show biz

A century and a half ago, Richard Wagner was running out of cash as he was preparing to stage his four momentous nights of opera known as the “Ring Cycle” when he got a message from the Women’s Centennial Executive Committee in Philadelphia. It offered him a princely $5,000 (around $150,000 today) to write a triumphant 12-minute orchestral score to open the Centennial Exposition in Fairmont Park celebrating the 100^th anniversary of the Declaration of Independence.

On May 10, 1876, Theodore Thomas, perhaps America’s most famous conductor at the time (he would go on to head the New York Philharmonic and help found the Chicago Symphony), led the premiere of Wagner’s “Grosse Festmarsch” with a 150-member orchestra, its brass and percussion so impressive that the addition of cannon fire Wagner suggested was not needed. The crowd was said to number well over 100,000. President Ulysses S. Grant attended and invited Emperor Dom Pedro II of Brazil to join him along with members of Congress and Supreme Court justices for what remains a unique Declaration of Independence spectacle and debacle.

The “Centennial March,” as it came to be known, turned out to be dreck. Even Wagner, who carelessly tossed it off in a couple of weeks, said the best thing about the score was the fee, which he had demanded to be paid in gold. But what sounds like something AI might come up with if asked to write a pompous march in the style of Wagner began the American obsession with celebrating the Declaration of Independence, the words and deeds of our presidents, our very democracy with the assist of the symphony orchestra and opera.

One hundred years later, the country was awash with federal, state, city and philanthropic funding for a music-happy bicentennial of exceptional ambition. “With millions available in hand and more money to come,” Time Magazine wrote in 1975, “the Bicentennial is the biggest bonanza for the American composer since Hollywood discovered the musical.”

And so it was. The centerpiece was the National Endowment for the Arts Bicentennial Orchestra Commissioning Project. That funded America’s six top orchestras to each commission a major work that all six would play. In addition, the NEA offered further support to 34 American orchestras for dozens more new scores.

Everyone got into the act. The New York State Council of the Arts alone sponsored 68 commissions. Orchestras everywhere came up with striking projects. The Pittsburgh Symphony, for instance, premiered L.A. composer John LaMontaine’s opera/oratorio “Be Glad Then America” that featured the folk singer Odetta as the Muse of Liberty and enlisted ROTC students to reenact the Battle of Lexington overhead the orchestra.

The National Symphony commissioned symphonies from Roy Harris and William Schuman as well as Alan Hovhaness’ “Ode to Freedom,” a lovely short violin concerto written for Yehudi Menuhin. The list goes on.

We are obviously not seeing or hearing much like that in a semiquincentennial year when our government’s green gets the most attention for promoting algae. Even so, the NEA does indeed have an “America250” project (though it does little to publicize it, let alone fund it on the scale of 50 years ago) that is promoting more than 50 artworks. In music, they range from the Montgomery Symphony’s premiere in February of Nkeiru Okoye’s oratorio “A Time for Jubilee,” commemorating the 60^th anniversary of the 1965 Selma-to-Montgomery civil rights marches, to a New West Symphony premiere last weekend of Michael Christie’s “A Ronald Reagan Portrait” at the Ronald Reagan Presidential Library and Museum.

The major East Coast orchestras are paying some attention. The New York Philharmonic premiered David Lang’s luminous “the wealth of nations.” The National Symphony got the most attention in its attempt to commission Philip Glass’ “Lincoln” Symphony, which the composer pulled in opposition to an un-Lincoln-like presidential takeover of the Kennedy Center. Glass then gave the rights to the Boston Symphony for a July 5 first performance.

The National Symphony did pull off the premiere of Peter Boyer’s “American Mosaic,” and it was to the Altadena composer that Philadelphia, this time around, entrusted its Declaration of Independence commemoration. Boyer’s multimedia oratorio, “A Hundred Years On,” was given its premiere by the Philadelphia Orchestra last month at the orchestra’s outdoor summer home, the Mann Center.

Upcoming will be a few repeat performances. Next month, “the wealth of nations” lands at the Aspen Festival, as does the “Lincoln” Symphony at the Cabrillo festival (with an L.A. Phil performance next season). “American Mosaic,” of which the Pacific Symphony was a co-commissioner, had its West Coast premiere in Costa Mesa last month and was scheduled to be performed at the Hollywood Bowl by the National Symphony in August, but that has now been replaced by Dvorak’s commonplace “New World Symphony.”

None of this comes close to comparing with the attempted civic zest of 1976. The NEA made it a matter of admirable policy that commissioned new works get multiple performances. Yet despite several of these being substantial works by some of our most noted and venturesome composers, few bicentennial commissions have survived. Even odder is that many of the composers did not necessarily feel compelled to explore nationalist themes. For them, American liberty implied freedom to simply write the kind of music they cared about.

The six works for the six orchestras were David del Tredici’s irresistibly over-the-top “Final Alice” (Chicago Symphony), Elliott Carter’s arrestingly impenetrable-on-first-hearing “Symphony for Three Orchestras” (New York Philharmonic), John Cage’s irrepressibly come-what-may “Renga” (Boston Symphony), Morton Subotnick’s brilliant electronic-landscaped “Before the Butterfly” (Los Angeles Philharmonic), Leslie Bassett’s introspective “Echoes From an Invisible World” and Jacob Druckman’s abstract-modernist “Chiaroscuro” (Cleveland Orchestra).

No orchestra has brought back its commission over the last half century, and only Chicago and New York recorded their commissions. No recording at all exists of L.A.’s, although Subotnick’s inventive uses of electronic music with a standard symphony orchestra went on to have considerable influence. None of these works, it appears, are likely to be heard anywhere in America this year, with one sort-of exception.

An explanation for that may be that, while 1976 was a fraught time for America — the country was recovering from the Vietnam War, we had a president and vice president who were not elected, there was runaway inflation, etc. — the music of the time represented optimism. Many works around the country explored new electronic music technology. It was the year Glass wrote “Einstein on the Beach” and Steve Reich created “Music for 18 Musicians” — the composers’ first masterpieces — demonstrating that Minimalism mattered.

That sense of liberation is clearly behind Del Tredici’s “Final Alice,” an hourlong romp around the ending of “Alice in Wonderland” for superhuman soprano and orchestra. It is so obsessively and addictively wild that its tamest moments sound like Richard Strauss on LSD. It does have a cult following although performances are few and far between.

Cage’s score is an abstract work based on the Japanese form of collective poetry known as renga, in which each poet attempts to write a line that is as distant as possible in meaning from the preceding line. Cage translates that to an independence of instrumental parts. While “Renga” can be performed alone Cage further suggests it be played along with an actual bicentennial work he wrote separately, “Apartment House 1776.” That is what Boston and the other orchestras did.

Indeed, “Apartment House” got the lion’s share of bicentennial attention and ridicule. When Zubin Mehta conducted it at the Dorothy Chandler Pavilion, the L.A. Philharmonic did not take it seriously and many walked out on it.

The work features four vocal soloists who represent Native American, Sephardic, African American and Protestant religious traditions, along with instrumental music based on early American hymn tunes. Everything is cut up and put together through chance operations into what Cage called a Musicircus. Under the circumstances “Renga” was hardly noticed, although two decades later, “Renga” came into its own when Michael Tilson Thomas famously conducted it with the San Francisco Symphony and the surviving members of the Grateful Dead.

Still the idea that “Apartment House” need not stand alone, that our traditions and those of long-ago Japan belong together, represented for Cage a future for America. We need not act like a superpower, he noted, but merely be one nation, no more and no less, among many.

We are obviously not that nation. A half-century later, “Apartment House” tends to exist mainly in its own right. An excellent London new music ensemble calls itself Apartment House. Detroit Opera recently staged it with a 2026 need to give the singers the opportunity to select their own music rather than reflect on our heritage. If American music in 1976 represented a collective, inquisitive, inventive American spirit of discovery, the semiquincentennial in the age of social media has become more about the individual identity.

As a sign of how we think about ourselves, the Los Angeles Philharmonic begins its Hollywood Bowl season five days after the 4^th with a program of American music conducted by Thomas Wilkins that opens with Valery Coleman’s “Fanfare for Uncommon Times,” which was written five years ago.

But for now, the work that stands out is Lang’s “the wealth of nations.” It balances harsh thoughts of how the promise of capitalism has failed society and how racism remains with music of stunning beauty and glory, to gently but forcefully show us, in our age of American dissatisfaction, the direction in which we might go to make us proud again. It needs many performances.

AMANDA Holden flashed her underwear in a very daring see-through lace dress in central London on Thursday.

The Britain’s Got Talent judge, 55, looked incredible in the mint coloured outfit as she left the Global Radio office.

Amanda dressed to impress for her shift in the stunning outfit which nipped her in the waist perfectly with a bow belt.

She accessorised with a pair of white court shoe heels and a matching tiny handbag.

Amanda accessorised with gold bangles, oversized sunglasses and some rings.

The TV favourite completed the look with some loose waves and a huge smile on her face.

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It comes after Amanda looked incredible as she flashed her toned figure in a bright red bikini while on a swing.

The star looked relaxed as she swayed in the sunshine.

Amanda rocked the two piece swimwear with oversized sunglasses and a great tan.

She styled her hair into loose waves.

Over the years, Amanda has appeared in a number of different TV shows, but arguably is most known for starring on Britain’s Got Talent.

The star is a judge alongside Simon Cowell, Alesha Dixon, and KSI.

Recently she’s also starred in Amanda & Alan’s Greek Job and Amanda & Alan’s Spanish Job.

She’s also hosted Cheat: Unfinished Business and The Inner Circle.

Decades of Hollywood empire-building ended with a quake in 2017 when Australian media mogul Rupert Murdoch decided to sell much of his Fox entertainment holdings amid the rise of Netflix and other tech giants.

This week, another titan who has been instrumental in shaping American media and telecommunications began to unwind his Hollywood holdings.

Brian L. Roberts — who with his father built Comcast into a cable TV and internet colossus — announced his company would spin off its prestigious NBCUniversal unit into a separate publicly traded company sometime next year.

