allen J. Schaben / Los Angeles Times)

ALAN Carr’s ex-husband has told his side of their story in an explosive new memoir — lifting the lid on boozy nights with Adele and his own battles with drink and drugs.

Paul Drayton describes life inside a high-profile relationship and devotes an entire chapter to superstar singer Adele, who lived near the former couple.

Paul, 54, and Alan, 50, met in 2008 and tied the knot ten years later in a lavish Los Angeles ceremony officiated by Adele.

Recalling their nights together, Paul writes: “Most evenings we’d just get a Thai takeaway. Adele would turn up with a cheap bottle of wine, which we sank in a second, and moved on to our supplies.”

Paul also claims he helped introduce Adele to her first husband Simon Konecki, the father of her son Angelo, 13.

He writes: “She was always very honest and open with me and Alan because she knew she could trust us.”

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Paul also reveals Adele played them her chart-topping album 30 before its release.

And he fondly recalls “the time I took her to TK Maxx for the first time”, adding: “She couldn’t believe it as we combed through the rails hunting for bargains.”

Elsewhere in the memoir, Paul speaks candidly about his struggles with alcohol and drugs.

He writes: “Alcohol and drugs became my crutch. They slowed my brain down, quietened the constant noise in my head, and evened me out so I felt like I was on the same level as everyone else.”

Paul also lays bare how his relationship with Alan began, and how it developed.

He recalls: “Sexy? Sure. Marriage material? Possibly. Did I know at that moment I’d marry him one day? Of course not. But something clicked. He was unlike anyone I’d ever met.”

The pair later ended up in a nightclub — leaving Paul to wake the following morning thinking: “Oh my God, I’d been snogging Alan Carr.”

Paul went on: “There were moments when I genuinely thought we could’ve been the next Morecambe and Wise.”

But he says life with Alan soon “took over”, adding: “My dream of acting — well, it would have to wait.”

Opening up about living in the comedian’s shadow, Paul writes: “From the outside, it looked like I had it all. Alan in the spotlight, me in the wings. The ‘plus one’. The ‘kept man’… in designer sunglasses, holding the dogs and carrying the bags.

“But I wasn’t just standing there. I was driving the car, clearing the path, fixing the messes. Planning our exits like we were royalty.

“I’d like to think I was his ride or die — as he was mine, or at least, I bloody tried.

“I’ve been the clown, the cleaner, the carer and the chaos. I’ve fallen apart, pulled myself back together, and ended up in a police cell drinking toilet water out of a kid’s party cup.”

Paul was handed a 14-week prison sentence in January 2022 after admitting drink-driving.

He spent two nights in custody before successfully appealing the sentence, which was replaced with a 12-week term suspended for two years.

Alan and Paul announced their separation that month after 13 years together. The couple have remained friends following their split.

Speaking previously, Alan has said: “We’re still always going to be friends because we’ve been through so much together.”

Ride Or Die Trying by Paul Drayton is out now.

A few weeks after lifestyle influencer Nara Smith revealed her daughter’s private cancer battle, the mom of four is sharing that Whimsy is in remission.

The content creator, well known for making elaborate meals from scratch while wearing glamorous ensembles, told her following of 12.6 million on TikTok and 4.9 million on Instagram on Friday that she and her husband, model Lucky Blue Smith, have spent the last eight months processing their 2-year-old daughter’s health battle.

The parents debated whether they should share such a private part of their lives and decided to wait until Whimsy had finished her treatments and doctors had a better grasp on the likely outcome.

“Now that she’s finally in remission, it felt like I could find the words to share,” Nara Smith said. “The whole point of me sharing our experience was to shed light on what so many families go through and battle privately. Going through chemo treatments opened my eyes to how expensive medical care is, and what a toll it takes on families specifically.”

“Lucky and I have been trying to return to everyday life and taking it day by day,” she continued. “I don’t know whether life will ever feel normal again, but we’re trying to navigate this next chapter the best that we can.”

Smith, 24, said in an Instagram video earlier this month that Whimsy was diagnosed with cancer late last year.

“When we saw something suspicious on her, we took her to the ER, and they didn’t quite know what to make of it,” she said in the video. “So when we took her into our pediatrician, I just remember him going really quiet and calm and my heart dropped in that moment. I don’t know whether it was my gut telling me something or just a mom’s intuition, but the first thing that I felt was she has cancer.”

