show biz

MOST young mothers cannot fathom the agony of losing custody of their babies, but for British model Lucia Bartoli, an unimaginable nightmare has taken a dark and twisted turn after a ‘social media ban’.

The 30-year-old Luton-born mum has spent the last year fighting a desperate, David-and-Goliath legal battle against her ex-boyfriend, the £700million German fashion designer Philipp Plein.

Now, in a devastating new blow, Lucia has been silenced after a bizarre move wiped her only lifeline – her Instagram account – off the internet, leaving her isolated and on the brink of homelessness in a foreign country.

Her devoted fans have expressed concern about her internet disappearance.

With celebrity supporters such as actress Alice Evans posting: “Lucia you are SO STRONG. No mother should have to go through this. We are all here for you. Don’t break. We have a collective voice and we can speak for you.. Silence is violence.”

Since her bitter split from Philipp in 2023, Lucia had bravely used her Instagram account to document the destruction of her family and rally support from more than 300,000 followers.

The platform became a crucial tool, helping her raise over £50,000 through GoFundMe to pay her mounting legal bills in her fight to be reunited with her two young sons.

But days after a crushing blow was dealt on June 30, when her Instagram profile appeared to have disappeared.

Friends of the model claim the account was abruptly suspended after five of her own personal family posts, dating back to 2019, 2023, and 2024, were hit by copyright claims.

It is not known who is reporting the young mum’s social media accounts.

A friend of the distraught mother told The Sun: “Lucia is devastated. She is alone in Switzerland and, she has a few good friends there but her main support network is either at home in the UK or online. Losing the account has therefore been a huge blow.”

The digital wipeout has left the young mother feeling completely bewildered and targeted.

Her pal continued: “This came out of nowhere, and Lucia is very confused as to why old content that had been online for years was suddenly flagged for copyright.

“She is desperate to get the account back and has been following all the official steps to try and appeal.”

Lucia’s erasure from the internet has even followed her to other apps, according to pals, who say she has had difficulty posting on TikTok.

The timing of this high-tech silencing campaign could not be worse for the desperate mother.

Lucia was recently evicted from an apartment owned by her billionaire ex and is now rapidly running out of funds.

She has been living in a temporary Airbnb in Lugano, Switzerland, to stay near the jurisdiction where her children reside, but that lifeline is about to be cut.

Revealing the terrifying reality of her living situation, her friend said: “Lucia won’t be able to afford to live in Switzerland for much longer.

“Right now, she is living in a temporary Airbnb where the booking runs out in the next 10 days and she is unable to fund another place with ongoing legal costs.

“She is financially dependent on strangers’ kind donations through her GoFundMe, and she is worried that she may have to fly back to the UK.”

Without her Instagram platform to share her story, those vital donations are at risk of drying up completely, threatening to physically separate her from her boys while her ex pushes ahead with an application to permanently relocate the children to the United States.

At the heart of this digital warfare is a very human tragedy: a mother fighting simply to see her children.

The estranged couple faced each other in court in Lugano, Switzerland again in June for a new hearing, but no settlement was reached.

Consequently, matters relating to custody and residency of the children remain undecided, and Lucia’s court-ordered custody arrangement has not changed.

She continues to endure the pain of having absolutely no visitation or contact with her eldest child – a heartbreaking reality she has faced for nearly a year.

While her contact with her youngest child remains restricted.

The emotional toll of fighting on multiple fronts is becoming unbearable. Her friend admitted: “Dealing with her account suspension, on top of preparing for the next stage of her custody battle, has been exhausting for Lucia, and it has been almost impossible for her to stay positive.”

Philipp, 48, who is dubbed the “King of Bling” for his jewel-encrusted and extravagant designs, won temporary full-time custody last year.

While Lucia battles to restore her Instagram account and faces the very real prospect of homelessness, Philipp has previously maintained that he never wanted the legal fight.

In a prior statement to The Sun, a spokesman for the designer: “Mr Plein always believed, with pure heart and total integrity, in the Swiss judicial system and defended his rights and those of his children in procedures that were not started by him, that he did not want and that he tried everything he could to avoid and prevent.

“He is now facing the big challenge of protecting his children, himself, his family and his business.

“He will continue this fight to achieve respect and protection for his children.”

For Lucia, however, the fight is simply about survival and a mother’s desperate hope to hold her children again.

But with her funds drying up, her legal options narrowing, and her voice systematically erased online, the odds against this British mum have never looked so terrifyingly steep.

Love Island’s Ellie Chadwick has spoken out after quitting the show shortly after a series of explosive scenes played out on the dating series following her doomed romance with Finley Maddock

Love Island’s Ellie Chadwick has spoken out after dramatically quitting the show. The real estate videographer, 24, had been taking part in the hit ITV2 reality dating series and was enjoying a blossoming romance with Finley Maddock, but it all started to go wrong when he fell for a bombshell who entered the villa.

In explosive scenes that aired on Thursday night, Ellie stormed out of the villa for good, having decided to leave when Finley was voted out by the other Islanders, and has now insisted that everything stated to kick off after bombshell Elicia set her sights on Finley during a recoupling.

She said: “When Elicia chose Fin at the recoupling, all hell broke loose. I was angry. As all the girls were saying, I just lost my cool. There had already been a little bit of back and forth. I more or less knew what was coming, but it had been back and forth and I just lost it. I had too much emotion in me to let out. I’d laid my cards out.

“I couldn’t do any more. I was just hurt. It wasn’t like she had done anything wrong. She had a job to do,she was a Bombshell. I was just feeling a type of way about it, and that was okay. Everyone in that situation was feeling a type of way, mine just came out in a louder way than everyone else’s.”

The reality star then admitted that she had hoped to remain in a couple with Finley and then accused of him of dealing with the situation in such a “poor” way to begin with, but ultimately thinks she has grown from her experience on the dating programme.

She said: “Obviously, seeing Finley up there was hard because it was a recent event and he hadn’t been in the bottom before. Then, when we got told about the second dumping and that we had to choose, I already kind of knew in my gut that it wasn’t going to go the way I was hoping, which was for me and Finley to stay there and continue to grow. There were no ifs, buts or maybes, or what ifs, or how could this play out.

“Finley knows fine well that I feel like he navigated it very poorly. I made that very vocal and I will stand on that. I always will. I think the communication was poor.

“A lot of the things that happened were not relayed to me in a proper way, which I would have appreciated. I’m big enough to take the truth on the chest.

“I’m happy with that. I’m a very direct, upfront person. I just think the communication was poor and the way he handled it wasn’t great. I understand he was confused. I was understanding the whole time, but there was only so much understanding I could do.

“There are definitely ways it could have been better, but we live and we learn. That’s what Love Island is. It’s about living and learning. I’ve learned a lot about myself there and I’ve got to give him grace on that.

“It doesn’t mean the grafting boots are off because we’re out now, those boots are still on. I believed in the connection we had so much. I just knew in my heart that it was going to work, regardless of what was going on.

Love Island continues tonight at 9pm on ITV2 and ITVX

Hal Williams, a veteran actor known for his roles as a friendly neighborhood police officer on “Sanford and Son” and a hard-working patriarch on “227,” has died. He was 91.

Williams died Wednesday morning at his home in Rancho Mirage, his representative Zna Portlock Houston told The Times in an email on Thursday.

“Hal Williams is legendary for his acting skills, his compassion and his community engagement,” Houston wrote, describing the actor as “an icon and a true professional.” “He never turned away a fan. He was always embraced so warmly, like he was truly their own family, because he was a cultural touchstone who represented an image of Black fatherhood that was loving and steadfast. Offscreen he was a sound advisor, lively debater and devoted friend.”

His death follows a recent trip to Ohio celebrating his work on the NBC sitcom “Sanford and Son,” on which he portrayed Officer “Smitty” Smith from 1972 to 1977.

In one of his final television interviews just days prior to his death, Williams spoke about one of the show’s recurring bits, which saw his character translate his partner Officer “Hoppy” Hopkins’ (Howard Platt) police talk into a vernacular that Fred (Redd Foxx) and Lamont Sanford (Demond Wilson) could understand.

“A lot of the stuff we created ourselves off camera and put it in the script,” Williams said when he appeared with Platt on a morning news show on Cleveland’s Fox 8. “A lot of the times, they didn’t have jokes in the script … because they didn’t know the jargon from the Black community.”

Born Halroy Candis Williams on Dec. 14, 1938, in Columbus, Ohio, Williams was working as a juvenile corrections officer when he decided to pursue his dreams of becoming an actor. He took the plunge and headed to Hollywood in 1968.

“I gave myself three years in California to see what I could do,” Williams told Fox 8. “And at the end of the three years I was on ‘Sanford and Son,’ ‘The Waltons’ and ‘Harry O.’ ”

Williams became a regular television presence, appearing on shows such as “Kung Fu,” “Good Times,” “Roots: The Next Generation,” “The Jeffersons,” “Magnum P.I.” and “The Sinbad Show” over the years.

Besides his breakout role of Officer Smitty in “Sanford and Son,” which he reprised in its follow-up, “Sanford,” Williams is perhaps best known for starring as Lester Jenkins, the husband of Marla Gibbs’ Mary Jenkins, in the NBC sitcom “227.” The show, which aired from 1985 to 1990, was notable for the portrayal of its middle-class Black family.

“ ‘227’ kind of set the bar a little higher because it was a totally intact family,” Williams told the “Today” show in 2020. “It was a mother, father, daughter and they were very positive. There were very few negatives. It addressed all kinds of social issues and it gave oncoming shows the opportunity to explore new avenues and new issues comfortably because the networks and production companies were open to that kind of a pitch idea.”

Gibbs took to social media Thursday to share a tribute to her “TV husband,” who she described as “a generous man who freely gave his time, his talent and his heart to the community.”

“Our journey together began long before 227 came to television,” Gibbs wrote on Instagram. “Hal was part of the original stage production at our Crossroads Theater. … Hal was always there to help. He even secured donated theater seats and helped organize the seating chart because he believed in supporting young artists.”

“When 227 became a television series, I fought to make sure my character had a husband. I’m so glad I did,” she added. “Hal, Regina King and I became a television family that showed the love, strength and stability of a Black family for five wonderful seasons. … Even after the show ended, Hal never stopped checking on me.”

Actor Jackée Harry, who portrayed the Jenkins’ young neighbor Sandra Clark in “227,” was also among those who shared tributes to Williams on social media.

“What a gentleman. Hal always carried himself with grace, and he always had me laughing,” Harry wrote Wednesday on Instagram. “He was also a stand-up guy who believed Black fathers on TV should be loving, present and compassionate. He helped show America what that looked like.”

“For as long as I can remember, Hal has been a steady, comforting presence on our television screens,” Holly Robinson Peete wrote in her Instagram tribute Thursday. “His warm smile, sharp comedic timing, kind spirit and gentle energy made him feel like family to so many of us. … Rest in peace, Hal. … You were one of the greats … a true television legend, but an even greater human being.”