The move reverses Roberts’ purchase of NBCUniversal in 2011 — a bold bet that created a behemoth with popular programming and cable pipes to pump that content into consumer homes.

Comcast’s breakup marks the close of a Hollywood era, one dominated for 40 years by a class of maverick moguls: Murdoch, CNN founder Ted Turner, Viacom’s Sumner Redstone, cable titan John Malone and the Philadelphia-based Roberts family.

Now, a new crop of leaders has emerged, reflecting Silicon Valley’s vast influence over the film and and TV business, which has been upended by streaming and, now, artificial intelligence.

“There was a time that Murdoch, Malone and Brian were really industry leaders who could affect change,” said Bank of America managing director Jessica Reif Ehrlich in an interview. “That’s not true any longer.”

Analysts widely believe Monday’s announcement is a prelude to eventual sales of both Comcast and NBCUniversal, a theory that Comcast rejects.

Roberts, 67, told analysts he will remain involved in both NBCUniversal and Comcast after the separation. Still, he plans to relinquish his chief executive role after 25 years and a half century at Comcast. Roberts has picked trusted associates to run each firm, and his family will continue to hold controlling shares of both companies.

But the shift underscores a dramatic loss of clout by Comcast and other traditional media enterprises. Netflix, Apple, Amazon and Google’s YouTube have diminished the industry’s financial pillars — box office receipts and cable programming fees — and given consumers control over when and how they watch programming.

Murdoch was the first to flee. In 2014, he was rebuffed in his $80-billion bid to beef up his 21st Century Fox by buying HBO, CNN and other Time Warner assets. Murdoch’s defeat led to the Fox asset sale to Walt Disney Co.

Last fall, Comcast made a run for the same properties with a plan to unite NBCUniversal with Warner Bros.

Instead, 43-year-old tech scion David Ellison — with help from his billionaire father, Oracle software co-founder Larry Ellison — scooped up the prize for a staggering $111 billion.

The pending blockbuster merger of Ellison’s Paramount Skydance and Warner Bros. Discovery is expected to reshape the industry and leave NBCUniversal increasingly vulnerable to a takeover.

“It looks like Comcast’s NBCUniversal was left standing on the dance floor without a partner,” MoffettNathanson media analyst Robert Fishman wrote in a Tuesday note to investors.

Paramount’s play for Warner Bros. came a month after Ellison finalized his family’s purchase of cash-strapped Paramount from Shari Redstone. The one-two acquisition punch would propel the Ellison family to top-tier moguls with influence over CNN, CBS News, HBO, Turner Classic Movies and two historic Hollywood studios.

“It’s a flagging industry. … The industry will have to consolidate to survive,” said C. Kerry Fields, a USC Marshall School of Business economics professor. “Those who have content plus [streaming] distribution are going to be the winners.”

Roberts knows distribution. His father in 1963 bought his first cable TV system in Tupelo, Miss. It was a quirky bet for Ralph Roberts, who figured his belts and suspenders business would soon be toast as beltless polyester pants became the rage.

Brian Roberts joined Comcast as a high school intern, setting up supermarket promotions. In 1975, he became a trainee cable installer, climbing poles and stringing cables. He joined Comcast full time in 1981 after graduating the Wharton School at the University of Pennsylvania.

For more than 30 years, he worked in tandem with his dad. With key associates, they built the nation’s foremost cable TV service — then the entertainment gateway — and grew stronger by offering internet, phone and then wireless service.

Analysts credit the 2011 purchase of NBCUniversal as a huge success; Comcast rescued a company that was on the ropes due to General Electric’s under-investment.

Over the years, Comcast rebuilt NBC and Spanish-language Telemundo, writing big checks for the best sports rights, including the FIFA World Cup, NFL, NBA and Major League Baseball.

Comcast also recognized value in theme parks and invested heavily, building Universal Studios as a formidable rival to Disney. NBC finished the season in first-place among traditional TV broadcasters and its L.A. film studio is an industry leader.

But the world has changed.

“One of the defining characteristics of this company has always been our willingness to look ahead, embrace change, and position ourselves for the future,” Roberts told analysts during a Monday call.

Reif Ehrlich, the Bank of America analyst, said Comcast needed to do something — or watch its stagnant stock sink farther.

Wall Street has punished the company amid steep losses in its cable TV and broadband internet units, and because NBCUniversal has historically generated its biggest profits from its cable channels.

In January, Comcast spun off those networks, including CNBC, MS NOW, USA Network and Golf Channel, to create a new entity called Versant.

But the move failed to boost Comcast’s battered stock, which dropped 3.3% on Wednesday to $23.73.

Five years ago, Comcast stock topped $50 a share.

“It was just a very challenged market on both sides, and it’s getting worse, not better,” Reif Ehrlich said.

Comcast faces competitors beyond traditional telecommunications firms, including AT&T and T-Mobile. SpaceX’s Starlink provides satellite internet service.

NBCUniversal must jockey alongside other well-capitalized players, including Amazon, Netflix and Disney. NBC’s streaming service, Peacock, has struggled to get traction. It counted 46 million paying subscribers as of the first quarter, a fraction of Netflix’s 325 million and the nearly 132 million subscribers of Disney+.

“It’s kind of a subscale player,” Reif Ehrlich said. “It’s just a real battle, and NBC has expensive sports rights.”

Roberts conceded the difficult landscape on the analyst call.

“The world is changing faster than ever,” Roberts said. “Technology, consumer behavior, competition, capital requirements are all evolving at an unprecedented pace … When we acquired NBCUniversal, more than 15 years ago, the industry looked very different.”

He will retain control for at least three years. The NBCUniversal spin-off is envisioned as a tax-free transaction for shareholders, providing a short-term buffer from deal-making to preserve that structure.

NBCUniversal could be up for grabs by 2029 — a pivotal year when the NFL is expected to open negotiations for a new round of broadcast rights. That auction is expected to draw heavy interest from Amazon and other streamers — not just veterans Fox, NBC, Disney’s ESPN and Paramount’s CBS.

“Brian Roberts has already proven his willingness to play the long game and with continued control should be the end decision maker,” Fishman said.

Much like Murdoch, who is now 95 and partially retired.

“Rupert was the smartest guy in Hollywood — he got out at the top,” Reif Ehrlich said.

He entrusted power to his 54-year-old son, Lachlan, who has been busy remaking Fox after the 2019 sale to Disney, which included Fox’s film and TV studios, streaming service Hulu and the FX and National Geographic channels. Fox also unloaded its regional cable sports networks — a savvy move before that business cratered.

The Murdochs kept Fox Sports, the Fox broadcast network, TV stations, Fox News Channel and the studio lot.

The company has been expanding. Lachlan Murdoch led Fox’s purchase of Tubi, which provides free TV channels and movies for smart televisions, keeping Fox in the streaming game. The company launched Fox News and weather products, and subscription service Fox One, which streams the company’s sports and news.

Earlier this month, Lachlan Murdoch stunned the industry by agreeing to pay $22 billion for Roku, a leading streaming platform that reaches 100 million viewers worldwide. Murdoch called the proposed purchase “a defining moment for Fox.”

OLIVIA Attwood has revealed the ‘real reason’ why she was cuddling Pete Wicks in those cosy yacht pictures from last year.

The former Love Island star, 35, was seen pictured looking very close to Pete, 37, while lounging on a boat in Ibiza in August 2025.

Olivia and Pete went public with their relationship in March this year.

And it comes after she split from her ex husband Bradley Dack, who she tied the knot with in 2023, in January 2026.

In the most recent episode of the Olivia’s House podacst, the ITV star and pal Mark Johnson discussed the trip, and the pictures of her and Pete.

“Okay, let’s talk to my listeners about the yacht pictures with Pete,” Olivia said.

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“Because there is a funny story here. Just as a subtext, okay I was obviously leaning back on him like on the yacht, but nothing happened.”

Mark then told her: “Tell the whole story!”

Olivia continued: “But the pictures, the actual came back was funny, right? So I am lent back on him and whatever…”

Mark chimed in: “Yeah, but let’s go first, when that woman dunked you! Do you remember? Rebecca is her name. She dunked. Do you remember?

“She slipped drunk and dunked you.”

Olivia confessed that she didn’t remember and Mark explained: “What the hell? You were getting out off the board, you know that board, where you jump? Do you not remember? Where were you?!”

“Did she give me concussion?! Because I don’t remember,” Olivia told him.

Mark continued: “So when you were getting out of the water, you know when you get in that board bit.

“You were getting out and she was rotten, fell down the stairs, slid and dunked you.”

Olivia asked: “So is that why he was cuddling me?”

Mark told her: “Yeah so when you were getting out, you were crying, and I was laughing.”

“I remember hitting my head, but I thought I hit it inside,” Olivia confessed.

Mark said: “No. It was when you got dunked under the water. And you were crying. I don’t see you cry at all.

“So I thought it was funny!”

Olivia then went on to explain the other part of the story.

She said: “Our friend Megan Elliot, who we love, we adore her. She is my second sister. She is my blood, my family.

“But love her, sometimes, she is a couple of sandwiches short of the whole picnic. Sometimes she comes out with things, we go “Oh, shut up, Megan!”

“So anyway, she goes, we’re in the middle of the ocean, right? And not posted anything for days.

“There’s a catamaran, so if you don’t know what a catamaran is, it’s one of those boats that has two bits, and then the middle bit is like, it’s a weird boat.

“She goes, “Someone is taking pictures of us off that boat! I saw a flash, it was massive.”

“And we go “Shut up, Megan!” We were all taking the p**s. Someone is taking pictures of us. Who do you think you are? Jennifer Aniston?!

“We were actually mocking her for it. And then she was like “No I swear!” We carried on about our business, next day we’re at the pool and I’m so hungover, I think I’m going to die.

“I’m on the back. I’m on the bed, and she comes in and she goes “Told you.” And then she was going all like “I told you, I told you”.

“She’s scrolling through and she goes “I knew it, I knew it. I saw…”

“She had her t*ts out.”

