show biz

Since its opening in 1967, Pirates of the Caribbean has stood as an anchor at Disneyland, a statement piece that has defined the direction of the park.

And that remained true last week when Walt Disney Imagineering unveiled a new audio-animatronic pirate. It’s wow-inducing. It’s also narrative-wrecking. And it fundamentally shifts the vibe of the attraction’s early scenes.

The high-tech pirate, we can bet, is just a small preview of the park’s next-gen toys. Because when changes come to Disneyland, they often hit Pirates of the Caribbean first. Over a half-century ago, the robotic figures of Pirates were a symbol of Disneyland’s technological ambitions, dazzling audiences with characterized but lifelike movements. With the ride, Disneyland made it clear that as the world advances, so, too, would the park.

As culture shifted and the lecherous buccaneers of the ride began to look more like symbols of sexual harassment, they would be forced to undergo some welcome personality adjustments. A redheaded victim of sex trafficking would transform into one of the ride’s most striking characters, and a number of rides from the Jungle Cruise to Splash Mountain would eventually undergo similar reassessment.

For Pirates of the Caribbean, after all, is the attraction that defined the Disneyland template. Its mastery is that it is a series of larger-than-life dioramas constructed around an abstracted narrative where themes of greed, lust and intemperance take precedence over a plot with a firm beginning, middle and end. And thus it made sense for Imagineering, the outfit of the company responsible for theme park experiences, to unveil its latest tech-driven master work on the ride.

A new animated pirate on Disneyland’s Pirates of the Caribbean shifts from living to dead using projection technology.

(Todd Martens / Los Angeles Times)

Reaction, however, has been less than enthused. Disneyland’s own social media accounts are flooded with pointed critiques, but even if we consider that social media tends to lead with gripes, some of the park’s most ardent fan sites have referred to the reimagined scene as a gutting. Why so much hullabaloo over a single robot? If we allow that Disneyland is a place that generations make pilgrimages to, then Pirates of the Caribbean is its most sacred temple. Handle with care.

There is, of course, a series of stages most Disneyland fans go through with any major changes, and it’s usually one of shock or confusion followed by acceptance and eventually new nostalgia. And Disneyland’s recent attraction updates have by and large been winners, as evidenced by the lovely Tiana’s Bayou Adventure, the exploratory Adventureland Treehouse and the bewitching Snow White’s Enchanted Wish.

This one, however, is more complicated.

Where once was a foreboding skeleton frozen in time atop a treasure and swords, there is now an animated figurine built with the latest in projection technology. The latter transitions from living to dead, caught in a perpetual loop with each glimpse of the cavern’s “cursed treasure,” which it continually lifts and drops. The pirate is placed after the ride’s two dips in a gold-filled room among the winding, mysterious underground chambers that help set its tone.

Dead pirates fill the caverns of Disneyland’s Pirates of the Caribbean.

(Todd Martens / Los Angeles Times)

Since the attraction’s opening, the only living beings in this portion were a lone seagull and maybe a stray sea critter or two. It is here where the mystique of Pirates of the Caribbean is set, and guests are placed in the active role of piecing together the time-shifting narrative. Story is hinted at rather than fed to us. We hear tales of the hexed fortunes found in the caves via ghostly narration, but see only its after-effects — skeletons locked in a chess battle or standing behind the wheel of a crumbling ship.

The centerpiece treasure room, where our new pirate is found, has long been a breathtaking scene. Previously, a now decayed body sat atop a mountain of wealth, an empty, soulless figure done in by selfish pride. It was disquieting, and a bit ghoulish. Stray, soft musical notes underscored the tragedy. Further on, a trapped pirate quietly transitions from living to dead via an old theatrical mirror illusion, and the boats float into a city filled with battles and buffoonery.

Gone is the subtlety. A somber tableau is now relatively loud, as our eyes no longer take in the full set but zero in on a bright and at times lively figurine. I cannot deny that it is an impressive piece of technology. On the multiple rides that I took Monday morning, I overheard two teens describe it as “pretty cool” and watched as a young child excitedly shouted to his mom and dad that the figure’s face was changing.

The caverns of Pirates of the Caribbean set a foreboding tone.

(Todd Martens / Los Angeles Times)

Such reactions are no doubt what Imagineering is hoping for. Part of the job of stewarding a classic attraction, after all, is ensuring it maintains an appeal to future generations. But I believe two things can be true. The new pirate may captivate some audiences and it can also stylistically and tonally clash with the attraction. This is the right tech, perhaps, for a more animated experience, one such as the in-development “Coco” ride coming to Disney California Adventure. Unfortunately, in Pirates it’s misplaced. Worse, it’s distracting, as we’re immediately drawn to its movement, grunts and quick-transitioning face.

