show biz

EastEnders is set to welcome a new face to Walford later this summer as Casualty’s Jason Durr makes an appearance and is set to strike up a close bond with Linda Carter

EastEnders is set to welcome a Casualty legend in the coming weeks. Actor Jason Durr, who starred in the BBC medical drama as David Hide, will be making his first appearance in Walford later this summer.

But his arrival in Albert Square will see him cross paths with local businesswoman Linda Carter [Kellie Bright], and it’s fair to say that the pair will see sparks between them both. Durr is taking on the role of Clive, a local councillor, when things start to heat up in the Square.

Local residents will be joining forces to save the Community Centre, Walford’s hub, which is at risk of redevelopment. Linda, who’s known for not shying away from airing her thoughts, leads the charge as things start to heat up.

But while planning to save the Community Centre, she and Clive strike up an instant friendship as he backs the campaign. But both Linda and Clive soon realise that there is more than just a feeling of friendship between them both.

Speaking about joining EastEnders, Jason said: “Few shows command their place in the national conversation quite like EastEnders, so I’m delighted to be joining the cast as Clive Masters.

“Working with the wonderful Kellie Bright has been an absolute joy and pleasure from day one. All the cast, crew and production staff have been incredibly generous, welcoming and good humoured. I’m excited for audiences to meet Clive and see what’s in store.”

And it’s set to be an exciting time for Linda, who has endured her fair share of heartache in recent years. Her soulmate and husband, Mick Carter (Danny Dyer), died after Janine Butcher’s (Charlie Brooks) secrets were unravelled, resulting in a feud on the coast. She also battled alcoholism and murdered Keanu Taylor (Danny Walters), following a fight at the Queen Vic as she attempted to save her best friend, Sharon (Letitia Dean).

The Mirror understands that Jason has already started filming his scenes, which will air later this summer. His role comes three years after Jason walked away from Casualty, having left Holby City three years prior.

His character, David, left Wyvern’s emergency department after the death of his colleague, Robyn (Amanda Henderson). At the time, Jason said he was planning to spend more time with his family, as well as explore other opportunities in the industry. His role was open for a possible return in the future.

Confirming his exit on social media, he shared a snap of himself, alongside the caption: “After 6 yrs playing the wonderfully complex #NurseDavidHide @bbccasualtyofficial I’ve hung up my scrubs.

“I’ve forged firm friendships, learnt to pronounce Uvulopalatopharyngoplasty & had my squeamishness thoroughly challenged! Here’s to new adventures (hopefully with less blood & guts).”

Over the course of his time on the show, Jason’s character David was at the centre of a string of huge storylines. One included the death of his teen son, Ollie, who, with a friend, Rob, set out to carry out a mass shooting at their school.

He’s also appeared in the likes of Lewis, Midsomer Murders, Above Suspicion and Shakespeare & Hathaway.

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

The American democratic experiment stands on shaky ground. Not since the Civil War have these proverbially United States been so disunited. As the nation throws itself a grand old 250th birthday bash in Washington, the mood in much of the country is more funereal than festive.

All-out partisan warfare has sown chaos. Republican legislators, taking their lead from a president who sees half the nation as his personal enemy, have put their own party’s interests over the republic’s. Staying in office has become the only thing that matters. The values imparted to me throughout my public school education — equal opportunity, impartial justice, respect for expertise, basic honesty — have been abandoned by a new breed of politician that has turned governance itself into a blood sport.

Where can one turn for reassurance that America’s best years are still ahead? Would you believe me if I said the theater? I’m not toeing the line for my field. I’m merely calling attention to a development that’s been gaining strength since I first reported on it in 2015. A cohort of playwrights, breathtakingly diverse demographically as well as aesthetically, has been rejuvenating American theater.

These writers aren’t on a sociological mission. They’re not trafficking in grievance or appealing to a particular political base. They let their plays do the talking. And they’ve been trying to have a conversation that isn’t hijacked by the most doctrinaire voices in the room.

From an institutional perspective, the American theater is in bad shape. The triple whammy of the COVID-19 closures, inflation and technological disruption has left everyone hurting. The Mark Taper Forum had to suspend programming for more than a year, smaller companies still in operation are producing fewer shows, and producers everywhere are gravitating toward the bankably familiar.

But despite this difficult terrain, it has been a boom time for American playwriting. For more than a decade, I’ve been teaching a course at the California Institute of the Arts called American Drama Now, and each year the selection of plays has become harder to whittle down. I designed the seminar partly around theater offerings in Los Angeles to connect students to recent developments in the field and to consolidate awareness that something special is happening in the American theater.

The current generation of playwrights has revealed itself to be remarkably resilient and independent. It has had no other choice. By the time many of these rising talents were accruing debt in graduate writing programs, the dream of a sustainable career in the nonprofit theater had already gasped its last breath.

When Wendy Wasserstein, Tony Kushner, Craig Lucas and Jon Robin Baitz emerged in the late 1970s and ’80s, it was still imaginable that a chosen few playwrights could make a living via the regional theater circuit, that constellation of companies founded as an alternative to the Broadway model.

That prospect was growing dimmer a few years later when playwrights such as Suzan-Lori Parks and Lynn Nottage came into prominence. But hope was still alive in the late 1990s and early 2000s. Regional theaters such as Seattle Rep, the Guthrie, the Goodman and Baltimore Center Stage remained committed to their missions while New York nonprofit companies continued to hold the line off-Broadway.

When did the picture change? In 2009, “Outrageous Fortune: The Life and Times of the New American Play” was published by the Theatre Development Fund, and one of the key findings in this study written by Todd London with Ben Pesner and Zannie Giraud Voss is that “there is no way to view playwriting as anything but a profession without an economic base.” A chasm had opened between the network of increasingly corporate-minded nonprofit theaters and the artists this system was built to serve.

The situation has grown bleaker in the last decade and a half as commercial pressures have ramped up and media consolidation and digital shortsightedness have obliterated arts coverage. Yet there’s been an unexpected upside. Theater artists who have come of age in this period have been released from the burden of having to conform to notions of regional theater respectability.

Instead of worrying about the timid taste of subscription audiences, these dramatists have been writing for themselves and their communities, dreaming up plays that don’t have to fit into institutional slots or stay within the staid bounds of traditional proscenium house decorum. The irony is that in not trying to pass muster with more conservative theatergoers (and their fastidious institutional guardians), playwrights have been winning over not just critics but also formerly squeamish artistic directors and perennially nervous Broadway producers.

The playwrights who appear regularly on the syllabus in American Drama Now — Young Jean Lee, Tarell Alvin McCraney, Annie Baker, Branden Jacobs-Jenkins, Samuel D. Hunter, Martyna Majok, Jeremy O. Harris, Will Arbery, Jackie Sibblies Drury, Quiara Alegría Hudes, Ayad Akhtar, among them — are of different ages, sensibilities and backgrounds. What they share is an appreciation of the complexities and contradictions in being an American.

The politics of identity for them is a lived experience. And as dramatists, they’re uniquely positioned to appreciate the conflicted loyalties and communal tensions of American life in dramatic rather than dogmatic terms. Whatever agendas they may personally espouse, these writers are too alert to the messiness of history and human nature to be rigidly ideological in their work.

The ongoing war between woke and anti-woke factions is a fatuous melodrama best left to the satirists. The goal of playwrights grappling seriously with what it means to be an American today isn’t to score social media points but to shed light on the fractured reality of our collective experience.

Identity is not a fixed fact but a raucous collision of parts. No single category can contain the Whitmanesque multitudes jockeying for position inside us. Race, religion, ethnicity, gender, age, sexuality, class, disability and geography don’t line up in perfect political harmony, and each social marker tells only a fraction of the whole story. (Money, the great unequalizer, may be the most taboo subject of all.) “We are not only but also,” the sociologist and cultural historian Todd Gitlin wrote in his 1995 book “The Twilight of Common Dreams: Why America Is Wracked by Culture Wars.” We also overlap and often even clash with ourselves.

Discussion around identity can be dangerous. How can anyone be expected to navigate the minefield? Tribalists and traditionalists have controlled the terms of the battle, one by simplifying, the other by denying, the way privilege has shaped our compound selves.

Playwrights know better. They understand the way oppression, which falls disproportionately on the marginalized, has warped all of us. History, whether acknowledged or not, is etched in our souls.

It is a long-held tenet of the theater that the most interesting characters, like the most interesting people, are defined by their schisms and paradoxes. (How else could Hamlet have maintained his centuries-long hold?) Dramatists are more cognizant than ever of the sociopolitical import of these contradictions and they’ve been chronicling the way this historically freighted baggage emerges in the drama of everyday life.

All the world is indeed a stage and all its inhabitants merely stock players, as Jaques lays out in “As You Like It.” Hegel described Shakespeare’s characters as “free artists of their own selves.” The truth where we and our contemporary stage surrogates are concerned is somewhat more constrained. Culture and representation largely determine the range of our performance possibilities.

Jacobs-Jenkins has recognized perhaps more acutely than any of his peers the way dramatic forms have locked us into set scripts about our lives. He tackles genres — adapting a Dion Boucicault melodrama in “An Octoroon,” reexamining the canon of great American family dramas in “Appropriate” — to uncover the stories that have been suppressed in the dominant white middle-class narratives that would prefer not to think of themselves as political.