TV star Olivia had kept tight-tipped about her romance with Pete after being pictured snogging the hunk and leaving a hotel together after the Brits.

But in March, in a statement accusing her ex Bradley of cheating on her multiple times over their 10-year relationship, Olivia admitted she’s trying to move on.

“Yes, I’m dating,” wrote Olivia.

“Yes, I’m getting up every single day even when I have cried all night to film the shows I love filming, record my podcast, record my radio show, shoot campaigns and somewhere in there TRY to move on.”

Since then, the pair haven’t been able to keep their hands off each other.

They were spotted smooching on a sun lounger while on Nikki Beach in St. Tropez.

Olivia and Bradley first met in 2015, dated for three months, and then went their separate ways.

After Olivia went on Love Island in 2017, and split from ex Chris Hughes, the pair got back together in 2018.

Bradley proposed to the star in 2019, and they tied the knot in 2023.

Meanwhile Pete has dated the likes of Maura Higgins, Megan McKenna and Chloe Sims.

Worst Neighbor Ever is now available to stream on Netflix

The chilling calls to emergency services after a huge insurance scam explosion have been revealed in a brutal true crime documentary series.

This week, Netflix dropped anthology series Worst Neighbor Ever, which follows on from Worst Ex Ever and Worst Roommate Ever.

This time, it explores real life neighbour disputes that take a fatal turn. Plunging viewers into a series of events including intimidation and violence, it uses real life bodycam footage and CCTV to highlight what occurred.

As well as hearing heartbreaking accounts from victims, the true crime series also stands out with its use of animated re-enactments to tell the stories.

An official synopsis reads: “You think you know your neighbors? Think again. This new series features firsthand accounts of violence, intimidation, and harassment that are more shocking than ever.

“Through compelling testimonials, startling body cam footage, and animated reenactments, Worst Neighbor Ever proves the people next door aren’t just a nuisance – they’re lethal.”

The second episode plunges viewers back to 2012 when a huge explosion wreaked devastation on one tight knit community in Indiana. On November 10, 2012, Monserrate ‘Moncy’ Shirley’s home exploded, leaving two people in the vicinity dead and many others injured, destroying dozens of homes.

But when investigators find the real cause, lives were changed forever. The episode hears from the neighbours who were at home that evening as well as revealing what Moncy was really like, as well as her new boyfriend at the time Mark Leonard.

Following the huge explosion, one neighbour can be heard saying: “At first, we thought we were being bombed. Our whole house lifted up off the foundation.”

Another said: “It was like one of those mortar fireworks going off right next to your house.”

Showing chilling video footage of the explosion and the flames, the documentary also showcased some of the heartbreaking calls made to the emergency services.

In one phone call, a neighbour said: “Something literally just exploded”, as another asked: “What just happened?” A third said: “We had a large boom, I don’t know if it was a bomb, a gun went off or what.”

Detailing the aftermath, one resident said: “The flames were just massive. The street looked like it had snowed, but this bright light of fire is in the distance.”

A call between emergency services continued: “We’ve had an explosion at a house, we’re going to need medics, IFD, it’s going to be a major incident control.”

The episode explores how Moncy, her boyfriend Mark and his brother had plotted to start a fire that would result in an insurance payout, however, their plan resulted in a huge explosion that wreaked devastation for years afterwards.

Worst Neighbor Ever can be streamed on Netflix

The historic 1920s tower that once housed the beloved Ace Hotel is entering a new era just in time for the summer.

Two years after opening in the iconic Spanish Gothic building on South Broadway, Stile Downtown Los Angeles has unveiled its multimillion-dollar renovation and its expansion from a limited-service hotel to a full “creative hub.” The makeover adds a 24/7 membership-based creative lab with state-of-the-art music studios, co-working lounges, an updated rooftop bar called Somewhere Special, a restored theater and a curated retail shop for the community.

“We don’t really want to call it just a hotel — it’s more of a hub,” says Jaisun Ihm, CEO of AJU Continuum, the investment company that purchased the historic space.

Throughout the space are throwback touches — for instance, hotel guests can borrow a Walkman and browse the curated cassette library with titles like Sade’s “Promise,” Paula Abdul’s “Forever Your Girl” and the Isley Brothers’ “Between the Sheets.”

Behind the massive overhaul is South Korea-based AJU Continuum, which purchased the property in 2019 but didn’t change the name until 2024. The project marks the investment company’s first U.S. expansion.

“We don’t really want to call it just a hotel — it’s more of a hub,” says Jaisun Ihm, CEO of AJU Continuum, which is best known for its culture-forward Ryse Hotel in Seoul. With Stile, Ihm says their mission was to “connect L.A. to Seoul.”

Ryse, Ihm says, encapsulates today’s eclectic lifestyle hotel: “It’s grounded in street culture. We say it’s iconoclastic. It’s youthful in nature.”

AJU Continuum teamed up with L.A. architecture and interior design studio Design, Bitches — the group behind the chic Checker Hall in Highland Park and Verve Coffee Roasters in the Arts District. Ihm didn’t care that it was Design, Bitches’ first hotel venture. After working with several firms over the years, he was tired of seeing the same aesthetic everywhere and wanted to work with a team that would bring a “bold” perspective, he says.

When the creatives at Design, Bitches got the invitation, they were all in. “I’ve always wanted to do a hotel,” says RA Rudolph, the studio’s co-founder. “I love hotels and I have opinions,” she adds laughing.

For Angelenos who frequented the Ace Hotel, a maverick venue that helped revitalize downtown L.A. for a decade beginning in 2014, walking through Stile will feel both familiar and new. While the building’s bones remain intact — a requirement of its historic-cultural monument designation — the space has an industrial-modern twist inspired by L.A.’s creative spirit.

For example, the United Theater on Broadway, which was once the 1927 flagship movie palace for the influential United Artists collective (Mary Pickford, Charlie Chaplin, Douglas Fairbanks and D.W. Griffith), now features fresh carpet, modernized sound and stage equipment and roughly 125 new light fixtures inspired by the lobby’s original Spanish Revival-style chandelier. As a nod to the building’s legacy, where Hollywood’s earliest icons broke away from major studios to control their own work, AJU Continuum has launched its own in-house booking team for the live entertainment venue. Also, the giant neon “Jesus Saves” sign that has sat atop the building since its days as a church is still there — and the owners have no plans to remove it.

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1. A clawfoot tub inside the Loft King Suite. 2. Lounge chairs inside the Loft King Suite. 3. Hotel guests lounge in the rooftop pool. 4. Adriana Castellanos and friends hanging out in the lobby bar. 5. Photos taken in the photo booth at the Somewhere Special rooftop bar.

Some of the most significant changes can be found in the hotel lobby, which features a curated convenience store called the Goodie Shop, which is adorned with throwback boomboxes. Located next to the front desk, which was significantly condensed, the store is filled with a selection of California-sourced snacks and beverages, lifestyle goods, Stile-branded merch and travel essentials (phone chargers, toothpaste, hair care, etc.).

On the opposite side of the lobby is SparkHouse, a private members club and creative hub for up-and-coming musicians and creatives. The two-story space features professional recording studios, podcast and video suites, co-working lounges and meeting spaces, which are slated to open by early next year once permits are approved, Ihm says. SparkHouse’s cafe and bar is open to the public and sells tea, coffee (try the honey matcha latte), wine, beer cocktails and small bites. Ihm says programming at SparkHouse will include listening sessions, live showcases and even a mentorship program for rising artists.

“I’ve always wanted to do a hotel,” says RA Rudolph, the co-founder of Design, Bitches.

The rooftop bar, which offers stunning skyline views of the city and a pool, is now called Somewhere Special. The design team removed about 90% of the plants that used to pack the area to maximize space for dancing and mingling. Also, the pool area, now painted in a playful shade called Carrot Orange, has more seating and a photo booth nearby.

All 182 guest rooms were given a fresh coat of dusty rose paint, new custom carpet, furniture and upgraded bathrooms. In each room, you’ll find Korean amenities like face masks, a custom robe by a local brand called Room Service Los Angeles and books from the former Los Angeles University Cathedral that occupied the space from 1991 to 2011. With the hotel motto being “stay by your own rules,” Rudolph says it was important for them to make the rooms adaptable to each guest’s needs and to prioritize comfort. The result is uncommon room layouts like the tri-suite king room equipped with two twin-sized beds and a king bed split by a privacy divider that doubles as a playful art installation. Rudolph, who used to travel often with her now-adult children, says that’s the type of room she always wished had existed.

Stile’s arrival comes at a precarious moment for downtown L.A. In recent years, the neighborhood’s once buzzy hospitality and nightlife scene has experienced dwindling foot traffic, slow pandemic recovery and increased vacancies. Some business owners say crime and neglect are driving away customers. Nearly 1,000 businesses left downtown in 2024. Launching a high-concept lifestyle hotel is a bold gamble.

The Goodie Shop, a new curated convenience store, is filled with a selection of California-sourced snacks and beverages, lifestyle goods and travel essentials.

But Ihm says he hopes that Stile will help rejuvenate the area and create an ecosystem that will support neighboring businesses as well. Rudolph says she’s already starting to see that change.

“It’s been nice to see that in the last year that I’ve been coming here to work on the project, it’s livened back up again,” she says. “Especially this block, it feels better.”

Former Big Brother presenter Davina McCall and Sarah Hiscox have been best friends for 40 years

Davina McCall was left in tears as she opened up on her addiction battle live on air.

The beloved TV presenter, 58, admitted she “wouldn’t be here” without the help from close friend Sarah Hiscox.

The duo, who have been best friends for 40 years, appeared on Thursday’s (July 2) episode of Lorraine Kelly’s ITV chat show as Sarah promoted her new book, The Beginning and End of Everything, that looks into her devastating drug addiction.

At the time, Sarah’s addiction was so bad that it cost her both her marriage and custody of her two sons. Now, after 25 years sober Sarah is now back with her family and she says she couldn’t have done it without Davina.