I lament losing what was there. Projected figures, even the best of them, such as this one, are still media and can still gleam with light. And while the original Pirates of the Caribbean designs by Marc Davis were exaggerated, they were brought back to reality by Blaine Gibson, who sculpted them with bold, hardened features that made them at once heightened but believable. They may have been cartoonish, but they weren’t actual cartoons, and this figure is too much of a contrast, its comic-like excess feeling less relatable, less human. And that says nothing of its snort-like laughs, which reminded me too much of the huffs and puffs of the ride’s donkeys.

It also raises more story questions than it answers. Why, for instance, aren’t the other skeletons caught in a loop? Sometimes more is said by saying less, and this feller leans silly in a portion of the ride that calls for spooky. Ultimately, it just feels unnecessary, a symptom of our often exhausting, tech-obsessed, digital-drenched age where new, needless tools are shoved in our faces daily.

Thankfully, the rest of the attraction serves as a reminder that no computer wizardry can out-class old-school theater. Theme parks should evolve with the times, but sometimes it takes artful restraint to not mess with what’s already timeless.

This week in SoCal theme parks

• Disney California Adventure turns Soarin’ Over California into Soarin’ Across America. The makeover will be unveiled July 2, just in time for the Fourth of July holiday and the celebration of America’s semiquincentennial. While Soarin’ Across America is already open at Florida’s Walt Disney World and I’ve written about the patriotic re-imagining, I’ve waited to see it in the flesh and will have impressions next week.
• Fireworks! If you’re looking for them this weekend, our theme parks have got you covered. Disneyland, of course, has an annual Fourth of July show with patriotic music, and the park will be running “Disney’s Celebrate America! — A Fourth of July Concert in the Sky” Friday through Sunday. If you’re heading to Knott’s, be sure to check out the park’s free-to-visit Independence Hall, a replica of the Philadelphia landmark that will be offering guided tours Friday and Saturday, while Six Flags will feature fireworks Friday through Sunday. Universal Studios Hollywood will on Friday and Saturday debut a new Fourth of July-themed fireworks show.
• Shattered glass on Fast & Furious: Hollywood Drift. Fans are eagerly awaiting the opening of Universal Studios Hollywood’s new “Fast & Furious”-inspired coaster, and word spread via social media recently that a panel of glass on one of the ride’s sound barriers had shattered. Universal declined to comment, but sources familiar with the ride characterized it as an “installation error” that shouldn’t delay the public launch of the ride, which is expected by mid-summer. I reached out to California’s Division of Occupational Safety and Health’s Amusement Ride & Tramway Unit (Cal/OSHA), which monitors the state’s theme park attractions. A spokesperson said the situation was looked into but did not warrant further evaluation.
• Plan your perfect theme park day. The L.A. Times has unveiled a new feature. Now you can save must-try spots from our local guides and build your own personalized list. Or perhaps you’d like to browse my mega-project “Every Southern California theme park ride, ranked” and create an itinerary for your next visit.

Tell us your stories. Ask us your questions.

Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.

Ride on,

Todd Martens

P.S.

Visitors tie paper tags bearing wishes onto trees in the courtyard of the Broad as part of an exhibition dedicated to Yoko Ono.

(Kayla Bartkowski / Los Angeles Times)

Theme parks often are about the power of imagination, allowing us to play pretend in heightened, alternate worlds. And I had theme parks on my mind while I traversed the Broad’s excellent current exhibit dedicated to Yoko Ono.

What, perhaps you wonder, does Ono have to do with theme parks? “Yoko Ono: Music of the Mind” documents the entirety of the artist’s career, and much of her early work centers on play. Real, philosophical play, essentially the idea that through creativity, fantasy and a bit of silliness, we can all see the world differently.

Whether it was communicating with her audience while in a bag (1964’s “Bag Piece”), an antecedent to Meow Wolf’s “Experience Tube,” or offering instructions to count stars, tally our wrinkles, drop off peas on a morning walk, attach wishes to a tree or create fictional maps of our neighborhoods, much of Ono’s career was dedicated toward building community and connections through playfulness and imagination.

It’s freeing work, and a reminder that a little frivolity via participatory art — and that’s really what theme parks and so-called immersive entertainment provide — is a necessary ingredient for happiness.

Gemma Atkinson has appeared in the likes of Emmerdale and Hollyoaks over the years

Gemma Atkinson has revealed if a soap return is on the cards for her.

The TV favourite first gained recognition as Lisa Hunter on Channel 4’s Hollyoaks from 2001 to 2005, with a brief comeback in 2022.

Since then, she’s graced our screens in shows like The Bill, and Waterloo Road. And in 2015, she joined ITV’s Emmerdale playing Carly Hope.

During her stint on the soap as Carly, Gemma was involved in some big storylines – from the heartbreaking revelation that her baby boy, Billy, passed away from sudden infant death to her turbulent romance with Marlon Dingle (Mark Charnock).

After two years though, Gemma left the soap in 2017 – and she has remained booked and busy ever since, appearing on Strictly in 2017 and her own reality show with partner Gorka Márquez, Gemma and Gorka: Life Behind the Lens.

And during a recent episode of her podcast, Lost in Translation, that she co-hosts with Gorka, Gemma was quizzed on whether she would ever head back into the world of soaps.