Lee’s standout identity plays — “Straight White Men,” “The Shipment” and “Songs of the Dragons Flying to Heaven” — reject the illusion of stable, coherent characters propagated by psychological realism. The figures in her uncategorizable works are in experimental flux, trying on masks to see what might prove effective in a given situation. Even “Straight White Men,” which uses the old home-for-the-holidays genre as a springboard, can’t help spinning away from the drama’s droll hyper-naturalism toward something resembling performance art. (Not even straight, white men want to be confined to a box, even a relatively plush one.)

In “Fairview,” Jackie Sibblies Drury theatricalizes the experience of the white gaze, ultimately reversing the comfortable position white theater audiences have traditionally held. Bess Wohl’s “Liberation,” this year’s most decorated play, reanimates the history of the 1970s feminist movement by questioning what it could be leaving out of the picture. “The Balusters,” by David Lindsay-Abaire, brings the current culture wars to the stage with unique sensitivity through the squabbles of a neighborhood association torn between protecting its town’s heritage status and coming to terms with the more pluralistic demands of the 21st century.

“Fairview,” “Liberation,” and “The Balusters” are extremely funny plays that also happen to be deadly serious. If philosophy begins in wonder, trenchant social drama seems to start in laughter.

What do theatergoers want? They don’t just want to look; they also want to be seen. Isn’t that what any of us wants when gazing into the mirror held up to nature, as Hamlet describes the theater? To be granted a more expansive view of ourselves and others?

E pluribus unum, the motto of the United States, is so fundamental that it’s printed on our currency. There’s perhaps no place where the truth of this phrase — out of many, one — is more regularly realized than at the theater, where strangers transform over the course of a show into that mysterious organism we call an audience.

Gitlin ends “The Twilight of Common Dreams” with a plea: “For too long, Americans have busied themselves digging trenches to fortify their cultural borders, lining their trenches with insulation. Enough bunkers! Enough of the perfection of differences! We ought to be building bridges.”

A coalition mindset doesn’t mean denying history or pretending that America has been a level playing field. It’s been anything but in this “melting pot where nothing melted,” to quote the rabbi whose eulogy sets Kushner’s “Angels in America” in motion. But history happens to all of us, not just a select few. And to be an American is to be embroiled in the great democratic experiment that has been defined by division from the beginning. Empathy, the nuclear fusion of playwriting, is expanded when we’re allowed to take in more of our patchwork selves. Today’s dramatists have been extending a generous invitation to their compatriots: We’ll show you our complexity, if you’ll show us yours.

STACEY Solomon made it a real, er, family affair on Sunday as she headed to Silverstone for the British Grand Prix with her husband Joe Swash and her ex, Dean Cox.

The TV personality shares eldest son Zachary, 18, with Dean, whom she had a romance with as a teenager.

Before heading to the F1 event, Stacey told fans she was going on a ‘special date day’ with husband Joe.

And when they arrived to Silverstone, the star filmed herself walking in as she explained that the couple had also brought along her dad – a big racing fan – for the fun.

“It’s not a date day without bringing your dad,” laughed Stacey as she dubbed Joe a ‘third wheel’.

She then revealed that it wasn’t just her dad who was there, but her ex Dean, too.

“Do you know who is really important to bring on a date day with your husband? Your last baby daddy and his wife,” said Stacey as she filmed herself with Dean.

Laughing, she panned the camera through the group and said: “Zach’s dad, Zach’s stepmum, my dad are all on this date with us.”

“Gooseberry,” said Joe as he interjected while laughing.

As well as Zach, Stacey is a mum to son Leighton from another previous relationship, and shares three children with Joe.

She has maintained a strong co-parenting relationship with Dean since they welcomed Zach as teenagers.

He even appeared on her TV show, Stacey & Joe, for a one-off as they discussed her teen pregnancy.

The racing reunion comes just days after Stacey revealed their son Zach has headed off to America for the summer.

The teenager has moved stateside to take part in Camp America, with his famous mum admitting it ‘hurt her heart’ to drop him off at the airport.

She said in an Instagram post: “It hurt my heart to drop you off this morning but I know you’re going to have the best time ever, and that camp is so lucky to have our Zachary in their lives for the summer.

“Good luck my darling boy. To the moon and stars and back again.

“Please tell me why I really wanted him to do this experience & I am so happy for him but also so my gut is in knots??”

Can you tell the story of America in 10 movies? Maybe so — at least a version of it — if you stick to moments of serious national friction and those rare instances when a filmmaker meets the mood with a true vision. If you want tearjerkers about red, white and blue triumph, this is not your list (although the Space Race drama “The Right Stuff” always does the trick). Meanwhile, our current state of disunity and division will find its own expressions in time; start with “Civil War,” though it’s a bit too soon. Instead, we thought about historical pivot points and built a list of classics, along with a few alternatives for each title.

The Great Depression

‘The Grapes of Wrath’ (1940)

America is a broken place in John Ford’s poetically charged adaptation of the Steinbeck novel: a downbeat landscape of Oklahoma dust storms, long shadows and the teetering sight of a car turned into a truck transporting a family westward. This will always be one of those essential movies about a particular national dream — not just a myth — of emerging from economic catastrophe and being reborn in the promised land of California. Ford, with the instincts of a showman, foregrounded hope on the horizon via inspired performances by Henry Fonda and Jane Darwell’s pragmatic Ma Joad getting the final word (“We keep a’coming…”). But there is still so much darkness in “The Grapes of Wrath,” especially in its scenes of John Qualen’s Muley Graves, crumpled on the ground, suddenly a squatter on his own piece of land. He’s no match for the bulldozers. As long as the idea remains that property gets its purpose from those tending it, working it, nourishing it and dying on it, the film will never become a relic. Its binding values of labor and community remain relevant, even if today’s Hollywood rarely speaks to them. — Joshua Rothkopf

See also: “Modern Times,” “Sullivan’s Travels,” “Bonnie and Clyde”

Postwar optimism

‘The Best Years of Our Lives’ (1946)

World War II ended with ticker-tape parades and soaring expectations. William Wyler’s sweeping drama arrived just as America was beginning to reckon with what coming home actually meant. Harold Russell, a real-life veteran who lost both hands during the war, plays a sailor struggling to imagine a future with the woman he loves. Dana Andrews is a decorated bombardier who returns to the same soda fountain job he held before the war, discovering that military heroism doesn’t necessarily translate into peacetime opportunity. The movie became one of the biggest hits of 1946 because it understood a challenge facing millions of Americans: The war had given the country a common purpose but peace meant each person had to find their own. Yet for all its honesty about that dislocation, the film remains remarkably hopeful. Its faith that people can rebuild their lives and start over feels almost radical today. Seen from the distance of eight decades, it feels like a dispatch from a country that had just survived a catastrophe and still believed its best days lay ahead. — Josh Rottenberg

See also: “It’s a Wonderful Life,” “Miracle on 34th Street,” “Giant”

Capitalism, unchecked

‘There Will Be Blood’ (2007)

“I drink your milkshake — I drink it up!” Oil man Daniel Plainview’s deranged metaphor, allegedly taken from congressional transcripts from the 1920s Teapot Dome scandal in which Interior Secretary Albert Fall defended the practice of directional oil drilling, a.k.a. drainage, became a catchphrase when “There Will Be Blood” arrived in 2007. Elon Musk probably has a T-shirt in the back of a drawer emblazoned with the line. It epitomizes the American ethos of extracting resources that belong to someone else and then brutally bragging about the beatdown. Paul Thomas Anderson’s movie is part history lesson, part horror film, which, when it comes to chronicling the American experience, feels like the perfect blend. The oil man’s exploits take place more than a century ago, but seem particularly relevant now with Musk newly minted as the world’s first trillionaire and income inequality rapidly widening. Plainview confesses, “I have a competition in me. I want no one else to succeed.” It neatly sums up the endgame in which we find ourselves — and his vanquishing of the preacher Eli speaks to what we worship in the United States. He’s finished and sometimes it feels like we are too. — Glenn Whipp

See also: “The Wolf of Wall Street,” “WALL-E,” “Sorry to Bother You”

Post-Vietnam/Watergate cynicism

‘Nashville’ (1975)

Could one movie capture the breadth of emotions around this year’s 250th anniversary celebrations as well as Robert Altman did the bicentennial? As the country was still reeling from the assassinations and discord of the 1960s, the despair of Vietnam and the scandals of Nixon and Watergate, there was a soul-baring uncertainty to what it even meant to be an American. With 24 main characters interwoven around the town of Nashville, home of country music and intersecting political undercurrents, the film tries to make sense of the chaos. While the conspiracy thrillers of the 1970s are seen as the most direct response to the moral malaise of the moment, Altman finds an unexpected way to gild his innate skepticism with a light filigree of hope, a complex quilt of characters capturing the contradictions inherent in the American identity. And yet as cynical and beaten-down as the film’s viewpoint can often be, there is still a spark of decency and perseverance. That is the America that Altman celebrates, even as he lets no one off the hook. Few films capture the hum of life in all its maddening beauty quite like this one. — Mark Olsen

See also: “Blow Out,” “The Conversation,” “The Parallax View”

‘Network’ (1976)