In a heartfelt moment, Davina was tearful as she admitted: “I’m so unbelievably proud of her. In so many ways she put herself out there. She wrote a book that was very painful for her to write.”

Visibly moved, she continued: “Behind all of it is the sweetest most beautiful love story ever.. I’m going to start crying. Sarah’s husband is an amazing man and what they went through together and where they are now.”

In an emotional moment, Davina went on to explain how Sarah ‘saved her life’. The former Big Brother presenter started drinking during her teenage years before developing a heroin habit, but she became clean and has maintained sobriety for over three decades.

She admitted: “She got me clean – I wouldn’t be here without her. I really wouldn’t. I was desperate and I was pretending and I was trying to fake everything was fine.”

Turning to Sarah she continued: “She (Sarah) was honest with me and I hated her for it. She locked me in the car.”

Sarah jumped in: “I loved her and I could see this incredibly vital woman that I loved. You know, she’s family to me. I could see her just disappearing. She was running clubs at the time and everybody wanted to be on the guest list for one of her clubs so no one would dare confront her.”

She explained: “So I locked her in the car and I said listen…” Davina joked: “I thought I was going to a Santana gig.”

Lorraine said: “You were getting a right talking to.” Davina admitted: “Yes I was.” Lorraine went on: “But isn’t that the thing about how much you need your pals because when the tables were turned, Davina you helped.”

Turning her attention to Sarah’s book, Davina pointed out: “You know what I also think is an important message for anybody watching is that I read this book and I had to call you (Sarah) every five pages because I didn’t know.

“I was best friends with her when we were 19, but I was kind of taking drugs recreationally. It was getting quite out of control but I was so self obsessed and wrapped up in myself, I didn’t know how broken she was.”

She added: “You’ve got to ask people how they are, check in and make sure they’re ok. Double check in – ‘How are you really?’ – because I never knew.”

Lorraine airs weekdays from 9.30am on ITV1 and ITVX.

ESPN is pulling up stakes from downtown Los Angeles and heading to the NFL’s headquarters at Hollywood Park in Inglewood.

“We look forward to all of ESPN’s L.A. based studio content, originating from a single location, further enhancing creativity and collaboration with expansion possible in the future,” the Walt Disney Co.’s sports media unit said Wednesday in a statement.

ESPN produced “NBA Today” and “WNBA Countdown” out of the L.A. Live location, which opened in 2009. A late night edition of “SportsCenter” was produced there until last year. The productions will move into the NFL’s Los Angeles headquarters near SoFi Stadium.

ESPN’s local radio outlet, KSPN, will continue to broadcast out of the L.A. Live location adjacent to Crypto.com Arena.

The NFL took a 10% equity stake in ESPN last year. As part of the deal, ESPN oversees the NFL Media, including the NFL Network and the RedZone channel, which has its production facilities at the Hollywood Park location that opened in September 2021.

The moves, expected to be completed by early September, come ahead of ESPN producing its first Super Bowl, which will air on ABC in February 2027 from SoFi Stadium.

Although a new round of layoffs is reportedly expected at ESPN, a person familiar with the matter who could not comment publicly said there will be no job cuts related to the move to Hollywood Park.

About 160 employees work at the L.A. Live location. People involved in ESPN’s productions will relocate to Hollywood Park while others will move to a Disney location in Glendale, Calif.

“The World Cup is ruining my life,” a neighbor recently said with a laugh. “I’m supposed to be working; instead I’m watching World Cup. I’m supposed to be doing chores; instead I am watching World Cup.”

I laughed in guilty recognition. We had met on the street by chance while I was walking the dog. Having just spent the last two hours watching, then celebrating Lionel Messi’s hat trick during Argentina’s first-game victory over Algeria, I had less than an hour to get back in time to watch Austria play Jordan.

That was on Day 6, and it’s only gotten worse. If I had to calculate my own ratio of work done to soccer watched … well, as I am not a sports reporter, I don’t think my editor would be thrilled. (Though I’m sure she appreciated the England/Congo updates I provided as I finished this piece.)

Like millions worldwide, my family and I have been deeply, and in our case, weirdly, engrossed in this year’s games. “Weirdly” because we do not follow men’s soccer. The World Cup is different, of course — going in, I figured I would check out the U.S., keep an eye on Messi, then tune into the final few games. Perhaps my husband would join (but only if he at least pretended to understand the offside rule), but with our two oldest children out of the house, it is, with the exception of the Super Bowl, unheard of for our family to concurrently view any sporting event in real time.

Until this World Cup. I’m not quite sure how it happened, but suddenly we’ve got game times written onto our calendar. Entire days have been spent in front of the TV with at least one child and the others watching from their homes, our family texts studded with “are you watching…?,” “did you just see that?” and, of course, “OMG MESSI!”

(I would attempt to calculate my recent ratio of chores done to Messi videos watched if I weren’t legitimately concerned that my family would have me committed.)

The fact that my son and his girlfriend live in Kansas City certainly helped spark our newfound fascination. Yes, Los Angeles is also a host city, but L.A. hosts so many things; inevitably we were mostly concerned about what it would do to the traffic. KC, on the other hand, is the smallest and most unlikely of the host cities, and over the last few years we have seen — on visits and through my son’s accounts — all the construction, effort and can-do spirit that has gone into preparing for the event.

We were thrilled when it was announced that Argentina, England, the Netherlands and Algeria would be based in or near KC. We wanted the city to shine, and it has — from nearby Lawrence’s enthusiastic adoption of Algeria to Messi’s historic hat trick at Kansas City Stadium.

Team USA defender Mark McKenzie, left, and Turkey midfielder Baris Alper Yilmaz in the World Cup match at Los Angeles Stadium on June 25.

(Robert Gauthier / Los Angeles Times)

But it’s more than vicarious Midwestern pride. When our older daughter began texting out missives from the earliest games and our son sent pictures of fans streaming into Kansas City Stadium, we started watching as a way to stay connected.

First, as a family, and then to our country and the rest of world.

The games have been inevitably exciting, especially as now that they’re in the knockout round, but the overall sensation was unexpected relief, a soul-soothing balm.

At a time when the news cycle seems to serve up nothing but conflict, crisis and woe, the World Cup offers shelter, a truly international event in which conflict is defined by long-term sports rivalries and questionable referee decisions.

We want our national or preferred teams to win, of course, but no matter the outcome, it’s impossible not to be thrilled by the sight of phenomenal play, underdog tenacity and so many adoring and enthusiastic fans.

Soccer is called the beautiful game for many reasons, and hours/days/weeks of sustained beauty is impossible to resist. Even social media has surrendered to spectacular highlights along with tales of Japan supporters cleaning up stadiums, fans of the victorious consoling fans of the defeated and Europeans discovering the glories of free refills and ranch dressing.

None of this changes the realities we face in America and the rest of the world. Grocery and gas prices remain catastrophically high; Iran continues to contradict U.S. claims of diplomatic resolution to an unpopular war. The unnecessarily revamped reflecting pool in Washington remains a swamp of algae and tourist arrests, as the semiquincentennial struggles under the weight of our president’s self-centered hubris.

But for a few blessed weeks, the World Cup offers inspiration, escape and cultural healing.

It has also, thus far, escaped President Trump’s so often internationally insulting social-media notice and more importantly, his presence. Historically, the leaders of host countries attend the opening match; Trump has, apparently, been too busy (including planning and attending the UFC Freedom 250 cage match recently held on the South Lawn.)

Given his tendency to suck the oxygen out of any room (like his recent reception at Game 3 of the NBA Finals in New York), it’s definitely for the best. If nothing else, the World Cup has given us a chance to take a break from politics and talk instead about Messi, France’s Kylian Mbappé, England’s Harry Kane and all the amazing goalkeepers, including Cape Verde’s now-iconic Vozinha.

Never before have I so understood the therapeutic power of sport.

Who wouldn’t want to at least take a break from rising measles cases, the latest federal or Supreme Court decisions and primary tea-leaf readings to lose themselves in a game where exquisitely patient passing suddenly bursts into spectacular feats of speed and footwork? Where a well-defended ball can suddenly become a goal with a nearly undetectable flick of a foot, or a perfectly placed shot blocked by a goalie’s incredible ability to launch into space? Where an outcome that seems assured can be overturned in the final minutes to the collective roar of an international cast of thousands?

Vozinha of Cape Verde makes a save during the World Cup match between Spain and Cape Verde at Atlanta Stadium on June 15.

(Justin Setterfield / Getty Images)

Like many Americans, I have been occasionally embarrassed by the World Cup’s exposure of my world-geography ignorance — I know where Bosnia and Herzegovina lies on a map, but until recently, I couldn’t place Cape Verde, Curacao or, if I’m being completely honest, Cote d’Ivoire.

Isn’t it wonderful, though, to have a reason to reacquaint yourself with a world map that isn’t related to war, natural or man-made disaster or economic and political tension? The current U.S. administration may seem to be at odds with just about everyone, but visiting World Cup fans are here to remind us of all we share, beneath our crazy wigs and face paint, our cheers, groans and chants.

And we, as hosts, have shown them that America is so much more than the sum of our current government’s policies and posturing.

Watching all this happen, in real time, has been magical, miraculous and magnetic.

Not every moment, of course. Various visa issues created unnecessary and embarrassing drama; high ticket prices and transportation issues were blamed for empty seats at some of the early games. Members of the Iranian team and its coaching staff criticized the way they were treated (though the team left a handwritten note in the dressing room of Los Angeles Stadium, thanking L.A. for its hospitality). The controversial hydration breaks, and the extra commercials they accommodate, can be irritating (though when it’s close to 100 degrees in many stadiums, quite necessary). And though it didn’t matter in terms of standing, watching the U.S. lose to Turkey wasn’t much fun for American fans (though the Turkish exuberance was pretty infectious).

Overall, the 2026 World Cup has done exactly what it was supposed to do: create, in this country, a stage for the finest teams and players in the world’s most popular sport and, more important, carve out five weeks in which we can all spend a few hours removed from the political and cultural divisiveness that threatens to define us.