Asking Gemma a question from a viewer, Gorka said: “Would Gemma go back to acting in soaps or acting in general?”

Gemma then replied: “I would. I wouldn’t be able to do soaps again. Hollyoaks kindly asked me back a few times and I love Hollyoaks.” She explained: “The thing with soaps, I love them, but you have to be on call for 24/7 unless you specifically book time off.

“You could have a random Thursday off in the schedule but they’ll ring and say ‘we’re planning to do exterior scenes but it’s chucking it down and we’ve changed it. We’re interior now, you’re in’.”

Gemma, who is a mum to daughter named Mia born in 2019 and a son named Thiago (born in July 2023 – went on: “With kids and juggling that, it would be too stressful and I wouldn’t want to.”

Nonetheless, Gemma added “However, if it was like a one-off drama, whereby they said ‘you start the 10th of May you finish the 10th of June’, 100% because there’s a start and end and I would love it.”

Emmerdale airs Monday to Friday at 8:00pm on ITV1 and ITVX

WITH a wardrobe to envy Sex and the City’s Carrie Bradshaw, lifestyle
influencer Amelia Liana appeared to be the ultimate single girl.

But her carefully curated “single girl” persona was shattered this
week when she published her YouTube vlog on Sunday night, titled: “I
GOT MARRIED!!!!”

After all, Amelia, 34, who shares every inch of her life online, was not wearing an engagement ring – let alone mentioning that she had a boyfriend.

Only two months ago she posted a video on her YouTube account titled: “Single in my 30s and life update.”

So for the two million followers she calls “family”, it came as a huge shock.

London-born Amelia Liana launched her YouTube in 2013 and
has since grown on TikTok and Instagram – publishing her luxury
lifestyle which includes running “boujie errands” such as picking up
jewellery at Cartier.

KAT-CHING FEELS

Katylee Bailey’s romance with mystery man revealed after girlfriend split

TOXIC TWIST

The truth behind Anastasia Kingsnorth’s boyfriend & her fallout with best pals

In her reveal video on Sunday, Amelia did little to quell her
followers’ thirst to know about her marriage—and, more to the point,
her new man.

The description read: “Surprise! We skipped a chapter! I’ve been
keeping a little secret and I couldn’t wait to tell you that I got
married!”

Sat in her “shroom” [shoe room] in her multi-million London townhouse,
Amelia said: “This is going to make me really emotional saying this
because I feel like you guys are family – I couldn’t wait to tell
you.”

She added: “I decided that the next relationship I shared online was
going to be my husband. This is definitely the best relationship I have ever been in, in my life and that’s why I married him.

“Some people predicted that I was getting married or something was
going on because there were a lot of men’s shoes around.”

Of keeping her marriage under wraps, she said: “I couldn’t cut so much
footage because there was a lot of footage already being cut because I
kept forgetting to take off my ring.

“I think a lot of people on TikTok spotted it because I forgot to cut
out my ring in a video and it was up for like half an hour and then I
deleted it and reposted it because that was not supposed to be how I
wanted to tell you.”

However I can reveal that Amelia has tied the knot with a 41-year-old high-flying CEO named Michael. 

The marriage took place on May 19 at Chelsea Old Town Hall on the King’s Road in the Royal Borough of Kensington and Chelsea.

Her new husband who speaks English and German, and is the CEO of a multinational brand.

Amelia and her new man have also chosen not to follow each other on Instagram.

The couple are understood to have also had a ceremony at Spencer House in London’s St James’s with family and friends. 

The Great Room, which overlooks Green Park, costs between £13,750 and £15,000 to hire.

She is also believed to have held her reception at London’s five-star hotel Claridge’s which can cost up to £30,000 with food and drinks included.

Amelia requested that her wedding planner organise an Alfonso mango stand at the reception.

She also had a traditional henna party which included fellow influencers Suzie Bonaldi and Audrey Peters – instead of having bridesmaids.

In true Amelia style, her bridal party – including sister Hannah and mum Carol – got ready in the £6,000-a-night room, The Dorchester Suite, at the five-star hotel overlooking Hyde Park.

Meanwhile I have heard that the couple honeymooned at the five-star Amanzoe resort in Greece. 

A pool pavilion room at the resort costs around £3,542 per night and includes a 19ft private pool and views of the Aegean Sea.

The stay includes complimentary movements classes including Pilates and yoga as well as daily breakfast. 

Of the wedding, a friend said: “It was a really fantastic day. Amelia couldn’t be happier. They had 200 of her closest friends and family there – and she, luckily, timed the weather well.

“It was just before the full heatwave – and was a glorious sunny day…without being too hot! She and her husband have known each other a long time – and got engaged last year.

“They actually had their formal marriage a few weeks before posting. Now, happily married, Amelia’s looking forward to getting back to work with a renewed sense of vigour – after being absolutely blown away by the reaction to her wedding videos.