Much has been made over the years about how prescient this film was, as if screenwriter Paddy Chayefsky and director Sidney Lumet saw the constrictive dangers of corporate consolidation in the distance and came back to warn us. But if these rumbling premonitions have remained true across multiple eras of an ever-evolving media landscape, have we really learned anything? Perhaps we really do live in a “demented slaughterhouse of a world,” as the unhinged newsman Howard Beale says in one of his apocalyptic broadcasts, and have all along. Maybe what “Network” nails most of all is apathy: that even the most righteously committed can have their heads turned from their true goals and then struggle to get back on track. What may be most shocking rewatching the film today is the suspicion that some current media figures see the maneuverings of villainous executives played by Robert Duvall and Faye Dunaway and somehow think that they were the heroes of the story all along. Not even Lumet or Chayefsky would have predicted that. — Mark Olsen

See also: “Broadcast News,” “The Insider,” “Nightcrawler”

Gentrification and racial tensions

‘Do the Right Thing’ (1989)

Spike Lee’s masterpiece was met with hand-wringing when it arrived in theaters 37 summers ago, with white critics fretting how “urban audiences” would react to its shocking ending of brutality and angry protest. “If some audiences go wild, [Lee] is partly responsible,” critic David Denby wrote in New York Magazine. Nobody rioted. “Do the Right Thing” made some people uncomfortable because it told truths from a Black perspective that they did not want to accept. That unwillingness to have hard conversations and learn from them remains evident today as we prepare to celebrate our nation’s 250th birthday without an honest reckoning of the anguish that lies beneath the storybook version of America’s founding. The paradox is that Lee’s movie is itself that conversation, its characters engaging in a series of arguments, evenhanded and empathetic, about how race affects the lives we lead in America. Until our country engages in that dialogue, nothing will change. For a moment, the Black Lives Matter movement signaled a willingness to grapple with the past. But the pendulum swung and we’re back to days of “Driving Miss Daisy” denial. But “Do the Right Thing” remains with us, its urgency and relevance undiminished, waiting for an America open to listen and live up to its idealized aspirations. — Glenn Whipp

See also: “Get Out,” “12 Years a Slave,” “Fruitvale Station”

The rise of the yuppies

‘They Live’ (1988)

“I believe in America,” the guy says, but we’re not in the private office of some all-powerful Corleone. Rather, this is a working man in a plaid shirt and denim. As the sun sets on his sad L.A. tent city (inspired by the real-life Justiceville), he only wants what everyone else wants: a hard day’s work for fair pay and the chance to get ahead. “It’ll come,” he says, serenely. He doesn’t know he’s in a John Carpenter movie — Roddy Piper was never put to better on-screen use — and that those keeping him down are, in fact, aliens hypnotizing us into an unseeing stupor as they carve up the world’s resources. Released at the tail end of Reaganomics, Carpenter’s most politically forward thriller now feels like a decoder ring for ’80s-era greed, detachment, complacency and ruthlessness. Carpenter meant us to to see his bug-eyed space invaders as yuppies. He also intended us to question whether we were selling each other out, just to join the “human power elite” for a tiny piece of pie. “They Live” looms just on the other side of appreciated. Many genre films say what our more prestigious dramas can’t about the creeping forces that are changing America; this one still feels like it’s getting away with murder. — Joshua Rothkopf

See also: “American Psycho,” “Invasion of the Body Snatchers,” “After Hours”

’80s women in the workplace

‘Working Girl’ (1988)

Mike Nichols’ zeitgeisty hit opens on a shot of the Statue of Liberty hoisting her torch like a paycheck. Down by her green toes, Melanie Griffith’s Staten Island secretary Tess McGill ferries to Manhattan to type memos for important men. Tess has a job, not a career. But 1988 was the first year that female undergraduates outnumbered men on college campuses. Even without a degree, Tess is ambitious to climb the corporate ladder — once she swaps out her practical white sneakers for a pair of pumps. The script by Kevin Wade throws up hurdles of sexism and class snobbery, never sugarcoating how Tess’ male co-workers treat her like a blow-up doll. (Critics dismissed Griffith, too, until this performance earned her an Oscar nomination.) Yet note how her Ivy League-educated boss Katharine (Sigourney Weaver) isn’t immune to harassment either; she’s just mastered how to parry her colleagues’ advances. Fantastic as it is, “Working Girl’s” core flaw is that Tess can’t snag her seat at the conference table until she yanks Katharine out of it. Weaver said that when she showed the script to real-life working girls on Wall Street, they asked, “This awful secretary steals your man, wears your clothes, takes your office — who’s going to sympathize with her?” Millions did and still do. — Amy Nicholson

See also: “9 to 5,” “Baby Boom,” “Silkwood”

Digital alienation

‘The Social Network’ (2010)

In 2010, Apple introduced the iPad, Instagram launched its app and Silicon Valley still looked to many tech-besotted Americans like a force for progress. At a moment when technology companies were promising to bring people closer together, David Fincher’s acerbic drama about the founding of Facebook had a darker theory about why people wanted to connect in the first place. Aaron Sorkin’s screenplay traces Facebook’s creation back to a very old human desire: getting noticed by the people who matter. Instead of celebrating innovation, the movie unfolds through lawsuits and broken friendships. At Harvard, Jesse Eisenberg’s Mark Zuckerberg fixates on the exclusive final clubs that won’t quite accept him. It’s a surprisingly sour approach for a Facebook origin story. Years before social media became a political battleground, Fincher was focused on something more basic — the fear that everyone else had been invited to a party you couldn’t get into. The movie ends with Zuckerberg alone at a computer, refreshing the Facebook page of the woman who dumped him and waiting for her to accept his friend request. More than 15 years later, it’s still hard to think of a better image for the loneliness and insecurity lurking beneath our connected lives. — Josh Rottenberg

See also: “Her,” “Eighth Grade,” “Ingrid Goes West”

Post-9/11 anxieties

‘Team America: World Police’ (2004)

To add drama to the ennui over the 2000 U.S. presidential campaign, “South Park” creators Trey Parker and Matt Stone pledged to immediately produce a silly sitcom about the winner. “That’s My Bush!” ran for eight episodes in the spring of 2001, with plans to spin off into a feature called “George W. Bush and the Secret of the Glass Tiger.” But the Sept. 11 attacks changed everything, including the work of satirists. Parker and Stone pivoted to “Team America: World Police,” a bomb-throwing comedy about our country’s napalm-strength combination of naiveté and swagger. To prevent an attack hailed as “9/11 times a thousand,” a squadron of puppet commandos blows up the planet themselves. The dark joke is these marionettes aren’t behaving much differently than the action heroes who have shaped the national id — it’s a through-the-looking-glass lens into our Hollywoodized view of the globe, down to the Parisian streets made of cobblestone croissants. At once straight-faced, sacrilegious and scatological, “Team America” needed nine tries to eke past the MPAA. Yet in divided times, it was a unifier. The political spectrum from Kim Jong Il to Alec Baldwin got equally savaged and the film’s eff-yeah patriotic theme song (“Rock and roll! The internet! Slavery!”) could even be heard blaring from real-life tanks in Fallujah. — Amy Nicholson

See also: “Eddington,” “Idiocracy,” “Harold & Kumar Escape From Guantanamo Bay”

Viewers need to be quick if they want to catch the harrowing tale exploring the “twisted depth of maternal love”

There are now just days left to stream a film viewers believe “everyone should watch” once in their lifetime.

Currently available on Netflix, the story centres around two children, Victoria and Lily, who are found abandoned in a dilapidated house in the woods years after the death of their parents. Experts are left completely baffled as to how they have survived with seemingly no food or resources around them.

The sisters are brought in to a safe facility where they are monitored by childhood behaviourists who believe they have likely been alone for five years.

In order to reintroduce them into society, the girls are taken in by their uncle Lucas (Nikolaj Coster-Waldau) and his partner Annabel (Jessica Chastain) who intend to provide them a safe and loving environment at home. However, they soon learn there is more to the case than first meets the eye.

The film in question is 2013 horror, Mama, which will be leaving Netflix at the end of the month. Viewers have until July 25 to stream it before it’s gone for good.

As per the official synopsis: “Annabel and Lucas are faced with the challenge of raising his young nieces that were left alone in the forest for five years…. but how alone were they?”

Alongside Oscar-winner Chastain and Game of Thrones alum Coster-Waldau, the cast also includes revered horror actor Javier Botet. Mama was directed by Andy Muschietti, famed for his work on the IT horror franchise, with Guillermo Del Toro also on board as an executive producer.

At time of writing the film has a Rotten Tomatoes score of 63 per cent from critics and 55 per cent from audiences.

“Mama expands a chilling short film into a full-length feature exploring the dark, twisted depth of maternal love,” penned one viewer, as a second declared: “Everyone should watch this movie at least once.”

“This is actually a pretty good movie,” said another. “I don’t understand the hate from some critics. I haven’t seen this movie in many years, but it has aged very well. It also has a lot of great scenes and creepy moments.”

Meanwhile a fourth watcher added: “I don’t know what it is about it, but this film somehow stuck with me. In my opinion, it does not get the credit it is due. Very atmospheric movie.”

Mama is now streaming on Netflix. It will leave the platform on July 25.

TAYLOR Swift’s aunt has revealed new details from the singer’s lavish wedding to Travis Kelce on Friday night.

The A-list couple tied the knot at Madison Square Garden with plenty of celeb guests watching on, and Taylor’s aunt, Robin Gentry, has revealed they were left in tears during the day.

When asked if the couple cried, Robin replied: “Oh they cried… and they laughed, and they danced and they hugged and they kissed.”

Speaking to LBC news, she was then asked what the reception’s dinner was like.