It’s space in which we can cheer, gasp and leap out of seats along with our families, friends and all the millions we will never meet but to whom we are connected all the same.

Now if you’ll excuse me, the next game is about to start.

FIRST REVIEW CONFESSIONS II

★★★★★

AS one of the most talked-about, celebrated and frequently derided pop stars of all time, returning with her first album in seven years is a high-stakes move for Madonna.

The Queen of Pop has never left it so long between albums in her 43-year career. And she has taken an even bigger risk by recording a ­follow-up to her much-lauded 2005 dance-pop opus, Confessions On A Dancefloor.

But rather than playing it safe, ­Confessions II sees her doing just that — confessing.

She addresses everything from how she failed her eldest daughter Lourdes to her regrets over her relationship with her late brother, Christopher Ciccone.

And also, surprisingly, how her first husband, Sean Penn, 65, made her feel during their short-lived marriage.

The most venom-tongued track is titled Bizarre, in which she squarely attacks the Hollywood A-lister, who she was married to from 1985 to 1989.

She references the 1968 Shelby GT500 convertible she gave him as a wedding gift and his conviction for reckless driving in 1987.

And she also lays into how Penn was “threatened” by her and claims he resented her while they were together.

Madge sings: “Love is the strangest thing. Just when you think you’ve finally let go, it comes back to you.

“Movie star, deep blue eyes. In Hollywood, we’re a perfect prize.

“He drove way too fast, Shelby Cobra wasn’t meant to last.”

Earlier the lyrics had turned to anger, as she sings: “Roll out the carpet for us, but you don’t share it.

“All ’cause you’re threatened by me, you won’t admit it.

“The little things that you do don’t make me want you. Who knew love could be so bizarre?”

And in a later verse, she adds: “I know I left you behind and you resent me.

“A thousand reasons why you could never have me.

“The thought of being with you is so indecent. I guess you’ll never know my dirty little secret.”

Penn isn’t the only subject of her scorn, with Betrayal appearing to be about her stepmum Joan, who died in 2024 while the album was being made. Madonna did not attend her funeral.

The singer was five years old when she lost her mum — who she was named after — to breast cancer. Three years later, in 1966, her dad Silvio married Joan, who worked briefly for the family as a housekeeper.

In the opening verse of Betrayal, Mad­onna sings: “This is a story of betrayal. You couldn’t see your fall from grace.

“So take the hammer, hit the nail. You’ll never take my mother’s place.”

And later in the track, she adds: “You betrayed me, you enslaved me.”

But Madonna, 67, shows her softer side on The Test, which sees her and Lourdes, 29 — the eldest of her six kids — open up about their at-times difficult relationship.

On how her daughter was thrust into the limelight because of her own fame, Madonna sings: “Little star, I tried to put you on a pedestal, you didn’t ask for all the flashing lights.

“I didn’t think of how we could disturb, or how it hurt. I wish I knew the pain I caused.”

She continues: “Sometimes I think you wish I’d go away, but the shadow stays, and it’s OK to be yourself.”

Madge also appears to touch on her 2023 brush with death, when she was found unresponsive at her New York apartment and placed into a coma after suffering from an infection that led to sepsis.

Lourdes, 29, who Madonna had with fitness trainer Carlos Leon, was among those that rallied around her in hospital.

Madonna sings: “You made me whole when I was broken, too. I hope and pray I can do the same for you.”

Paying tribute to her mum, Lourdes sings: “You are my reason to be, what I want or look like, what I wear, all the clothes on my back, and what I attract.

“I trace the line of what you have sewn. Keep my own design. Make it a landscape. Make it alive.”

Elsewhere on the album Madonna makes peace with Christopher, who she was accused of “dropping” as her creative director in the early-2000s, and who later wrote a book titled Life With My Sister Madonna.

The once-close pair never fully repaired their relationship and he died of cancer at the age of 63, in October 2024 although she says he now visits her in her dreams.

On the song Fragile, she sings: “We shared a name, a home. We shared a fragile bond, now you’re gone.

“We laughed, we cried, we held each other’s hands. We had each other’s eyes and they belonged

“This is the time I hate the most, the words inside my heart

“I know you’re fragile ’cause you’ve been hurt, been let down.”

At the end of the track, she adds: “Late last night I was fast asleep, you came to me in a dream.

“You said don’t forget about me, don’t forget to be happy.

“So I hope you found a higher ground.”

The 16-track album clocks in at almost 64 minutes, and is a metaphor for a night out, starting with the heavy, pulsating beats of a club.

Then the final five songs represent the evening winding down, with Madonna spilling out her deepest feelings with the bravery and vulnerability that comes from a night of loud, messy partying.

When she reaches the last track L.E.S. Girl — about her life pre-fame on the Lower East Side of New York — you can hear traffic beeping, signalling she is finally on her way home as the morning rush hour starts.

It’s a neat arc for the ambitious album, which she once again made with English producer and songwriter Stuart Price, who she teamed up with on the first Confessions album.

But this record is much darker, heavier and grown-up.

And as well as being symbolic of a single night out, Madonna uses it to represent key parts of her life and the moments that have made her.

The most brilliantly bombastic highlight comes in Danceteria — named after the New York nightclub where she found her friends in the industry and where DJs played her music for the first time.

It’s a feel-good number with a Vogue-style rap and namechecks for everyone from her pal Debi Mazar to artist Jean-Michel Basquiat and even The B-52s.

Another highlight comes with Love Sensation, which appears to be a tribute to her boyfriend, Akeem Morris, 30.

She started dating the former football player in 2024, two years after ending a three-year romance with dancer Ahlamalik Williams, 31, and they now live together in London.

Madonna sings: “When I feel alone I always want to bring you near ’cause you bring a smile right here. You chase away my darkest hours.”

And in the chorus she continues: “Baby, come and get with me, there’s something that I gotta do.

“Baby, when you’re here with me, there’s nothing that we cannot do.”

So far in her career Madonna has sold 450million albums, and counting.

And with this project, she proves there is still plenty of passion, ambition and talent.

Undoubtedly it is her most cohesive and accomplished album since the original Confessions, 21 years ago.

And long may the Queen of Pop ­continue to reign.

LOVE, BETRAYAL AND ECSTASY ON SWEET 16

I Feel So Free: The opening track, released in April, is a throbbing song with breathy vocals and a sample of the 1989 Lil Louis acid house track French Kiss, complete with orgasm. It’s a statement of what’s to come as she says: “On the dancefloor, I feel so free.”

Good For The Soul: Heavy-sounding verses make way for a buoyant and optimistic pop chorus, all about how important letting your hair down is. It was written on her first session for the record.

One Step Away: Madonna dives headfirst into house music on this pulsating track about the release she feels in a nightclub. Over the beat, she utters: “The dance floor is not just a place, it’s a threshold. A ritualistic space where movement replaces language.”

Bring Your Love: The credibly cool lead single features Sabrina Carpenter, uniting two generations of pop stars who are resolute in their determination not to be swayed by naysayers. In the chorus they say: “Bring your love ’cause you cannot shake me. Bring your love ’cause you’ll never break me.”

Danceteria: “Everyone here is a work of art,” Madonna sings on this wonderfully poppy single, inspired by the New York nightclub she went to as a youngster.

Read My Lips: Spanish guitar and a guest appearance from Colombian singer Feid give this a different feel, though there’s a Latin trap beat to keep the party going. It’s clear Madge isn’t happy on it, though, singing: “You cut me with your lies, ’cause you hurt me with your kiss.”

Everything: It opens with strings reminiscent of her 1992 track Deeper And Deeper, but evolves to have regular house music breakdowns fit for a packed Ibiza dancefloor. And she’s worked up, spitting: “It’s not OK, I don’t f*** with it.”

Love Sensation: Pop makes a return on this heart-warming crowd-pleaser. “There’s nothing that we cannot do,” she repeats as the track builds to euphoric choruses. This is destined to be a future single.

Love Without Words: An ode to partying, starts with the sound of smoke being pumped on to a dance floor. “Call it trance, call it house, call it love without words,” she sings.

Bizarre: Madonna teamed up with super-producer Martin Garrix for this revenge track about her ex Sean Penn. The melody, complemented by strings and hints of EDM production, is enough to have people throwing their hands in the air.

School: “I can make moves on the dance floor, I can make love on a man’s floor,” she breathlessly coos on this track, on which her vocals are heavily distorted. It’s one of the weaker songs.

Fragile: There’s a major change of pace with break beats and strings, as she sweetly sings about her late brother Christopher. Her voice truly takes centre stage here.

My Sins Are My Savior: She is joined by Belgian rapper Stromae on this dark and moody track, which wouldn’t sound out of place on 1992’s Erotica album. Reflecting on the criticism in her career, she sings: “I was not lost, I was just broken. They tried to take me down, they tried to take my crown.”

Betrayal: She teams up with producer Mirwais, who she first worked with in 2000, on this 90s-inspired track, featuring brass and piano over bleak and mournful vocals.

The Test: Madonna has said Lourdes approached her about working together to heal their rift, and it certainly sounds cathartic. Her daughter’s voice here is far smoother, but they blend exquisitely.

L.E.S GIRL: It’s the end of the night, Madonna is on her way home and she’s reflecting on when she was a “Lower East Side girl, lost in a fragile world.” It’s a tear- jerker, and triumphant look back at how far she has come. The perfect ending.

A civil jury says R&B star Chris Brown must face the music for the vicious dog attack that in 2020 left one of the two housekeepers working at his Tarzana home hospitalized with injuries to her face, arm and leg.

The Los Angeles jury on Tuesday found the 37-year-old Grammy winner liable in the years-long case and determined he must pay nearly $13 million to Maria Avila, whose sister Patricia Avila sued Brown and his Black Pyramid Co. in April 2021. Court documents reviewed by The Times on Wednesday show that Brown owes Maria Avila $12.9 million in damages including emotional distress and medical expenses. Brown must also pay $885,000 in damages to Patricia Avila, who was present during the dog attack on her sister, and $50,000 in damages to Maria’s husband.