Williams most recently appeared as Autry in a couple episodes of CBS’ “Matlock” reboot.

His survivors include his two children, three grandchildren and three great-grandchildren. Williams was predeceased by one son.

THIS is the moment Matty Healy performed with a The 1975 tribute band – having booked the act for his stag do.

Brit Award winner Matty, 37, has been lead vocalist of pop rock band The 1975 since 2002.

The singer-songwriter put a unique spin on his stag do – as he joined a The 1975 tribute act on stage.

A clip of the moment begins with tribute group The 9075 singing The Sound, which was released in 2019.

Matty jumps on stage mid-performance and performs alongside the band.

One person commented: “Matty Healy attending a 1975 tribute is very Matty Healy coded.”

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Another added: “I thought the real Matty was the fake Matty until he started counting things on his fingers that don’t need to be counted, that’s when I knew.”

A third wrote: “He wanted to experience a 1975 concert for his stag party and I respect it.”

Matty – the son of Denise Welch and Tim Healy – is set to marry American model and singer Gabbriette.

He and the 28-year-old – whose real name is Gabriella Bechtel – announced their engagement in June 2024.

Gabbriette showed off a huge black ring on social media at the time and wrote: “Marrying the 1975 is very Brat.”

Back in February, The Sun revealed the couple had set a July 2026 wedding date.

ON the same day as the 2022 World Cup final, England lost one of its most beloved singers – Terry Hall of The Specials.  

“Terry passed away right after the game,” recalls his bandmate and best buddy, Lynval Golding. “I was in Jamaica when I got the phone call to tell me he’d gone.” 

On December 18, Lynval had been watching Argentina beat France on penalties after a 3-3 extra-time thriller. 

He says: “It was a fantastic game and I thought to myself, ‘Terry, that game was played for you’.” 

While Lynval is a Chelsea fan, Terry supported Man United — but both had been following the Three Lions. 

Four years on, as England’s 2026 campaign ends in defeat to Argentina, The Specials have released their final album, recorded in the summer of 2019 in their teenage stomping ground of Coventry. 

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Across 24 tracks, it is a reminder of a band that smashed racial and class divides — yet one that did it with horn-fuelled hooks primed for the dance floor. 

Live From The Cathedral draws on a four-night homecoming stand in the ruined shell of the old St Michael’s Cathedral, bombed almost to oblivion in the Blitz.  

It includes all The Specials’ favourites — Too Much Too Young, Rat Race, Nite Klub, Stereotype and Ghost Town among them. 

There’s also room for songs from Encore, the band’s studio album released earlier in 2019, including Vote For Me, B.L.M., and a reworking of Fun Boy Three’s The Lunatics. 

It ends with The Specials’ lilting cover of You’re Wondering Now with the Coventry crowd, given encouragement from Terry, chanting the chorus of, “You’re wondering now, what to do/Now you know, this is the end.” 

As it has turned out, the album does mark the end of The Specials, the ska revivalists with punk attitude who formed in 1977 and captivated the nation as members of the 2 Tone movement alongside The Beat, Selecter and Madness. 

And that’s why I’m speaking to the surviving core members, guitarist and occasional vocalist Lynval, who came to Britain as part of the Windrush generation, and bassist Horace Panter. 

I’m supposed to be talking to them together — but then I didn’t take the World Cup into account. 

Only when Horace and I are winding up our chat does Lynval join the video call. 

“I just woke up. I was watching football all night!” he exclaims.  

It’s the day after England beat Mexico and though Lynval lives near Seattle these days, he’s in London staying with family.  

He adds: “Obviously every four years, football is the most important thing in our lives. I’ve got my England shirt!” 

Lynval is the extrovert who wears his heart firmly on his sleeve while Horace seems to be a calm and thoughtful character.  

Hearing from these contrasting souls, one thing becomes abundantly clear. They think it’s all over. 

“This live album is the last hurrah, the final full stop,” says Horace.  

“Losing Terry was a tragic way for it to end, but it’s been an absolute joy to have been part of this band. Incredible. 

“I’ve moved on,” he continues. “Life happens.  

“In 2021, I was handed a granddaughter which I wasn’t expecting. 

“My son and his wife have moved up to live near us (not far from Warwick), so I’m involved in looking after her.  

“I still play music — noisy blues rock with some buddies from Leamington and Coventry. 

“I do other musical stuff and I’ve got this art career. I paint pictures.” 

As for Lynval, the loss of Terry aged 63 from pancreatic cancer, came as the bitterest of blows. “It took me three years to even listen to those live recordings,” he says. “It felt so raw.” 

He sees Live From The Cathedral as a tribute to all those members of the 2 Tone family “who are no longer with us”, including Specials drummer John Bradbury, trombonist Rico Rodriguez and The Beat’s Ranking Roger. 

“But it is more focused around Terry than anyone else,” he says. 

“I was absolutely blessed to work with him, one of the best lyricists England has ever produced. He never got the credit he deserved — he was so damned good.” 

Lynval vividly describes his heartbreak at discovering his close friend was seriously ill. 

Terry had just got back from Los Angeles where he’d been writing songs for the next (and never to be released) Specials album and Lynval had flown over from Seattle for sessions.  

He says: “The next day, I went to the studio and Nikolaj [Torp Larsen], our musical director, was there.  

“We listened to some of the music — one song had the feeling of Funky Kingston. 

“I waited but Terry didn’t turn up. I was the only one he would let visit him at home in Islington so I got on the Underground, came off at the Angel, and walked right to his house. 

“His wife Lindy opened the door. She looked a bit concerned and said, ‘Terry’s in bed’. 

“We both had jet lag so I decided to leave him that way. I had my usual cup of mint tea and chatted with Lindy.”  

Later that week, Lynval heard that Terry had been to hospital and received devastating test results.  

He says: “I went to Coventry and hit a bottle of rum. I went into a black space — completely dark.”  

Soon after his pilgrimage to the Midlands city where they had formed The Specials, Lynval rang Terry. 

“Terry rarely talked to anyone on the phone but he knew we had something to discuss.  

“He said, ‘I’m going to fight this’, and I said, ‘Terry, I’m going to be right by your side, fighting with you brother’.” 

Lynval firmly believes he is “spiritually connected” to Terry and, by way of example, explains how he came to sing Moon River at his funeral. 

“When Brad [John Bradbury] died in 2015, I sang Redemption Song as a tribute, with just cello, violin and viola. 

“Terry’s wife asked me what I was going to do this time. I said, ‘I don’t think I have the strength to do anything’.” 

But then, Lynval heard a radio playing Andy Williams’ definitive version of Moon River. 

He says: “It was beautiful. I rang Lindy and said, ‘I will sing for Terry and I know what I’m going to do — Moon river, wider than a mile’. 

“She started crying and said, ‘It was our wedding song and I played it to him on his deathbed, you’re a genius’, and I hadn’t known.” 

So, along with Nikolaj and guitarist Steve Cradock, Lynval performed Moon River in the same crematorium as John Bradbury’s funeral. 

He says: “When I sang that line, ‘Two drifters off to see the world’, I thought of Brad and Terry.” 

The loss of two such important bandmates prompts Lynval to echo Horace’s sentiments that The Specials have run their course. 

He says: “My book is always open, but not to do anything as The Specials ever again. 

“I was so blessed to work with these musicians but I can’t play the guitar any more. 

“My nerves were damaged after I was hit by a bus. 

“I’ve passed my guitars and keyboards on to my 18-year-old great-nephew Jayden. He’s a jazzer and a Golding!” 

I ask Horace for his thoughts on Terry and he talks of “a private person despite the fact that he could go out in front of four or five thousand people”. 

He adds: “I would kill to go on Desert Island Discs but Terry was like, ‘No, I won’t do that’.  

“But there was always something to laugh about with him. He could be very funny. We bonded over Northern working men’s club comedians and Spinal Tap.” 

Now it’s time to return to those balmy summer nights in 2019 when Terry, Lynval, Horace, Nikolaj, Steve Cradock and the rest of the ace live Specials band performed those hometown gigs in Coventry. 

Horace says: “It was a real coming together of people in Coventry and the ruins of the cathedral was a fantastic venue. 

“Usually when we went to Coventry, we would play this big soulless concrete shed up by the football stadium.” 

He adds: “I was still living there in 2019 so I would walk over the green to Empress House, catch a No13, which dropped me off at Pool Meadow. Then I’d cross the road, go up through the university, and I was at the cathedral. It was great.” 

He remembers Coventry being “a tough place to live” back in the Seventies when The Specials got together, the other members who made the debut album besides Terry, Lynval, Horace and Brad being Jerry Dammers, Neville Staple and Roddy Radiation. 

“By the time we came to prominence in 1979, there was an enormous amount of unemployment and disaffection in Coventry,” says Horace. 

Although Dammers’ masterpiece Ghost Town could be about any downtrodden city with big social problems, it could, he suggests, also have been about their hometown. 

He says: “Lynval suffered racism in some of the jobs he had. At night, he’d go out to the clubs and getting home could be quite an adventure.” 

Though The Specials were associated with Rock Against Racism, Horace says: “We didn’t play many of the gigs because we were the working definition of white guys and black guys making music that works. It was unity in action.” 

He draws my attention to the great Friday Night, Saturday Morning which The Specials perform on Live From The Cathedral and is dedicated by Terry to the fabled Parson’s Nose fish and chip shop in Coventry. 

The song goes: “Hope the chip shop isn’t closed. Cos’ their pies are really nice. I’ll eat in the taxi queue. Standing in someone else’s spew.” 

Horace says: “That was one of Terry’s first forays into songwriting and a really important song of ours. He gave it a very droll delivery. 

“The Parson’s Nose was the chippy that stayed open late after you’d been to clubs like Mr George’s, La Chaumière or Tiffany’s. You’d go there for a steak and kidney pie and mushy peas. 

“Nite Klub mentions Tiffany’s. The shows we did there were the apogee of 2-Toning in 1979.” 

Lynval says: “I got chased in Coventry, I got stabbed in Coventry. It could be a running battle because of the racial problem.” 

But he adds that he had “wonderful” Friday nights and Saturday mornings that ended up at The Parson’s Nose or the Chinese takeaway next door. 

“We were youth, we were growing up and I really did ‘wish I had lipstick on my shirt instead of piss stains on my shoes’.” 

Horace maintains that The Specials gave Coventry something to smile about and to be proud of in the late Seventies “and that was acknowledged during the gigs in 2019”. 

So, I can’t help but ask, how did Horace get his stage name, Sir Horace Gentleman?  

“That was Lynval’s fault,” he replies. “I was raised in Kettering, Northamptonshire, and had a very plummy accent.  

“I was at art college and wasn’t working class by any stretch. And, of course, lots of people had reggae names like Prince Buster or Sir Coxsone.” 

Horace says The Specials “owed as much a debt of gratitude to The Clash as we did to the Jamaican artists.  

