show biz

DAVID Beckham kissed his wife Victoria on their “special” family holiday – without estranged son Brooklyn.

The former footballer, 51, took to his Instagram stories to give fans a sneak peek into the holiday as the Beckham clan visited Spain, France and Italy.

David and Victoria, 52, were joined on the trip by their children Romeo, 23, Cruz, 21 and 15-year-old Harper.

Also there were his mum Sandra, Victoria’s dad Tony and Romeo and Cruz’s girlfriends Kim Turnball and Jackie Apostel.

Their estranged son Brooklyn and his wife Nicola Peltz were of course noticeably absent from the trip.

In one snap that David uploaded, he and Victoria were seen enjoying a smooch while on a boat in Ibiza, Spain.

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Another showed the pair swimming in a stunning blue ocean as he penned: “Someone doesn’t love the ocean but she loved this moment.”

He posted individual pictures with Harper and his mum as he told them he loved them.

In one particular photo, the family are seen sitting around a table for dinner as David writes: “Family moments. Love you all.”

Brooklyn, 27, and his wife Nicola, 31, have been estranged from his family for the past three years.

While his family enjoyed their European holiday, he and Nicola posed up a storm in bed selfies as they were joined by their pet pooch.

The two were seen snuggled in their bed as they cuddled each other in one snap.

The chef released a bombshell statement in January and suggested public image and Brand Beckham was the biggest priority to his mum and dad.

He alleged that his mum cancelled making his wife’s wedding dress in the eleventh hour.

He claimed she was excited to wear one of Victoria’s designs and had to urgently find a new dress at the last minute.

He went on to say his mum called him “evil” for choosing to include his Nanny Sandra and Nicola’s Naunni on their table at the wedding because they didn’t have their husbands.

Brooklyn also claimed that his mum hijacked his wedding dance to dance “very inappropriately” on him and alleged she invited women from his past into his current life.

The former photographer said his parents cared more about keeping up with “Brand Beckham”.

Victoria said in an interview that when it comes to parenting, she has “always tried to protect” her children.

She told Emma Grede on her podcast: “Our children have had a very different upbringing to myself and David and I think the world is also a very different place now then to what it was when they were younger.”

The Beckham clan have made several attempts to lend olive branches to Brooklyn on social media, mentioning him on birthdays and special moments.

However, he’s remained firm on his decision to keep away from them as he continues his life in Los Angeles with Nicola.

Summer is nearly over and TV is gearing up for winter TV, and this Love Island star could be the new face of the jungle

Love Island favourite Chloe Burrows has been tipped to be heading Down Under after reportedly entering talks for this year’s I’m A Celebrity… Get Me Out Of Here!

The 30-year-old shot to fame on Love Island in 2021 and proved a huge hit with viewers, eventually finishing runner-up alongside her then-boyfriend Toby Aromolaran. Now producers are allegedly keen to sign her up for I’m A Celeb, with Chloe said to be enthusiastic about swapping her home comforts for life in camp.

She is said to have held a number of meetings with bosses behind the ITV jungle show ahead of its return to Australia later this year.

A source told The Sun: “Chloe is in advanced talks and they love her. She was hugely popular in Love Island. She made it clear she’d love a chance to go to Australia to be on the show.”

Her sizeable online following is also reportedly attractive to producers as ITV continues to bring social media personalities into the jungle.

The insider added: “She has a very big following on social media too, very much like Angry Ginge and GK Barry, and ITV bosses think she could bring in a younger audience.

“ITV moves with the times. They’ve seen the surge of popularity with influencers.”

YouTuber and streamer Angry Ginge was crowned King of the Jungle last year after securing 13million votes, while podcaster and social media star GK Barry finished fifth in the 2024 series.

Since leaving the Love Island villa, Chloe has successfully built a career away from the dating show. She now hosts her own podcast, Chloe vs The World, and can also be heard on Kiss Breakfast alongside Strictly Come Dancing star Tyler West.

It wouldn’t be her first experience of being pushed outside her comfort zone on reality television either. Last year, she signed up for Celebrity SAS: Who Dares Wins, although her time on the gruelling Channel 4 programme was short-lived. She chose to leave the process during the second episode after struggling with its demanding challenges.

If she does sign on the dotted line for I’m A Celeb, Chloe is expected to fly to Australia’s Gold Coast ahead of filming beginning in November.

She isn’t the only famous face being linked with this year’s line-up. Paralympian and television presenter Ade Adepitan, 53, and Gavin & Stacey actress Joanna Page, 49, have also reportedly been approached about taking part. It’s worth nothing, however, no contestants have yet been officially confirmed.

After The Mirror reached out for comment, ITV said, “Any names suggested for I’m A Celebrity…Get Me Out Of Here! are just speculation.”

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

A special type of indie film teaches you how to see it as you watch it — not as an instructor might a student, but as an ally would a new acquaintance. Shatara Michelle Ford’s sophomore feature, “Dreams in Nightmares,” about a road trip, a friendship and a Black queer landscape anchored by care, has that quietly confident appeal, like being invited into something intimate, then let free when your curiosity is at its zenith.

Ford made their name with the micro-indie, micro-focused “Test Pattern,” an act of upending as it dissected an interracial relationship’s fault lines in a moment of crisis. (It’s on the Criterion Channel now.) This time, with the drive of a born iconoclast, Ford sheds plot even further — save the loose construct of three besties in search of their absent fourth. What emerges, as the plot spans a North America whose inviting (or alienating) textures are attentively captured by cinematographer Ludovica Isidori, is an ode to the centering of chosen family when the realities of life, especially for people of color, always seem to demand soul-crushing acquiescence.

For creative writing professor Z (Denée Benton), recently let go from her Los Angeles-based university and uncertain about her future, a recurring dream featuring black-and-white imagery, a door and an enticing expanse of nature puts her in a journeying state of mind. Hopping to Brooklyn to connect with Tasha (Sasha Compère), a nervy consultant also recently shorn from her job, and Lauren (Dezi Bing), an emerging poet, this close-knit trio first decides to go dancing, then to seek out their celebrated artist pal Kel (Mars Storm Rucker), last heard from in the Midwest and who’s cut off all communication.

That framework, though, isn’t treated like some act-structured gauntlet in Ford’s telling. This is a road trip, after all, in that having a direction — to Pittsburgh, then Iowa City, Kansas City, Santa Fe and across the border — allows for some directionlessness, for different speeds, artful touches (conversations that become camera-facing interludes) and delicate epiphanies of feeling. The trio stops for a lively trans poetry reading. There’s a comically weird dinner with Kel’s ex, Sabrina (a scintillatingly eccentric Jasmin Savoy Brown). A stopover to see Kel’s parents (Regina Taylor and Robert Wisdom) illuminates, for better or worse, where some of these friends have come from and why moving forward matters.

In not adhering to the expected rules of conflict-based drama, “Dreams in Nightmares” can confound. But when you realize that this is exactly the point of Ford’s open-ended exploration, you begin to understand why Ford would rather create a roving, sensorial continuum that feeds intrigue (kudos to composer Ohyung) instead of cornering you. The performances bear that out, from Benton and Bing’s steady inner light to Compère’s coiled, watchful Tosha, a compelling portrait of skepticism inside this cocoon of warmth.

Yet of course, just when Tasha appears to be a fulcrum for narrative revelation, Ford re-balances everything, in waves of grace and gentleness, to remind us that sometimes the less we label, the more we’ll observe about the abiding importance of love and belonging. Ford has internalized the humanity of filmmakers like Mike Leigh, Hou Hsiao-Hsien and Jim Jarmusch. Even the most awkward parts of the film feel uniquely alive. But as “Dreams in Nightmares” wends its way to a close, it’s also easy to believe you’re witnessing a percolating virtuosity that’s all Ford’s own.

The back-to-back news this week of the deaths of Dolly Parton and Tim Curry — both at age 80 — felt like an unfair and twisted threat to our peace.

Both were extraordinary cultural forces whose screen and stage work lit up and shaped our lives, so its no wonder the emotional whirlpool led to one large group chat on social media, with fans posting favorite performance clips and interview soundbites. I took comfort in many, including Parton singing “Jolene” at the Grand Ole Opry in 1988 and eight minutes of Curry in the frantic “how it was done” climax in “Clue” (1985), which he reportedly performed so intensely he had to be taken to the hospital for high blood pressure.

Our writers captured the depth of the legacy each leaves behind.

Greg Braxton reflected on Curry’s significant contribution to the twisted image of clowns with his terrifying portrayal of Pennywise in “It.” Robert Lloyd took on highlighting the actor’s most memorable roles on TV. And in his appreciation of Curry, Steve Appleford praised how Curry’s roles “turned out wilder and more varied than he might have expected but his seriousness and sense of fun never faded, pushing boundaries and himself. No one was ever bored watching Tim Curry onscreen.” (Appleford spoke with Curry in 2025 for his final interview published in The Times; I encourage you to read it.)

Meanwhile, Mikael Wood waxed on Parton’s storytelling prowess in her music. Lloyd looked at her legacy on the small screen, where she appeared in variety shows (two of her own), specials, TV movies, guest shots, interviews and music videos — contending it’s where “much of America met Dolly.” Mary McNamara explored Parton’s unexpected persona as a feminist icon. And Emily St. Martin reminded us of Parton’s contributions to literacy.

The country music superstar’s performance in 1982’s “The Best Little Whorehouse in Texas,” which earned her a Golden Globe nomination, is one of our streaming recommendations this week. (For those seeking community while celebrating the life of Parton, AMC Theatres announced screenings for the film, as well as “Steel Magnolias,” in select locations through Sept. 2.) Our other streaming suggestion, if you need a life vest to keep afloat through the tears, is a series featuring veteran fashion police partners reuniting again — this time, to dole out critiques of fictional characters.

Also in this week’s Screen Gab, we spoke with actor Kristen Johnston about the Season 2 return of “Leanne.” Best known for her role as Sally Solomon in the hit ’90s sitcom “3rd Rock From the Sun,” Johnston has built a career bringing laughs to comedies like TV Land’s “The Exes” and CBS’ “Mom.” Lately, she’s been bringing her seasoned comedy skills to Netflix’s multi-cam sitcom, which captures the messy (and funny) experiences of women navigating midlife — like dealing with menopause or the horrors of the modern dating scene. Stand-up comedian Leanne Morgan stars as the titular character, while Johnston plays her brutally honest sister, Carol.