Patricia Avila’s attorney Michael C. Murphy Jr. told The Times in a statement his team was “thrilled” by the outcome. “We are so happy for her and her family after everything they went through on that horrible day,” he said. “It was an honor to represent her.”

A legal representative for Brown did not immediately respond to The Times’ request for comment on Wednesday.

Patricia Avila filed her civil suit against Brown in Los Angeles County Superior Court five years ago, suing the singer for premises liability, negligent infliction of emotional distress and strict liability. At the time, she was seeking an unspecified amount of damages including loss of wages, medical expenses and legal fees.

Avila alleged in her lawsuit that she and sister Maria Avila were hired in November 2020 as housekeepers at Brown’s home in Tarzana. The suit says the sisters were aware the singer owned dogs at the property and understood he kept the pets locked up in a different part of the home. According to the complaint, the incident occurred in December 2020 when Maria went to the home’s backyard to empty out a vacuum. There, she encountered the singer’s Caucasian shepherd, which “proceeded to viciously attack Maria,” the lawsuit said.

“Plaintiff [Patricia] fully recognized that the screams were coming from her own sister, knew that her sister went outside to empty a vacuum, and could hear that a dog was violently attacking her sister,” the lawsuit said. “The screams were so bad that it caused Plaintiff to immediately run outside, where she found her sister covered in blood while she was screaming and crying for help. Mr. Brown proceeded to call 911.”

The lawsuit said the dog attacked Maria around her eye, her left arm and had bitten into her leg. Paramedics responded to Brown’s home and transported the woman to a hospital, where she remained for multiple days and underwent two surgeries. Patricia Avila said in the complaint that she suffered emotional distress and had been unable to work as a result of the incident.

The jury reached its decision after a two-week trial in Van Nuys.

As one legal saga appears to be coming to an end, another awaits Brown. The singer and his friend Omololu Akinlolu, a musician who performs as HoodyBaby), are set to stand trial in October for allegedly attacking music producer Amadou “Abe” Diaw in February 2023 at a London nightclub.
The singer, who notably assaulted ex-girlfriend and Fenty beauty mogul Rihanna the night before the 2009 Grammy Awards, pleaded not guilty last year in the Diaw case. He pleaded not guilty to one count of attempting to unlawfully and maliciously cause grievous bodily harm with intent, assault causing actual bodily harm and having an offensive weapon.

Brown is performing with Usher on their joint North American stadium tour. The singers will take over Inglewood’s SoFi Stadium on Sept. 25 and 26.

Josh Widdicombe and Emma Willis have shown their public support for Johannes Radebe ahead of their debut as Strictly Come Dancing presenters by turning up at his West End show

Josh Widdicombe and Emma Willis have shown their public support for Johannes Radebe ahead of their debut as Strictly Come Dancing presenters. It was announced earlier this year that comedian Josh, 43, along with former Big Brother host Emma, 50, and Strictly pro Johannes, 39, would be the new trio to head up the BBC Saturday night favourite in place of Claudia Winkleman and Tess Daly.

Johannes, who initially joined Strictly in 2018, is playing the leading role of drag queen Lola in the West End musical Kinky Boots, which is based on the 2005 film and follows a struggling shoe factory as turn to making footwear for men who dress as women in a bid to avoid closure.

On Wednesday, Josh revealed that he and Emma had paid a visit to the London Coliseum where the show is running so they could see their co-star in action.

Alongside a picture of them backstage, along with X Factor winner Matt Cardle, who plays Charlie Price, Josh wrote on Instagram: “Incredible evening watching @johannesradebe absolutely smash the west end in Kinky Boots. Emma and I a bit too in love with him in the second pic.”

The trip were previously seen expressing their excitement for their new roles at a photoshoot for the BBC dancing competition, in a behind-the-scenes video posted to Strictly Come Dancing’s Instagram.

The announcement was a long time to come, and fans have waited almost a year to find out just who will step into the roles once held by Tess and Claudia. But following the first public appearance of the trio, several fans were left divided about what is to come, with some predicting that the lineup will change again after just one series.

One fan wrote on X, formerly known as Twitter: “I’m so sorry but even this photo backs up my theory that it’ll just be Emma + Johannes after 1 series. This is just so odd and you can’t keeeeep dancing like this!”

Another said: “I would have put Emma with Rylan, not sure about Josh or Johannes,” and a third, writing on Reddit, said: “producers were thoroughly surprised and impressed with Johannes during the screentest.

“I wouldn’t be surprised they added the 3rd host role specifically for him. If Josh doesn’t work out for them, they can slot Johannes right in that spot upstairs, with a year of experience under his belt. If it does all work out, they have 3 amazing hosts!”

Others had an optimistic outlook, with one viewer writing: “Good luck Josh, Emma and JoJo, looking forward to the new line-up!”

Another said: “Love Emma! Don’t know too much about Josh so will stay open minded before making judgements. I’m sort of gutted we won’t see Jojo with a partner, but I will love to watch him on my screen every week!!”

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Former Wimbledon finalist Eugenie Bouchard is now commentating at the championship

While Novak Djokovic and Serena Williams have grabbed plenty of headlines during Wimbledon, off the court its Eugenie Bouchard generating all the buzz.

The tennis star, who made it to the final in the championship in 2014, is now one of the pundits commentating on the games on the BBC. She has been winning over viewers, with Wimbledon watchers posting comments on X saying she was a “stand out” new addition to the coverage team and dropping fire emojis to show their appreciation.

“From a historic Wimbledon final to crushing the court in a whole new sport, she’s still a total ace!” one posted on the platform, which was formerly Twitter.

As well as her tennis and commentary skills, Eugenie is also known for her lavish lifestyle, from travel to bags worth hundreds of pounds.

Brand deals

The star was a favourite with some big brands after bursting onto the tennis scene over a decade ago, and things ramped up even further after her success at Wimbledon.

She ended up bagging some major brand deals, working with the likes of Coca-Cola and Nike during her career.

Worldwide travel

Eugenie, who has previously revealed that she was named after Princess Eugenie as her mum is a fan of the Royal family, is no stranger to the high life. She regularly shares snaps on Instagram that show her on her travels, whether its glam nights out in Miami or chic dinners in Paris.

The star, who has previously been spotted boarding a private plane, recently said on Instagram that she travelled a lot for work, sharing: “I’ve taken 36 flights in 2026 so far. That’s 1 flight every 3.7 days. The amount of times friends have said to me ‘following your travel on ig makes my head spin’… lol. I’m type A so if I don’t have something that needs to get done immediately, or somewhere to rush off to, I feel panicky inside. after noticing this, I have started forcing myself to take days off, even entire weekends.”

Handbag collection

According to reports, Eugenie has amassed quite the handbag collection, with an array of pricey totes in her wardrobe.

She apparently forked out over £1,000 for a Louis Vuitton bag after pocketing some prize money, and her collection is now said to include a pink Gucci bumbag worth hundreds as well as a Chanel bag worth thousands of pounds.

Pricey jewellery

Eugenie has evidently developed a taste for the finer things and thanks to her brand deals and winnings, she’s been able to fund a stunning jewellery collection.

The tennis star has previously been snapped sporting a gold Daytona watch – which can cost well over £20,000, and she’s also known to wear flashy gold rings including a costly Kenzo.

Famous friends

Eugenie apparently counts a number of celebrities as friends, including The Big Bang Theory star Jim Parsons and fellow Canadian star Drake.

The sports star was previously romantically linked to Jack Brinkley-Cook, the son of supermodel Christie Brinkley.

Coverage of Wimbledon is airing on BBC One and BBC Two, as well as being available to stream on BBC iPlayer

Emmerdale fans have been left furious after Dr Caitlin Todd was killed off at the end of Wednesday night’s episode, meaning that Charity Dingle will now never get justice for the abuse she faced

Emmerdale fans have been left furious after Dr Caitlin Todd was killed off at the end of Wednesday night’s episode. The medic, played by Caroline Harkin, had relentlessly bullied Sarah Sugden’s partner Jacob when she was in charge of him at the hospital, and things have only got worse since she retired.

Last year, Charity tried become a surrogate for her granddaughter Sarah only to find out that she was naturally pregnant by Ross Barton. Still, she kept this all a secret and Sarah believed that all had gone to plan with the surrogacy. Todd found out the truth and used it to blackmail Charity into handing over money. This all culminated in harrowing scenes where she sexually assaulted a drunken Charity.

Earlier this week, Charity, who confessed all about to Mack, found the courage to go to the police but Mack, having had enough of the whole lie, stormed to the hospital to confront Todd. At the very end of Wednesday night’s episode, Charity vowed to get justice but then, Mack was seen with Todd as he said: “Would we call it winning if you stopped breathing? If you ever come near Charity again, I will bury you!”

A random flashforward, complete with the sound effects of a camera shutter to imply something had very suddenly become a crime scene investigation, showed Todd in the future lying dead, with blood coming out of her head. Todd is now the fourth person in the small Yorkshire village to be murdered this year – after John Sugden, Ray Walters and Celia Daniels.

This all seems to confirm that, despite her evil ways, Doctor Todd will never face justice for the way she abused Charity and fans were not impressed. Taking to X, one fan raged: “I just had a feeling that #Emmerdale was gonna kill Dr Todd off and here we are!

“Charity deserves justice , unfortunately now it’s not gonna happen And now this storyline has turned into a whodunit! I have no words. Soaps needs to do better instead off killing off the villain! This storyline is so important to raise awareness for and in my opinion they have gone and ruined it for a cheap plot!”

Another said: “It angers me that both Charity and Jacob will never get justice for what Dr. Todd did to them. Her abuse of both should have been dealt with not this cheap cop out.”

It all comes after fellow ITV soap Coronation Street made the decision to kill off domestic abuser Theo Silverton, and viewers will know that Sarah Platt (Tina O’Brien) was revealed as the killer when the whole story began as a plot to raise awareness on an issue rahter than a whodunnit.