“We had the great good fortune to open for The Clash for three weeks in 1978 so we could sit side-stage every night and watch how those guys delivered and what they delivered.  

“We thought, ‘Well, OK, if we’re going to be any good, we’ve got to be at least as good as these guys’. The Clash set the benchmark.” 

But the final words are with Lynval, who has nothing but fond memories of his time in a very special band. 

“I feel so honoured to have been in The Specials,” he says. 

“It’s nearly 50 years since we first got together. What an achievement! 

“And, hold on a minute, those songs are just as relevant today.” 

Lynval leaves us with a quote from a song that Horace insisted they play live at every show because it served as a mission statement. 

“Just because you’re a black boy. Just because you’re a white. It doesn’t mean you’ve got to hate him. It doesn’t mean you’ve got to fight. 

“It doesn’t make it alright.” 

THE SPECIALS 

Live From The Cathedral 

★★★★☆

Kris Jenner’s mom, Mary Jo “MJ” Shannon, has died.

Jenner announced the news of Shannon’s death Thursday in an Instagram tribute. She was 91.

“Today, we said goodbye to my beautiful Mommy MJ. … There are no words that could ever capture what she has meant to me or the heartbreak of having to say goodbye. My mom was the heart of our family.”

Jenner wrote that her mother, the matriarch of the Jenner-Kardashian clan, taught her everything that “truly matters.”

“To love your family fiercely, to be kind, to show up for the people you love, and to never take a single moment together for granted,” she wrote alongside a glamour shot of Shannon. “She taught us that family is everything. She showed us how to love unconditionally and how to find joy in the little moments. She showed me how to face life’s challenges with resilience and faith.”

Jenner concluded the post with an open letter to MJ:

“Mom, thank you for every sacrifice you made, every piece of wisdom you shared, and every moment you loved us so completely. I will miss our daily talks, your smile, your laughter… Our hearts are broken, but we find comfort knowing that love like yours never truly leaves us. Your love will live on in our family, in our traditions, in every moment we are together, and in every life you touched. When I look at my kids and my grandkids, I will forever see pieces of you in all of us. There is not a part of me that isn’t shaped by you. And if I have done anything right in this world, it’s because I spent my life trying to live in a way that would make you proud. Every memory, every moment, every blessing, it was all because of you, and I will forever thank God every single day for making you my mommy. My heart is broken into a million pieces… thank you for giving me the greatest childhood and oh what a beautiful blessed life… I love you forever Mommy. Thank you for giving us everything.”

Born Mary Jo Campbell on July 26, 1934, MJ married her high school sweetheart, whom she divorced two months later. Then in 1954, she wed Jenner’s dad, Robert “Bob” True Houghton. She gave birth to Jenner the following year and Jenner’s late sister, Karen Houghton, in 1958. After seven years of marriage, MJ and Bob called it quits and she married Harry Shannon, a businessman who helped raise Jenner and her sister in San Diego, where MJ ran a children’s clothing store.

Harry Shannon died in 2003.

MJ was featured on the famous clan’s E! reality series “Keeping Up With the Kardashians” and the follow-up Hulu series “The Kardashians” numerous times over the years. In a clip from the show, granddaughter Kim Kardashian detailed that her grandmother had survived colon cancer and breast cancer and, in her sunset years, struggled with sickness resulting from the cancer treatments.

In one clip from the show, MJ said she didn’t have an appetite without taking her “medication” first. Then she persuaded her daughter, Jenner, to have marijuana gummies with her. Together they lit some incense and munched on muffins and chips and guacamole.

In another clip, Jenner interviews MJ about her life, and during the sit-down, Jenner asks MJ, “What’s your biggest fear?”

MJ replies, “I try not to fear,” and then follows up asking Jenner what her biggest fear is.

Jenner starts to cry and says, “I don’t want to say it. I can’t believe I’m crying. … Just, losing someone.”

On Thursday, Kim Kardashian caught flak online when a post featuring the Skims mogul and her sister Khloe Kardashian swigging tequila from a boat on a lake published shortly after Jenner announced the news of MJ’s death.

“This post was scheduled a few days ago before we lost MJ, so its timing came right alongside her passing,” Kim wrote in the comment section of the post. “I’ve been by my mom and grandma’s side this past week, and my heart is completely with my family right now. We love and miss her so deeply, and in the days ahead, we’ll be focusing on celebrating her beautiful life.”

Kim followed up with a post celebrating her grandmother, writing, “My sweet Grandma MJ, my best friend, my gossip buddy, my forever twin … You taught all of us the importance of family, and those values are something we’ll carry with us forever!!!!! You were the woman who showed me what it meant to be a hardworking businesswoman. You gave me my very first job at your store in San Diego and taught me lessons about work ethic, strength, and confidence that I’ve carried with me ever since.

“You always believed in me, championed me, and were my safe place. You truly were the matriarch of our family, and your love is woven into all of us. I know you’re at peace now. Give Papa Harry, Aunt Karen, and my dad a hug for me. You will always be a part of me, I love you soooooo much and I will miss you forever and ever. … YOU ARE THE BEST OF US!!!”

Two weeks ago, Jenner’s bodyguard, Mason Haynes, who also worked as a close protection guard for other members of the Kardashian-Jenner family, died in a traffic accident. He was 52.

THE ODYSSEY

(15) 173mins

★★★★★

NO need for theme parks this summer, this is a film that will leave you feeling as though you have ­ridden the highest rollercoaster.

Sir Christopher Nolan’s epic is an all-action, mythical nightmare to behold.

It’s a monumental piece of work, which rarely even feels like a film — more a spectacle to be watched in awe and amazement.

The Ancient Greek poem of the same title, written thousands of years ago, has been retold countless times over the centuries. But never to this scale.

The story is of Odysseus (Matt Damon) and his quest to return to his homeland.

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DULCIE PEARCE

Woody and Buzz are back to take on kids’ biggest enemy yet in Toy Story 5

He is the King of Ithaca and the mastermind behind the Trojan Horse trick that ended the war.

His long journey back to his kingdom is to reunite with his wife, Penelope (Anne Hathaway), and son, Telemachus (Tom Holland).

They have been waiting for his return for 20 years, and Penelope has many more than 100 suitors ready to take up residency in the royal palace.

They spend their evenings eating the food and drinking the wine of their hostess, while plotting what they will do when she marries them.

One is Antinous (Robert Pattinson), a snarly, devious man who can barely hide his contempt for the family but longs for their power.

Stories run alongside this one, showing Odysseus lost on the island of Ogygia, eating lotus flowers with only the nymph Calypso (Charlize Theron) for company.

She tries to get his memories from him, and he retells the journey he took to get washed up there.

It includes battles, terrifying gods, curses, hauntings, a witch (Samantha Morton) who loves to feed her prey and Zendaya as Athena.

Each tale feels like a film in itself and alongside adrenalin-spiking action, there is a lot of heart.

The basis of the story is love, protection and the attempt to right wrongs.

Damon is spectacular in a role that must have pushed him to his limits physically. While being part of huge battle sequences, he is able to show a range of emotions on his face.

The standout performance has to be Pattinson, who as the hateful Antinous, ­manages to curl his lip to perfection.

Don’t let the nearly three-hour run time put you off.

Like any great ride, the moment it is over, you want it to start all over again.

A CLOSE SHAVE

(U) 30mins

★★★★★

IT’S been more than three decades since Nick Park made us all fall for a cheese-loving bachelor and his silent inventor dog.

And to mark the 50th anniversary of Aardman, the world-famous Bristol-based stop-motion and clay animation studios behind Wallace and Gromit, the films have been given national cinema release for a whole new generation to enjoy.

In this tale, from 1995, Wallace (Peter Sallis) and Gromit are running a high-tech window-cleaning service, which introduces them to wool shop owner Wendolene Ramsbottom (Anne Reid) and her evil-genius dog, Preston.

Thanks to his new canine enemy, Gromit is jailed for crimes he didn’t commit. With the help of his clumsy buddy – who is infatuated with Wendolene – he works to clear his name. Film fans will love the parody of prison movies, and there’s an impressive, climactic cheese scene.

Having won the Oscar for Best Animated Short Film and introducing the character of Shaun the Sheep – who went on to have his own TV spin-off series – this really is a delight to watch again. Brilliantly funny, with enough jeopardy and action to keep you hooked.

HEARTSTOPPER FOREVER

(15) 114mins

★★☆☆☆

AFTER three series of the incredibly successful coming-of-age Netflix drama, the story of the much-loved schoolboy couple, Nick and Charlie, is coming to an end.

This feature-film finale shows Nick (Kit Connor) and Charlie (Joe Locke) are still very much in love.

In fact, they’re obsessively infatuated. At every party they stare at each other across the dance floor. They take selfies every few minutes and all their friends fawn over how they’re the best couple ever.

But Charlie is off to university soon and newly crowned head boy Nick has another year at school. So this throws their relationship into a very mediocre level of disarray.

They go back and forth over what they’re going to do, with high levels of self-inflicted angst and many moments that feel excruciatingly cringey.

Meanwhile, their tight-knit friendship group seem to chat exclusively about their own complicated sexualities.

Written by Alice Oseman and produced by Brett Thomas, the fondness for this couple feels like it can’t forgive the incredibly lame storyline that offers little to no jeopardy.

One for the superfans.

On Netflix.

Netflix viewers meet grown-up versions of Charlie and Nick in Heartstopper Forever

Heartstopper fans should prepare for more steamy scenes in the new Netflix film.

The young adult show returns with one final chapter called Heartstopper Forever tomorrow (July 17), which sees Joe Locke and Kit Connor reprising their roles as Charlie Spring and Nick Nelson.

Based on Alice Oseman’s popular graphic novels, the film picks up as Charlie and Nick face the prospect of a long-distance relationship ahead of going to university.

We’ve watched their romance blossom over three seasons, during which they were completely inseparable. So this new milestone poses a new hurdle they haven’t faced before.

As well as a new challenge, though, fans will notice that Charlie and Nick are more intimate in the new film than in previous seasons.

When asked about the final chapter featuring “a lot more sex,” Connor told The Guardian: “It’s a line that you have to walk: ‘How far are we going to take this?'”

He went on to explain that the inclusion reflected a natural progression in the characters’ romance.

“But at the end of the day, it did feel like these two guys are really attracted to each other at the age where they probably would have been doing it,” Connor added.

Locke agreed, explaining: “It would be weird if we hadn’t shown it. Just because our show is a more earnest version of a queer representation doesn’t mean that sex [shouldn’t be shown]. It’s still a big thing for anyone in the world.”

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This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows like Stranger Things and The Last of Us.

The new coming-of-age drama includes traditional sex scenes as well as segments depicting masturbation, which is pretty standard for the genre.

However, Heartstopper has previously centred on the less-explicit elements of young queer relationships.

The actors were actually eager to push the envelope even further with their characters, Connor revealed.

He said: “If I’d had my way, I would have had Nick and Charlie cheating on each other and doing all those stupid things.