“Not every show has to be, you know, medieval dragons,” Johnston says. “There’s room for a couple of silly women in their 50s trying to figure it out.” Read more from Johnston in Guest Spot. In the meantime, I’m off to mix and bake a cuppa flour, a cuppa sugar and a cuppa fruit cocktail with the juice at 350 till it’s gold and bubbly. See you next week. — Yvonne Villarreal

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Recommendations from the film and TV experts at The Times

Dolly Parton as Miss Mona in the 1982 movie “The Best Little Whorehouse in Texas.”

(Universal Pictures)

“The Best Little Whorehouse in Texas” (VOD)

Dolly Parton cemented her movie star status with her feature debut “9 to 5” alongside Jane Fonda and Lily Tomlin. But outside of the irresistible title song, Parton did not sing in the film. She makes up for it with her second film, 1982’s “The Best Little Whorehouse in Texas.” Adapted from the Broadway musical, the country superstar dazzles as Miss Mona Stangley, the proprietress of the popular “Chicken Ranch” brothel. With her characteristic down-home charm, she makes her place of business seem as wholesome as apple (“There’s lots of goodwill and maybe one small thrill, but there’s nothing dirty going on,” she sings in the opening number). Parton also contributed two extra songs to the soundtrack alongside the original Broadway score, including her hit “I Will Always Love You.” — Greg Braxton

Clinton Kelly, left, and Stacy London in “Why’d They Wear That?”

(Jordan Petsy / Simple Alien)

“Why’d They Wear That?” (YouTube)

Stacy London and Clinton Kelly are back with a third “Wear” show, after “What Not To Wear” and last year’s “Wear Whatever the F You Want.” This one’s for the Stacy and Clinton fans, as it removes the clients and makeover elements and sits the hosts on a bed together in front of a TV as they critique what characters wear in the movies, viewing film through the lens of clothing, hair and makeup. (It’s very smart.) The films and actors they highlight are meaningful to one or the other — they don’t always agree — which is to say they broadly represent the tastes of people born in 1969. The range of subjects encompasses “Meatballs,” “Poltergeist,” “Best in Show,” “Gentlemen Prefer Blondes” and “The Empire Strikes Back,” in which episode you will learn that London views Darth Vader as “the Karl Lagerfeld of outer space” (“monochromatic dressing … quiet luxury and he doesn’t change — he invests in his pieces”). One episode is a tribute to Catherine O’Hara. With no one’s feelings to dance around, they can be as critical as they like, but snark isn’t the point so much as celebration and the delight of old friends sharing their own, often self-deprecating stories. Come for the analysis, stay for the laughter, or vice versa. — Robert Lloyd

Guest spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

Leanne Morgan, left, and Kristen Johnston in Season 2 of “Leanne.”

(Patrick Mcelhenney / Netflix)

In “Leanne,” Kristen Johnston plays the ultimate ride-or-die sister you want in your corner — she turns chaotic moments into fun, tells the hard truths and provides unwavering emotional support. The Netflix sitcom stars comedienne Leanne Morgan as a woman trying to rebuild her life after her husband of 33 years left her for someone else. Helping her navigate the emotional rubble is her family, including her fiercely loyal, unfiltered, twice-divorced sister, Carol (Johnston). As Leanne confronts more change in Season 2, like turning 60 and coming to terms with aging parents that require more care, Carol remains a blunt support system. Over the phone, Johnston discussed her connection to the themes explored in the comedy and the genre of TV that has her hooked these days. — Y.V.

Change continues to be a theme in Season 2. It opens with Leanne resisting the idea of turning 60 and still not ready to be alone with herself. Carol is there to remind her that she’s capable. Tell me about your 50s, Kristen. How are you feeling about this stage of your life and the prospect of turning 60?

Oh my God! Honestly, I never even thought I’d make it to my 50s. So, the fact that I’m still here is a pretty big miracle. My 50s has just continued to be about trying to figure out my place in the world and deepening my friendships with my friends, my family. That’s about it.

Are there things you used to worry about that now you’re like, “I can handle that”?

I used to worry about everything, and now I really couldn’t give a s—. I don’t live for other people’s opinions anymore, and that was probably something I lived for for a long time. When you get fame really early, you just condition yourself to not make anyone upset and not get found out by the tabloids or be stalked. I don’t know. I do enjoy really just trying to live. Other people’s opinions matter to me, but they’re not the reason I do or don’t do anything.

You and Leanne both get a chance to play with the idea of getting older early in the season with a daydream sequence about being in the retirement home. What was that like? It hits at such a big topic that many people come to grips with at some point, which is the idea of caring for aging parents.

That’s a huge topic this season, and it one it matters to me because my mom is still here — thank God. But it’s stuff that really comes up a lot. When it’s time to get them into a home, it’s so hard, and of course, they never want to go. Who would? But literally doing that scene was so great because I’m so into prosthetics and makeup. We had a lot of fun coming up with what each of us would be.

Kristen Johnston, left, and Leanne Morgan in “Leanne.”

(Patrick Mcelhenney / Netflix)

The bond between Leanne and Carol is such an important element of the show. What do you think this show really gets right about sisterhood?

It feels very real. You have one who’s a black sheep and always blamed for everything, then you’ve got one who’s the Goody Two-shoes and got married at the right time and had kids. Carol did none of that. But throughout that, and much more important than the rivalry and being mad at each other or whatever, is just this absolute unending love. And I feel very sisterly towards Leanne. I get really emotional about her because I feel like she’s my sister. They’re pretty easy scenes to act.

You’ve worked in multi-cam sitcoms across broadcast, cable and streaming. Do you feel a difference?

I don’t know if it’s as much that they’re different, but the times sure have been different. I’m from the era where we would have the head of the studio come to every taping and send us cards and thank you or call you to come over to his house for his 60th birthday or whatever. That doesn’t really happen anymore. I’m from this other era, which really felt more personal and felt more one-on-one. Now it really just feels like, “Don’t look at me. I just want thanks for the paycheck.”

And it seems hard to even gauge how well the shows are doing.

Exactly. Leanne was so nervous about all that at first, and I just said, “Look, all we can do is our our best. Let’s just be funny and have fun, and everything else is above our pay grade.” So she went with that. That’s how we kind of roll.

OK, tell me — how often are you asked about the “Splat!” episode of “Sex and the City”? How often do people come up to you about Lexi?

It’s crazy. It’s all anybody wants to talk about, any podcasters or anything. Really, I would say 80% of the conversations I’ve had in the last few weeks are focused mainly on that.

What does that tell you that a role that was a one-off could have that kind of lasting impact?

It’s the shock of what happens in that scene more than almost anything. There was kind of this angry “I’m gonna live no matter what” vibe to her. So to watch her fall to her death out of her own hubris, it’s just a perfect little encapsulation of a moment in New York City, and I think that’s why people love it. It’s also probably one of the bigger, bigger acting choices I’ve ever made. That was Michael Patrick King. I can’t believe it still matters to people, but obviously, I’m thrilled it does. I did like three takes [of the fall]. And it could have been the stunt woman [who made the cut]. I honestly don’t know who they cut to for what.

Because when people say, “Are you a Carrie? Are you a Charlotte?” A lot of people say, “I’m Lexi.”

They tell me that all the time. I just go, “Oh, babes.” I wouldn’t really want to cling to her as like an inspiration for your character, but I think what they mean is they’re probably bawdy. There are worse things to be in life.

What’s the most recent thing you watched that you’re obsessed with?

I’ve gone down the K-drama rabbit hole. And something I loved is this C-drama called “Pursuit of Jade” on Netflix. It’s so well-done, really good and very thrilling. A period show. Love it. I’ve been sucked into that. Oh, for K-drama — “Bon Appétit, Your Majesty.” That’s pretty much where I’ve been living.

What’s your go-to comfort watch?

I like spooky, weird stuff like “True Detective,” “Broadchurch.” I just did a rewatch. I can’t believe “Broadchurch” is my comfort show. Anything with really good character development, fantastic acting. I love it.

ICYMI

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John Slattery is leading the cast in US legal thriller, The Rainmaker, which starts on ITV tonight

The Rainmaker starts on ITV tonight.

The ‘one of the best’ legal thriller, which first aired in the US back in 2025, will be airing on Friday, 28 August, at 9pm on the broadcaster. The star-studded show will also be broadcast weekly and also be accessible to stream on ITVX.

A synopsis reveals about the legal thriller: “Based on the best-selling novel by John Grisham, Rudy Baylor, who is fresh out of law school, goes head-to-head with courtroom lion Leo Drummond as well as his law school girlfriend, Sarah.

“Rudy, along with his boss, Bruiser, and her disheveled paralegal, Deck, uncover two connected conspiracies surrounding the mysterious death of their client’s son”.

Mad Men legend John Slattery will be playing Leo Drummond in the drama. John, 64, is also known for Sex and the City, Desperate Housewives, Spotlight, Avengers: Endgame, Captain America: Civil War and Ant-Man – to name just a few.

Away from his impressive acting career, John is married to actress Talia Balsam with the two tying the knot in 1998. They have a son together, Harry, 27.

Much like John, Talia is famous in the acting world too. The actress, 67, who was previously married to George Clooney from 1989 to 1993, has an impressive career with shows such as Happy Days, Dallas, Taxi, Hill Street Blues, Family Ties, The Larry Sanders Show, and Magnum, P.I.

Other roles include Without a Trace, Homeland and Divorce. In a funny life imitating art twist, John and Talia played husband and wife Roger and Mona Sterling in hit series Mad Men.

Elsewhere, John and Talia, as well as their son Harry, all appeared in the drama The Subject Was Roses.

John previously gushed about his wife in a sweet interview in 2019, telling Closer Weekly: “I just found the right person, you know, I lucked out.

“I guess marry someone you like. We get along well, we always have, and I guess being in show business, some people say it’s difficult.”

He added: “I don’t know. We understand the rhythms of this life, which aren’t easy sometimes and there’s insecurity. You’re not sure where you’re going to be. So I don’t know. I got lucky.”

The Rainmaker is available to watch on ITV and ITVX from Friday 28 August

CARMEL Electra has gone topless under just pineapple slices as she enjoyed breakfast al fresco style.

The actress, 54, took to Instagram to share some racy snaps from her vacation in Berlin.

In the pictures, she could be seen enjoying an outdoor breakfast, complete with a fruit platter, pastries and a Coca Cola.

In one snap, she pulled her bikini down as she covered her boobs with two pineapple slices.

She showed off her toned body in a blue and yellow underwear with tassels as she posed on a rooftop for the suggestive picture.

Carmen sported a heavy make-up look, complete with eyelashes, a dark eye shadow and a nude lip.