Another said: “can soaps stop unaliving the abusers please! todd and charity deserved to get justice. #emmerdale #corrie.” Another said: “two brilliant actors & two brilliant villains. two storylines that brought attention to important topics, only for them to end unrealistically & for the sake of drama. im disappointed both soaps chose this, the characters deserved justice & so did the audience

One particular irate fan blasted the those in charge of the soaps, which have favoured an onslaught of constant crime stories above all else in recent years.

They wrote: “The fact [the soap bosses] are all stuck in this endless loop of stupid ridiculous outlandish who dunnit stories and killing abusers, health stories that aren’t even researched properly and toxic men. Also stupid pairings that are past their sell by date. Not to mention the never ending introduction of villains to these tiny places – just stop.”

Another wrote: “I don’t mind the copper stories I find some interesting, when they get it right but my gripe is the constant cycle of villains and murders! I would rather watch an episode of them all at the rovers for some sort of party with funny scenes not this abysmal year upon year of violence.”

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

“Lethal Weapon” star Danny Glover has revealed he has been living with Alzheimer’s disease for years.

In an interview with NBC’s Lester Holt that aired on the “Today” show on Wednesday, the 79-year-old actor and activist opened up about living with the disease. According to People, he received his diagnosis in 2023, which was not long after he was awarded an honorary Oscar in 2022.

“I could live with it, in a sense,” Glover says of his condition, which has been affecting his movement, speech and memory. “I’m sure as it advances, things are going to be different and changing.”

A neurodegenerative disease, Alzheimer’s is a type of dementia that affects memory, thinking and behavior and worsens over time, according to the Alzheimer’s Assn. Holt reports that more than 7 million Americans over 65 are living with Alzheimer’s, with Black men suffering at a rate double the national average.

Glover and his family say the Hollywood icon is sharing his story now to “have ownership of his life” and to help remove the stigma around the disease.

“They’ve got my back,” Glover says of his family’s support.

Besides his portrayal of L.A. police Det. Roger Murtaugh in the “Lethal Weapon” film series, Glover is known for roles in movies including “Places in the Heart” (1984), “The Color Purple” (1985), “To Sleep With Anger” (1990), “Angels in the Outfield” (1994), “Dreamgirls” (2006) and “The Last Black Man in San Francisco” (2019). He’s also been a vocal advocate for social justice and humanitarian causes both in the U.S. and abroad.

He was the recipient of the Academy of Motion Picture Arts and Sciences’ Jean Hersholt Humanitarian Award in 2022.

“I don’t feel like it’s the end of my life,” he said in his interview with People about living with Alzheimer’s. “There’s work to do.”

Away from Coronation Street, Leanne Battersby star Jane Danson is married to a famous face

Coronation Street’s Leanne Battersby has had her fair share of romances on the soap but in real life actress Jane Danson is loved-up with a fellow soap star.

Jane shot to fame when she joined the ITV show back in 1997 rocking up as Leanne with the rest of the Battersby clan, including sister Toyah (Georgia Taylor).

And over the years, Leanne has played a part in several big storylines; from shock affairs and sex work to heartbreaking baby loss and drug abuse. And over in Weatherfield recently, she has struck up a romance with newcomer Idris Nazir (Junade Khan).

However, away from the soap, actress Jane is actually married to fellow soap star Robert Beck. Robert has appeared in the likes of Brookside, Emmerdale and Waterloo Road.

And he even appeared in Jane’s own soap Coronation Street back in 2008, playing criminal Jimmy Dockerson. For his Emmerdale stint, he played baddie Damon ‘Harry’ Harris in 1999.

The soap power couple Jane and Robert met in 1999 and tied the knot in 2005. The pair are also parents to Harry – born in July 2006 and Sam – born in February 2009.

Jane and Rob first met in May 1999, at the British Soap Awards. Recalling their first encounter Jane said: “I’m not the world’s most confident person but I’d had a crush on Rob since I was 15, so I thought, I have to speak to him, it’s fate.”

Appearing on Loose Women back in May 2025, Jane was asked about her other half, and whether she ‘manifested’ marrying him. “I have got to be careful here because I’m a little bit younger than him…” she admitted.

“When I was at school, I had a sticker of him on my pencil case and a poster of him. He was in Brookside at the time, another soap that’s no longer around, but he was very big in the soap at the time. I liked him a lot and some years later, when I was a little bit older, he was at the soap awards!”

In an intimate chat with OK! Magazine, Jane revealed the secret to her marriage with Robert, commenting: “Me and my husband have been together for 22 years, and we’re really good friends as well as loving each other lots.”

She also previously shared: “Rob’s absolutely my best friend in the world. We’ve only had about two rows in 20 years. I’m not saying we don’t get on each other’s nerves sometimes, but we’re a strong team and we’ve always allowed each other to be individuals.”

And in December last year, Jane shared a gushing tribute to Robert on their 20-year wedding anniversary. Sharing a beaming photo of them on their special day, Jane shared on Instagram: “Happy 20th wedding anniversary my love @robertbeck529.”

And her Corrie co-stars were quick to respond. On-screen sister Georgia Taylor said: “Absolute couple goals. Love you both so much.” Andy Whyment replied: “Ah Happy 20th wedding anniversary you lovely couple. Enjoy your day.” Samia Longchambon commented: ” Happy big Anniversary you two!” Catherine Tyldesley added: “Happy Anniversary loves.”

Coronation Street airs Monday to Friday at 8:30pm on ITV1 and ITVX

VERITY Bowditch has just announced that she’s gotten engaged to her boyfriend, Cameron Jack.

The Made In Chelsea star, 30, took to Instagram to share a series snaps with her followers to celebrate the major milestone.

Verity made the first post to her Instagram story, flashing her round engagement ring to the camera as she laughed.

Cameron had his arms wrapped around her while kissing her cheek, and the date of June 27 was written underneath the picture.

The second snap showed the happy couple kissing in a field, accompanied by the words: “Get to spend the rest of my life with the love of my life!”

Verity continued to gush while flashing the ring in the streets, describing the proposal as “the most perfect, romantic and thoughtful proposal that ever could have been created.”

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A final snap showed a typed up letter addressed to Verity from Cameron that provided some insight into the proposal. It read: “Good morning my darling!

“Today is a very special day. A day I have been planning for over a year.

“A scavenger hunt has been laid out across London for you. Each clue you solve will lead you to another important location. Solve them all and meet me at the finish line.

“Expect the unexpected, and look out for some of my helpers along the way! Because in the words of The Beatles: ‘I get by with a little help from my friends.’

“Ps. I know you may be eager to skip straight to the end, but I have designed what I hope will be the best day of your life.

“So please, take your time and enjoy every minute of it, I’m not going anywhere! I love you xxx”

Verity also made a post to her Instagram grid that saw her scooped up in Cameron’s arms while going in for a smooch.

The star captioned the picture with: “I’m going to marry the love of my life.”

Verity and Cameron have kept their relationship very private, so it’s unknown when they first started dating.

However, they were first linked in public during 2024 when Cameron praised Verity online, saying how proud he was of her.

TAYLOR Ryan has spoken out about going to therapy after her public break up from Gladiators star Giant.

The OnlyFans model took to Instagram to chat about how strange it has been going through a split in the public eye, and the wonders therapy has done for her so far.

In a video filmed inside her house, Taylor said: “Got a therapy session in ten minutes.

“She is working for her cash today. Sit down, got things to tell you. A woman’s intuition always knows.

“I’ve been going to therapy for a lot of years. Like this last month, the sessions are crucial.”

The clip then cuts to show a snippet of Taylor saying: “Yeah, I know now I wouldn’t do that again.

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“I wouldn’t shrink myself to make someone comfortable. I need help working through this betrayal.”

Taylor then got in her car after the therapy session and took her dog for a walk.

She then returned back home looking tearful as she debriefed to a friend who hugged her.

In the post’s caption, Taylor shared how hard a break-up can be in the public eye, saying: “Come to Dylan Gossett with me and a proper day in the life vlog.

“The experience of a public break up is so, SO weird. Because you’re trying to grieve the future you thought you were going to have and was promised, in real time; with every other persons 2 pence included.

“I’m very thankful for social media and what I’ve been able to achieve so far because of it (rehoming a lot of dogs in shelters, building my business, advocating topics I really care about), but experiencing the downsides is, well, savage.”

On June 29, Giant, real name Jamie, announced his split from Taylor.

He had previously been given an ultimatum to either stay with her or leave the show due to her being on OnlyFans.

However, he’s now done a U-turn and called time on their romance despite being axed by the BBC.

Jamie took to Instagram to address the speculation that his relationship had ended.

He said: “I’m not in a relationship anymore. I’m working on myself, the most important person right now to serve the people that I love is working on me.

“Working out who it is I want be, which direction I want to go in because the ego has been put in a box, I want to move forwards and I want people to know me for me.”

He claimed he doesn’t know what’s next for him but he knows he want to be a “better person.”

Jamie split from his ex wife in November and shortly after began dating Taylor.

Early in “Romería,” the film’s main character, Marina, is asked by some children if she’s ever seen the Santa Compaña, a collection of ghosts who, in Spanish legend, supposedly wander in a pack across the landscape. Humoring the kids, Marina says she hasn’t. That’s good, one of the girls responds. “They’re spirits that can’t die.”

As it happens, Marina is actually on a journey of sorts to connect with the dead — and so is Spanish writer-director Carla Simón, whose third feature is an autobiographical tale about her own quest to make peace with her late parents. Slender but flecked with magical touches, “Romería” is so gentle it never quite qualifies as haunting. Nonetheless, Simón stirs up the ineffable sadness that comes with wanting answers to the mysteries of your family — and then, like it or not, receiving them.

Newcomer Llúcia Garcia plays Marina, an 18-year-old aspiring filmmaker. It’s July 2004, and she’s traveled to the picturesque port city of Vigo to obtain government paperwork that will make her eligible for a university scholarship. She never knew her father Alfonso, who died in 1987. For some reason, there are no records indicating that she was his daughter. Hence the trip to Vigo to see her paternal grandparents for the first time so she can authenticate her ancestry.