“Because young people do that and don’t necessarily need to be villainised for it. Heartstopper Forever takes a step in that direction of not being so rose-tinted about being human.”

Heartstopper Forever premieres on Netflix this Friday, July 17.

IT nurtured some of our broadcasting greats, from Terry Wogan and Tony Blackburn to Chris Moyles and Zoe Ball.

But now staff at BBC Radio 1 fear the station is crumbling beyond recognition.

This week it was announced that long-standing duo Melvin Odoom and Rickie Haywood-Williams will be departing, while DJs Dean McCullough, Nat O’Leary, James Cusack and Swarzy are also on their way out.

Meanwhile, social media stars GK Barry and Charley Marlowe are set to come in as part of a shake-up.

And lesser-known DJs Mylo & Rosie, as well as Emil Franchi, have landed bigger slots.

Insiders say tensions at the flagship youth station reached fever pitch after the comings and goings were announced on Wednesday, with some staffers claiming they only learnt of the changes when the BBC press office made them public.

“To say the handling of this feels like an absolute mess is an understatement,” one told The Sun.

“Some producers had no idea their talent was leaving. One of Melvin and Rickie’s team wasn’t told about the changes until they saw the email.

“They’d been on the station for seven years. So to see them suddenly off out of the back door was really upsetting. The atmosphere was chaotic and some staff were absolutely shellshocked.”

The changes have been met with hostility from listeners, many of whom took to social media to vent their anger.

One Radio 1 listener wrote on Instagram: “This is so disappointing.

“Both GK Barry and Charley Marlowe are incredibly talented at their craft but it’s so discouraging to see BBC Radio 1 providing these opportunities to host to already established presenters when there are so many people looking to break into the industry.”

Another was not happy with “clearing out DJs for social media ‘stars’,” while a third added: “Why is R1 on a self-sabotage mission by bringing in a load of social media ‘stars’ and godawful local radio DJs?”

An emotional staffer told us that a meeting, which was said to have included long-standing radio producers, was called to discuss the changes after the announcements were made.

They explained: “There is a weekly meeting on a Wednesday at Radio 1, but this week they called a second meeting where people were invited to speak up.

“A fair few people put their hands up to raise concerns.

“The main bone of contention was why Radio 1 appeared keen to say goodbye to established broadcasters and replace them with YouTubers and TikTokers.

“Much of the blame is being laid at the door of the big boss, Aled Haydn Jones. Some of the staff are so unhappy.”

Aled was a DJ on Radio 1 between 2009 and 2015 before he succeeded Ben Cooper as head of the station in 2020.

Insiders say he prides himself on championing new talent and is behind the raft of influencers joining the line-up, including GK, who came fifth in 2024’s I’m A Celeb.

Her arrival, alongside social media sensation Charley, has allegedly more than ruffled feathers.

“These influencers are lovely but they’re not radio geeks like most of the DJs who work at Radio 1,” one staffer explained.

“Working at Radio 1 is the dream job for any budding broadcaster who has put in the hard yards on student radio or local stations.

“It was held up as the pinnacle by so many people.

“But now it’s being eroded by this desperation to bring in ‘new’ talent that they think will bring in a new audience.

“The producers who work on these shows are so upset at what is happening.

“A couple have already decided to walk away. And it won’t be long before others start jumping ship.”

Another staffer added: “Aled seems to think social media is going to save Radio 1, but where’s the proof?

“Audience figures are down and they think the way to save it is by plugging the gap with people who are popular on the internet.

“That’s all well and good, but will their millions of followers start tuning into Radio 1 just to listen to them? It’s doubtful.

“Their fans already have access to their content at the touch of a button and that is a daily habit.

“Making them carve out a new habit of listening to them every day is incredibly difficult.”

Launched in 1967, Radio 1 was born out of the need to compete with the rise of pirate radio stations which had become hugely popular.

Legendary broadcaster Tony Blackburn was the first DJ to broadcast on the new station.

It grew into a juggernaut of the airwaves, commanding audiences of ten million for some shows and making huge stars out of presenters including Chris Evans, Simon Mayo and Sara Cox.

But as listening habits change, audiences across the BBC and commercial stations are decreasing.

Figures at the start of this year confirmed that the weekly audience reach across BBC radio stations is in steady decline.

In the final quarter of 2025, Radio 1’s weekly audience reach dropped by six per cent compared to the same period last year.

But bosses were keen to stress that their target market of 15 to 29-year-olds was consuming Radio 1 in different ways.

In that same final quarter, the station boasted more than 329million views on social media and Radio 1’s YouTube videos have had more than 6.1billion views.

But one BBC employee said: “It’s not just young people that listen to Radio 1.

“There is a decent percentage of listeners that are older.

“They have stuck with the station since they were young and they tune in to listen to DJs they have known and loved for years. Putting some influencers in their places, regardless of how well known they are, won’t translate as well.

“Many people working at Radio 1 think Aled is making a mistake if he carries on in this vein.”

The remaining jewel in the Radio 1 crown is Breakfast Show host Greg James.

Greg, 40, took over the coveted role from Nick Grimshaw in 2018 and pulls in more than four million listeners, making it the No1 Breakfast Show for young people across the country. But a well-placed insider revealed that BBC Radio 2 — the nation’s biggest station — was keen to bring him on board.

“Greg had meetings with Radio 2 and they were testing the water in a bid to poach him,” a source claimed.

“When Scott Mills left Radio 2’s Breakfast Show and Sara Cox took over, there was a lot of talk at Broadcasting House about whether Greg would make the move. But he’s definitely staying on board at Radio 1 for now.

“To lose Greg would have been horrendous because he is such a figurehead at Radio 1.

“Thankfully, he’s remaining in place.”

The Sun understands some staffers are now considering jumping ship with the departing talent.

And the blame is being solely laid at Aled’s door.

“Aled has been massacring the schedules and the method isn’t working,” one staffer said.

“The feeling is that he is ruining Radio 1 and it is heartbreaking.

“It feels like the craft of making radio isn’t being respected and the people behind the scenes who craft this magic for the audience aren’t being treated with the respect they deserve. Radio 1 used to be the best station to work at, with the most talented pool of people and the most incredible presenters.

“It’s like a shadow of what it once was.”

A BBC spokesman said: “Radio 1 is proud to be the number one station for young audiences and has a strong track record of supporting and developing young and emerging radio talent, with a huge majority of presenters having come through the station’s own initiatives and opportunities.

“Alongside Radio 1’s commitment to nurturing new voices, there will always be a home for DJs with specialist music knowledge and talent from a diverse range of backgrounds who we know resonate with our young audience.”

JESY Nelson says she “can’t stop crying” over her “bittersweet” victory to test all babies in England with SMA – knowing it came too late for her twin daughters.

The groundbreaking rule change comes as the former Little Mix star faces fresh heartache over her one-year-old kids, Ocean Jade and Story Monroe, whose latest test results sparked concern following treatment for the muscle-wasting disease.

It’s feared the girls will never be able to walk after a late diagnosis of the life-threatening condition Spinal Muscular Atrophy Type 1.

In her new Prime Video show, Jesy Nelson: Life Changing, the singer breaks down in tears over the guilt she carries and worries her children will blame her, when they’re older, for not spotting the signs sooner.

Jesy told The Sun: “I know it’s not my fault, but when I watch back videos of when I brought them home and they were kicking their legs, I realise now that over the course of a month, they just stopped.

“That’s the part where the guilt kicks in because I don’t understand how I didn’t see that. Why didn’t I spot that?

HELL & BACK

I had first look at Jesy Nelson’s new doc… watching her break apart stunned me

TEST WIN

Victory for Jesy Nelson as all babies to get free tests for muscle wasting disease

“But when I left the neonatal ward, I was constantly told to check their temperature, make sure you’re monitoring their breathing and there was so much other stuff that I was looking out for because they were premature babies.

“I just honestly didn’t focus on the movement of their legs.

“Thank God for my mum, because God knows what position I would have been in if she hadn’t spotted it.

“That will probably never leave me. I’ll be honest, I don’t think it ever will. But I really hope as they get older, they understand how flipping amazing they are because they are the most resilient little girls I’ve ever known.

“I’m literally in awe of them. Even with what they have to endure every day, they are the happiest babies.”

At Ocean and Story’s most recent three-month review at St Ormond Street’s Children’s Hospital, doctors warned Jesy the girls were not responding to treatment the way they had hoped.

She said: “Unfortunately, some of the numbers have gone down. We had a long discussion and there’s a possibility they may have to go back on treatment, which is just heartbreaking.

“I constantly battle between manifesting they’re going to defy the odds and trying to come to accept that that may not happen.

“It’s a really weird position to be in because you you think ‘well, if that doesn’t happen, am I just going to feel heartbroken for the rest of my life?’

“Then you worry, if I accept it, am I also manifesting that?”

She added: “I don’t ever want them to feel any less than or feel like it defines them. I really want them to know how special they are.

“I want this to be their little superpower.”

Speaking candidly, Jesy admits the success of her campaign for a breakthrough rule change – adding screening for spinal muscular atrophy to the NHS‘s newborn blood spot test – was a tough pill to swallow.

Every year 50 babies born with the condition will now find out they carry the genetic condition at birth. It means they can be given treatment before nerves and muscles are damaged beyond repair.

Jesy said: “I’ve not stopped crying, I don’t know what’s wrong with me. I just keep going through waves of emotions. I’ve had an outpouring of messages from families within the SMA community.

“It’s just a real weird one because obviously there’s a lot of mixed emotions. I think for people dealing with children that have got SMA, who got diagnosed too late, feel it’s almost a bit bittersweet.

“It’s a tough pill to swallow to know that, yes, this change is amazing and I really don’t want to take anything away from it, but if only this had been here for our children.

“It’s just sad because so many families have campaigned about this for years.

“So yeah I’ve going through a real mix of emotions, but ultimately I am super proud. I’m ridiculously proud and cannot wait until our children are old enough to tell them they’ve played a massive part in change.”

Her new Prime Video doc is released on Friday, July 17.

The 60-minute episode shows the moment Jesy finds out her daughters’ diagnosis and her grit and determination to launch her campaign.

While a phased rollout will begin in October 2026, Jesy’s fight continues to raise awareness of the condition because the screening won’t be available in other parts of the UK.

“I hope as many people as possible see the documentary because I wanted to raise as much awareness as I could about it and the signs to look out for.

“As amazing as the rollout is, Northern Ireland and Wales are still not part of the heel-prick test, meaning many babies will still be undiagnosed and not treated in time.

“I’m just praying that if they watch this documentary, they will spot the signs early enough, take them to the doctor and get them treatment.”

• Jesy Nelson: Life Changing will be available exclusively on Prime Video on July 17.

“Remake” has a tragic tale to tell and director Ross McElwee wastes no time revealing its grieving heart. Near the start of this funereal documentary, the filmmaker addresses his subject directly: “It’s been seven years since you died,” he says to his late son Adrian through voice-over, “and I still miss you every day.”