“She never thought there would be so much traction from them – but those vids have already amassed more than 65 million views, which is incredible. That has been yet another boost for her – and has really rounded off a perfect few weeks.”

Amelia has so far shared 20 posts about her wedding with her 595,000 Instagram followers—with no groom in sight.

She has also set up an Instagram broadcast channel called “AL Club” to constantly keep her followers interested in the wedding.

Of what she looks for in a partner, she previously said: “I need a man that is secure. Not an insecure man – a secure man.

“If you are an insecure man – and I have had experience in this – you
are going to resent me, resent my success.”

She added: “So I need a man that is secure.”

One fan said: “SINGLE IN MY 30S” two months ago. What was the point in
all the long vents about how “behind in life you are” and repeating
you’re single over and over…

In 2019 Amelia announced that she has split from her fiance known as
“Robert” in an emotional Youtube video.

It came after Amelia documented her engagement party after announcing the proposal in December 2018.

She went on to date family friend Jak Serr – the son of BBC Apprentice
star and entrepreneur Linda Plant.

The pair documented their relationship with TikTok videos but Amelia
confirmed in 2024 that the pair had transitioned back to a friendship.

It’s been about a month into the all-important summer box office season, and already, there is a noticeable boost in optimism.

I wrote last week about how the massive debut of Walt Disney Co. and Pixar’s “Toy Story 5” was a promising sign; many analysts and movie theater operators believe the summer’s theatrical revenue could finally reach pre-pandemic levels.

The cinema business has been propelled by the likes of Paramount Pictures and Miramax‘s “Scary Movie,” Universal Pictures’ “Disclosure Day” and, of course, A24’s “Backrooms” and Focus Features’ “Obsession.”

With more potential blockbusters on the way, my colleagues David Viramontes, audience editor for arts and entertainment, and Cerys Davies, who covers the business of the entertainment industry, joined me to give our best predictions for how this summer will shape up.

What will be the biggest movie of the summer?

Masunaga: After seeing how family movies — specifically, PG-rated films — were the winners of the last two years, I think we’ll be seeing “Toy Story 5” emerge at the top. The movie has already brought in more than $585 million worldwide less than two weeks after it opened, and if its billion-dollar-grossing predecessors are any indication, this franchise may still have a long life at the box office.

Viramontes: After the R-rated, three-hour drama “Oppenheimer” made nearly $1 billion at the worldwide box office in 2023, it would be professional malpractice not to pick Christopher Nolan’s “The Odyssey” as the biggest movie of the summer — and possibly the year. 70-millimeter IMAX screenings were sold out a year in advance and premium format tickets are still hard to come by in Los Angeles. Not to mention tentpole movies like this attract repeat viewings and even encourage viewers to seek out screenings in every format. And we haven’t even talked about how the film boasts one of the most stacked casts in recent history.

Davies: In an effort to play it safe, I’m going to pick a family movie and bet on “Toy Story 5.” Think about the dog days of summer — when the air gets heavy, a sense of inexplicable boredom takes over and it’s almost too hot to do anything. Deep down, you know the only reprieve is sitting in the comfort of your local theater chain’s air conditioning. But, at this point, you already saw “The Odyssey” with all your friends at the earliest available IMAX showing. What else will scratch that box office itch? I’m willing to bet it’ll be none other than the familiar faces of Woody, Jessie and Buzz Lightyear, as they fend off technology in their home.

Which movie’s marketing campaign will be the talk of the summer?

Masunaga: The marketing for “The Odyssey” has been less overt than that of other summer releases, giant Trojan horse in Venice Beach notwithstanding. But a film helmed by Nolan and starring a plethora of A-list actors basically markets itself. After all, both official trailers for the film have garnered more than 30 million views on YouTube.

Viramontes: I’m prepared for Spider-Man to be everywhere. From buses and billboards to talk shows and TikTok, the movie will reach full saturation. While “Brand New Day’s” marketing campaign hasn’t reached fever pitch just yet, I’m prepared to be inundated with activations, posters and commercials for the four-quadrant fave that’s poised to be one of Marvel’s biggest successes in years.

Davies: A massive orange monster named Irene with dozens of eyeballs has nearly engulfed the historic Carney’s restaurant on Sunset. A giant inflatable “Rich” minion, sporting a goatee and a blinged out chain, popped up on Fairfax. And minions have taken over Wendy’s frosty machines with a new banana flavor. At this point, Universal and Illumination could put a minion on every Los Angeles street corner, and I wouldn’t grow tired of them. (The ominous, goggle-wearing eye overlooking the 101 freeway just isn’t enough.)

What will be the biggest wild card of the summer?

Masunaga: The biopic “Young Washington” could make waves. Distributed by Provo, Utah-based Angel Studios, the movie has the backing of the studio’s 2 million Angel Guild members, who determine its slate and get other perks, including free movie tickets. That support proved crucial for 2023’s “Sound of Freedom,” which ended up grossing more than $250 million worldwide, and could end up being a factor here, too.