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Carmen Electra flashes her bare bum as she sits on toilet for VERY racy shoot

The bottom of her blonde locks were dyed red as she wore her hair in a straight hairstyle.

Another photo showed her sitting down in front of the fruit as she popped her bra back on and held a strawberry in her hand.

Carmen shared a clip of herself taking a bite of a banana as she seduced the camera.

Yet another snap saw the model showing off her perky bum as she put one knee on a chair and looked directly into the lens.

She captioned the feed post: “Breakfast in Berlin.”

Her fans flocked to the comments section to compliment her as one said: “Breakfast of champions.”

Another follower enthused: “What a beautiful morning.”

Somebody else commented: “A hell of a breakfast.”

Yet another penned: “Hottest breakfast I’ve ever seen!!!!”

While a fifth added: “How is this possible, god damn.”

Her posts come after she modelled for Playboy, three decades after she first graced the magazine.

The sex symbol stunned in a new photoshoot in July as she stripped down for the Summer 2026 issue.

One shot showed her positioned on all fours on a green leather couch, wearing skintight black leather lingerie and fishnet tights.]

The outfit left little to the imagination as the cut-out tights exposed her bare backside, which she directed at the camera.

Carmen completed the look with black sky-high platform heels, heavy black eye makeup, and her long, blond-highlighted locks flowing straight down.

When it comes to romantic comedies, it’s not where it’s going — that’s a foregone conclusion — but how it gets there. The way the central couple navigates the twists, turns, roadblocks and unforced errors that entangle their budding relationship is the beating heart of these films. It’s what sets each one apart and delivers its entertainment value. That’s the test: pass or fail.

Which brings us to “Finding Emily,” a sweet new entry from Working Title Films, the producer of such gold-standard rom-coms as “Four Weddings and a Funeral,” “Notting Hill” and “Love Actually.” It may not be destined for a place alongside those favorites, but “Emily” has a wonky charisma all its own that just might satisfy fans of those British charmers.

Or not.

That’s because the film’s journey, which follows Owen, a struggling musician (Spike Fearn) searching for his vanished dream girl with a hand from a cynical psychology student (Angourie Rice), may not feel quite captivating or propulsive enough to carry its pie-in-the-sky story to its inevitable finale. As someone behind me at the end of the film’s screening said, “Well, that plane took a while to land.” I can’t fully disagree.

Fortunately, the movie, inventively directed by first-time feature helmer Alicia MacDonald, is anchored by a pair of winning performances by Fearn (“Alien: Romulus,” “Ella McCay”) and Rice (2024’s “Mean Girls” musical). Their quirky, endearing moments and oddball chemistry often patch over — or at least divert us from — the contrivances and bits of filler in Rachel Hirons’ busy script.

Owen, who works as a sound engineer at the Manchester City University student union, falls headfirst for an enchanting redhead (wearing fairy wings, no less) named Emily (Sadie Soverall), whom he meets at a party. But when he tries to text her the next day, he realizes the number she gave him is missing a digit. Was that on purpose or an accident?

No matter, Owen is obsessed with finding her, even if he doesn’t know her last name and there are 318 Emilys in the campus directory. A false lead misdirects him to one of those women, Emily Raine (Rice), a psych major writing her thesis on the “self-sabotaging madness” of romance. It’s a theory clearly waiting to be blown to smithereens.

Their meet-cute develops into an offbeat friendship when the “wrong Emily” (is she really?) offers to help lovestruck Owen track down the “right Emily” (is she really?), secretly using him as a real-life case study to nail her dissertation. If she succeeds, the Iowa transplant will be able to secure the work visa she needs to stay in her adopted England.

It’s a device that adds to the character’s urgency, if not her likability. Though in true rom-com fashion, this Emily is appealing in other required ways — and is also adorable. The plot kicks into high gear when, again to fuel her thesis, she deviously provides Owen with a contact list of every Emily in the college database and suggests he mass-email them to locate the elusive, fairy-winged Emily.

This goes all kinds of wrong, setting off a viral brouhaha and turning the hapless Owen into an unwitting pariah. The loud-and-proud gang of Emilys brands him a stalker and a “toxic incel” (as well as the jauntier “Email Guy”). The mania is compounded by Owen’s stab at damage control when he appears on a campus podcast hosted by a savvy button-pusher (Nadia Parkes, pitch-perfect), unaware the show is going out live on video. Oh, and none of this results in a response from his desired Emily.

Amusing and brightly satirical as this turn of events is, it begins to feel more like a tempest in a teapot than the sustainable story engine Hirons was aiming for.

The film hits its predictable highs and lows as the mismatched Owen and Emily get closer and romantic complications mount. The search for “Fairy Emily” yields some anticlimactic results.

Still, there’s a kind of hip, comfort food aspect to the entire enterprise that keeps it an easy, if slightly cluttered and overlong watch. (See plane-landing comment.) MacDonald makes superb use of the story’s Manchester backdrop. The city’s vibrant neighborhoods and residents, along with its dynamic music scene, practically form their own character.

The vivid, at times overly kinetic supporting cast includes Prasanna Puwanarajah as Emily’s egotistical psych professor, Timothy Innes as her oblivious crush and Cora Kirk as her supportive, strong-willed flatmate; Jack Riddiford and Isabella Laughland as Owen’s brother and his better half; and Kat Ronney as a take-no-prisoners student body president — also named Emily. Minnie Driver is sadly underused as the school’s detached dean.

So does “Finding Emily” pass the aforementioned rom-com test? Flaws aside, it’s ultimately a pleasant enough way to beat the heat, grab a few laughs, take in a fine soundtrack and find yourself in some good company. But even if your name happens to be Emily, you won’t be fully swept away.

Yayoi Kusama, the Japanese artist known for her hypnotic, repetitive polka dot artworks, died earlier this week at the age of 97. Hers was the third in a string of deaths this week that left me feeling quite melancholy. First Dolly Parton, then Tim Curry and finally, Kusama.

The silver lining in the death of an artist, whether they be musician, actor, writer or visual artist, is that they leave a trail of comfort for fans through their work. I can (and did) sit in my breakfast nook weeping to the sound of Parton’s voice in songs including 1971’s “Coat of Many Colors.” When it comes to mourning Kusama, I am planning a trip to the Broad museum in downtown L.A., which houses two of her famous Infinity Mirror Rooms.

“Longing for Eternity” (2017) is on view on the third floor and can be accessed with a free general admission ticket. “Infinity Mirrored Room —The Souls of Millions of Light Years Away” (2013), however, requires a separate free reservation. A rep for the museum said reservations are currently available through September with many time slots already completely full. The museum is also accommodating as many walk-ups as capacity allows — and these walk-ups have increased in the wake of Kusama’s death.

In an email to The Times, Broad founding President and Director Joanne Heyler wrote that Kusama’s Infinity Mirror Rooms, “have been among the most beloved works at The Broad since we opened in 2015.”

Heyler noted that the Broad’s 2017 exhibition, “Yayoi Kusama: Infinity Mirrors,” “was an incredible moment in the museum’s early history. It was a beautiful show, and unprecedented operationally: the only time our ticketing system broke down due to demand, minutes after release. Her work is both wildly popular and conceptually rigorous; her journey as an artist is complex, full of resilience and a refusal to be limited. Visitors have found deep connection inside the Infinity Mirror Rooms at The Broad — smiles, tears, even marriage proposals. We’re grateful to be one of the places where people can go to spend time with her work and remember her, and we’ll keep working to ensure her art is experienced as she intended: by everyone, infinitely.”

This is welcome news, and the devoted interest makes sense. In many ways, these physically small but emotionally vast rooms encapsulate the essence of Kusama’s practice throughout her life. Built in a distinctively analog way, the rooms create the illusion of endless space through the use of light, mirrors and splashes of color. Kusama incorporated hand-sewn cloth, and later, multimedia video projections, but at their core the rooms remained largely technology-free.

The irony being that a decade ago they emerged as social media sensations, and were ubiquitous in selfies across the internet as they traveled from blockbuster show to blockbuster show.

It’s a pity because all the people who stepped into those rooms with their cellphone cameras at the ready missed a profound opportunity to inhabit a floating dreamscape of true peace and quiet — the kind we rarely grasp in our digital-notification suffocated world.

I can still remember the first time I had the opportunity to experience one of Kusama’s Infinity Mirror Rooms. It was dark and glittering with tiny pinpricks of colored light. I felt as if I were suspended in a deep, black pool of energy that extended beyond me in all directions. I could hear my blood rushing in my ears and briefly wondered if this could be what it felt like in the womb.

I got dizzy and recovered, and then — for what felt like a long time but was only a matter of seconds — I was free.

I’m Arts editor Jessica Gelt taking moments of solace where I can get them. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Babatunde Akinboboye
The baritone fuses classical opera with hip-hop on “Toreador,” “Funiculi, Funicula,” “O Sole Mio” and more.
8 p.m. Friday and Saturday. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org

Director Richard Linklater at the 2023 Toronto Film Festival.

(Jay L. Clendenin / Los Angeles Times)

Richard Linklater
A three-movie American Cinematheque tribute featuring Q&As with the Texas filmmaker. In a recent interview, Times film writer Mark Olsen asked Linklater what it’s like to reflect on his work: “What resonates with me in my mind is the experience of making the movie more than the movie itself — all the people you worked with and the cast and all those good feelings.”
“Boyhood,” 7:30 p.m. Friday; “Waking Life,” 4 p.m. Saturday. Aero Theatre, 1328 Montana Ave., Santa Monica; “Dazed & Confused,” 7:30 p.m. Saturday. Directors Village, 961 Broxton Ave. Westwood. americancinematheque.com

Pericles
Boston Court, in partnership with Play On Shakespeare, presents the West Coast premiere of Ellen McLaughlin’s modern verse translation of Shakespeare’s rarely performed adventure tale. Directed by Margaret Shigeko Starbuck.
Through Sept. 27. Boston Court Pasadena, 70 N. Mentor Ave. bostoncourtpasadena.org

Romeo & Juliet
A site-specific, immersive, queer adaptation of Shakespeare’s tragedy.
7:30 p.m. Friday and Saturday; 1 p.m. Saturday and Sunday. Sassafras Saloon, 1233 Vine St. eventbrite.com

SATURDAY

Place Is the Space
A four-hour immersive performance experience created by artist Edgar Arceneaux and co-creator Frank Lawson employs live jazz improvisation, theatrical storytelling and multimedia design inspired by Sun Ra’s philosophy and his film “Space Is the Place.” Presented by CAP UCLA, the event includes an audience procession to the Hammer Museum in conjunction with the current exhibition, “Space Is the Place,” for a final performance.
1 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu

Joshua Smith Untitled (Yellow Heart), 2026 Acrylic on canvas 14 ¾ x 14 ½ in.