Across McElwee’s 50-year career, he has worked intimately without a crew to make sense of his own life by diligently recording it. In the process, he turned his friends and loved ones into the unlikely stars of his acclaimed independent documentaries.

With “Remake,” he looks back at that footage, concentrating on the images he shot of Adrian since his birth in 1989. Adrian died on Christmas Eve 2016 of a drug overdose and McElwee clearly remains shattered. For a documentarian who specializes in personal movies, “Remake” feels especially revealing — both in terms of the glimpses we get of this father-son relationship and of unsolved mysteries that linger just outside the frame.

The film’s title ostensibly refers to a surprising phone call McElwee received about 20 years ago, when he was approached by Steve Carr, the director of broad comedies like “Paul Blart: Mall Cop,” who was eager to adapt McElwee’s 1986 documentary “Sherman’s March” into a movie. That landmark picture features McElwee, then in his mid-30s, as he tries to chronicle the exploits of Union Gen. William Tecumseh Sherman, who laid siege to the South during the Civil War. Except, in the midst of that project, McElwee’s focus shifts, delightfully, to his disastrous love life and the fascinating women he meets in his travels, becoming a deeply humane examination of modern courtship.

Carr doesn’t seem like an obvious choice to oversee a narrative remake, but McElwee decides to sell him the rights anyway. Soon in “Remake,” though, it becomes apparent that this is just one chapter of the story — and hardly the most essential. McElwee’s last film, 2011’s “Photographic Memory,” dealt with his increasingly frayed connection to Adrian, who was already fighting substance-abuse issues. “Remake” retraces Adrian’s childhood while filling in the details of the director’s life after “Photographic Memory,” including brain surgery and the dissolution of his 24-year marriage.

But Adrian is never far from his thoughts or absent from the screen: this smiling, happy boy slowly transforming into an edgy, troubled young man whose sweetness still occasionally shines through.

The passage of time is central to McElwee’s work, but he’s rarely scrutinized the topic as aggressively as he does here. It’s not simply that we watch Adrian age or revisit some of McElwee’s “Sherman’s March” subjects. (“Sherman’s March” is now screening in a new 4K restoration at the Laemmle Royal with “Remake.”) It’s also in the way that McElwee’s formerly wry narration now sounds far more resigned, his voice grown froggy and hushed as he nears 80. McElwee has often pondered the downside of essentially treating himself like a human camera, observing the world rather than fully engaging in it. But in “Remake,” he openly questions his artistic approach and, fittingly, he lets his son be his loudest critic.

As a boy, Adrian is enchanted by McElwee’s filming. In childhood, he paints an abstract picture of God in which the Almighty eerily resembles a movie camera. But although Adrian soon picks up a camera as well, increasingly interested in being a filmmaker himself, he resents how his father intrudes on their time together by constantly shooting their conversations. McElwee’s scenes of them at the Venice Film Festival for the “Photographic Memory” premiere are especially fraught, Adrian’s prickly reaction to a movie about his drug abuse creating tension between the two men at the subsequent press conference.

In “Remake,” McElwee laments that he didn’t do enough to help him navigate addiction and the mental-health issues that exacerbated it. (Adrian was diagnosed with bipolar disorder.) Was McElwee too consumed with his own career to be there for his son? The question haunts “Remake” — he includes an indelible sequence from “Sherman’s March” in which his longtime friend Charleen upbraids him for always having the camera out. “This isn’t art,” she hollers. “This is life!” Did McElwee never come to appreciate the difference?

A eulogy that also serves as an apology, a reckoning and a confession, “Remake” is filled with moments that are crushing because of how understated they are, none more brutal than when McElwee visits Adrian near the end of his life, when he’d moved to Colorado to get a fresh start. “He seemed to be doing OK,” McElwee recalls thinking. “But I always leave knowing I’m probably not seeing the whole picture.”

Even now, poring through his footage, desperately looking for clues, McElwee pines for that larger view — the one that might somehow bring the boy back to his inconsolable father.

Betsy in Coronation Street learned more about her recovery during Thursday’s episode of the ITV soap after a stroke as a result of non-fatal strangulation

Spoilers have shared a glimpse of what happens to Betsy in Coronation Street after her stroke ordeal this week.

Initially, no one knew what happened after Betsy, played by actress Sydney Martin, was was rushed to hospital after being found unconscious at home. As doctors confirmed she appeared to have suffered a stroke, there was horror for her family as she had a second stroke.

Doctors explained in the fallout that Betsy had suffered aphasia, a language disorder, as well as paralysis on her right side. Betsy was shown struggling to speak, while also struggling to find the right words to explain what had happened to her.

Eventually, Betsy’s family and the doctor uncovered that Betsy’s strokes were the result of artery damage in her neck and a temporary loss of circulation, as a result of strangulation during sex. Betsy explained that she had consented, and both she and her partner Dylan Wilson believed only minimal pressure was applied.

The storyline is exploring the dangers of non-fatal strangulation, while also raising awareness of the effects of a stroke. In the latest episode we saw Betsy continuing to struggle with her life-changing diagnosis.

The doctor visited her and told her that in terms of her muscle weakness, on the right side of her body, there’s a good chance she will recover. The doctor said that with language and speech therapy, she could make a “good” recovery.

Lisa was on the warpath, especially when she heard Dylan and his dad Sean joking around in the café. She’d vowed to go to the police and report Dylan, for strangling Betsy during sex.

Betsy had begged her mum not to report Dylan, not blaming him for what had happened to her. Lisa then exposed Dylan to everyone in the café, claiming he had assaulted Betsy during sex, causing her to have a stroke.

She fumed at the teen, saying he could have killed Betsy, and Dylan ran off. Sean wanted answers, and Dylan told his dad how he and Betsy had both consented to choking during sex, and that they had tried it before after seeing it online.

At the end of the episode, Lisa went to the police station to report Dylan, so will Dylan be sent to prison for what has happened to Betsy? That’s unclear, but new spoilers for this week and next week have shared more about what happens next with Betsy.

Dylan suggests Brody could be responsible for what happened to Betsy, suggesting she may have cheated on him. Next week, Brody confronts Dylan over his lies, and tells him that if he was Betsy, he’d press charges.

Ryan also gives Dylan some home truths which make him question his part in what happened to Betsy, and how much he was to blame. This leads to Dylan visiting Betsy at the hospital, where he admits he now accepts that he’s responsible for her condition.

Apologetic, Dylan is terrified and flees when the police arrive to take Betsy’s statement – but what will she tell them? Later, Betsy struggles as she begins physio exercises.

When she’s unable to get to the toilet by herself, she’s embarrassed to ask pal Lauren for help. Betsy has a long road to recovery ahead of her, and she will struggle with the life-changing impact on her daily life that the stroke has caused.

Coronation Street airs weeknights at 8:30pm on ITV1 and ITV X. * Follow Mirror Celebs and TV on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .

CHRIS Hughes was left devastated watching England’s defeat in the World Cup on Wednesday night – with the Love Island star shouting at the TV before storming off.

The reality star joined the rest of the country in mourning as hopes of the Three Lions taking home the winning title were dashed by Argentina.

However, Chris was extra animated during the game.

His girlfriend JoJo Siwa filmed as Chris stood in front of the TV watching intently.

And when Argentina‘s Lautaro Martínez scored in the 92nd minute, Chris furiously shouted: “Oh My God, England!” while storming off.

Angrily walking away, he continued to shout: “What are you doing?!”

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Chris then completely stormed out of the room, and could be heard shouting: “Oh my good God”.

It’s a far cry from Chris’ usually soft-spoken demeanour, with girlfriend JoJo even admitting in the caption: “Didn’t know his vocals could reach that octave” with laughing faces.

Chris was watching the game over in the US, where he is currently visiting JoJo.

As the match came to a disappointing close, she filmed him with his head against the wall in dispair.

The couple have been together since meeting on Big Brother last year, and do long distance between London and L.A.

Chris wasn’t the only famous face to be left feeing down over the result, with Sam Thompson also taking to his Instagram Stories to rant about the loss.

While die-hard football fan Ross Kemp was all smiles as he got behind England before the game – shouting and kissing his England shirt in a topless video before the semi-final kicked off.

He then couldn’t contain his excitement when England scored the first goal of the game in the 55th minute, sharing a second video.

But the energy was much less on the other side of the game, with Ross radio-silent since the loss.

David Beckham – who was at the game and got booed by Argentina fans when he popped up on the big screen – described the loss as a ‘heartbreak’ in a social media post.


Love Island fans think they have figured out exactly why Ellie Chadwick left the show before the latest dramatic scenes on the hit ITV2 dating show have even aired

Love Island fans think they have figured out exactly why Ellie Chadwick left the show. The real estate videographer, 24, had been taking part in the hit ITV2 reality dating series and was enjoying a blossoming romance with Finley Maddock but it all started to go wrong when he fell for a bombshell who entered the villa.

It recently emerged that her decision to quit the programme all together reportedly stemmed from hearing the results of a viewer poll for favourite boy and favourite girl, and, in dramatic scenes set to air tonight, viewers will find out exactly what happened – but bosses have already teased the action with a clip posted to YouTube and Instagram.

In the preview clip, host Maya Jama tells the contestants: “The public have been voting for their favourite girl and favourite boy. The Islanders with the fewest votes will be at risk of being dumped from the villa tonight,” as the stars all look on in shock and horror as they await their fate.

Maya adds: “The girl and boy with the fewest votes are…” before the trailer cuts off, creating suspense for it all to play out in Thursday night’s episode. Now, fans are sure that Finely was the one who got dumped by the public and Ellie chose to walk out shortly after.

In the comments section on social media, one fan said: “Marta, Jordan Elicia and Finley get voted off. Ellie walks,” whilst another said: “Ellie would’ve won if she just binned Finely!”

A third wrote: “Finley likely is gone to the vote so Ellie left walked out of the villa, the rest is up to guesswork but we can make educated guesses as to who is at risk.

Last night, the contestants had to play a brand-new game called If You Know, You Know, in which they all adorned blindfolds and headphones. When their phone vibrated, each couple had to make their way to a podium to read out a controversial statement and then guess who it was who said it in the first place.

One couple read out the claim that “One half of this couple is secretly bored but too polite to admit it” and it was then that Finley said he was “a bit bored.”

The dramatic scenes aired shortly after it was reported that Ellie had walked out of the villa for good, and shocked fans instantly took to social media to predict it was the catalyst. Taking to X, formerly known as Twitter, one fan said: “Finley has said he is bored of Ellie ??” and another said: “I don’t want to believe Ellie self-evicted for a man who literally said he got bored of her.”

Another said: “Omg Finley said that and they were all in ears to take Ellie back woow see how they are all in each other’s business but will be coming for Julia!”

Another wrote: “Oh was that boring comment to do with why Ellie left?” and a fifth said: “Finley said he’s bored with Ellie! That boy just keeps humiliating her!” On Facebook, one fan explained: “The received a statement that said this couple is one sided and one person is bored, which Finley had said to Kav in private apparently and it never came out, Ellie was clearly upset.”