Not giving too much away, Robin said there was “lots” of food and nice cake.

Taylor and Travis said “I do” on Friday in what guests have called a “deeply moving” ceremony just 10 months after the couple announced their engagement in August 2025.

In an unusual move, the pair chose to have actor Adam Sandler officiate the proceedings while also ditching the traditional bridesmaids and groomsmen.

Instead, they had members of their families by their sides with the groom having his brother and former Philadelphia Eagles star Jason Kelce as best man and Taylor having her brother Austin be her man of honor.

In another unusual wedding detail, Swift reportedly walked down the aisle to a strings rendition of one of her own songs while Jason and Kylie Kelce’s daughters scattered petals.

At around 7:30pm, Travis and Taylor’s marriage was confirmed with huge purple screens reading “JUST&T MARRIED!” lit up outside of Madison Square Garden, roughly an hour after Taylor’s SUV was spotted pulling into the venue.

After the ceremony, the couple threw a fairytale-esque party on the lower level of MSG with the theme reportedly mixing Alice in Wonderland and Wizard of Oz.

 Ed Sheeran, Karlie Kloss, Dakota Johnson, Bradley Cooper, Zoe Kravitz, Erin Andrews, Matthew Stafford and Graham Norton were all seen arriving to the day.

Donny Hathaway had already been expounding on the splendors and indignities of American life by the time he got to the Troubadour in West Hollywood in the last week of August 1971.

A classically trained pianist with a declamatory voice shaped by his years in the church, Hathaway closed Side 1 of his 1970 debut with an original called “Tryin’ Times” — “Maybe folks wouldn’t have to suffer,” he sang, “if there was more love for your brother” — and finished the LP with a stately rendition of Nina Simone’s “To Be Young, Gifted and Black.” Months after the album was released, he dropped a joy bomb of a holiday single, “This Christmas,” that unapologetically made space for a Black experience in the yuletide-industrial complex.

Yet Hathaway captured something indelibly American during his week of shows at the Troubadour, which were recorded (along with a later gig at New York’s Bitter End) for the singer’s classic “Live” album that came out in February 1972. On an LP full of spine-tingling performances, the undeniable high point is Hathaway’s take on Carole King’s “You’ve Got a Friend” — a clear-eyed if optimistic portrait of resilience and cultural exchange.

King — who’d made her name in the 1960s as half of a prolific Brill Building songwriting duo with her husband, Gerry Goffin — wrote “You’ve Got a Friend” after leaving Goffin and moving to Los Angeles with her two young daughters. Here she remade herself as a low-key singer-songwriter dispensing wise yet unflashy tunes about love, home and family — part of a gentle resetting of pop’s mood after the turmoil of the previous decade.

Cut like the rest of the album at A&M Studios on La Brea Avenue, “You’ve Got a Friend” helped drive King’s 1971 “Tapestry” LP to sales of more than 10 million copies and to a boatload of trophies (including album, record and song of the year) at the Grammy Awards; the singer’s pal James Taylor, whom she’d performed with for the first time in late 1970 at the Troubadour, topped Billboard’s Hot 100 with his own cover of “Friend” featuring background vocals by Joni Mitchell.

On the advice of Atlantic Records’ Jerry Wexler, Hathaway also recorded “Friend” as a studio duet with Roberta Flack, a fellow Howard University alum; their take sat in the Top 20 of Billboard’s R&B chart as Hathaway began his run at the Troubadour — popular enough that the audience on “Live” erupts at the sound of Hathaway’s opening organ lick.

Indeed, the crowd is really the thing in this live version of “You’ve Got a Friend.” Hathaway and his band — including guitarist Phil Upchurch, bassist Willie Weeks and 16-year-old Fred White (soon to be of Earth, Wind & Fire) on drums — are cooking, to be clear; the groove is funky and viscous, and Hathaway’s vocal is gorgeous, not least in his nimble ad-libs.

But it’s his interplay with the few hundred folks in the room that elevates the recording to a deeply moving piece of art.

For King (and Taylor), the song’s promise of unflagging support is an intimate one-to-one matter; their renditions use homey acoustic arrangements to create a picture of two people exchanging confidences. In Hathaway’s hands, “Friend” is about community: Before he even asks them to, the audience takes over for him on lead vocals in the song’s chorus, a congregation in all but name.

Given the proximity to the civil rights movement, it’s impossible to hear Hathaway’s “You’ve Got a Friend” as disconnected from the struggles of Black people. At the Troubadour (as in his and Flack’s duet), he nixes the song’s second verse to arrive more quickly at the bridge, in which he describes a cold world filled with those who’d “hurt you and try to desert you” — even “take your soul if you let them.”

As Emily J. Lordi notes in her 2016 book about “Donny Hathaway Live,” the crowd lays back during the bridge before rejoining Hathaway for the song’s second chorus; the decision, somehow spontaneous and collective at once, is an expert bit of record-making on the part of an audience that, according to legend, hadn’t been told the concert was being taped.

“From this perspective,” Lordi writes of Hathaway’s fans — some number of whom had surely availed themselves of the Troubadour’s bar, as she points out — “they are not stealing the show so much as they are holding him up, ensuring he won’t sing the duet alone.” Together, performer and audience are turning back (not that they necessarily had a choice) to the ugly truths that singer-songwriter music sometimes sought to move past.

In this way, Hathaway’s “Friend” becomes a reinvention of a reinvention — an act of moral imagination about as American as it gets.

This wasn’t the only instance of a Black soul singer interpreting a tune King had written as a single mom newly arrived in L.A.: In May 1972, the Isley Brothers released a sultry cover of “It’s Too Late”; a month after that, Aretha Franklin’s live “Amazing Grace” album mashed up “You’ve Got a Friend” with “Precious Lord, Take My Hand,” completing the gospel-ification that Hathaway had begun in a bastion of white rock culture temporarily remade as an African American church.

Yet in Hathaway’s “Friend” you can hear the whole story American music tells about identity and belonging (and about commercial ambition).

“This might be a record here,” Hathaway tells the crowd near the end of the song, and so it was — a document of adaptation, a testament to borrowing, a bulwark against pretty fictions.

SCARLETT Moffatt has heartbreakingly revealed that her fiancé Scott Dobinson’s mum has passed away.

In an emotional tribute to his mum Janice, the I’m A Celebrity… Get Me Out Of Here! star – who is expecting her second child – said she was “so upset” that Janice wouldn’t be around to meet their second son.

Scarlett and Scott have been together since 2018 and are already parents to son Jude, revealing in April they are expecting another little one.

Announcing the sad news that Janice has passed, the star wrote to Instagram: “My heart is broken for Scott and all of his family at the loss of his mam Janice 💔

“You were the best Nanna to Jude, the kindest mother-in-law and one of the loveliest people I’ve ever known.

“I’m so upset that you won’t get to meet your second grandson but I know you will be watching over us all, I’ll forever be grateful for all the love, kindness and warmth you showed me from the very beginning, and especially for the love you gave Jude.”

Scarlett continued: “You raised true gentlemen in both your boys, and that says everything about the incredible woman you were.

“We will miss you more than words can say. Sleep peacefully Janice, our Nan Jan”.

Scarlett and other half Scott met through mutual friends over 15 years ago, but didn’t officially start dating until 2018.

They welcomed son Jude in the summer 2023 and got engaged in November that same year.

Since revealing they are set to welcome another child back in April, Scarlett has admitted the pregnancy hasn’t been smooth sailing.

Shortly after the announcement, she told fans how she had been struggling with sickness, hot flushes and migraines.

And alongside the health woes, the star has also had a wave of pregnancy cravings.

She told The Sun in May: “I’m having different cravings to last time,” she says. “With Jude, it was honeydew melon. Sometimes I’d have a whole melon a day.

“Now it’s cheese — specifically grated cheese. I think it’s a texture thing. I want grated cheese sandwiches all the time. I can’t have the pre-grated, it’s too hard, so I’ve got Scott grating me cheese at 11pm.”

A VERY emotional Harry Styles paid tribute to his late One Direction bandmate Liam Payne last night at his final Wembley gig.

Harry has just completed a record-breaking 12-night stint at the iconic London stadium, with him getting emotional towards the end.

As he reflected on his career, Harry touched on being in the group One Direction, and name checked each of the boys – including Liam who sadly died in October 2024.

Harry thanked all four band members before singing Carla’s Song.

According to concert goers and various videos circulating online, Harry said: “I wanna thank Niall, Zayn, Louis and my dear friend Liam.

“Nights like these couldn’t happen without every friendship, I wouldn’t be up here without my friends and family, some of who are here tonight.”

Harry also put a video of the boys from the beginning of the band on the big screen as the fan reacted.

One fan also pointed out that Liam’s parents were at the final show, as was Liam’s sister Ruth and her son.

“The way I started sobbing,” said one fan.

“How nice to see Liam’s mum,” penned another.

While a third wrote: “LIAM’S FAMILY AT HARRY’S SHOW TONIGHT, DON’T TALK TO ME IM EMOTIONAL.”

Liam died on October 16, 2024, at the age of 31.

He fell from a third-floor balcony at the Casa Sur Hotel in Buenos Aires, Argentina.

One Direction were formed as a boyband on The X Factor in 2010 after each of the boys auditioned separately as solo artists.

The group amassed a huge following and fan base, with them coming third place in the competition.

They then went on to have a spectacular five-year run where they released five albums and headed on world tours, even breaking America.