Viramontes: “The End of Oak Street” has been teasing a dinosaur adventure in trailers, but can the mystery box movie starring Anne Hathaway and Ewan McGregor attract audiences? There’s also potential counter programming to blockbuster hopefuls dotted throughout the summer with “Teenage Sex and Death at Camp Miasma.” But I’m putting my money on “Evil Dead Burn.” Horror movies put butts in seats, and this summer doesn’t have many other straight-down-the-middle scares in store for audiences.

Davies: There’s an Anthony Bourdain biopic called “Tony” hitting theaters in August. These days, it feels like Hollywood will make a biopic about just anyone, but something about seeing Dominic Sessa channel the chef’s undying passion for food and effortless swag on screen seems irresistible. Plus today’s audiences love stories about intense kitchens (“The Bear”) and debatable biopics (“Michael”) — let’s see what happens when the two marry.

Both Warner Bros.-owned DC Studios’ “Supergirl” and Sony Pictures‘ “Spider-Man: Brand New Day” are part of this summer’s lineup. Will we see a turnaround from the recent superhero fatigue at the box office?

Masunaga: This past weekend marked a disappointing debut for “Supergirl,” which brought in just $37.1 million in the U.S. and Canada and about $62.6 million worldwide on a reported budget of $170 million. Box office analysts had been expecting a domestic opening of about $47 million to $50 million. On the other hand, pre-sales for “Spider-Man: Brand New Day” have been extremely strong. Not every superhero movie prints money anymore, so even with a potentially big haul for “Spider-Man,” I don’t know that it’ll signify a complete turnaround for the genre as a whole.

Viramontes: If there’s any superhero with enough pull to rescue the genre from fatigue after “Supergirl’s” poor performance, it’s your friendly neighborhood box office king Spider-Man.

Davies: Tom Holland’s Spider-Man definitely has the potential to cure superhero fatigue, at least for a few months. But as soon as the internet’s favorite couple, Zendaya and Holland, stop walking red carpets and doing press together, audiences are likely to put superhero movies on the back burner once again.

Analysts and theater owners have predicted that this summer’s box office will reach pre-pandemic levels. Will that momentum continue for the rest of the year?

Masunaga: Yes. The lineup of movies this year is more plentiful and varied than in years past, and with massive blockbusters slated for the holiday season, I think it’s very possible we could see a year-end domestic box office total of $9 billion or more.

Viramontes: Yes. We’ll have an action horror in September with “Resident Evil,” Zach Cregger’s follow-up to “Weapons.” In October, Tom Cruise’s long-awaited “Digger” might hit pay dirt. Following that in November is the new “Hunger Games” movie, “Sunrise on the Reaping.” And I don’t even have to mention “Avengers: Doomsday” and “Dune: Part Three,” the juggernauts waiting for us in December, do I?

Davies: Given the overall excitement from audiences of all ages and the variety this summer’s box office has to offer, this season will definitely be the one to do it. When Christopher Nolan, Spider-Man, the minions and the toys from “Toy Story” join forces, there’s no stopping them.

“The Pitt” and its economic effect on California

As film and TV production has fled the Golden State in search of cheaper locales, HBO Max medical drama “The Pitt” stands out as a major contributor to California’s economy.

My colleague Meg James wrote about the economic impact of the show, which films almost entirely on the Warner Bros. lot in Burbank and has provided jobs for about 1,000 people. The show’s first season alone contributed $125 million to California’s gross domestic product, according to an estimate from Oxford Economics.

“We’re old men who didn’t want to go away from our homes any longer,” series star Noah Wyle, who also serves as an executive producer and writer on the show, said, half-joking. “We’ve all been plying our trades out of state, chasing tax credits and being away from our families for a really long time.”

Stuff We Wrote

Film shoots

Number of the week

Disney and Pixar’s “Toy Story 5” continued its dominance this weekend, pulling in $70 million in the U.S. and Canada to stay on top at the box office.

The animated film has now grossed more than $585 million worldwide in less than two weeks. The haul for “Toy Story 5” helped push Disney past the $3-billion mark at the global box office, making it the first studio so far this year to hit that milestone.

What I’m watching

I feel like I’m always catching up on shows, and this week was no exception. I’m just now starting Season 2 of Netflix’s “A Man on the Inside,” which continues the hilarious exploits of retired engineering professor-turned-private-investigator Charles, played by Ted Danson. As a fan of “The Good Place,” I’ve loved the similar humor of this latest Michael Schur show.

Kara Swisher is everywhere.

She’s filling in for Joy Behar on ABC’s “The View.” Appearing alongside Meryl Streep in “The Devil Wears Prada 2.” Starring in a CNN documentary. Preparing a national tour. And churning out four podcasts most weeks featuring long-form interviews and commentary.

It’s a ubiquity born of more than three decades chronicling the technology industry with a professed indifference to power that vaulted her into a rare echelon of journalism celebrity.