The content creator said her daughter underwent numerous X-rays, ultrasounds and a biopsy before the hospital team confirmed the cancer diagnosis. Smith did not specify the type of cancer but said that the illness had spread and that Whimsy needed chemotherapy.

In recent weeks, Smith has shared heartwrenching glimpses into the family’s battle, including photos of Whimsy’s curls being shaved and her bald head bedazzled with gems.

“Cancer has a way of taking things you never realized you’d grieve,” she wrote alongside a video of the parents shaving Whimsy’s head. “The day I ran my fingers through her hair, strands coating them, I realized I wouldn’t be brushing Whimsy’s hair much longer. It’s such a small thing, until it isn’t.

“It wasn’t just hair. It was the little curls I tucked behind her ears, the wispy strands that caught the sunlight, and all the ordinary moments I never imagined I’d miss.

“If sharing these pieces of our story helps even one family feel less alone, or encourages one person to learn more about childhood cancer, then this vulnerable part of our lives is worth opening,” Smith wrote. “Today her curls are returning.”

In Friday’s video, Smith said that she’s been researching charities and foundations to support and included links to GoFundMe pages for children who are battling cancer.

Nara and Lucky Blue Smith, 28, married in 2020 and share four children: Whimsy Lou, eldest daughter Rumble Honey, son Slim Easy, and infant Fawnie Golden. Lucky Blue also shares a daughter with his ex-girlfriend, social media star Stormi Bree.

Times staff writer Alexandra Del Rosario contributed to this report.

Coronation Street’s Betsy Swain has taken centre stage this week as the ITV soap tackles the silent dangers of non-fatal strangulation in a powerful stroke awareness storyline

Coronation Street’s Betsy Swain is currently part of a hard-hitting storyline.

The hit ITV soap is tackling the silent dangers of non-fatal strangulation in a powerful stroke awareness storyline. Only recently, Ryan Connor discovered an unconscious Betsy, where she was rushed to hospital.

Doctors confirmed that she had suffered a stroke caused by a blood clot which was the result of neck artery damage from a temporary loss of circulation.

Once stabilised having suffered a second stroke, an embarrassed and vulnerable Betsy eventually managed to reveal that her boyfriend Dylan Wilson strangled her during consensual sex, despite both believing the pressure applied was minimal.

In the coming months, viewers will witness Betsy’s challenging recovery journeys as she transitions from hospital to home, navigating significant life changes. With Betsy taking centre stage, soap watchers are keen to learn more about actress Sydney Martin’s life from her real age to her normal job before Corrie fame…

Real age

Sydney shot to fame when she joined the ITV soap as Betsy, daughter of fan favourite DS Lisa Swain, played by Vicky Myers.

In the soap, Betsy’s age is 18 with the character having been born in September 2007, meaning she will turn 19 later this year. However, in real life, actress Sydney is in fact 24.

Back in October, Sydney celebrated her birthday, sharing a post on her Instagram revealing she was 24. Reacting to Sydney’s real age, soap fans were left floored at the time.

On a Coronation Street Facebook fan page, one person said: “Happy 24th birthday to Sydney Martin who plays Betsy Swain!“

Someone else declared: “Never knew she was 24!” A third chimed in and quipped: “I need a moment! She’s 24 What?!” Echoing their thoughts, another person penned: “Def looks younger doesn’t she.”

Normal job before Corrie fame

Before landing her Coronation Street role, Sydney was working at supermarket Tesco and immediately handed her notice in after getting the life-changing call.

Previously talking to The Sun, Sydney recalled how she was watching the film Pitch Perfect 3 with flatmates in Manchester when she got the call to say she had won the role of Betsy.

The actress told the publication: “I just ran to the corner of the flat to answer the phone. I said, ‘It’s going to be a no, so keep watching the film’, and then my agent said, ‘Go hand in your notice’.

“I was doing six days at Tesco, so it’s quite the career change. My flatmate picked me up and we just cried. We didn’t finish Pitch Perfect. I could not have asked for a ­better first opportunity.

“My parents are my biggest fans. They are over the moon. I had my first picture in a magazine recently and they bought ten copies.”

Sydney admitted that she had previously auditioned for two smaller roles before landing Betsy and it was a two-month process before getting the job.

Coronation Street continues on weekdays at 8:30pm on ITV and ITVX.