(839 Gallery)

Joshua Smith: Hearts and Triangles
The artist’s first Los Angeles solo show includes brightly colored monochrome paintings on shaped canvases.
Opening reception, 5-8 p.m. Saturday; exhibition continues through Oct. 17. 839, 839 N. Cherokee Ave. 839gallery.com

Winter’s Bench
The world premiere of Mike Kenny’s play about a woman who returns to a park where she thinks a tree once spoke to her. Starring Anne Gee Byrd and Shih-wei Wu. Directed by Debbie Devine. All performances will feature Spanish supertitles.
Previews, 8 p.m. Saturday; 2 p.m. Sunday; 7:30 p.m. Wednesday, Thursday and Sept. 4; 8 p.m. Saturdays, 2 p.m.; Sundays, 8 p.m.; Sept. 7 and 14; through Oct. 25. 24th Street Theatre, 1117 W. 24th St. 24thstreet.org

SUNDAY

Element Band
Led by Ara Dabandjian, the ensemble features 12 musicians and vocalists, including Soseh Aramouni Keshishyan and Natalie Avunjian, in a celebration of Armenian heritage, creativity and live music.
7:30 p.m. The Ford, 2580 Cahuenga Blvd. East. theford.com

TUESDAY

Dvořák & Bruch
Conductor Anja Bihlmaier and violinist Bomsori join the Los Angeles Philharmonic.
8 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

THURSDAY

Amadeus in Concert
The Los Angeles Philharmonic, led by conductor Norman Huynh, conductor, and the Pacific Chorale perform live to Milos Forman’s 1984 Oscar-winning best picture starring Tom Hulce and F. Murray Abraham.
8 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

The Arsonists
Max Frisch’s 1953 absurdist satire, translated by Alastair Beaton and directed by Luke Harlan.
8 p.m. Thursdays through Saturdays; 5 p.m. Saturdays; 2 p.m. Sunday; through Sept. 20. Skylight Theatre, 1816 1/2 N. Vermont Ave. skylighttheatre.org

Under the Oaks
A weekly salon series featuring performance and music: “Currents: Composers in Concert” (Sept. 3); “Beer! A New Musical-in-Development” (Sept. 10); “Cabaret Theatricum Sings Marvin Gaye” (Sept. 17); and “The Voice of Dr. King” (Sept. 24.
7:30 p.m. Thursdays through Sept. 24. Will Geer Theatricum Botanicum, 1419 N. Topanga Canyon Blvd. Topanga. theatricum.com

Arts everywhere

Sarah Bareilles in the documentary “Sarah Bareilles: Good Grief.”

(A Group Effort Films / Naked Edge Films)

Sara Bareilles: Good Grief
The Grammy-winning Broadway star and pop singer’s return to the recording studio for the first time in seven years is captured in this intimate documentary directed by Josh Alexander receiving a one-night-only theatrical release. The film looks at Bareilles’ experience of channeling her own pain to create art and the healing journey that accompanied it. Bareilles will perform at the Dolby Theatre, Oct. 12-14.
7 p.m. Wednesday. Laemmle and AMC theaters. sarabmusic.com

Culture news and the SoCal scene

Dolores Huerta photographed at Dolores Huerta “Help Wanted/Leave Now” exhibit at California Museum.

(Beth Baugher / California Museum)

Dolores Huerta has prioritized involving herself in projects relating to labor and women’s rights in the wake of going public with sexual abuse allegations against former labor leader Cesar Chavez. One of those projects can now be seen at the California Museum in Sacramento in an exhibition called “Help Wanted/Leave Now: ‘Operation Wetback’ and the Revolving Door of Mass Deportation,” which, according to a story by contributor Isa Farfan, “examines decades of the federal government’s deportation campaigns against Mexican immigrants even while it recruited millions of these farmworkers and rail workers to fill labor shortages during and after World War II.”

Contributor Leah Ollman reviews a new Eileen Cowin retrospective called “Between Panic and Paradise” at Los Angeles County Museum of Art. Labeling Cowin a “wry disruptor,” Ollman notes that over the artist’s nearly six-decade career, she has toyed with time in a novel way: “By deviating from straightforward chronology, the installation resonates smartly with one of Cowin’s key operating principles — that we don’t experience time as a continuous line moving in one direction, but as episodic, fragmented, interrupted, layered.”

Gustavo Dudamel at the end of the first half his show at the Hollywood Bowl on Aug. 20.

(Jason Armond / Los Angeles Times)

Gustavo Dudamel is really leaving — although it feels as if the city has been mourning the eventuality for years. Times classical music critic Mark Swed was, of course, on hand to bear witness to Dudamel’s final farewell: a four-night Hollywood Bowl extravaganza. “Dudamel addressed the audience, sounding very much like he had 17 years ago at the Bowl, extolling in our being a crowd of many types together for many musics. L.A., he said, made him an Angeleno,” Swed wrote.

Swed also attended a Tuesday night show at the Hollywood Bowl after the Dudamel farewell extravaganza and found it rather empty and a bit “forlorn,” a situation, he writes in a review, that “left Anna Handler, who becomes the Los Angeles Philharmonic’s conductor-in-residence this fall, with the trickiest conducting assignment of the summer anywhere.”

Theater Director Bart DeLorenzo on the set of “Enemy of the People” at the Odyssey Theatre on Friday, Aug. 21, 2026.

(Ariana Drehsler / For The Times)

Times theater critic Charles McNulty recently sat down for a lunchtime conversation with Bart DeLorenzo, “L.A.’s most playfully provocative theater auteur,” about his decision to direct (and adapt) Henrik Ibsen’s “Enemy of the People” at Odyssey Theatre. “If ever there was a moment to revive ‘An Enemy of the People,’ it’s now,” McNulty writes. “The demoralizing spectacle of the U.S. Senate’s inquisition of Dr. Anthony Fauci last month, led by Sen. Rand Paul (R-Ky.) in unapologetic witch-hunt mode, was yet another reminder that Ibsen’s drama about a public health crusader being targeted by politicians and business leaders when his medical advice goes counter to their interests hasn’t lost its punch.”

The drama never stops at the beleaguered Kennedy Center as it deals with the continued tumult resulting from President Trump’s takeover early last year. Most recently the Justice Department claimed in a recent court filing that Trump’s “efforts and prestige provide the sole hope for the Center’s financial survival, and structural renewal.” If the center isn’t shut down for the two-year renovation Trump demands, it may need to be demolished, the filing reads.

Visitors line up outside the Japanese American National Museum for a 2022 event recalling World War II incarceration camps.

(Genaro Molina / Los Angeles Times)

After closing in early January, 2024, the Japanese American National Museum has announced it will reopen its newly renovated Pavilion on Jan. 23, 2027. Renovations include a new main entrance and new first-floor galleries for a brand new exhibition titled “In the Future We Call Now: Realities of Racism, Forging Democracy.” The special exhibition galleries on the second floor have also been updated and will feature the inaugural exhibition, “Pictures of Belonging: Miki Hayakawa, Hisako Hibi, and Miné Okubo.”

The Broad has announced its next fall exhibition, “Has the myth been shattered,” opening Nov. 21. The exhibition is set to include recent acquisitions by Guadalupe Rosales, Hank Willis Thomas and Mickalene Thomas. “Gathered together, works in the exhibition create unexpected connections across six decades, prompting an examination of how media has shaped history, memory, and collective experience,” a news release notes.

— Jessica Gelt

And last but not least

A little rare bird is making people happy, and I’ll take the moment of levity.

Fans of Beyond Paradise will love the BBC detective drama created by Robert Thorogood

A BBC detective drama written by Death in Paradise creator Robert Thorogood is airing tonight.

The Marlow Murder Club returns tonight and will air at 9pm on BBC Two. Part one of two of the adaptation of Robert Thorogood’s novel will be shown, starring Samantha Bond, Cara Horgan, and Jo Martin.

The synopsis for the episode reads, “Retired archaeologist Judith Potts’s peaceful evening in Marlow is shattered when she witnesses the murder of her neighbour.

“With the local police, led by newly promoted DS Tanika Malik, reluctant to believe her story, Judith starts her own investigation, enlisting the help of the vicar’s wife, Becks Starling, and local dog walker Suzie Harris.”

Fans can tune in to watch the repeat as they eagerly await the fourth series of the crime drama’s return.

Series four is set to return on free-streaming service U in 2027, and will feature an adaptation of Sunday Times Best Seller Robert Thorogood’s novel Murder on the Marlow Belle, alongside brand-new original mysteries.

Returning to solve more complex and intriguing murders in Marlow are meticulous crossword-setter Judith Potts (Samantha Bond), pillar of the community and vicar’s wife Becks Starling (Cara Horgan), and no-nonsense dog walker Suzie Harris (Jo Martin).

Working tirelessly alongside DI Tanika Malik (Natalie Dew) and her police team, the crime-solving trio put their unconventional methods into practice to catch the killers across three brand-new stories.

Series four begins with the discovery of a body in the river, soon linked to the Marlow Amateur Dramatics Society and a homegrown Hollywood star.

The team must also unravel the truth behind a man’s sudden death at his mother’s wake. He appears to have died from an allergic reaction, but is there more to it than that? And when the co-owner of a vineyard is found dead, drowned in his own wine, the women work to make sense of this seemingly unmotivated murder.

Masterpiece Head of Scripted Content and Executive Producer Susanne Simpson shared about the new series: “The Marlow Murder Club has quickly become one of our most popular Mystery! series.

“The strong female characters with unique skills and a special bond that resonates with our audience. And who doesn’t like to solve a good puzzle?! The fourth season is sure to deliver on everything the fans have come to love about the show.”

The Marlow Murder Club airs tonight at 9pm on BBC Two.

The ITV reality star was shown falling from a horse while riding in Meet the Owens.

Former Love Island star Gemma Owen’s horror horse riding accident has been aired in her new show Meet the Owens on Prime Video. The six-part programme follows former England footballer-turned-horse breeder Michael Owen and his family, including his feisty eldest daughter Gemma.

In a harrowing episode on the show, Gemma, 23 is shown falling from a horse and appearing to hit a railing while she is training to compete in the charity race the Magnolia Cup. Gemma, who represented Team GB in Dressage at youth and junior levels, is an experienced horse rider and the fall came as a shock to her family.

Luckily, Gemma escaped the fall without any broken bones, however she did get whiplash and sustained cuts to her face, as well as being covered in bruises. Gemma was riding her father’s horse He’s A Gentleman when she suffered the accident, after the horse appeared to bolt.