She harnessed that reputation to persuade rivals Steve Jobs and Bill Gates to appear onstage together and make Mark Zuckerberg so uncomfortable under questioning that he broke out into a sweat. She had Elon Musk’s cellphone number — the two aren’t currently speaking — and often texts tech and business leaders.

She’s betting the influence that made her a Silicon Valley force will translate into politics as podcasts supplant traditional media as a destination for candidates seeking attention.

During President Donald Trump’s second Republican term, potential Democratic presidential candidates ranging from California Gov. Gavin Newsom and former Vice President Kamala Harris to onetime Transportation Secretary Pete Buttigieg and former White House chief of staff Rahm Emanuel have appeared on Swisher’s shows. She expects that roster to grow.

“We get called by all the presidential candidates,” the 63-year-old Swisher said in an interview at her home in a leafy corner of Washington, where her trademark high self-regard was on display. “We’re going to get to all of them.”

Swisher is hardly the only podcaster talking politics. Conservatives like Megyn Kelly and Tucker Carlson and some liberals like the former Barack Obama aides who host “Pod Save America” have larger audiences. They’re all dwarfed by Joe Rogan.

But Swisher, who has evolved from a traditional print journalist to business owner and podcast host, has few rivals who can match her technology expertise and connect those observations to the broader political debate.

“When I first went on her podcast when I just got into Congress in 2017, she was very well respected in tech circles,” said Rep. Ro Khanna, the California Democrat whose district includes Silicon Valley. “But now she’s emerged as a larger cultural force, especially at a time where there’s such anger at the tech billionaires and tech arrogance.”

Interviews that produce revealing moments

When she’s not on the road, Swisher typically records from a basement studio in the Washington home she shares with her wife and children and a cat named Lovely. The conversations on her interview podcast “On with Kara Swisher” are often referenced later on “Pivot,” which she co-hosts with entrepreneur Scott Galloway.

They frequently produce revealing moments, as when Newsom filled in for Galloway on “Pivot.” Swisher derided him for being too easy on Steve Bannon when the longtime Trump aide appeared on Newsom’s own podcast.

“You had an opportunity to engage,” Swisher pressed. “Why not engage?”

Swisher pushed Buttigieg on why he took so long to say President Joe Biden, a fellow Democrat, shouldn’t have sought reelection. Buttigieg said he wasn’t consulted.

“Sure, but you have eyes,” Swisher responded.

In an interview, Newsom said Swisher calls him out.

“She’ll send me missives unsolicited,” he said. “She’s usually right, and it drives me crazy.”

Even Sen. Thom Tillis of North Carolina, a rare Republican to go on her show, said it was a worthwhile experience despite being pressed on whether his willingness to speak out against the Trump White House emerged only after he opted against reelection.

“If you’re a politician, you should be able to walk up anywhere and hold your own,” Tillis said, adding, “You may end up having an opportunity, like in my experience, to give a completely different perspective.”

‘Pivot’ was initially focused on tech and business

Shaping the political conversation wasn’t the objective when “Pivot” launched in 2018. Galloway, who hosts his own “Prof G” and “Raging Moderates” podcasts, recalled the idea for “Pivot” was to focus on the intersection of technology and business.

“Show me a big business or tech story, and I’m going to show you a political overlay,” Galloway said.

The expansion converges with a sense of urgency among Democrats to be more aggressive on digital platforms, where audiences are increasingly concentrated.

“The single most important quality that every candidate needs to have is the ability to talk and the ability to talk anywhere,” said Teddy Goff, the co-founder of Precision Strategies and the digital director for Obama’s 2012 presidential campaign.

Democrats are still stung by Rogan’s nearly three-hour Trump interview in the final weeks of the 2024 campaign. Rogan who doesn’t consider himself a journalist, has said Harris’ campaign didn’t agree to his terms. Harris has described being spurned by Rogan.

The podcasts add up to influence and financial success.

Galloway said “Pivot,” which is effectively a joint venture between himself, Swisher and Vox Media, will be a $15 million to $20 million business this year, with a staff of just five.

“Podcasts are the NBA,” Galloway said. “There’s a small amount of people making a lot of money.”

A goal to be popular ‘among the entire populace’

While Swisher largely hosts Democrats, she hopes to soon bring on additional Republicans and said she texted Steve Hilton’s wife, a former Google executive, in hopes of booking him shortly after he advanced in California’s governor’s race.

“What we’re going for is to be popular among the entire populace,” she said. “So that people who don’t feel they want to be in a constant state of anger, whether it’s on the left or the right, can have a place to go.”

But her barbed comments about Trump and other Republicans could complicate that goal. Swisher describes her work as “reported analysis.”

“We don’t shy away from our faults,” Swisher said. “We don’t shy away from our biases. You know, we don’t shy away from things that most people try to.”

Sloan writes for the Associated Press.

Apple TV’s new dark comedy thriller series has been dubbed “hilarious” and “brutal” by viewers and critics alike, with many fans claiming it’s “better than Cape Fear”

There’s a vast range of films and TV programmes well worth exploring across popular streaming platforms, from hard-hitting crime dramas and otherworldly fantasy to insightful documentaries, side-splitting comedies, and beyond.