In 2016 the group went on an indefinite hiatus.

Fans still hope that Harry, Niall, Louis and Zayn will reunite someday.

The Autry’s current exhibition, “Life, Liberty, and Los Angeles” is an excellent show that takes a deep regional dive pegged to its 250th American anniversary programming. Of all the pieces, See Lee’s meticulously stitched “Hmong Story Cloth” (circa 1980) is a poignant chronicle of making the journey to an unknown future in the United States. Utilizing the traditional paj ntaub embroidery format, the textile documents Lee’s family fleeing war-torn Laos and resettling in Long Beach during the 1970s. The narrative unfolds in sequential sections depicting military violence at a chaotic crossing of the Mekong River; lower panels remember Thai refugee camps, a rescue airplane and a Greyhound bus. This visual testimony shares striking cross-currents with Latin American arpilleras and paños Chicanos, linking disparate diasporic traditions through the shared language of quietly political, deeply personal needlework — in this case, preserving a crucial chapter of Southeast Asian migration to Southern California.

🗓️ On view through Jan. 31, 2027

Ralf Little is best known for his roles in Death in Paradise, The Royle Family and Two Pints of Lager and a Packet of Crisps.

Ralf Little became a household name back in 1998 when he joined the beloved BBC sitcom The Royle Family.

Since then, he’s gone on to feature in Two Pints of Lager and a Packet of Crisps and Death in Paradise, which he departed in 2024.

Although he’s featured in a plethora of other shows, including his popular series with friend and former co-star Will Mellor.

This weekend, however, he’s back on our screens as he’s due to appear on Sunday Brunch alongside Tim Lovejoy and Simon Rimmer.

Having been firmly in the public eye since the age of 17, we take a closer look at the star’s life away from the cameras.

Childhood tragedy

The BBC actor suffered a devastating personal loss as a youngster when his elder sister Ceri passed away while he was just nine years old. At only 14, Ceri tragically lost her life after falling from a 150-foot clifftop during a family holiday in Cornwall.

Opening up about his late sister on his programme with Will Mellor, Ralf was visibly moved as he touched upon his own decision not to have children, reports the Express.

He said: “My parents were fantastic with us and did the best that they could. But their relationship broke down really in a really difficult way and that was very difficult for us.

“You know, there’s no way of putting this that’s not blunt, but, you know, they had three kids and an idyllic family life and then one of the kids was alive one week and dead the next.

“Everything, their entire lives, crumbled right in front of their eyes from that moment on. It’s like, you know, you can’t protect them. My mum was really… my mum was really protective of us. Really protective.

“And it happened anyway. It happened anyway because you can’t wrap your kids in cotton wool and protect them 24-7. Like, it’s a lot. And it’s only when I’m forced to sort of say these things out loud that I realise quite what a lot it is.”

Ralf has also opened up about how the loss of his sister drove him to pursue greatness and push himself to be the very best he could be.

Death in Paradise exit

Ralf became a firm fan-favourite on the long-running BBC crime drama after joining the cast as DI Neville Parker in 2020. He confirmed his departure four years later, with Don Gilbet stepping in as DI Mervin Wilson.

The actor chose to leave the show after both he and the producers felt his character had naturally run its course. At the time, he announced: “My time on Saint Marie has come to an end – what an end! New adventures await Neville, and he got to sail away into the sunset with his best friend. Who knows what happens for them next!”

However, his mother feared his departure would spell the end of his acting career, as he revealed to The I last year: “About six months ago, I went to visit her. My mum’s done this my whole career – she’s always worried about me.

“She went: ‘So, I’ve been thinking, now that your career’s over, you could go back to medical school this September and qualify in five years, and the good news is you could still work till you’re 75.”

Medical dreams

Best known for his roles in Death in Paradise, The Royle Family and Two Pints of Lager and a Packet of Crisps, Ralf could easily have ended up on a very different path in life.

Prior to launching his acting career, Ralf had ambitions of becoming a doctor, studying at the University of Manchester Medical School. He ultimately dropped out, however, when he landed the role of Anthony Royle, choosing to pursue acting full-time instead.

It seems a talent for medicine runs in the family, as Ralf’s brother is a doctor and his sister works as a nurse. When quizzed about whether he ever wonders what might have happened had he stuck with his medical studies, he told The Telegraph in 2021: “Yes. Being a doctor is a calling. I was serious about it. Acting was just a fun hobby.

“I look at NHS workers now, and they’re unbelievably heroic, but I guess I’m lucky not to have to deal with the s**t that’s thrown at them.”

Medicine wasn’t the only alternative career Ralf could have pursued, either. He was once a semi-professional footballer, having turned out for semi-pro side Maidstone United in the early 2000s.

The Other Bennet Sister fans were delighted to hear the BBC had commissioned a three-part Christmas special.

The Other Bennet Sister fans have all made the same demand ahead of the festive special.

Fans of The Other Bennet Sister were delighted when the BBC announced a three-part Christmas special, following the triumph of the opening series.

Adapted from Janice Hadlow’s celebrated novel, The Other Bennet Sister centred on Mary Bennet (played by Ella Bruccoleri), the frequently ignored middle sister from Pride and Prejudice.

The concluding episode saw Mary agreeing to marry Tom Hayward (Dónal Finn), though the happy couple may face some obstacles ahead.

The Other Bennet Sister became the most-watched debut drama across all UK platforms and streaming services since May 2025, drawing 7.3 million viewers within its initial 28 days.

Jane Tranter, Executive Producer, said: “We always hoped audiences would fall in love with Mary Bennet’s story, but the response to The Other Bennet Sister has exceeded even our most optimistic expectations.”

The programme’s popularity led directly to the festive special, and here’s everything we know about it thus far.

Who is in The Other Bennet Sister Christmas special?

Ella Bruccoleri is set to reprise her role as Mary, alongside “a host of other familiar faces from the series”.

After learning about the festive special, supporters rushed to social media with one unanimous request, as there was a particular breakout star they were desperate to see return.

Taking to Instagram, one fan said: “Best news ever! Please confirm Dónal being back as Tom.”

Another commented: “@donal.finn will be in it, right? RIGHT?!” A third shared: “I need confirmation that @donal.finn is part of this pleaseeeee.”

A fourth added: “Donal Finn better be there with Ella!!!!” A final viewer concluded: “Best news just hope Donal is in there with Ella too, love them both.”

Given that the Christmas special is set following Mary and Tom’s wedding, it seems highly probable that the Irish actor will make his return to the show.

He captured the hearts of viewers portraying the shy and awkward character, and has further kept fans captivated with his portrayal of the eccentric and charismatic James Moriarty in Prime Video’s Young Sherlock.

What is The Other Bennet Sister Christmas special about?

Tranter offered a tantalising glimpse of the festive episodes, saying: “These Christmas specials give us the chance to spend a little more time with characters audiences have taken to their hearts, and to explore what happens after the wedding bells fade and real life begins.

“Returning to the world of Mary Bennet with our brilliant partners at the BBC and BritBox feels like the perfect way to celebrate the success of the series and give viewers a treat this Christmas.”

While the precise plot is yet to be unveiled, the storyline will likely chart the newlyweds’ ups and downs as they adjust to married life – whether that involves navigating tricky in-laws or the prospect of starting a family – but viewers will simply have to sit tight and find out.

How long are The Other Bennet Sister Christmas special episodes?

While devotees had hoped for three feature-length episodes, the BBC confirmed the specials will follow the same format as the original series, with each instalment running at 30 minutes.

Lindsay Salt, Director of BBC Drama, added: “It’s been incredibly exciting to see Mary Bennet cause such a sensation in 2026, and we could not be happier to announce this new three-part Christmas gift to her millions of fans.

“Marriage was just the beginning for the no-longer-so-overlooked Bennet sister.”

Where will The Other Bennet Sister Christmas special air?

The specials will broadcast exclusively in the UK on BBC iPlayer and BBC One. Viewers in the US and Canada will be able to catch it exclusively on BritBox.

The Other Bennet Sister Christmas special will air on BBC One.

Streaming service Netflix has started early production on your next thrilling TV obsession

Another bestselling thriller is coming to screens soon.

Netflix has lined up an adaptation of Lucy Clarke’s bestselling thriller The Surf House with a familiar name behind the scenes.

No casting has been announced just yet, but the upcoming drama is being helmed by director Ed Lilly, who was behind episodes of major TV titles such as Industry and Tell Me Lies.

Clarke’s novel is set in Morocco and follows a woman named Bea seeking sanctuary amongst a community of travellers.

However, Bea’s travels soon take a dark turn when she uncovers a sinister secret at the heart of the commune.

A synopsis via Deadline reads: “The Surf House is set high on the cliffs of Morocco and is based in a sanctuary for surfers and travellers chasing sunshine and waves.

“But the idyll hides a dark mystery, and when Bea washes in, seeking refuge after a dangerous encounter in Marrakesh, she soon gets caught in the current.

“A woman her age – who stayed in the same area, walked the same beaches, met the same guests – disappeared one year earlier, vanishing without trace, and her last known whereabouts was The Surf House.”

Author Clarke is quickly becoming a household name for thriller fans, with Deadline’s report describing her as a “British Liane Moriarty” (author of Big Little Lies and Nine Perfect Strangers).

Two of her novels, The Castaways and No Escape, have already been adapted by Paramount+, the former starring Sheridan Smith.