Audiences were shown images of Gemma’s huge bruises and she could be seen sporting a cut on the left side of her face, near her chin. The accident came six days before she was due to compete.

Speaking about the incident, her father Michael, 46, said Gemma was “tough as nails” and got back on a horse the day after. Meet the Owens then showed Gemma competing in the Magnolia Cup, despite being hardly able to move her neck.

Despite the accident, Gemma ended up coming fourth in the race after being initially stuck in 12th position when she was boxed in early on in the race. Michael later commented in a VT: “She came fourth but it’s just the start” as he knew Gemma would be gearing up to race another day in the future.

Reflecting on the fourth-place position, Gemma said she was “beyond gutted” and confirmed she would be doing it again, saying, “because I need to b****y win!” She also conceded that her father Michael had been right when he’d encouraged her to try horse racing.

She’s initially been skeptical about becoming a jockey, but over the course of training Gemma realised that this was what she wanted to do. Gemma was previously a contestant on season eight of Love Island back in 2022 and was a runner-up in the dating series.

Along with focusing on Gemma, Meet the Owens also delves into Michael and his wife Louise’s sweet marriage after the pair grew up together and attended the same primary school. They also touched on a tough point in their marriage during Michael’s move to Real Madrid, which had left new mother Louise isolated and without a support network.

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Michael’s only son, James, and his degenerative eye condition are also spotlighted in another episode. James was born with the genetic condition Stargardt disease, which means he is clinically blind.

Despite this, James showed his ambitions to become part of Michael’s family business, Manor House Stables and help to get potential investors on board. At one point, Michael and James even went to Bahrain together in the hopes of securing some more potential buyers and money for the stables.

Meet the Owens is streaming on Prime Video now

JAMES Bond could see it’s first ever husband and wife casting as Saoirse Ronan pitches for a villain role – and Jack Lowden is up for 007.

The actress, 32, who tied the knot with Jack in 2024, has teased that she could be in the upcoming blockbuster Bond 26.

Lady Bird star Saoirse recently told Empire magazine: “I want to go dark. I said that I wanted to be a Bond villain, and I’m dead serious.

“I think it would be really interesting, having a young, female villain.

“Especially for girls and women, to see someone who can just take all that pent-up anger and direct it somewhere.”

The pair welcomed their first baby into the world after being spotted with a pram in public back in September last year.

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Her husband has been tipped as one of the stars to take on the role of James Bond, following on from Daniel Craig, who has played agent for the last 15 years.

Jack has been a huge fan favourite since taking on the role of MI5 agent River Cartwright in Apple TV+’s Slow Horses.

He’s also been in the likes of Pride and Prejudice, The Gold, War & Peace, The Long Song, Wolf Hall, Mrs Biggs and The Tunnel.

Meanwhile Saoirse has starred in Little Women, Lady Bird, The Lovely Bones, Hanna and Mary Queen of Scots.

There are some pretty huge names in the mix for the next Bond.

The likes of Jacob Elordi, Callum Turner, Harris Dickinson, Anthony Boyle  and Tom Hardy have been some of the names.

And New Brit actor Jack Barton has been thrown in there too.

It comes shortly after The Sun exclusively revealed that the new 007 writer shared an unexpected update on the Bond script.

The upcoming film could possibly relocate from MI6 in London to Birmingham.

Its writer Steven Knight has a long-standing love affair with the Midlands, the home of his smash hit Peaky Blinders and drama This Town.

The screen giant is considering a Brummie background for the spy’s next outing.

Steven told The Sun: “I’m loving working on the Bond film — I’m tempted to set it in Birmingham.

“I’m always tempted to do that on everything I work on!”

Knight has been drafted in by Amazon MGM Studios, which bought creative control of the Bond franchise for £790million last year.

Sharing an update at the launch of the Peaky Blinders Underworld immersive game, he went on: “Writing this film is like working for King and country. I feel like it’s my duty.

“Seriously, I’m such a big fan of the whole Bond franchise. To be able to be the person who is writing the next one is genuinely an honour and it’s a dream.

“Making Peaky Blinders has been amazing and doing Bond is beyond that.”

Hig (Jacob Elordi) may be the most perfect guy alive, not that he’s got much competition. In Ridley Scott’s simple-minded sociological study “The Dog Stars,” an influenza epidemic wiped out the majority of our squabblesome species sometime during the last decade. The LCD screens outside the Denver Nuggets basketball arena continue to flicker, although weeds and wolves have overrun the fast-food joints in a bit of postapocalyptic product placement.

A former mechanic and construction worker, Hig lives 25 miles north of the city on what appears to be a combination high school football field/rural airport. Periodically, the soft-spoken and generous man flies his Cessna into town to scavenge soda pop for a dozen or so cherubic Mennonite children on a nearby homestead. Those wholesome visits seem to cheer him up a little, what with the kids’ minder (Benedict Wong) striding around in a straw hat and overalls like something out of Norman Rockwell, and the youngsters thanking Hig with crayoned portraits of his doting German shepard, Jasper. Still, he’s bummed out about his dead wife (Sai Bennett), who, like most dead movie wives, appears in flashbacks as beatific, mute and adoring.

The script by Mark L. Smith (“The Revenant”) wants us to fret that Hig may succumb to suicide but whiffs that idea by trying to get it across in a scene where Hig shuts off the Cessna’s engine mid-flight with Jasper happily riding shotgun. Even if we were willing to accept that Hig might deliberately crash his plane, we can’t buy for a second that he’d hurt his sweet pup. Nevertheless, the film’s dystopian beats are so familiar, you’ve probably guessed by now that you shouldn’t get too attached to the dog.

Hig has bunkered down with a grouchy companion, Bangley (Josh Brolin), who thrives in this harsh world. To Bangley, the four essentials of life are “power, food, water and weapons.” Their armory is formidable; their cash supply, a source of comic relief. At night, Hig and Bangley play poker with stacks of $5,000 bills that they throw around as casually as nickels. Patrolling their two-man compound, Bangley insists on killing all outsiders before they might cause any trouble. Adding insult to headshot, he calls his casualties “cockroaches.”

Soon, Hig will meet a freckled widow named Cima (Margaret Qualley) and her suspicious father, Pops (Guy Pearce). The young pair make eyes at each other. Yet these survivors are so hard-wired to be fearful of their neighbors that Hig and Cima’s rusty, tentative flirtation takes place under the gaze of her daddy’s gun, a heck of a chaperone. The most they get up to is heavy spooning.

This is an uncomplicated yarn about a man prying open his heart and nudging other hard nuts to do the same. There’s little tension or drive, just shaggy scenes about paranoia, trust and hope. The characters seem to endure only to get to their next traumatic memory reveal.

At once plain-spoken and vague, the story lacks a firm grip on facts like the distance between places and how long this mess has been going on. It snatches at our attention with no more finesse than a losing fighter fumbling for a weapon. Hig’s Cessna works fine until it’s narratively convenient that it doesn’t. Then when needed, it works again. Meanwhile, Brolin’s Bangley oscillates in personality from miserable bastard to laugh factory.

At 88, Scott remains the cinema’s uneasy philosopher, continually fretting about the technological and societal tools we’ve developed to destroy ourselves. He’s made one genuinely optimistic film, 2015’s “The Martian,” which also happens to be his biggest box office success. Other than that, he’s never seemed confident that the future will turn out all right, although he’s kept on working out his worries onscreen, forever hunting for flakes of hope in the rubble. (If you take Scott’s IMDb as gospel, he’s got seven upcoming features in various stages of preproduction, more than George Lucas has ever made.)

“The Dog Stars” is based on Peter Heller’s 2012 novel of the same name, which, in those naive, pre-COVID times, was received as a rosier take on Cormac McCarthy’s “The Road.” Scott’s version of“The Dog Stars” borrows its title, premise and a handful of proper names. Otherwise, it’s loud where the book was quiet and subtle where the book got sweaty. A barrage of newly concocted action sequences in the second half makes the pacing so off-balance that the film feels like a heron trying to fly with one blinged-out wing.

I’m only half-complaining — those giddy, bloody scenes are the best parts of the movie. But we in the audience could have used some of that pizzazz at the beginning, too, before we spent nearly an hour settling into the idea that we’ve seen all of this before.

The attackers to come are a bizarre grab bag of baddies. One gang wears football pads as armor and comes galloping in on horses, whooping like the Apaches in a John Ford movie. Another horde, the Reapers, runs around shirtless to show off their thick black tattoos. The Reapers look awesome through cinematographer Erik Messerschmidt’s night-vision binoculars that make their skin glow an alien shade of green. Neither group comes across like human beings. The film handles them more like zombies or rabid raccoons, and since these extras are the only characters of color, I won’t fault anyone who finds their treatment morally queasy.

Late in the film, we also meet a third group headed by Allison Janney doing a cap-tip to Nurse Ratched as the soundtrack cues the mind-numbing waltz from “One Flew Over the Cuckoo’s Nest.” Otherwise, Harry Gregson-Williams’ meddlesome score tells us everything that’s about to happen 30 seconds before it does. Besides Janney and Qualley’s plucky Cima (what in the made-up name is that?), few grown women seem to be left alive for reasons probably better left unsaid. (A goon in the book wears a necklace made of dried labia. Scott sagely omits that detail.)

Elordi nearly shoulders the running time but plays his Hig a bit too humbly. I’ve rarely seen Elordi wearing his lanky, handsome screen presence comfortably; something about the actor usually seems to be apologizing for his own existence. His recessive Hig needs more charisma so we can care about him as a character, not just an idealized hero. But you like him anyway. How can you not when Hig is giving his dog a good scratch?

Having lived through a seismic pandemic himself, it makes sense that Scott would be drawn to the original novel’s blend of patience and poetry. Yet, it’s odd how little of it he’s kept. To hold my own interest, I imagined myself as a hunter-explorer trying to figure out why Scott had bothered to adapt it at all, and turned up a line where Brolin’s Bangley looks back on his old life and admits that he couldn’t understand what he had until it was gone. A lovely moment, although I don’t believe it’s in the book either.

That’s the theme of this rote exercise. But I preferred a minor beat a few minutes later when a character puts down their gun and picks up a guitar. Bad as this world feels, there’s still pleasure in making art. Which is why Scott keeps at it, too — and while I don’t think much of this one, I’m awful glad he does.

US rapper J.Cole has cancelled his show in northern California after one of his crew members tragically died in a major highway crash.