Apple TV has been making quite the impression with hits including the much-loved comedy Ted Lasso, the trippy workplace psychological thriller Severance, sci-fi favourite Silo, the spy thriller Slow Horses, and plenty more.

However, one “hilarious” yet “brutal” comedy thriller series may have passed many fans by. It’s Apple TV’s new show, Maximum Pleasure Guaranteed.

Created by David J. Rosen, the series stars Tatiana Maslany as divorced fact checker Paula Saunders, who becomes embroiled in the criminal underworld after witnessing the abduction of her webcam acquaintance Trevor.

She’s subsequently contacted for ransom money, but police maintain it’s probably a scam – until Trevor turns up dead. Paula is drawn into the mystery, navigating murder and blackmail while grappling with her own personal demons.

The series debuted on Apple TV on May 20, 2026, and boasts an impressive 93% score on the popular review-aggregation website Rotten Tomatoes, where critics and fans alike have showered the drama with praise.

One critic said: “It’s breezy, but also brutal. Hilarious, but also horrific. And since each episode runs 30-40 minutes, it’s a perfect little summertime binge.”

Another agreed: “It sticks the landing through the end, and Maslany keeps you watching… even though you’ll want to yell at the screen every time she makes a new risky decision”. A third said: “One of the most captivating shows of the year thus far”.

While a fourth commented: “An utterly delicious thriller with interesting characters, an effectively circuitous plot, fast pacing, engaging comic undertones and terrific writing, ‘Maximum Pleasure’ will grab you from the first moment.”

These views were mirrored by fans over on Reddit. One devoted an entire post to the show, giving it the title: “Don’t sleep on Maximum Pleasure Guaranteed”.

They went on to elaborate: “Everyone loves Widow’s Bay (and they should; it’s great! ) but Maximum Pleasure Guaranteed is also really compelling: good balance of humour/drama/thriller, plot moves along at a good clip, good acting all around (of course Tatiana Maslany is great but Charlie Hall (Julia Louis Dreyfus’ kid! ) makes a fine comedic foil…) I really look forward to each new episode and hope others check it out.”

Fellow Reddit users were quick to share their thoughts in the comments section – and many agreed the programme is well worth a watch.

One viewer said: “Great show that deserves a bigger audience. People always complain that all the services only make safe bets anymore with established IPs etc. Support this, people! And support Sugar season 2, too. All great shows. Apple is on fire this year.”

Another enthused: “I just started this the other night and am hooked. I love Murray Bartlett too lol”.

A third commented: “I’m really enjoying it and I’m always happy to see Tatiana Maslany on-screen again”.

While another shared: “I’m surprised this isn’t bigger on this sub, it’s a fun series, I’m more invested in it than Cape Fear. I think Apple dropped the ball marketing wise.”

To which a fellow viewer fired back: “That’s because it’s significantly better than Cape Fear and seems to involve some actual plot each episode”.

Here we go again: Twenty-five years after “Mamma Mia!” premiered on Broadway, the national tour returns to Los Angeles at the Ahmanson Theatre with show-stopping set pieces and a crew that knows the show inside and out.

The beloved jukebox musical, which chronicles a Greek wedding with three potential fathers of the bride, has taken over the Ahmanson through July 19 as part of its 25th anniversary tour, and audience members should expect a full-on ABBA sing-along dance party.

“People come dressed up,” said associate choreographer Janet Rothermel. “There’s a lot of boas, and there’s a lot of spandex, and platform shoes.”

Rothermel is one of many people on the creative team who have worked on the show since its original Broadway run in 2001. Associate director Martha Banta and associate music supervisor David Holcenberg have also seen the musical through its nearly 14-year original Broadway run, national tours and numerous international iterations (Holcenberg was its original music director).

“When we were all back together again in rehearsal, it was an extraordinary feeling,” Banta said. “Not with the same cast, but Janet, David and I and others that have done it for years. With everything that’s been going on in the world in the last three years, it was just a soothing thing to do.”

“We’ve just been embraced beyond what we were used to, which was pretty great,” she added.

Everyone involved in the production echoed a similar sentiment: that the “ultimate feel-good musical” is exactly what audiences want to see during painful or overwhelming times. The show’s traveling costume supervisor and associate designer Eva Maciek put it most bluntly: “I love working on it because nobody dies.”

Rehearsals for the original Broadway run coincided with the Sept. 11 terrorist attacks, Holcenberg explained, and he was struck by audience members’ emotional responses to the first shows.

“I’d have people coming down to the pit after the show with tears streaming down their faces saying, ‘Thank you for letting us forget the world for a couple hours and just have joy,’” he said. “Because this show is joy. It’s full of joy.”