Another book, The Hike, has also been optioned by Urban Myth Films, which is backed by Studiocanal, so a big screen adaptation could be imminent.

In the meantime, The Surf House is shaping up to be another must-watch thriller for Netflix based on the original novel’s rave reviews from readers.

One Goodreads user gushed: “This is the perfect thriller. It had everything going on. The scenic beach front hostel in Morocco as the setting was amazing.”

Another wrote: “I felt like I could not put this one down. I needed to keep reading to see what was going to happen. Also the last 60 percent has several twists and turns. Once I thought I had it figured out it kept changing up on me.”

“I could not get enough of this book,” someone else said. “I am going to buy all of this author’s books now. Such a perfect 5 star for me.”

And a final fan recommended: “If you like fast paced thrillers, multiple mysteries wrapped up in one story all in the back drop of a gorgeous destination and travel setting then this is absolutely for you.”

Netflix’s The Surf House does not yet have a release date.

Wimbledon was rocked by a stunning upset on Saturday as defending champion Iga Świątek was knocked out in the third round

There were tears on Centre Court as one Champion was knocked out of the tennis competition.

Wimbledon entered its sixth day of intense action on Saturday (July 4) as competitors battled to secure their place in the fourth round. The compelling order of play featured Emma Navarro (USA) going up against Marta Kostyuk (UKR) on Court Two, while Arthur Fery flew the flag for Great Britain on Court 18 against Belgium’s Zizou Bergs, amongst numerous other fixtures.

Yet it was Centre Court that left spectators utterly stunned as the Philippines’ Alexandra Eala squared off against Poland’s Iga Świątek. Presently sitting third in the global women’s singles rankings, Świątek, 25, is a six-time Grand Slam winner and was competing to retain her title.

Świątek secured her maiden Wimbledon crown last summer when she delivered a devastating 6-0, 6-0 final triumph over Amanda Anisimova. However, she has now been eliminated from this year’s tournament.

Throughout the gripping third-round encounter with 29th seed Eala, Świątek surrendered the opening set in an extraordinary tie-break, 21-19, before collapsing in the second set, going down 7-6 (11-9) 6-2.

While BBC One was broadcasting the Arthur Fery fixture, presenter Clare Balding broke in to confirm that Eala has created history as the first Filipino player to advance to the fourth round of a major championship, reports the Express.

Speaking live from the BBC studios at Wimbledon, in London, Clare announced: “Let us bring you up to date with a major shock. The defending champion, Iga Świątek, is out of Wimbledon, and Alex Eala is the first player from the Philippines ever to reach the fourth round here.

“A huge result, she is immensely popular all around the world, and gets really big crowds following her. Eala is only 21, and this is a massive moment for her, and indeed for the Philippines.”

Having clinched her winning point, Eala collapsed to the ground before swiftly rising to her feet to pay tribute to her opponent, Świątek.

Visibly overcome with emotion during her on-court interview, Eala reflected on her childhood, when such an achievement could only have been the stuff of dreams.

“I’m really emotional. For someone like Iga, who has won so many Grand Slams, or maybe like Serena or Venus, this achievement may seem small but for someone who grew up in the Philippines it is huge,” she said as the crowd cheered.

“I went to train with my brother and my grandfather every day after school with my ruffled socks, light-up shoes, and chubby cheeks, so to younger me, this is everything. But, obviously, just because I’m emotional does not mean I’m satisfied, so next round let’s go!”

All the latest action from Wimbledon is available to stream on BBC iPlayer.

A highly divisive period drama starring Taylor Swift is currently available on Netflix as the hitmaker weds Travis Kelce in New York

It has its fair share of defenders but scored just 32 percent on Rotten Tomatoes.

A 2022 period drama with an all-star cast including pop star Taylor Swift is currently available to stream on Netflix – but it’s not some of the star’s most acclaimed work.

The 1989 chart-topper has just tied the knot with Kansas City Chiefs tight end Travis Kelce on Friday, July 3 at a lavish ceremony in Madison Square Garden in New York.

Attended by around 1,000 guests and officiated by Hollywood A-lister Adam Sandler, it’s become one of the most publicised celebrity weddings in history.

For those looking to Netflix for their Swiftie fix to mark the occasion, you can currently stream her acclaimed behind-the-scenes documentary Miss Americana, a Netflix Original released in 2020.

However, she is also known for infrequent movie roles, including the critically maligned musical Cats and lending her voice to animated film The Lorax.

Her only acting role currently streaming on Netflix in the UK may be a surprise to fans as it’s David O Russell’s critical and commercial flop Amsterdam, a mystery thriller set in the 1930s.

Based on the real-life Business Plot case from 1933, an investigation into the death of a retired US general, Swift has a supporting role as Elizabeth Meekins alongside an all-star cast that also includes Christian Bale, Margot Robbie, John David Washington and Anya Taylor-Joy.

Made on a budget of $80 million (£59 million), it was a box office bomb for 20th Century Studios with an estimated loss of more than $100 million (£74.9 million).

While it was critically panned, Amsterdam does have some defenders with one fan even claiming: “An instant classic. Given time, it will be regarded as one of the greatest films ever made. The cast is outstanding.

“I can’t remember ever seeing so many talented actors in one film like this before. Everyone brought their A-Game and absolutely nailed their respective performances.”

Unfortunately, not everyone shares their opinion as a Rotten Tomatoes user branded the film “A confused mess that was painful to watch”.

“An incoherent mess. A waste of the stellar cast,” another viewer slammed, and someone else wrote: “Honestly in contention for the worst movie of the 2020s.”

The film continues to be eviscerated on IMDb, with one user slamming Amsterdam as “Quite literally one of the most worthless movies I’ve ever seen.

“The first few scenes set up what could only be anticipated as an action packed murder mystery type movie, only to be followed by a nearly pointless flashback with categorically pointless scenes attempting to make you feel something for characters that make absolutely no sense.

“This movie had serious potential, with an amazing cast. I took three friends and I feel like I owe them several hours of wasting their life.”

Swifties have been warned to stick with Miss Americana this weekend, or perhaps stream her concert extravaganza The Eras Tour, which was filmed and released by Disney+.

Amsterdam is available to stream on Netflix.

LISA Faulkner and John Torode have been dealt another blow following her breast cancer diagnosis earlier this week.

The TV couple have reportedly learned that their cookery show, John & Lisa’s Weekend Kitchen, has been shelved after ten series.

Amid ongoing budget cuts at ITV, the show is notably absent from upcoming schedules.

According to The Mirror, the couple remain hopeful that the popular cookery programme could return to the channel at a later date.

An insider told the publication: “John remains a regular contributor to This Morning, where he has been fully supported by everyone, including hosts Ben Shephard and Cat Deeley.

“The truth is there are no current plans for series 11 of Weekend Kitchen but no final decision has yet been made over whether it will return in the future.

“And John is very much a part of the ITV family through his role as a regular chef on This Morning.”

ITV confirmed that no final decisions have been made yet regarding the future of the show.

The news comes after John suffered a major career setback last year when he left MasterChef.

An inquiry, ordered by MasterChef’s production company, upheld a claim that the chef had used an “extremely offensive racist term”, which he said he had “no recollection of”, and he subsequently departed the show.

His wife Lisa announced her shock cancer diagnosis on Thursday, revealing that she had already undergone surgery and was awaiting a course of radiotherapy.

Lisa is best known for her acting roles in shows including Holby City and EastEnders, and in recent years has carved out a successful career as a TV chef.

She won Celebrity MasterChef in 2010 before going on to front John & Lisa’s Weekend Kitchen alongside her husband.

Coronation Street has welcomed real-life family members to the Cobbles over the years

Soap operas blur the line between drama and reality when family members land roles on the same show.

Coronation Street star Isabella Flanagan plays Weatherfield’s Hope Stape, daughter of Fiz Brown (played by Jennie McAlpine), on the ITV show alongside her brother William, who portrays Joseph Brown, son of Chesney (Sam Aston).

The siblings also share a real-life connection to Emmerdale’s April Windsor star Amelia Flanagan, who is their big sister.

Cousins Brooke Vincent and Ellie Leach have both enjoyed successful stints on the show, while Rick Neelan actor Greg Wood is actually the real-life brother of Tommy Orpington star Matt Milburn.

Last month, Rosie Fleeshman became the latest member to follow in the footsteps of her famous sibling, Richard Fleeshman, enjoying a guest stint on Corrie. Their mum has also starred on the show.

Richard first graced the soap as Craig Harris in 2002, with his family, including father Tommy Harris (Thomas Craig), mother Angela Harris (Kathryn Hunt), and sister Katy (Lucy-Jo Hudson).

The family arrived in Weatherfield as part of a witness protection scheme, and they quickly stirred up some drama. Moreover, young Craig was central to several dramatic storylines during his tenure.

In 2005, he lost his entire family when his sister Katy killed their father Tommy in a rage, and their mother Angela took the fall. Unable to cope with the guilt, Katy later took her own life.

The character also embarked on a romance with Rosie Webster (Helen Flanagan), becoming her first boyfriend. Craig even plotted to flee to Berlin with Rosie.

However, in 2006, Craig departed alone and bid farewell to the cobbles. Since then, actor Richard has kept himself occupied, appearing in shows such as Call the Midwife and Death in Paradise, as well as stage productions.