The No Role Modelz rapper was due to hit the stage at Sacramento’s Golden 1 centre but fans learned just hours before the show it would be cancelled due to the fatal accident.

“Following the tragic passing of a member of the touring crew in a trucking accident this morning, J. Cole’s performance at Golden 1 Center in Sacramento tonight, August 27, has been canceled,” J.Cole and tour operator Live Nation posted on their respective social media accounts.

“Our thoughts are with the crew member’s family and loved ones during this incredibly difficult time.”

The crew member was driving a semi-truck on the Interstate 5 highway in Yolo County, about a 41 minute drive north-east of Sacramento, when the vehicle veered off the road and overturned, per the Sacramento Bee.

He died at scene, according to the California Highway Patrol.

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The man was later identified as Jarlath Parkinson, 66, of Jackson, South Carolina by the Yolo County Coroner’s Office which said it did not believe drugs or alcohol played a role in the accident.

Parkinson had been driving the truck full of concert gear from J.Cole’s previous show in Seattle down to Sacramento.

J.Cole is currently on the road with his The Fall-Off tour which was scheduled to include 73 shows across the US, Europe, Australia, New Zealand and South Africa.

Live Nation said that those with tickets to the Sacramento show should contact Ticketmaster for refunds.

Jermaine Lamarr Cole, better known as J. Cole, is a a German-born American rapper, singer, songwriter, and record producer.

He is thought to be one of the most influential rappers of his generation.

Cole released his debut studio album, Cole World: The Sideline Story, in 2011 which debuted at number one on the US Billboard 200.

He has won a Grammy Award for Best Rap Song, a Billboard Music Award for Top Rap Album, three Soul Train Music Awards, and eight BET Hip Hop Awards.

THE new Ali G film is facing a cinema boycott as a major UK chain “have no plans” to show the sequel.

The movie mockumentary revives Sacha Baron Cohen‘s famous character after the original movie was unveiled 24 years ago.

The brand new film, Ali G: Who Iz I?, sees Sacha play the character once more in a ‘real-life’ setting.

But in a surprise move, Picturehouse Cinemas, which has 25 cinemas across the UK, will not show the upcoming film after its release in October.

Media watchdog NewsCord demanded cinemas to refuse to screen the film due to “satire using a cover for enforcing racist stereotypes”.

The platform claimed Baron Cohen had “enforced harmful stereotypes across marginalised communities through his characters”.

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So far they have sent around 27, 000 emails from supporters to cinemas nationwide to stress their concerns.

In a statement, Picturehouse confirmed to Metro: “We currently do not have any plans to screen this film on its release.”

NewsCord also claimed that the film’s studio Amazon MGM had “revived a racist caricature”.

Joining Ali G in the flick will be his girlfriend, Julie, played by actress and impressionist, Morgana Robinson.

She filmed the role alongside Sacha in secret over the course of a year and replaces EastEnders star Kellie Bright in the part.

In the movie, she will be revealed to be eight months pregnant – something that the characters struggle to get their head around.

In one of the clips from the film’s preview, they can be seen at a doctor’s office with Ali G begging the doctor to simply say that Julie is “bloated” and not actually pregnant – despite her visible baby bump.

He later puts her positive pregnancy test in his mouth and pretends to use it as a vape.

Elsewhere, the trailer sees Ali G poking fun at Ed Sheeran as he remarks on what the world has ‘survived’ since the original movie’s release in 2002 and insisted things had “turned to c**p”.

Speaking in the trailer, he said: “I’ve been gone for 20 years, chilling.

“And in that time, the world went to c**p.

“There’s been Wars. Covid. And Ed Sheeran.”

He continued: “I’m going to get back on top with a brand new thing called a ‘documentary.’

“For the first time ever, this is with real people not actors. For more than a year we let the cameras follow me everywhere.

“Nothing was off limits.”

The film is expected to be released in cinemas on October 23 with the movie being distributed by Amazon MGM.

The character was first introduced by Sacha on Channel 4‘s The 11 O’Clock Show in 1998 before the character became even more widely known for the 2000 sketch comedy series, Da Ali G Show.

A star-studded legal drama, which viewers have described as ‘one of the best shows’, is starting tonight on ITV and ITVX

ITV viewers looking for their next fix need look no further.

The broadcaster will be airing the legal thriller series, The Rainmaker, on Friday 28 August at 9pm on ITV after acquiring the star-studded US show. The show will air weekly and also be available to stream on ITVX.

A synopsis teases of the legal thriller: “Based on the best-selling novel by John Grisham, Rudy Baylor, who is fresh out of law school, goes head-to-head with courtroom lion Leo Drummond as well as his law school girlfriend, Sarah.

“Rudy, along with his boss, Bruiser, and her disheveled paralegal, Deck, uncover two connected conspiracies surrounding the mysterious death of their client’s son.”

The incredible star-studded cast sees Rivals actor Milo Callaghan as Rudy Baylor, Mad Men legend John Slattery as Leo Drummond, Once Upon a Time’s Lana Parrilla as Jocelyn “Bruiser” Stone and Jumanji star Madison Iseman as Sarah Plankmore.

Other cast members include The Wolf of Wall Street actor P.J. Byrne as Deck Shifflet, Fantastic Beasts and Where to Find Them star Dan Fogler as Melvin Pritcher, Bodkin’s Robyn Cara as Kelly Riker and The Split’s Karen Bryson as Dot Black.

The Rainmaker was first released in the US back in 2025, receiving rave reviews at the time. The show has been confirmed and renewed for a second series.

The first series got an impressive 84% on Rotten Tomatoes with many fans praising the ‘outstanding’ legal drama.

One person said: “This is one of the best shows I’ve seen this year. Anyone interested in a nice show should try it. For this one don’t judge by the rating. Trust me. Its one of the best shows you will find this year, 2025.

“I loved and enjoyed every single episode hour, minute and second. I was honestly angry that I now have to wait for the season 2. Its a very good tv show and i would wish to watch the complete story.”

A different viewer wrote: “This is absolutely the best show I have seen for awhile,I love all the actors they couldn’t not have done a better job on that all great actors.

“I just wish we could binge watch I don’t like waiting a week to see what happens. USA is not a monthly subscription its always a week ahead . Well I really hope I see several seasons of this show . I absolutely love it.”

Another show watcher commented at the time: “I was skeptical since the book and original movie were so good, but this series hooked me from the first episode!

“Love Rudy! He’s young, vulnerable, but knows the law and doesn’t cave under pressure. Outstanding casting and storyline! Bruiser is bad*ss and Deck is the best sidekick! Really hope there is a season 2, can’t wait!!!”

The Rainmaker is available to watch on ITV and ITVX from Friday 28 August

Former footballer Michael Owen has thrown the doors open in his new reality series

Viewers tuning in to Michael Owen’s new reality show have been left curious about his son James Owen’s eye condition.

Six-part series Meet the Owens landed on Prime Video today (August 28) and gives audiences a candid insight into the life and family of former footballer-turned-racehorse owner Michael, his wife Louise and their four children Jessica, Emily, James and Gemma. Episode three shines a spotlight on 20-year-old James as it’s revealed that Michael’s son is clinically blind and suffers from a rare, degenerative eye condition.

During the episode, James and his parents all separately open up about their thoughts and feelings about the condition. Many people are curious to know more about the condition – here’s what James has said about it as well as the condition itself.

Michael Owen’s son James’ eye condition explained

James suffers from Stargardt disease, which is a hereditary eye disorder that progressively gets worse. The condition means that he has limited vision, restricted to his peripheral vision.

According to the NHS ’ Moorfields Eye Hospital states: “Stargardt disease is a rare inherited condition affecting one in 8,000 to 10,000 people.” The site goes on to state: “In Stargardt’s the light-sensitive layer of cells in the macular region of the eye degenerate.

“The macular is the area at the back of the eye which is responsible for the fine detailed vision necessary for activities such as watching TV and reading.” The symptoms of Stargardt disease typically develop before the age of 20.

James, who was born with Stargardt disease, only discovered he had the condition when he was just eight after a teacher called his parents into school and told them that their child might be struggling to see at school. It later took the family a while to get the diagnosis.

James said: “Obviously, as you can imagine, it’s been tough growing up. It’s not good in the centre of the view and it makes it hard for me to look straight.” He went on to say: “Quite often people think I’m rude for not keeping eye contact. I’m actually looking at them in the clearest way I possibly can.”

In a heartbreaking admission, James said he’d always wanted to be a professional footballer like his father but his dreams were shattered by the diagnosis. James explained: “That was my dream, to follow my dad’s footsteps: to be a footballer and make a great career.”

He went on to say: “To have a realisation that it’s not possible, it kills you. It used to break my heart.” James added: “Every day coming back from school and I just used to cry and I used to think life was unfair.”

He now works as a trader online, buying and selling gold by himself. However, James said he wanted to put back into his father’s horse racing business Manor House Stables at some point in the future.

Ex-England and Liverpool player Michael, 46, also admitted he felt guilty about his son’s condition because it was genetic. Michael said: “We made James and I don’t think I’d be normal if I didn’t put myself in the mirror and think, ‘You know, it’s down to us that he’s got this eye condition.’”

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The footballing legend continued: “So I did feel guilty for a little while and could say I still feel guilty now.” Nonetheless, Michael said he was looking at the “positives with him” and then the “guilty sort of evaporates”.

Meet the Owens also sees his daughter and Love Island star Gemma taking on her first race after coming from a background in dressage. Gemma had to undergo rigorous training to become a jockey as she planned to take part in the charity race. Moreover, the series sees Michael trying to make a success of Manor House Stables and trying to turn a profit by finding investors to put their money into his business.

Meet the Owens is streaming on Prime Video now

Contains spoilers! Recent Emmerdale rumours teased an exit for Dawn Taylor amid a dramatic stunt week that saw one character dead and Joe Tate injured, but will Dawn stay on the show?

Amid rumours Dawn is leaving Emmerdale, fans feared another character would die this week.

With Jimmy King dead, Joe Tate was caught up in an explosion leaving fans wondering if he would be killed off too. Thursday’s cliffhanger saw Dawn Taylor and Nicola King escaping the wedding marquee, that was meant to host pregnant Dawn’s wedding with Joe.

Dawn jilted Joe, and then changed her mind, but before they could reconcile, tragedy struck. Jimmy’s car went speeding into the marquee, injuring himself, Dawn and Joe.

Jimmy eventually died, and Nicola and Dawn were fine, leaving Joe’s fate unknown. As the marquee exploded, it was teased villain Joe had been killed off, as his loved ones watched on in shock.