Another replied: “OMG that heartbreaking for Ellie” and left a sad face emoji to emphasise how they felt. Just before the episode aired, it was reported that Ellie chose to quit the programme altogether, reportedly stemming from hearing the results of a viewer poll for favourite boy and favourite girl, even though she was not dumped by the public.

A source previousky said: “Viewers have seen Ellie threatening to leave across recent episodes, so the news of her now quitting won’t feel like a surprise.

“But in real time, her and Fin reconnected at the recoupling a few days ago so her decision to now leave is a shock. Viewers will see the dramatic action play out in an episode soon.”

The reality star had threatened to quit before, when it looked like Finley had begun to take an interest in Elicia Bailey. In Tuesday night’s episode, she was apparently back together with him, but that was all filmed days ago, and now Ellie has actually left.

Speaking to The Sun, the source added: “The whole fallout of the vote was electric and is going to make for amazing TV. Everyone was devastated that Ellie left, and viewers will definitely be left scratching their heads.”

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Only a few days ago, Paramount Skydance’s planned $111-billion takeover of Warner Bros. Discovery appeared to be on the glide path to completion.

The deal, which would be the largest merger in Hollywood history, had won approval from several foreign governments and, on June 12, Justice Department antitrust regulators.

The Justice Department’s assent looked to be a major step toward fulfilling the ambitions of David Ellison, the son of multibillionaire tech tycoon Larry Ellison, to bring together Paramount and Warners, which owns CNN and CBS among other properties, under one roof.

The Justice Department’s action ignited suspicions that the Ellisons had profited from their support of President Trump. But it has turned out not to be the last word on the deal. The very next day, California and 11 other states filed a motion to block the merger, stepping in where the Justice Department chose not to tread.

“I will not let Warner Bros. and Paramount merge without a fight,” California Atty. Gen. Rob Bonta said in announcing the states’ action. A hearing on the motion is scheduled for Friday in San Francisco federal court.

There’s more to this development than an effort to block Ellison’s attempt to repave the entertainment landscape for his own benefit, even though, as my colleague Meg James reports, the states’ motion “poses a major headache” for Ellison. It’s also a pointer toward a major restructuring of antitrust enforcement in the United States.

Customarily, state regulators have piggybacked on antitrust cases brought and managed by the federal government. The feds generally have greater resources than most individual states to conduct the investigations that can lead to antitrust lawsuits. States often have relied on the government to craft consistent and coherent theories of antitrust law to undergird their lawsuits.

But the Trump administration’s apparent pullback from aggressive legal pursuit of allegedly anti-competitive mergers has left a vacuum that states have moved to fill. That’s what’s driving their motion to block the Paramount-Warner Bros. deal.

Dating back to the first Trump term, California and other states have enacted new laws resembling federal statutes requiring merger proponents to provide detailed information about planned deals.

States also have filed their own lawsuits to challenge anticompetitive conduct by pharmacy benefit managers and algorithmic pricing that has driven up housing rents via alleged collusion.

States may have an advantage over the federal government in that their regulators can move faster on complex cases than the feds. That’s what happened in the fight against the proposed 2023 merger of supermarket companies Kroger and Albertsons, something that was widely feared to presage higher prices at the shelf.

Although the Federal Trade Commission moved to block the merger, so too did Oregon, Washington and nine other states in court. The companies called off the merger after a state court in Washington and a federal court in Oregon, ruling on that state’s lawsuit, simultaneously enjoined the merger on Dec. 10, 2024. One day later, Albertsons dropped the proposal.

Some supporters of effective antitrust enforcement suggest that the states’ involvement in these cases could be an effective counterweight to the mercurial approach taken toward enforcement under Trump, which seems to be driven by personal pique, as Paul Glastris, editor of the Washington Monthly, has written.

In 2017, Trump’s Justice Department sued to block AT&T’s acquisition of Time Warner, driven by Trump’s irritation over the coverage he received from CNN, which was owned by Time Warner. (I described the lawsuit as Trump’s doing the right thing for the wrong reason.) The merger eventually went through.

The best example of the states’ willingness to supplant the feds as antitrust enforcers in chief is the antitrust case against Live Nation Entertainment. The federal government and 30 states originally filed the case in 2024 in federal court in Manhattan. The lawsuit sought to break up Live Nation, which has controlled scores of top concert venues, in part by forcing it to divest Ticketmaster, the leading entertainment ticketing firm.

A few days after the trial began this spring, the Justice Department reached a settlement with Live Nation. The settlement led to accusations that the White House interfered in the Justice Department’s work on the case, including that Trump himself personally pushed for a settlement and that the deal was reached without the participation or even the knowledge of the Justice Department lawyers handling the case or of the state attorneys general who were participating. The White House referred my request for comment on these accusations to the Justice Department, which didn’t respond.

The states, asserting that the settlement wouldn’t cure Live Nation’s alleged violations of antitrust law, took over the lawsuit — and won. In mid-April, a federal jury found that Live Nation had maintained a monopoly over the live events business, exposing the company to the states’ claims of as much as $700 million in damages and a possible order that it sell Ticketmaster. The company says it will appeal.

The history of antitrust enforcement in the U.S. generally resembles the complaisant stance taken under Trump. Since the enactment of America’s first antitrust statute, the 1890 Sherman Act, industry has generally benefited from lax enforcement, in part because antitrust theory has been ever-changing. During the New Deal, President Franklin Roosevelt suspended antitrust enforcement so his National Recovery Administration could pursue its mandate to suppress industrial competition, which was thought to drive up prices and thereby foster the Great Depression.

The Supreme Court overturned the National Recovery Administration in 1935, though it had already lost credibility. Roosevelt responded in 1938 by appointing Thurman Arnold, a critic of existing antitrust theory, as the Justice Department’s antitrust chief. In his writings, Arnold implied that antitrust law as then interpreted was a fraud aimed at acclimating consumers to ever-larger business combinations through the pretense that “unfair” or “immoral” deals would be barred.

Arnold’s appointment marked what may have been the most productive period in antitrust enforcement. By the time he departed for a federal judgeship in 1943, he had brought more than 50% of all the cases brought under the Sherman Act in its half-century of existence. He broke the auto industry’s stranglehold on consumer auto lending, and started a case that concluded with the Hollywood studios’ forced divestment of their theater chains.

Since then, there have been a few notable antitrust successes, including the 1982 breakup of AT&T. That resulted from a Justice Department antitrust lawsuit launched in 1974. But the consolidation of major industries into fewer and fewer participants, especially in entertainment, has continued with very few roadblocks.

Occasionally, an aggressive enforcer comes into office. That happened under Lina Khan, whom President Biden appointed as chair of the Federal Trade Commission. (The FTC shares antitrust oversight with the Justice Department.)

Khan’s published academic work had taken aim at what she called the lax antitrust treatment of companies such as Amazon. Her argument was that antitrust enforcers’ focus on whether a monopolizing company brought consumers lower prices overlooked the longer-term consequences of giving companies the unfettered right to build market share at the expense of competitors and the free market.

Amazon “has evaded government scrutiny in part through fervently devoting its business strategy and rhetoric to reducing prices for consumers,” Khan wrote in a key article. Once it reached a critical mass, she argued, nothing would stop Amazon from extracting monopoly rents from consumers.

Khan’s aggressive stance on antitrust law earned her the enmity of targets such as Amazon and Facebook, which tried to force her to recuse herself from FTC cases against them. She refused, but due to corporate distaste for her policies, Trump replaced her as FTC chairman on his inauguration day last year.

The Paramount-Warner Bros. deal could be a key test of states’ authority and willingness to take over antitrust enforcement from the federal government. That’s because they’ll be fighting not only resistance from the merger partners, but the government’s conclusion that the deal poses no threat to consumers.

On the other hand, their case at least will be free of the suspicion that the government’s approval owed more to Trump’s friendship with the Ellison family than to sober, painstaking analysis of how reducing the number of big entertainment companies from five to four would be good for the rest of us.

London — It’s a scorching day and the city feels blanketed by the heat. Even the unusually strong air conditioning in a suite at the Raffles hotel is no match for the temperature. Octavia Spencer immediately peels off her jacket after entering the room and realizing there are no cameras present for our interview. Hannah Waddingham, her co-star in “Ride or Die,” kicks off her heels as they settle onto a plush sofa.

“You’ve seen that we look nice,” Spencer says. “So now we can do this.”

There’s a relaxed, familiar vibe between the actors. They didn’t know each other prior to filming the series, now streaming on Prime Video, but they did develop a real-life friendship during production in Prague last year. It was perhaps inevitable considering that “Ride or Die,” created by Tessa Coates, is about two best friends whose relationship is upended when one of them is revealed to be a professional assassin.

Spencer, 56, plays Debbie Claybourne, a lawyer whose career has been put on hold due to her British husband David’s political aspirations. The actor was approached by Skydance, now part of Paramount, as part of a development deal with the studio. She said yes almost immediately, and by happenstance both she and the producers imagined Waddingham, 51, in the role of Judith Burton, a skilled assassin who works for a shady organization run by the Director (Bill Nighy).

“It was always just the two of us for these roles,” says Spencer, who won an Oscar in 2012 for “The Help.” “We did a Zoom and I was sitting there thinking, ‘I hope she says yes.’”

In “Ride or Die,” Spencer plays Debbie, a lawyer and wife of a British politician, who is best friends with secret assassin Judith, played by Waddingham. (Dusan Martincek / Prime)

“It’s Octavia Spencer and I’m thinking, ‘Be cool, be cool,’” Waddingham chimes in. “Octavia and Tessa start telling me the plot and at the end I said, ‘Who the hell are you going to get to play Judith?’ Octavia’s face filled the whole screen and she said, ‘We want to make you Judith, dummy.’”

Each professes to be a fan of the other, but Spencer is particularly effusive. She admits to initially having to remind herself that Waddingham is, in fact, an actual person and not Rebecca Welton, her character on “Ted Lasso.” She turns to her co-star. “We know you’re a brilliant comedian, but you also showed us in ‘Game of Thrones’ this depth,” Spencer tells Waddingham, adding, “With her beauty and that statuesque presence she has, this role was literally written with a woman of her caliber in mind.”

Waddingham turns red. “I’m not good when she does this,” she admits.

“Well, it’s very true,” Spencer responds. “I think it was kismet. I knew it was meant to be when we were at the upfronts for Amazon and we were in the wings with Will Ferrell and Reese Witherspoon, just chatting it up. I’ve always had severe stage fright. They walked out and I got really quiet, centered myself, and then I felt these arms around me. She wrapped me up from behind, and it was like, ‘OK, I’m good.’ That’s what it has felt like this entire process.”

Waddingham’s memory of that day, her second time meeting Spencer after their first call, is slightly different. “Octavia is so established in Hollywood,” she says. “I’m still a newcomer in this town. So I was having the worst impostor syndrome that day. I was thinking, ‘I look like a competition winner.’”