Richard hails from a talented family, as his mum, Sue Jenkins, who joined the cast of Coronation Street as Gloria Todd in 1985, became a regular face at the Rovers Return pub. She worked alongside Julie Goodyear, who famously played landlady Bet Lynch.

Beyond her time on Corrie, Sue also portrayed Jackie Corkhill in Brookside from 1992 to 2001, and made a brief appearance in Emmerdale in 2008 as Bonnie Drinkwater.

In 2024, Richard appeared on Loose Women and spoke to panellists Kaye Adams, Kelle Bryan, Linda Robson, and Jane Moore about his role on sci-fi show, The Ark and paid tribute to his mum’s time on Brookside.

“She was amazing in that show”, he said. “I was allowed to watch certain episodes growing up. Some of them were a little bit past my bedtime. It was an amazing show and such a great following.”

The revelation of Sue and Richard’s roles on Corrie left fans astounded. On X, previously known as Twitter, one viewer posted about Sue’s stint on Corrie.

Another fan responded: “That’s Richard Fleeshman’s mum!” A third person commented: “Wow, all this time watching and I never knew that, I can see her son in that photo now.” Yet another added: “Her real-life son played Craig Harris, son of Psycho Tommy!”

Richard’s dad is David Fleeshman, who appeared in Boys from the Blackstuff, and he credited his parents for inspiring his successful career. He said, “I grew up with both of them being around the industry fully, so it was just everything I knew.”

Coronation Street airs weekdays on ITV and ITVX

Based on chilling true story all episodes are streaming for free

A ‘phenomenal’ series that blends period drama with spine-chilling horror has been hailed by devoted fans as a ‘televisual masterpiece’.

Remarkably, the show is also rooted in a genuinely unsettling true story — and even better, it can be streamed right now at no additional cost.

At the time of writing, The Terror is currently available on both ITVX and Channel 5. The former additionally hosts its second season, though that particular instalment follows an entirely different storyline.

A third season was released in the US earlier this year, subtitled Devil In Silver. However, this chapter was adapted from a novel and has yet to reach UK audiences.

In the meantime, viewers can revisit the series from the very beginning. The Terror is a historical anthology drama, with its first two seasons drawing upon real-life events, though both remain fictionalised interpretations, reports OK!

Legendary director Ridley Scott serves as executive producer across both seasons. The opening season charts the journey of Royal Navy polar expedition vessels HMS Erebus and HMS Terror as they venture into uncharted waters, resolute in their mission to locate and confirm the existence of the fabled Northwest Passage.

The ships soon become trapped in ice, leaving the crew to endure savage conditions and mounting internal tensions, all while being stalked by a terrifying and mysterious presence. It draws inspiration from the actual 1845 Franklin Expedition, where those two vessels genuinely became trapped in ice within the Arctic while seeking the Northwest Passage.

However, the programme dramatises the potential terrors they might have encountered.

Meanwhile, the second series, titled Infamy, takes place along America’s western coastline during the Second World War, delving into Japanese bakemono folklore – a malevolent phantom that torments a Japanese American community from Southern California through to internment camps and Pacific battlefields.

Audiences have heaped praise upon the series, particularly its opening instalment. One enthusiast proclaimed: “It’s such a masterpiece that I watched it twice, back to back.”

Another added: “I binge-watched season one, couldn’t stop. Amazing performances.”

A fellow admirer wrote online: “I have watched a lot of horror shows and movies…but nothing makes me feel dread and unease like this one. The pacing is perfect, the atmosphere bleak, the music beautifully haunting, the dialogue is fantastic, and the story is amazing. Best horror show of all time for me.”

Meanwhile, one viewer declared: “Quite simply, a televisual masterpiece, mixing true-life tragedy, fictional horror and majestic period thriller. A magnificent accomplishment.”

Another viewer chimed in: “This is a remarkable series, which takes on a journey of suspicion, disaster, tragedy and terror. The first episode didn’t exactly captivate me, but by episode three I was obsessed, and subsequently had to binge watch the whole series.”

The Terror is streaming on ITVX and Channel 5.

Casualty usually airs on BBC One on Saturday night, but today’s episode was pulled from the lineup because it would have clashed with the channel’s World Cup coverage

Casualty fans have been left fuming after the show was removed from the TV schedule tonight.

The medical drama usually airs on BBC One on Saturday night, but tonight’s episode was pulled from the lineup due to live BBC sporting coverage of the FIFA World Cup match between Canada and Morocco. The next episode will instead air next Saturday, July 11.

But fans have expressed their disappointment over the schedule shake-up, with some suggesting that Casualty should be moved to a different channel, such as BBC2, BBC3 or the BBC iPlayer. “Casualty hasn’t had a permanent slot for years you move it about all the time or don,t show it at all it is the only thing worth watching on a saturday night,” one frustrated viewer posted online.

“Couldnt Casualty move to BBC3 or 4?” another asked, as a third suggested, “just put it on iplayer!” One more wrote, “Why is it not on bbc tonight again, what’s wrong with the bbc all we get is sport.”

“Why couldn’t they put casualty on bbc2,” a fan added. “Why can’t we have a dedicated sports channel,” one more shared.

The drama is now approaching the conclusion of its “Lethal Legacy” box set, which has centred on the military past of Flynn Byron (Olly Rix). Stevie Nash (Elinor Lawless) has also featured prominently throughout the box set, with her affair with trainee doctor Matty Linlaker (Aron Julius) – the son of her close friend Dylan Keogh (William Beck) – taking centre stage.

In recent episodes, viewers have grown increasingly worried about recovering alcoholic Dylan after he was seen accepting a glass of champagne while delivering a speech at a function. A synopsis for next week’s episode reads: “Dylan is confronted by Matty about his drinking, but assures him it was just a one-off.

“However, as he treats a burns victim, he begins to suffer debilitating flashbacks to his drinking binge and flees from the unit. Faith avoids feeding Pearl as she prepares to return to work, leaving Iain concerned.

“Laura admits she is scared to speak at the council meeting, Rash worries about his presentation, and Jan confesses to Jacob that she has developed feelings for Siobhan.”

Casualty returns to BBC One on Saturday, July 11.

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

THIS is the moment Maroon 5 singer Adam Levine got emotional as he made his late manager’s dream come true at BST Hyde Park.

The pop rock band headlined the London festival on Friday night in front of 75,000 people and dedicated a performance of Memories to Jordan Feldstein, who died suddenly in 2017.

Adam told the crowd at BST Hyde Park, which is sponsored by Vodafone: “This band playing Hyde Park was one of his dreams for us. And we’re making it true now and it’s un-f***ing-believable.

“It’s bittersweet because he’s not here tonight. So, this of course goes out to Jordan, our friend. My friend since I was born.

“I think that some of these songs mean something different to every single person that appreciates them.

“I know that you’re all thinking of someone and all that energy, it kind of comes together, especially on a beautiful night.

“Take a look around you guys, it’s unbelievable. Look at all this, it’s crazy.”

Jordan guided the band since its launch in 1994 until his sudden death from a pulmonary thromboembolism, a blood clot in the lungs, almost nine years ago.

Memories, which was released in 2019, includes the lyrics, “here’s to the ones that we got, cheers to the wish you were here, but you’re not” and “toast to the ones here today, toast to the ones that we lost on the way”.

Speaking previously about his childhood friend and long-time manager, Adam said: “It was a tragedy foisted upon us and far and away one of the saddest moments of our lives, and personally of mine.

“This is a kid I’ve known since we were in diapers. He was one of the most important people in my life from a very early age.”

He closed out the rendition of Memories by pointing to the sky in honour of Jordan.

Adam’s emotional speech on behalf of the six-piece band was met with cheers.

It was a fitting moment during the nostalgic evening, which saw Maroon 5 perform their greatest old-time hits including Sunday Morning and She Will Be Loved.

One Republic, Jess Glynne and Ella Eyre had earlier performed throughout the day.

On a recent summer day at Crossroads School for Arts & Sciences, students ambled through yawns, braces and acne into their creative writing class. The day’s lesson tackled “style,” that elusive, ultra-subjective choice of expression.

“Who was the first author you encountered to do something different on the page?” asked the teacher, Clarke E. Andros.

They named Dr. Seuss, Shel Silverstein and Lemony Snicket before moving on to a précis of Joy Williams’ flash fiction. “These stories are weird — she’s weird,” Andros warned.

In some ways, high school looks much the same as it did 20, even 100 years ago: sleepy eyes either light up or glaze over when a teacher poses a Socratic question. Nervous laughs and unexpected insights emerge as young people use stories to make sense of themselves and the world around them.

The idea of the “Great American Novel” took shape in the aftermath of the Civil War, when a fractured nation looked to literature to define itself. As classrooms evolved, so did the canon that reflected America’s changing identity.

But the syllabus today is at a tipping point. Forces — some visible, some harder to see — are upending literature and education itself. American students are in a decade-long reading recession, while fewer students are reading for pleasure than in previous generations.

Reading scores among high school seniors are at their lowest in decades, according to federal testing data, while schools across the country are grappling with how to respond to waning attention spans and artificial intelligence. The Los Angeles Unified School District has begun a course correction, voting to limit student use of laptops and tablets during class — the first major American school system to do so.

We spoke with five high school English teachers across the city — three from LAUSD, one from a charter and one from a private school — to find out what literature belongs in today’s classroom, and which stories can help us understand America, past and present.

Interviews have been edited and condensed for clarity.