But is Dawn leaving the show? It was reported earlier this year that actress Olivia Bromley had been written out of the ITV soap after eight years.

Nothing has been confirmed, but reports suggested Dawn would be leaving. It left some fans wondering if Joe would die, causing a grief-stricken Dawn to flee the village.

So while nothing has been confirmed by Emmerdale, scenes this week did tease an exit, when Dawn planned to run off with Billy Fletcher. She changed her mind, so could the exit rumours have been a mistake?

Might the escape plan have led some to think she would leave, but actually Dawn will stay? It’s these reports that sparked the exit claims in the first place, and as we say, they have not been backed up by the show or actress Olivia.

Perhaps the latest episode on Friday could add more to this, with Joe’s fate confirmed. Warning, the rest of this article contains spoilers from Friday’s episode now available on ITVX.

If you haven’t watched the episode yet, look away now! Friday’s visit to the Dales follows the immediate fallout of the explosion, as Graham Foster desperately tries to save Joe.

Joe is rescued and taken to hospital where it is revealed whether he lives or dies. We’ll leave that, and any other twists that air, for your own viewing.

The episode is now on ITVX and will air this evening at 8PM on ITV1. Producer Laura Shaw had teased Joe’s fate with the Mirror in a recent chat, where she appeared to confirm a big new storyline.

Laura hinted that Joe’s feud with his uncle Caleb Miligan would escalate after the wedding week, and would continue into 2027. We’re also expecting a “gothic and dark” autumn for the Tates.

Emmerdale airs weeknights at 8pm on ITV1 and ITVX. * Follow Mirror Celebs and TV on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .

Famous for its walls bearing scribbles and sketches left behind by patrons for over 60 years, El Batey, a bar in Old San Juan, is a Puerto Rican institution serving locals and tourists alike.

It was inside this famed establishment that filmmakers Lorraine Jones Molina and Cristian Carretero first met one night back in 2008. Since then, the two have joined forces in both life and art; they are a married couple, as well as parents and close collaborators on film projects.

Their first feature, “Esta Isla,” which is now available on VOD, made history as the first Puerto Rican film to win at the Independent Spirit Awards in February, taking home the John Cassavetes Award honoring a production made for under $1 million. At the 2025 Tribeca Film Festival, it received three prizes, including best new narrative director.

A politically charged, coming-of-age road-trip movie, “Esta Isla” follows Bebo (Zion Ortiz), a young man from the “caserios,” or projects, and Lola (Fabiola Victoria Brown), a well-off girl unhappy in her bubble of privilege. Violence forces Bebo to run away to the mountains. Lola tags along and together they come across a series of people who expand their worldview.

There’s a grounded, earthy lyricism to the images captured in “Esta Isla” that show a Puerto Rico that’s at once lush and entrancing but also undiscovered and unseen in cinema.

Fabiola Brown, pictured above, plays “Lola” in the new Puerto Rican film “Esta Isla.”

(Experimento Ludico)

Key to their professional success thus far, the filmmakers believe, is their loving personal bond. “We’re always together and talking about ideas. When we were working on ‘Esta Isla,’ it helped a lot to really dig deep and have long conversations about certain details and topics,” Carretero says during a recent video call. “We do mostly everything ourselves, just me and Lorrie. Sometimes I do camera, Lorrie does sound. We keep it pretty small.”

In 2010, Carretero and Jones Molina founded the production company called Experimento Lúdico in the western town of Mayagüez with the intent of decentralizing production on the island. Most opportunities for filmmaking are still based in the San Juan metropolitan area.

“I’m from Arecibo, from the north, and Cristian is from here, from Mayagüez. That’s part of who we are, and we want to tell these stories from here. It’s part of resisting. It feels like somebody has to do this,” Jones Molina says with a laugh, while sitting next to Carretero.

Lorraine Jones Molina and Cristian Carretero are the filmmakers behind the Puerto Rican road trip movie “Esta Isla.”

(Experimento Ludico)

When Carretero and Jones Molina first met, it was the documentary scene that sustained Puerto Rican cinema because those stories could be told with fewer resources. Karen Rossi’s 2007 environmentalist doc “Isla Chatarra,” for example, inspired Jones Molina.

She and Carretero later directed the 2016 medium-length doc “Seeds, Chronicles of the Earth,” about GMO experimentation on the island.

Most of the fiction production on the island then pertained to Hollywood films, such as “Pirates of the Caribbean: On Stranger Tides” (2011). In the 2010s, however, a string of fiction films, including Ari Maniel Cruz’s “Under My Nails” (2012) and “Before a Rooster Crows” (2016) and Ángel Manuel Soto’s “La Granja” (2015), pushed local storytelling forward.

And while those movies, just like “Esta Isla,” don’t address the socioeconomic issues facing Puerto Ricans didactically, their mere existence is in itself a statement. “Making Puerto Rican films in Puerto Rico is political,” says Jones Molina. “Talking about who we are, our identity, our culture, our history and saying that we are here and we exist is political.”

Residents in San Juan are currently experiencing a water crisis, and while the scarcity hasn’t directly affected Jones Molina and Carretero in Mayagüez, this problem is not new and has only turned more urgent in the aftermath of Hurricane Maria.

That’s why they deliberately wrote a scene in “Esta Isla” showing people getting water from a water truck.

“It’s crazy that we filmed that a couple of years ago to talk about that issue, and it’s just gotten worse,” says Carretero. “Now we have a drought, and you have to have water rationing. It’s something that is reflective of a bigger problem in the island: the neglect of the most important needs of the citizens.”

Puerto Rico’s status as a colony of the U.S., where the interests of corporations supersede the well-being of the local population, is the source of many of its challenges. And for a long time, even referring to Puerto Rico as a colony was taboo. A history of persecution on behalf of the U.S. government ingrained fear in Puerto Ricans.

“The FBI would keep ‘carpetas,’ or files with information on regular people, who were suspected of organizing or fighting for independence,” Carretero says. “People were being surveilled by the FBI, and they’d pay family members or people they knew to survey them.”

“Esta Isla” touches on the troubled relationship between Puerto Rico and the U.S. via Lola’s deceased father, who is a stand-in for Filiberto Ojeda Ríos, a Puerto Rican revolutionary and leader of the pro-independence militant group Los Macheteros. After years on the run, the FBI assassinated him in 2005. In the film, the character Cora (Teofilo Torres) lives in the mountains and works the land. The location used for his house carries great significance.

“The inside shots, with the bullet holes, and the windows, and the books, all of that is from Filiberto’s actual house where he was assassinated,” says Jones Molina. “When you go there, you see all those bullet holes; it’s heavy.”

To that, Carretero adds: “There’s an inferiority complex that the colony perpetuates, which has to do with not knowing where you come from. Once you know all these names and all the stories of women and men who’ve worked for the good of Puerto Rican people, here and in the States, it opens up this whole other space for inspiration that’s from our ancestors”

Carretero and Jones Molina found the core concept for “Esta Isla” on the first page of Octavio Paz’s seminal novel “The Labyrinth of Solitude,” where the Mexican author discusses adolescence as a moment in a person’s life where they open up to the world, while at the same time noting that societies themselves also go through a coming-of-age.

Zion Ortiz, pictured above, plays “Bebo” in the new Puerto Rican film “Esta Isla.”

(Experimento Ludico)

“Puerto Rico is still an evolving organism. It’s a country, a people and a culture still evolving,” Carretero explains. “We’re still trying to understand who we are and where we’re going. Are we a country? Are we not? Are we part of the U.S., or not? Are we Americanos, or somos latinoamericanos? Tantas preguntas that are still unresolved.”

Jones Molina continues: “There’s this idea that you have to just be grateful that you’re a part of the United States and don’t complain. But when you question that, and when you want to really look at why you love and care about your country and your culture and want to educate yourself, then you’re definitely going through this kind of coming-of-age.”

For this filmmaking couple, reaching maturity as artists forged in the complex context of a modern colony hinges on acknowledging their limitations and still persevering.

“We also wanted to show that you can make films with very little; you don’t have to wait for the perfect moment or all the different resources. That’s what we call tropical realism. Not only the style of the filmmaking, but it’s also the means, and how that matches your reality,” explains Carretero. “We cannot pretend to be something that we are not. We have to develop our own language, our own way of filming, our way of telling our stories.”

Peter Cullen, the voice actor whose regal timbre as the heroic Optimus Prime in the “Transformers” franchise and deep tone as the gloomy Eeyore in “Winnie the Pooh” projects who was beloved by generations, has died. He was 85.

Cullen died Wednesday in his Los Angeles home, his agent Kevin Motley confirmed to The Times on Thursday. A cause of death was not given.

He “passed away peacefully, surrounded by his loving family — and held in the hearts of his many friends and countless fans worldwide,” his family said in a statement. They ask “that you honor his remarkable legacy by serving your communities and leading others with compassion, integrity, and loyalty and always remember ‘be strong enough to be gentle.’ ”

A prolific voice actor whose work spanned television shows, movies, video games and even theme park rides, Cullen amassed more than 200 credits over his career. This includes the eponymous giant ape in the 1976 remake of “King Kong,” the villainous vehicle KARR (Knight Automated Roving Robot) in the “Knight Rider” TV series and the clicks and trills of the deadly alien hunter in the original “Predator” film.

But Cullen is best known for his work in animation and children’s cartoons in the 1980s and ‘90s.

His signature role was Optimus Prime, the leader of a heroic faction of sentient alien robots known as Autobots who battle the villainous Decepticons in the “Transformers” franchise. Cullen often spoke about how his voice for the leader — who transforms into a truck — was inspired by his older brother, Larry, a Marine who had served in Vietnam.

On the day of his “Transformers” audition, Cullen had mentioned to Larry, his roommate at the time, that he was on his way to try out to be the voice of “a hero truck.”

Larry responded, “Well, if you’re gonna be a hero, be a real hero. Don’t be a jerk … Be strong enough to be gentle. Be understanding. Be compassionate, and be able to kick ass — in a good way,” Cullen previously told The Times.

“He said it in a voice that was subdued and calm,” Cullen continued. “He’s 13 months older and 6 inches taller. Made of steel. He was my hero. [His words] weighed heavily on me. So I’m at the audition reading the breakdown of the character and what I have to say in the audition. I can just feel Larry’s words coming out of my mouth. So, I took his sound — my first words were, ‘My name is Optimus Prime.’ ”

“Transformers” voice actors Peter Cullen, left, and Frank Welker at the 2024 Comic-Con Fan Expo in Rosemont, Ill.