Nerves settled by the time the production started in January 2025. Before joining forces in Prague, Waddingham flew to Ischgl, an Austrian ski town known for its party vibe, to shoot the show’s opening sequence. The James Bond-style scene introduces Judith as talented, serious and a bit of a loner. That perception is quickly upended when the character arrives at Debbie’s home in London for their book club meeting and the duo begin singing along to Salt-N-Pepa’s “Shoop.”

“Octavia is so established in Hollywood,” Waddingham says of meeting her co-star. “I’m still a newcomer in this town.”

(Bexx Francois / For The Times)

“That was our first scene together and we didn’t plan anything or talk about it,” Waddingham says. “But we had an unspoken, organic process.”

“We had a lot of trust,” Spencer adds. “I knew she was going to come in with 1000% and that I was going to too. Some of those things you figure out when you’re on the set and some of those things just happen in the moment.”

Showrunner Matt Miller points to the scene as evidence of the actors’ “instant chemistry.”

“It really feels like this is a friendship that has endured 25 years from the moment they get on screen,” Miller says, speaking with Coates over video call later. “From the second you see them dancing around, you’re like, ‘Oh yeah, these two are best friends.’”

Coates and Miller wanted to ensure that the characters’ history was baked into the scripts. They’ve been friends for decades, so there had to be a shorthand between them that was immediately apparent and they had to be on equal footing. The duo are forced on the run across Europe, dogged by their past, and successfully get themselves out of danger.

“These characters came from a great desire to see women like this on screen,” Coates says. “So many stories suggest aging is the worst thing that could possibly happen to you. But what if getting older seemed really cool and you got wiser and better at your job and gave less of a s— about things?”

Coates adds they wanted both characters to be competent and clever women who happen to be thrown into difficult circumstances.

“Women in their 50s are just as capable, just as beautiful, just as sexy,” Spencer says. “We’re just aging.”

Spencer and Waddingham, both executive producers on the series, never sought top billing over the other. Although the show is ostensibly an action comedy, they wanted to ground it in real emotions. Everything is tethered to this friendship.

“Women in their 50s are just as capable, just as beautiful, just as sexy,” Octavia Spencer says. “We’re just aging.”

(Bexx Francois / For The Times)

“There couldn’t be one more important than the other,” Waddingham says. “The thing they say about relationships is that when one is at 90 and the other is at 10, or one is at 80 and the other is at 20. That’s what this had to be straight away. If you have that pendulum back and forth, you can create magic.”

Although both characters find small romances throughout the story, men are sidelined for the far more important relationship: their own. And it’s not always an easy partnership between them.

“There is a love story at the center of this,” Spencer says. “It’s not a romantic love story, but it is a familial relationship. It’s contentious, and the relationship is fractious at points.”

Waddingham adds, “You have to be able to call each other out, and then get through that storm and let the water settle.”

Still, there is a lot of action in “Ride or Die.” Judith frequently kicks ass, often taking on groups of imposing men. It’s deeply satisfying to watch Waddingham, who did most of her own stunt work, take these men down.

“In theater, I never had an alternate,” she explains. “I’m not usually Method, but with this I thought my exhaustion from fighting and the stunt training would lend itself to Judith’s exhaustion and her frailty. It wasn’t particularly healthy, if I’m honest, but that fractured tiredness really helped play the role.”

She adds, “It’s a real art form. The first stunt work I did was on ‘The Fall Guy’ and learning to stop before you punch someone in the face is hard.”

“That’s why I was terrified for you,” Spencer interjects. “Because I did punch somebody in the face. The only other time that I actually had to do stunts was on ‘Snowpiercer.’ It was so exciting watching you, but then I was like, ‘Somebody could hit her for real.’”

Waddingham felt added pressure knowing Judith’s background. “She’s not just an assassin, she’s a notorious assassin of 30 years,” she says. “If you see her punching someone, like when we’re running out of the gala, that punch can’t be some girly thing. You have to believe she can do it perfectly and effortlessly.”

Waddingham did much of her own stunt work in “Ride or Die.” “It’s a real art form. The first stunt work I did was on ‘The Fall Guy’ and learning to stop before you punch someone in the face is hard.”

(Bexx Francois / For The Times)

Both actors approached the show with complete dedication. Waddingham and Spencer appear in almost every scene, which vacillate between action, comedy and drama. Debbie, named after Coates’ mother, feels betrayed by Judith and her husband, who is involved in shady dealings with an Albanian gang. “There were the rigors of it physically, but there was also the emotional rigor of it,” Waddingham says.

“It might have been the most challenging job that I’ve ever done,” Spencer agrees. “The most challenging, but also the most gratifying. I knew I would not be called upon to do any stunt sequences, but I did have physical stuff I needed to do. And then dealing with the emotional weight of Debbie discovering that two very important relationships are not at all what she thought they were was a lot.”

She pauses. “But you know what, why not?” she continues. “We don’t want to be in a comfortable place all the time. You want to know you completed something that was very difficult to do. I feel very proud now, looking back.”

“We couldn’t have left our hearts and our bodies and our brains on it any more than we did,” Waddingham agrees. “It is splattered with us. I’ve been very privileged to go from ‘Ted Lasso’ to this, because ‘Ted’ is a very hard act to follow in terms of that constant and emotional push and pull. This has that as well.”

While filming “Ride or Die,” Waddingham found out Apple TV had greenlit a fourth season of “Ted Lasso,” which premieres Aug. 5. She wasn’t expecting to be pulled back to her Emmy-winning role of Rebecca after the series ostensibly concluded in 2023. “I didn’t know anything about it,” she says. “No clue.”

“We found that out together,” Spencer says.

Waddingham had only two weeks off after wrapping “Ride or Die” before flying to Kansas to film the first episode of Season 4, which sees Rebecca attempting to lure Jason Sudeikis’ Ted back to London to coach Richmond’s women’s soccer team. The rest of the series then shot in England. The new episodes keep Rebecca as one of the emotional cores of the show.

“I haven’t really stopped since then,” Waddingham says. “When I’m older, I’m going to have a little sleep. But this is what you wait for in your life.”

For Spencer, “Ride or Die” has raised the bar on what type of project she wants to do as a producer and as an actor.

“It is hard to get things made,” Spencer says. “I don’t have time to do things just for a paycheck. It has to resonate with me because your time and health are your most valuable commodities, and time is something that you have no control over. As an artist, I want to be fulfilled and when you get a project like this now everything has to compare. I’ve learned to be very discerning.”

She gestures to Waddingham. “Don’t you want to be excited about things?” she asks.

“Yes,” Waddingham agrees. “And it just doesn’t happen very often. But this was remarkable from the beginning. To be able to spend a couple of days together right now and regroup, it’s almost like a therapy session. We’ve had distance to reflect on all the good and all the exhausting, and on what we have created together. I know that neither of us will ever forget this.”

Spencer nods. “It is a dream. I feel very fortunate that we get to look for projects like this for ourselves and have an active voice in procuring those things for ourselves and for other people. But you dream it, and then you get something like this, and it surpasses everything you ever thought you could want.”

Fearne Cotton has revealed she was shouted at by a “burly” Vatican security guard after she broke one of the Sistine Chapel’s strict rules during a freebie trip to Rome.

The telly presenter was caught snapping pics of Michelangelo’s famous ceiling, despite their being a photography ban.

Fearne confessed her first reaction was to tell the guard to “f**K off,” after he caught her in the act.

The 44-year-old claimed she’s “not very good at rules” and only follows them when they “make sense.”

Speaking on her Happy Place podcast, Fearne attempted to defend the rule break, claiming she completely missed the announcement warning visitors that cameras and phones were off-limits inside the chapel.

Fearne’s faux pas unfolded during her recent European getaway, which was a paid partnership with British Airways Holidays.

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The mum-of-two said: “When I was in Rome. I went on a short city break, and obviously, when you go to Rome, what do you do? You go to the Vatican, because it’s famed for the Vatican, and it’s a beautiful place to walk around.”

She explained that she was excited to see the ornate ceilings up close, specifically the Michelangelo one.

“I was desperate to see that in real life – and obviously take a photo of it. I got in there, I didn’t realise you’re not allowed to take photos. I’d missed that tannoy announcement, and I went to take a picture,” said Fearne.

“I got massively reprimanded, shouted at by a very burly Italian security guard, which should have freaked me out and made me go, ‘Oh god, I’m so sorry,’ but instead, I wanted to go, ‘F***k off!’”

The podcast host added: “I would never do that in the Sistine Chapel, obvs.”

But, Fearne was left furious after the incident and said it was because she “doesn’t like people telling me what to do.”

She said: “I was so riled. Like, I want to take a picture of it, I’ve got my flash on, why is it a problem?

“I also understand and respect that there are religious reasons, potentially, as to why I shouldn’t be taking the picture – I’m assuming, because I’m not quite sure why else.”

The Vatican Museums rule book states that while visitors may take snaps for personal use in most of the complex, it’s forbidden in the Sistine Chapel.

Photography, flash photography and filming using any electronic equipment is strictly not allowed throughout the museums, and guards have the power to demand visitors delete images taken in breach of the rules.

Phones are also banned inside the chapel, where visitors are asked to remain silent out of respect for the sacred setting.

Exploiting racism has been a profitable strategy in Hollywood since the dawn of filmmaking: 111 years ago, D.W. Griffith’s film “The Birth of a Nation” was incredibly popular and influential, while also being so racist that it was considered controversial even in its own day.

The industry saw immediately just how lucrative fear could be. More than a century later, there is always someone in the entertainment media willing to trade in racist tropes for money, as well as an audience ready to receive them.

Two new films, “Citizen Vigilante” and “Run, Fight, Hide: Infidels,” demonstrate that streaming platforms and social media no longer simply distribute controversial content but in fact thrive on content that provokes, polarizes and sustains attention, regardless of the social cost.

Both of these xenophobic and Islamophobic films are being pushed as “anti-woke” vehicles, deliberately engineered to bypass traditional critical reception and capitalize on a fractured media ecosystem. “Citizen Vigilante,” which features an American protagonist killing dark-skinned immigrants and Muslims in an unnamed European setting, was denied a rating certificate by the German government for inciting violence. Yet despite that determination, the film secured global reach through decentralized digital distribution and high-profile promotion from Elon Musk.

Similarly, “Run, Fight, Hide: Infidels” — a campus siege narrative evoking 1980s action film nostalgia that leans heavily into outdated, post-9/11 anxieties — relies on a built-in conservative media apparatus to guarantee financial returns. The film is produced by the conservative media figure Ben Shapiro and the Daily Wire, which he co-founded. It is a sequel to a 2020 film that was their film company’s premiere.

But while promoters of such films frame their work as a brave rebellion, the reality is much more sinister: rehashing 40-year-old tropes while invoking conspiracy theories of Muslims bringing sharia law to America, because outrage is cheap to produce and easy to monetize.