Raquel Olvera, Roosevelt High School, Boyle Heights

What books in the American literary canon are you teaching (old and new)?

In 11th-grade American Literature, as part of the LAUSD-approved Odell curriculum, we read four book options: “Friday Night Lights,” “Beloved,” “The Great Gatsby” and “The Warmth of Other Suns.” For my 10th-grade World Literature course, I like “Antigone” and “Things Fall Apart.” I also teach “In Cold Blood,” using it to explore Americans’ fascination with true crime and what the genre reveals about race, gender, class and the justice system.

What’s one work from the canon adults should revisit today?

“The Great Gatsby.” When I read it in high school, I wasn’t engaging with its undercurrents of racism, xenophobia, antisemitism, gender or sexuality in the way I do now. Its themes of power, wealth, consumerism and American identity remain as relevant as ever.

What are English teachers up against in the classroom in 2026?

Besides large class sizes and underfunding, I think public educators are largely battling apathy. Students and young people aren’t engaging with books like they used to. A side effect of that is a lack of empathy and curiosity. At the very least, you can model what it means to be a reader and a writer, and hope that years later, students remember that one nerd English teacher who showed them what humanity can look like.

Schehrezade Lodhy, Da Vinci Schools, El Segundo

What books in the American literary canon are you teaching (old and new)?

Students really enjoy Arthur Miller’s “The Crucible” — it’s all about the human condition and cancel culture, forbidden love and lies and deceit, with witches in the forest. In poetry, we explore a range of American voices, from Walt Whitman and Langston Hughes to Amanda Gorman, and sometimes even song lyrics. I also use “The Moth: Storytelling” podcast when students are working on personal essays. The goal is to make literature, poetry and storytelling as accessible as possible. At a charter school, we have quite a bit of autonomy with what we teach.

What’s one work from the canon adults should revisit today?

James Baldwin’s “Giovanni’s Room” and “Go Tell It on the Mountain.” I read Baldwin a few summers ago, and that was quite an education for me. Unfortunately, some of the content is a bit too mature for high school, but I do talk about Baldwin a bit in my classes when we cover African American authors.

What are English teachers up against in the classroom in 2026?

Artificial intelligence, big time. I really pared back technology in my class, and we’ve pivoted back to paper and pencil. Going into my 18th year of teaching, my biggest goal is re-creating that experience of thinking critically for oneself and studying literature through a critical lens. We’re in this era of going back to the basics. With decreased attention spans, teachers are being forced to become even more creative. It feels like we’re reinventing ourselves every year.

Aiden Brown, John F. Kennedy High School, Granada Hills

What books in the American literary canon are you teaching (old and new)?

From an educationally traditional background, I still believe in canon disruption — mixing the new and old. In American Lit, I’ve taught “Their Eyes Were Watching God” 11 times now. It’s a hard one to get on the first try because the vernacular is so particular, but when we read it physically while also listening to the audiobook, it’s such a great novel to hear. I pair it with bell hooks’ “All About Love.” I teach “Macbeth” from a performance-based lens, making it less intimidating. My favorite book is “Frankenstein,” written by a teenage girl who invented science fiction. My ninth-graders’ favorites were “Fahrenheit 451,” “The Odyssey” (Emily Wilson translation) and “Persepolis,” a graphic novel about a girl discovering punk rock and rebelling against the established order.

What’s one work from the canon adults should revisit today?

All of the lonely young men need to reread “The Great Gatsby,” and anyone freaked out by the state of the world should read “Parable of the Sower.” One quote from the book hangs on a poster board in my classroom: “A community’s first responsibility is to protect its children — the ones we have now and the ones we will have.”

What are English teachers up against in the classroom?

Teenagers are still the funniest people on the planet. As the world around them becomes more atomized, I find that they’re increasingly interested in connection. In the classroom, we are seeing skill loss and a decreased ability to focus on a task. I don’t think that’s just because of AI or the pandemic — it’s also phones, screens and the world kids are growing up in. One thing teachers seem to agree on is a return to pen and paper.

Clarke E. Andros, Crossroads School, Santa Monica

What books in the American literary canon are you teaching (old and new)?

A newer addition I would recommend is “Hunger: A Novella and Stories” by Lan Samantha Chang. Especially in California, we have a lot of great Asian American literature, including works by Amy Tan, but I enjoy the writing level in Lan’s — it’s accessible to students but pushes them, all about intersectional identity and the first-gen experience. A lot of the Latino students I’ve taught in Los Angeles also connect with that book.

What’s one work from the canon adults should revisit today?

“Of Mice and Men.” Revisiting it today opens up deeper conversations about labor, social conciousness and power. Steinbeck creates a microcosm of American society, where disability, gender, race and class are all represented and shaped by an economic hierarchy. The characters are left navigating a world where people often turn on each other rather than challenge the systems around them. It’s novella-length, so you could read it in a Sunday morning.

What are English teachers up against in the classroom in 2026?

We’re up against systems that often prioritize ed-tech and third-party vendors over smaller class sizes and more teachers. When I was at LAUSD, it was clear from our superintendent — who just stepped down over his fraud investigation — was just in bed with tech. It’s hard for me to imagine the folks in power didn’t look at [the failed AI chatbot venture] and see it as a grift.

On the flip side, at hyper-competitive, elite schools like this, students are approaching high school with college in mind rather than with high school in mind. When students understand the value of the process, they’re less likely to look for an easy shortcut like AI.

Adam Tan, Los Angeles Center for Enriched Studies, Mid-City

What books in the American literary canon are you teaching (old and new)?

With independent reading, memoirs are big, like “Crying in H Mart” and Sylvia Plath’s fictionalized “The Bell Jar.” Younger kids gravitate to “Musashi,” a celebrated epic based on a famous samurai. We have a lot of Korean American students here, so they like “Pachinko,” dealing with racism and the Korean population in post-World War II Japan. I’ll also throw in “The Bluest Eye.”

In ninth grade, we read “Slaughterhouse-Five,” “Of Mice and Men,” “The Thief and the Dogs” and “Romeo and Juliet,” with the film adaptations to use media literacy. In American Literature, the major texts are “The Great Gatsby,” “The Things They Carried” and “The Crucible.” We also read nonfiction articles, including pieces on AI and robots, while focusing on rhetorical devices.

What’s one work from the canon adults should revisit today?

“The Catcher in the Rye” benefits from the distance of adulthood. It’s a novel about disillusionment and the search for identity, but when you revisit it, you also see that it’s very much a love story. I often encourage students to look for forms of love beyond romance — love for family, friends and fellow human beings. Even today, students can tell you that the biggest phony in the book is Holden himself. The novel reminds us that while literature may not have answers to the world’s problems, it can help us examine our wounds and find solace in art.

What are English teachers up against in the classroom in 2026?

A lack of accountability in the modern world. In general, we have a school district focused on 100% graduation rates, no F’s. [LAUSD] wanted everything on computer, and now they want less computer time, which is great, but not everyone at top management is on the same page. Teachers are often trying to balance what the district wants with what we know our students need.

What I try to instill instead is an intrinsic desire to grow as a thinker. How do you make sure students are reading without taking the joy out of it? A lot of us are going back to pen and paper. Despite all the concerns about AI, I still think the soul and spirit of young people is as strong as ever. The core is not rotting.

The Crown star Olivia Colman’s 2022 drama has been hailed ‘funny and moving’ by fans.

Olivia Colman fans don’t have long left to watch her “emotional, silly and joyful” film.

Fans of The Crown star Olivia Colman are running out of time to catch her “phenomenal” film before it disappears from Netflix. The 2022 movie, set in Ireland, centres on a 12 year old boy, Mully (played by Charlie Reid) who lives with his father in County Kerry following his mother’s death from cancer.

Upon uncovering his father’s dark secrets, the youngster runs away and encounters a woman named Joy (Colman) and her newborn baby. Gradually, the unlikely pair begin to form a bond during a chaotic, emotional road trip across Ireland, finding healing, friendship and redemption along the way.

Joyride is the film in question, and it is available to stream on Netflix until July 31.

Viewers flocked to IMDb to share their opinions on the film, with one describing it as “phenomenal, funny and moving”.

They wrote: “This is one of those films that I didn’t want to end, terrific from start to finish, it was moving, funny, and in this day and age where stories seem to be frequently repeated and copied, it felt original.”

“A couple of times it made me tear up, so moving, what was so good, was seeing the effects the unlikely duo had on each other.

“Olivia Colman is one of my all-time favourites, and she’s phenomenal here, her accent was spot on, equally matched by young Charlie Reid, who was superb.”

Another viewer praised it as “emotional, silly and joyful”, adding: “Fantastic chemistry with the cast, and a wonderful balance of emotions throughout. At times it’s a little confusing, but it all makes sense in the end. And isn’t that what life is like?

“Olivia Colman shines as always, but the real star is Charlie Reid. Some wonderful interactions between them and excellent continuity touches and themes – the dialogue is as entertaining as it is raw.

“A joyful escapade that’s a welcome break from the rinse and repeat action and romcoms.”

One devoted fan added: “It warmed my heart, made me laugh, and cry a little… what more could you ask of any movie?”.

Filmed on location in County Kerry, Colman opened up to Yours magazine about taking on the role: “I loved the character of Joy.

“I couldn’t get her out of my head once I’d read the script. I loved how it was all put together. I loved the story and I really wanted to do it.”

Joyride is leaving Netflix on July 31.