(Rob Grabowski / Invision/Associated Press)

Cullen originated the role in the 1980s animated “Transformers” series, referred to by fans as “G1” or “Generation 1.” The era also includes the big-screen “The Transformers: The Movie” (1986), which featured the beloved character’s controversial death, but the character eventually returned after fan outcry.

When “Transformers” jumped to live action in Michael Bay’s 2007 film, Cullen was once again tapped to voice Optimus Prime. He continued through the follow-up films, including “Revenge of the Fallen” (2009), “Dark of the Moon” (2011), “Age of Extinction” (2014) and “The Last Knight” (2017), as well as the 2018 prequel “Bumblebee” and “Transformers: Rise of the Beasts” (2023).

He told NPR that returning to play Optimus Prime in these films was “like slipping into an old pair of shoes that you hid in the back of your closet.”

Cullen was nominated for a Daytime Emmy for his work as Optimus Prime in the TV series “Transformers: Prime” in 2011 and won a Lifetime Achievement Award at the Children’s and Family Emmy Awards in 2023.

Peter Claver Cullen was born on July 28, 1941, in Montreal, to American parents Henry and Muriel Cullen. One of four children, he graduated from the National Theatre School of Canada in 1963. He later did Shakespeare for a summer in Stratford, Ontario, before working for a year at the Crest Theatre in Toronto as a member of the repertory company, according to the Hollywood Reporter.

He told NPR he discovered his talent for doing different voices while working on a farm as a child and imitating animals.

Besides Optimus Prime, one of Cullen’s favorite roles was Eeyore, the endearing but pessimistic donkey from “Winnie the Pooh.” Cullen first voiced the character in “The New Adventures of Winnie the Pooh” series, which aired from 1988–1991. He continued his work as Eeyore through numerous franchise installments, including “The Tigger Movie” (2000), “Piglet’s Big Movie” (2003) and “The Book of Pooh” series.

“I enjoyed doing Eeyore because he was simply charming,” Cullen said to NPR. “And I get an awful lot of reactions from, especially, young kids, when I go up and just say [in Eeyore’s voice], ‘Hello. Thanks for noticing me.’ And to see their faces light up, that to me is one of the great joys.”

Cullen is survived by his four children, Angus, Claire, Pilar and Clay, according to the Associated Press.

Eight months have passed since Rob and Michele Reiner were killed and their youngest son was arrested and charged with murder, but the couple’s eldest son still feels he “will never understand why this happened.”

The children of film director Rob Reiner and photographer Michele Reiner mostly have kept mum despite extensive coverage of the brutal stabbings of Dec. 14, 2025.

In a television interview with KABC-TV’s Marc Cota-Robles, Jake Reiner, the eldest son, described the aftermath of the slayings and the arrest of his brother, Nick, as a “living nightmare.”

“Nobody really understands what it’s like to go through something like that until you’re living it,” said Jake, 34. “It’s been eight months. It feels like eight years at the same time. And it also feels like eight minutes because every moment that I wake up, I’m reminded of my reality.”

Jake said he learned the night of their deaths that the Los Angeles Police Department was looking at Nick as a prime suspect. A grand jury indicted Nick last month on murder charges with special allegations of committing multiple murders and lying in wait, making him eligible for life without parole or the death penalty if convicted.

“He’s in jail,” Jake said. “It’s like, I physically lost my parents, and then Nick was arrested. Now it’s just me and Romy, and we have to navigate this by ourselves essentially.”

Asked whether he was surprised that Nick was suspected in the crime, Jake declined to answer. He also declined to discuss his brother’s attempt to use family trust money to fund his legal defense. Instead he discussed the anger he is feeling.

“It manifests into rage, into how unfair this was, how I didn’t get a say in what happened. I didn’t get to stop it from happening. I had no choice in the matter,” Jake said. “I just have to accept the reality of it. And to me, that is just one of the most infuriating parts of all of this.”

He said he learned of his parents’ deaths while attending a celebration of life event for a high school friend at Union Station. His sister, Romy, tried to call him.

“I screened it because I thought, at the time, I’m in the middle of something, you know, I’ll call her back,” he recalled, “and then she called immediately again, and I knew at that point that something was wrong.

“Romy told me our dad was dead, and then she said, ‘I can’t find mom.’ I immediately went into shock.”

Investigators found the body of Rob Reiner in the master bedroom. Michele Reiner subsequently was found in the bedroom area as well.

Romy, 28, has not publicly commented.

Nick’s struggles with addiction and mental health were public knowledge. In 2015, he partnered with his father on the film “Being Charlie,” about a drug-addicted son, which Nick wrote and Rob directed. It was loosely based on Nick’s life.

Jake was no stranger to crime scenes — as a longtime television news reporter he said he witnessed plenty, but nothing could have prepared him for his parents’ home that night.

“As a reporter, I did it for 10 years; I came up on crime scenes all the time,” he said. “But when it’s your crime scene, a crime scene at your childhood home, it’s like the most surreal thing I’ve ever seen.”

Nick has pleaded not guilty. A pretrial hearing is slated for Sept. 15, a day after his 33rd birthday.

“I’ll never understand. I don’t care how it’s explained to me. I don’t care what facts come out, ” Jake said. “My parents had unconditional love for all three of us. I can tell you they never stopped wanting to help him. They never stopped helping him.”

Jake and Romy made their first public appearance together since the tragedy on Aug. 2 at Dodger Stadium, where they took part in the ceremonial first pitch. Dodger Stadium meant a great deal to their father.

“One of the great pleasures I have is walking into Dodger Stadium. It’s like I feel at peace,” Rob Reiner once said.

“He had season tickets for the Dodgers,” Jake said, “and we would go anywhere from three to four games a week, and it was just the greatest time with him.

“It was an emotional thing that we did. I don’t know if I really could take in the moment, because everything happened kind of fast, but I was really happy that we got to do that.”

Shelley Fabares’ cause of death has been revealed.

Fabares was known best for her television roles , including Christine Armstrong on the ’90s sitcom “Coach,” Francine Webster on the 1970s sitcom “One Day at a Time” and Mary Stone on “The Donna Reed Show,” as well as her Billboard Hot 100 song “Johnny Angel” and appearances opposite Elvis Presley in “Spinout,” “Clambake” and “Girl Happy.”

The actor died Saturday in Los Angeles surrounded by loved ones after battling pneumonia, her family told The Times on Thursday. In the 1990s, Fabares fell ill, but doctors struggled to pin down what the problem was. After years of health problems, she was diagnosed with autoimmune hepatitis. Doctors ultimately discovered severe liver deterioration, and she spent nearly two years on a waiting list for a liver transplant. She received the lifesaving surgery in the fall of 2000.

In 2011, Fabares told PBS Houston that after suffering liver failure and facing death, her outlook on life completely changed. “It really brought home the fragility of life and how fast everything can change and how extraordinarily lucky we are to be alive, and to have this opportunity to be here, and in my case, to get really an entire second chance,” she said during the appearance. “It does make things more precious.”

She said that, after the close call and lengthy recovery, she feared death less.

“To her family and friends, Shelley was a source of love, strength, laughter, and comfort,” Fabares’ husband, “MASH” actor Mike Farrell, said in a statement.

“She was a devoted wife, cherished stepmother, daughter, sister, niece, aunt, family member, and loyal friend whose warmth, generosity, humor, and grace made an enduring difference in the lives of everyone who knew her. She had a remarkable ability to make people feel welcomed, valued, and cared for.

“For millions, Shelley was a beloved actress whose work became part of the fabric of American television and film. … But to those closest to her, her greatest legacy was personal: the love she gave so freely, the friendships she treasured, and the family bonds she held dear.

“We will remember Shelley for her kindness, loyalty, wit, courage, and beautiful spirit. We will miss her deeply — not only as a celebrated performer, but as the loving and extraordinary person she was in our everyday lives.

“We are heartbroken by her loss, yet profoundly grateful for the years we shared with her and for the joy, compassion, and love she brought to so many. We ask that our family’s privacy be respected as we grieve. We take comfort in knowing that Shelley’s work and the memories she created with those who loved her will continue to live on.”

She is survived by her husband and her daughter, Erin.

Sarah Platt decided to take drastic measures for her children from her prison cell in the latest episode of Coronation Street in another twist for the soap legend

Sarah Platt decided to take drastic measures for the sake of her children in the latest episode of Coronation Street. The legendary soap character, who has been played by Tina O’Brien since 1999, is currently serving time in prison having been charged with the murder of Theo Silverton.

The factory supervisor has made some sort of friend in fellow inmate Kacey, who has previously tried to use Sarah’s former romance with DC Kit Green (Jacob Roberts) to her own benefit. On the latest episode of the world’s longest-running TV soap, Sarah was horrified to find photographs of her son Harry had been vandalised.

Kacey immediately denied that it was her and quickly turned to the news that some pool balls had been stolen from the recreation room. Just then, Kacey pulled out her phone and found that photos of Harry and another boy had popped up on social media, causing immediate panic. Sarah punched a number into her phone and instructed Harry via voice message to go to Adam Barlow’s house.

Kacey then said: “I don’t want anyone to get hurt. I just need one small favour from your ex. For Harry’s sake, and Bethany’s too.”

All this time, Adam had innocently dropped Harry off at a new friend’s house, and his partner Alya seemed to think nothing of it. Clearly stressed out, Sarah phoned Adam and he explained: “I told you, her name’s Lottie. Her son joined Harry’s holiday club last week.” Sarah demanded Adam go and collect him right now, but Lottie was already dropping Harry off as Alya demanded to know what was going on.

She confirmed she had removed the pictures from social media, and claimed to only vaguely know Kacey but said she had no idea she was behind bars. Adam did not believe her and accused her of posting the photos just so that Kacey would see.

When Adam voiced his concerns to Kit in the pub, he brushed it all off but, back in prison, Sarah was seen loading the stolen pool balls into a sock, ready for action.

Reacting to the dramatic scenes, one fan wrote on X: “Sarah stole the pool balls to make a weapon for self defense. And they do need to watch Harry now more. And I bet Sarah will end up attacking Kacey in tomorrow’s episode.”

Another said: “Poor Sarah Lou [crying emoji],” and a third said: “Good thing Alya and Adam, were jumping into Lottie’s a*** for posting photos of Harry. She can lie but we all know she knows Kacey, and it was to help her mess with Sarah.

A fourth wrote: “Kacey using Harry and Bethany’s names against Sarah, she knows is working cause it does scare Sarah. Makes her fear for their safety.”

Another seemed to be more amused by the fact that Sarah had a phone in her cell that she could use at will as they said: “Sarah has a landline in her cell? Perks of being a murderer.”