Stories matter. Stories shape how we see one another. They influence what we love, what we celebrate, whom we trust, whom we understand and whom we fear.

Since January, the Muslim Public Affairs Council has documented a sharp escalation in threats and attacks targeting Muslims and Islamic institutions across the United States, including vandalism, shootings, bomb threats, attempted assassinations and physical assaults. These are not isolated incidents. They reflect a broader climate in which dehumanizing representation increasingly manifests as real-world violence.

Entertainment and politics increasingly employ the same tactic as one another, recycling narratives of fear and “otherness” to mobilize audiences, voters and consumers. When political leaders encourage those narratives, as President Trump recently did by amplifying and commenting on a photo of young Muslim American students in hijab, they further normalize the same stereotypes that entertainment companies have learned to monetize.

Yet while the social costs continue to mount, the economic incentives remain firmly intact. “Citizen Vigilante” earned a 93% audience score on Rotten Tomatoes despite receiving just a 6% critics’ score. More tellingly, it quickly climbed to the top of Amazon’s and Apple TV’s paid video-on-demand charts.

And this isn’t just a Muslim and immigrant issue — and it’s not only about who is portrayed on screens, but also who is not. Representation has been backsliding, and audiences are left with fewer opportunities to see the reality and humanity of diverse communities, making them more vulnerable to fear-based narratives.

According to a 2026 report from the nonprofit Define American, which tracks representation across television and film, Latinos account for only 23% of immigrant characters represented on screen, even though they make up more than 40% of the immigrant population in the United States. In 2020, 50% of immigrants on screen were Latino.

The industry’s defense is that whitewashed and xenophobic films reflect audience demand. But the recent research by Define American challenges this assumption. Data show that nuanced, multidimensional storytelling, in which immigrants and minority characters are woven into the fabric of everyday narratives rather than tokenized or villainized, actually leads to greater audience engagement and deeper systemic understanding.

Entertainment doesn’t simply reflect culture; it teaches us who belongs within it. Studios, distributors, streaming platforms and filmmakers all have a responsibility to reject narratives that portray immigrants as enemies and instead embrace stories that reflect the diversity and complexity of our world. At the same time — as with voters — the power ultimately rests with consumers. The choice to demand storytelling that challenges prejudice rather than profits from it belongs to all of us.

Sue Obeidi is the senior vice president of the Muslim Public Affairs Council Hollywood Bureau. Jose Antonio Vargas is the founder of Define American.

Two new stars will be joining the latest Celebrity Gogglebox line-up as they showcase their TV opinions on the popular Channel 4 show

Rock stars and longtime friends are joining the Celebrity Gogglebox sofa this week.

Making their debut on the show, Jake Shears and Josh Homme will give their opinions on the week’s biggest TV moments, combining their close friendship with their signature wit.

Best known for fronting Scissor Sisters and Queens of the Stone Age, Jake and Josh have spent years performing to huge crowds around the world and building careers that have sold millions of records.

This time, they’ll be watching from the comfort of the sofa, sharing their candid, entertaining reactions to the programmes that have everyone talking.

Talking about his appearance, Jake said: “Josh and I have spent years making noise for a living, so sitting on a sofa and talking over the television felt surprisingly natural. We laughed far more than we probably should have and somehow got away with calling it work. It was a longtime dream to be part of Celebrity Gogglebox.”

Meanwhile, Josh said: “You’ve never watched anyone watch TV until you’ve watched Josh and Jake watching TV. And then you know you’ve watched it. So set your watch for 9pm on Friday. We are breaking ground that should largely have gone unbroken.”

It’s a busy week for Queens of the Stone Age frontman Josh, as the band has unveiled plans for their new album, Everything Under The Sun.

The upcoming release marks the American rock group’s first studio album in three years. They also dropped the lead single, Easy Street, on Tuesday, featuring guest vocals from Nikki Lane.

Fans may already recognise the song after it made its live debut during the band’s Catacombs tour last year.

Elsewhere in the new series of Celebrity Gogglebox, singer Mollie King will be joined on the sofa by her partner, former England cricketer Stuart Broad.

Olivia Attwood has been taking part in the latest series alongside her mum, while her partner Pete Wicks has been appearing separately with his close friend Vicky Pattison.

The new season has also welcomed back a host of familiar faces, including Vernon Kay and Paddy McGuinness, Bez and Shaun, Roman and Martin Kemp, Ashley Banjo and Perri Kiely, Nick Grimshaw with his niece Liv, the Mangans, and Rylan, who once again joins his mum Linda on the sofa.

Celebrity Gogglebox airs this Friday at 9pm on Channel 4.

ABBEY Clancy and Peter Crouch have been accused of boasting about their wealth as they revealed they’ve moved to Portugal while their £3m UK mansion is renovated.

The Sun exclusively revealed last month, that the football legend, 45, is set to feature alongside his model wife, 40, and their four children, in a new fly-on-the-wall documentary.

The couple, who co-present The Therapy Crouch podcast, regularly delve into the ups and downs of married life.

Peter read out a question from a listener which asked: “Have you completely relocated to Portugal or are you there while renovating your home?”

Abbey replied: “Obviously we sold our house, we were looking for a new house, we thought we would try living in Portugal for a bit.

“We’ve absolutely loved it and you know it works perfectly for us because you know we can renovate our new place and all come back and it’ll be done.”

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Abbey explained that it had been a nice change and that she didn’t regret it at all.

She added: “The kids have loved it and you know it’s just been a great experience.”

However, some fans thought they were boasting about their wealth and one commented bluntly: “Yeah when you have bagfulls of money, yeah try another country.”

“Bet they’re in Quinta do Lago as it’s very fancy,” added another.

The couple were previously criticised by fans for ‘flaunting’ their enviable £3 million mansion while hosting a lavish Asian-inspired banquet.

The pair were giving a tour of their luxury estate prior to hosting an extravagant dinner party with lavish catering provided by London’s Nobu.

The multi-million pound property featured its own luxury cinema room and a spacious home office for Peter and his trophies.

Fashion-savvy Abbey had her own walk-in wardrobe, while the outside area boasted a ‘magical’ and ‘peaceful’ garden complete with a high-tech BBQ and swimming pool.

One fan commented: “We get it, you’re loaded. Well done.”

A second added: “How they live, we don’t need to know.”

“Once upon a time I might have thought this was amazing – now I’d rather cook a meal myself in my little house and listen to some music with my children,” mused a third.

Another user agreed: “I take it the ‘normal’ person can also get this or what’s the point in posting this other than to show off?”

PIERCE Brosnan, 73, has been spotted with his rarely seen wife Keely, 63, as they went out to lunch at celebrity hotspot E. Baldi in Beverly Hills.

The former James Bond actor, was all smiles as he left the restaurant with a bag and a cold drink.

Keely, looked stunning in a white summer dress and lemon cardigan which she paired with Chanel sandals and sunglasses.

The pair looked as loved up as ever as they drove back home after their lunch date.

Pierce and Keely have been married for 25 years and met at a beach party in 1994 – she was a journalist and had flown out to interview Cheers actor Ted Danson, who had attended the same party.

When Ted left, Keely found herself talking to Pierce, and the two hit it off.

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They shared their first date a few days later in Mexico, sitting under the stars as they held hands and talked until 3am.

The couple married at Ballintubber Abbey in County Mayo, Ireland, in 2001, just six months after welcoming son Paris.

“He was captivating. Tall, dark, and handsome. Everything that everybody would immediately be attracted to,” she said.

“He had a mischievous sparkle in his eyes.”

Pierce has said that when he first laid eyes on sultry brunette Keely at the beach party, he fell head over heels.

But in January this year, Pierce, who says he still fancies the pants off his “passionate” wife who makes him “weak at the knees”, was left blindsided by a cruel post targeting Keely online, which ended up going viral. 

Shared on X, it featured two snaps: one from the 1996 Governors Ball for the Academy Awards and another of the couple at the 2008 Mamma Mia! premiere.

The vile troll captioned it: “Dear men, this is why marriage should be avoided.”

The cutting words, which took a cruel swipe at Keely’s weight, sparked outrage. She was inundated with comments of support.

But insiders told us that Pierce, who shares sons Dylan, 29, and Paris, 25, with Keely,  has reached his limit with it all.

A pal of the star told me “He was really furious about it and finds it incredibly sad that their whole marriage is reduced to talk about Keely’s weight. 

“It is truly devastating for him that her body is all anyone talks about. For him, Keely is everything.”

Pierce has described his wife, who he tenderly calls “my girl”, as “a strength I wouldn’t be able to live without”.

He gushed in the past: “I love her vitality, her passion. When Keely looks at me, I go weak at the knees.”

Last week teaser images were released of Pierce in MobLand alongside telly hardman Tom Hardy and Dame Helen Mirren in what is gearing up to be the most explosive season yet.

The new series will see a beloved TV star explore the world’s most luxurious hotels

Channel 4 have confirmed a brand new travel series with a TV favourite as host.

Fronted by First Dates star Fred Sirieix, the travel show titled Fred’s Ultimate Hotels will see the star explore the world’s most luxurious hotels.

The hospitality expert is swapping the restaurant floor for the open road to spotlight some of the most breathtaking places to stay.

From the regal splendour of The Royal Mansour in Marrakech and the stunning Royal Madikwe safari lodge in South Africa, to the timeless grandeur of Raffles Singapore, Fred will travel the globe checking into the world’s most spectacular hotels.

He will take viewers behind the scenes to reveal the people, precision and passion that create world-class service. During his stay, he uses own Five Fs: First Impressions, Facilities, Flawless Service, Fine Details and Feeling.

But this is far more than a luxury travel series. In every episode, Fred experiences each hotel from both sides of the reception desk.

First checking in as a guest to enjoy everything the property and destination have to offer, he then swaps five-star luxury for staff uniform, working alongside the teams responsible for creating seamless guest experiences.

Speaking about the new show, Fred said: “People often think the secret to a great hotel is the building, the food or the luxury.” Of course, those things matter but for me, it’s always about the people.

“The welcome, the attention to detail and the passion of the staff are what turn a wonderful hotel into an unforgettable experience.”

Every episode ends with Fred presenting his Hospitality Hero Award to one exceptional member of staff. Fred remarked: “It was an incredible privilege to work alongside some of the world’s best hospitality teams and to see first-hand the pride they take in what they do.

“I hope viewers will discover some extraordinary places, but more importantly meet the remarkable people who make them so special.”

Jannine Waddell, Executive Producer at Waddell Media, said: “Fred is the perfect host for this series. As one of the world’s leading hospitality experts, he knows exactly what it takes to deliver truly exceptional five-star service.

“But what makes Fred so special is that he’s never afraid to roll up his sleeves and get back to the job he loves. Whether he’s checking in guests, working front of house or supporting the team behind the scenes.

“He has enormous respect for the people whose passion and dedication create unforgettable experiences.”

Fred’s Ultimate Hotels is due to air on Channel 4 later this year.