Simón, whose previous features “Summer 1993” and “Alcarràs” also grappled with family matters, follows along with Marina on the way to this anxious meeting. Marina’s mother died only a few years after Alfonso, making Marina an orphan. But the mom’s parting gift, a diary, provides opaque glimpses into her life with Alfonso in the mid-1980s. Before Marina arrives at her grandparents’ home, though, she must run a gauntlet of uncles, aunts and cousins, their reactions to her existence varying from warm to wary. Repeatedly, Marina is told she looks just like her mom, but the comment occasionally contains a trace of bitterness. Many of these new faces view her as an unwelcome reminder of a past they’d prefer to forget. When they see Marina, it’s like they’re looking at a ghost.

The strongest component of Garcia’s doe-like performance is the way it captures someone in the midst of shedding her adolescence, gingerly trying on adulthood. Over the course of a few days, this bashful teen, always armed with her camcorder and far less free-spirited than her cousins, will be beset by her father’s feuding family. Silently observing the passive-aggressive maelstrom, Marina will receive an intense immersion in what her life might have been like if he’d lived.

But she quickly realizes that their memories of the man are far from perfect. No one can decide exactly where Alfonso lived in Vigo. And, more troublingly, Marina’s belief that he died in 1987 is contradicted by relatives, who insist that it was five years later. If Marina has that information wrong, what else does she not know?

“Romería” is hardly the first film in which an impressionable soul goes on the hunt for the parents she never had. Likewise, viewers will not be startled when Marina eventually discovers painful secrets about her mom and dad that cause her to reconsider those phantom figures.

Simón, who undertook a similar odyssey at the same age, never allows this delicate story to succumb to self-indulgence or an inflated sense of its own importance. Instead, her film is suffused with a rich, casual immediacy. Simón and her star bracingly recall the electricity of youth as Marina prepares for life as an artist. The movie, in part, is about how she finds her voice.

Simón’s films favor naturalism and “Romería” leaves ample room for Spain’s seaside beauty and glorious sunshine. The calming locales both complement and contradict the plot’s revelations, which are hardly bombshells but do speak to how well-to-do families labor to shove inconvenient skeletons into the closet. If anything, Marina will be more shocked by her grandparents (José Ángel Egido and Marina Troncoso), whose fiercely icy demeanor suggests this teenager should consider herself lucky not to have grown up around them.

Because “Romería” is a coming-of-age story, Marina will be tempted by cute boys; she’ll also begin to display a rebellious streak. As the picture rolls along, Garcia shows a more assertive side, relishing her character’s emergence from her shell. But this modest saga saves its biggest surprise for its final reels, when the narrative folds in on itself beguilingly, allowing Marina to relate to her mom and dad in ways she never had before. Maybe we can never truly know our parents, but if we’re lucky, we can gain the maturity to one day see them in ourselves.

METALLICA roadies were forced to intervene when a fan jumped on stage at the heavy metal band’s gig in Glasgow.  

The US-based group are currently on their M72 World Tour and performed to 56,000 fans at Hampden Park last week.  

But one Metallica fan ended up missing most of the show as he was apprehended by security when he jumped on stage before the concert started. 

A tense clip posted on social media showed the animated concert-goer aggressively refusing instructions to get down. 

In the end one of the security team was to shove the man from the stage with him being caught by another roadie. 

In a separate clip the troublemaker was escorted from the venue by police as fans rushed to comment on the shock events. 

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One wrote: “How to waste your night in one easy swoop.”

And someone else said: “Money well spent [eye-roll emoji].”

It comes after The Sun revealed Metallica are thrashing out a deal to land a huge residency at Las Vegas music venue the Sphere.

A source said earlier this year: “Metallica having a residency at the Sphere is all anyone is talking about on the Strip.

“They have been to see the bosses and met all the tech team to talk through and plan out a show in principle.

“The contracts are still to be signed but we were told they are 90 per cent there. Metallica will bring a different feel to a show there and there is a lot of excitement from bosses at the Sphere about what this could look like.”

TO the untrained eye, he was just a bloke in a shiny police helmet singing about staying at the YMCA.

But behind the tight trousers and macho character in disco group ­Village People, Victor Willis was a musical hitmaker who co-wrote songs that will provide the soundtrack to every wedding, birthday and office party for years to come.

Yesterday, in a Facebook post, his wife Karen Huff-Willis announced Victor’s death, aged 74.

“It is with profound sadness that I must announce the death of my husband,” she said.

“Victor passed away on Tuesday, June 30, 2026, as a result of a short but aggressive illness.”

Long before he was commanding crowds to put their hands in the air to anthems that defined an era, including YMCA, Go West and In The Navy, Victor was singing gospel music in his Baptist minister father’s church.

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He grew up in San Francisco and his high school band, The Ballads, supported The Temptations.

He sat in on sessions with American jazz trumpeter Dizzy Gillespie, before becoming an actor and singer.

A role in the Las Vegas production of musical Hair earned him a place in Broadway productions of Two Gentlemen Of Verona and The Wiz.

In the late Seventies, he caught the attention of flamboyant French producer Jacques Morali, who was creating a musical group based on the macho stereotypes and gay pin-ups of New York’s Greenwich Village.

Their four-track demo, called The Village People, earned the group a record deal, and Jacques asked ­Victor to become the frontman.

While the rest of the line-up were recruited from dance studios and clubs for the roles of the cowboy, the Native American, the biker, the construction worker and the soldier, Victor was thought to be the only straight member.

After albums Macho Man in 1978, and Cruisin’ in ’79 which gave us YMCA, they put out Go West and its title track became a gay anthem, later covered by The Pet Shop Boys.

It also featured In The Navy, which the US Navy co-opted for a recruitment campaign, before realising they were using the ultimate camp parody.

It was around then that Victor met and married his first wife, future Cosby Show star Phylicia Rashad.

They split in 1982.

After battling growing frustrations within the group, Victor walked out in 1979.

But his departure triggered a downward spiral.

He struggled to escape the group’s flamboyant reputation and establish credibility on his own.

His 1979 solo project, Solo Man, remained unreleased for more than 30 years until 2015.

The Eighties and Nineties became a blur of substance abuse, addiction, and brushes with the law.

In 2015, he said: “I got very depressed over the years.

“I got kind of drugged out, because I was disappointed with the way things were and got frustrated, and gave up for a bit.”

He began to turn things around in 2006 after he received court-ordered substance abuse treatment and completed three years of probation.

After getting clean, he turned his energy towards a battleground between him and ruthless record executives who had pocketed the lion’s share of the royalties from the Village People’s catalogue.

This led Victor to meet his second wife Karen, an attorney who helped him fight his copyright case against the companies who controlled Village People’s hits.

They ­married in 2007.

Victor, armed with a gritty determination, launched a historic, multi-year lawsuit under a loophole in the 1976 US Copyright Act, which allows artists to reclaim their work after 35 years.

In a legal victory that sent shockwaves through the music industry, the US courts ruled in his favour in 2013.

Victor clawed back up to 50 per cent of the lucrative copyright percentages for YMCA and his other hits, becoming a hero to older musicians everywhere.

The resolution paved the way for his return to the group in 2017.

Older, wiser, but with that same thunderous voice, he toured the world to packed arenas, watching three generations of families throw their arms in the air to spell out those four famous letters.

By then, YMCA was being regularly played at Donald Trump’s political rallies, a use Victor was unhappy with.

“I don’t endorse Trump, I’ve never endorsed Trump, nor have the Village People,” he told the BBC in 2020.

However, he surprised fans last year by agreeing to take part in the politician’s second inauguration saying: “Our song YMCA is a global anthem that hopefully helps bring the country together after a tumultuous and divided campaign where our preferred candidate lost.”

In his tribute yesterday, Trump claimed: “He was a great and happy guy who loved that I used YMCA at my rallies.”

Regardless, YMCA remains Victors’ biggest hit, reaching No1 in 17 countries.

The star may have hung up his police helmet for the final time, but his legacy is firmly etched into global nightlife.

As long as there is a wedding with a dancefloor, people will be ready to fling their arms up in the air in the shape of a “Y”.

Dine-in movie theater chain Alamo Drafthouse Cinema is launching a new initiative to show unreleased independent films that had successful festival runs, a move that comes as specialty films have struggled to gain distribution.

The Alamo Exclusives program, announced Wednesday, will give limited theatrical runs to films that showed at festivals including Sundance, the Toronto International Film Festival, Tribeca Festival and South by Southwest festival, as well as Alamo’s own Fantastic Fest.

The idea is to help showcase films that received critical acclaim, but did not secure distribution or acquisition deals. The chain will not acquire these films, but instead will enter into agreements with filmmakers to exhibit their films on Alamo Drafthouse screens. By showing these films to audiences on the big screen, these films could get the momentum they need for further opportunities.

The program’s first film will be the documentary “Butthole Surfers: The Hole Truth and Nothing Butt,” which debuted last year at South by Southwest and chronicles the history of the punk rock band.

The film will be shown in Alamo Drafthouse theaters for a limited time later this summer.

The Austin-based chain, which is owned by Sony Pictures, has a long history of curating indie films for its audiences, giving Alamo Drafthouse confidence that its viewers want to see these kinds of movies, company chief executive Michael Kustermann said in a statement.

“Time and again, they’ve shown they’ll come out to support bold, original films when given the opportunity,” he said. The new Alamo Exclusives “gives us another way to champion filmmaker-driven films that deserve to be discovered and connect them with the wider Alamo Drafthouse audience.”

The initiative comes at a difficult time for indie films. Since the pandemic upended the movie business, traditional studios and distributors have had less appetite for risk, including betting on smaller indie films out of festivals.

And as the 2023 dual writers’ and actors’ strikes thinned out theatrical lineups, that aversion to uncertainty became a push for reliable and profitable hits.

“Too many incredible films premiere at festivals and then never receive the theatrical life they deserve,” Lisa Dreyer, director of Fantastic Fest and film innovation at Alamo, said in a statement. “We are actively searching for films across all genres, from horror to comedy, to everything in-between, to champion in this new, exciting way.”