Beyond the absurdly catchy music and the rom-com story, part of the show’s joyfulness comes from its colorful costumes and beachy aesthetic. The onstage set is relatively sparse, consisting only of a pair of rotating “taverna” walls, but backstage, hundreds of moving parts, including stage mechanics, hand props and costume changes, propel the story forward and keep the production looking effortlessly glamorous.

1/6

Blingy microphones backstage for the “Mamma Mia!” production at the Ahmanson Theatre in downtown Los Angeles.  (Christina House / Los Angeles Times)

2/6

Eva Maciek, the travel costume supervisor of the show, shares some wardrobe pieces backstage.  (Christina House / Los Angeles Times)

3/6

Ryan Sander, assistant choreographer, left, and Eva Maciek, travel costume supervisor of the show, show off Sander’s “Voulez-Vous” costume.  (Christina House / Los Angeles Times)

4/6

Life jackets backstage for a musical number.  (Christina House / Los Angeles Times)

5/6

Shelves full of hats are seen during a backstage tour.  (Christina House / Los Angeles Times)

6/6

The show‘s stage is seen during a backstage tour of the “Mamma Mia!” theater production at the Ahmanson Theatre.  (Christina House / Los Angeles Times)

The obvious choice for coolest costumes, according to Maciek, are the bejeweled jumpsuits worn by titular mamma Donna Sheridan (played by Jessica Crouch) and her Dynamos, Tanya (Jalynn Steele) and Rosie (Carly Sakolove). Each one has hundreds of glittering silver stars attached.

“I’m glad I’m not the one who had to sew them on originally!” Maciek joked. The costumes all originated in London or New York, but they’ve been traveling from city to city in storage “gondolas” since the current tour started in 2023, requiring constant repairs and touch-ups from local stitchers.

Thematically, Maciek said, the costumes’ evolving colors tell their own story throughout the show.

“When everybody arrives at the island, they’re all in beige with a little hint of blue,” she explained. More blue gets added by “Voulez Vous,” and then they transition into jewel tones. “When you get into the wedding scene, everybody is in pinks, soft reds, oranges and yellows,” Maciek said. “So there’s a real color story that goes throughout.”

Ryan Sander, the show’s assistant choreographer, dance captain and current “swing” (an actor covering multiple ensemble roles), has a special relationship to his “Voulez-Vous” costume. He originally wore it as a performer on the national tour more than 20 years ago, and when he was called to come back onstage, he found that it still fit like a glove. The costume, a denim vest and pants set with extremely Y2K lace-up details, is representative of the show’s approach to fashion trends.

“There is something timeless about these pieces that’s just so interesting,” he said. “It is a period piece and we stick to that, but there is something timeless about the costumes.”

Besides the costume racks, another crucial backstage element are the vocal booths, where the ensemble contributes to the musical soundscape from behind the curtain.

“One of the main things about the ‘ABBA sound’ is how they layered the vocals, and we do that all live in our show,” Holcenberg said. “The ensemble works really, really hard, because when they’re not on stage, they don’t get any time off. They’re just singing their little faces off.”

Even though the show has been running for decades, the creative team said each cast brings a new energy and tone.

“Our new Donna, Jess, brings a real rock chick energy to it,” Holcenberg said. “Even though the notes on the page stay the same, the casting and the way they perform it still changes from person to person and night to night.”

According to stage manager Andrew Volzer, the most “unique” aspects of the show are its long history with a tight crew and its multigenerational appeal — “Not only from the audience perspective, but also for the people working on the show. People are always coming and going,” he said.

“We always say, you never leave the island.”

Kirstie Allsopp has lashed out at BAFTA following the death of ‘national treasure’ Dame Penelope Keith over the weekend, following a battle with cancer

Kirstie Allsopp has been left furious over BAFTA’s tribute to Dame Penelope Keith. The Good Life star died “peacefully” at her home aged 86 on June 29, following a battle with cancer.

“We are deeply saddened to announce that Dame Penelope Keith died peacefully whilst living with cancer at her home in Surrey where she had lived for more than 50 years,” her family said in a statement, adding they were “grateful” for the care and support she received throughout her treatments.

However, after BAFTA issued a tribute to the late actress, Kirstie Allsopp was unhappy that it had chosen to use the word “passing” in its statement. The organisation said on X, formerly known as Twitter: “We’re saddened to learn of the passing of Dame Penelope Keith, aged 86. A familiar face on stage and screen Keith won a BAFTA for her iconic role in the Good Life in 1997 and another for her work in The Norman Conquests and Saving It For Albie in 1978, with a further three BAFTA nominations during her career.”

However, Kirstie was not happy with this tribute. Taking to X in view of her 425,000 followers, she fumed: “It’s ‘death’, Dame Penelope died, she was an absolute national treasure, she lived & worked and was brilliant and then she died. Dame Penelope did not ‘pass’, she was not a car or a bottle of ketchup.”

She later fumed: “When did we move from saying ‘sad to hear of the death of…’ to ‘sad to hear of the passing of’? Is there any way to stop this? We are already bad enough at discussing death in the U.K.”

However, Kirstie’s response was met with mixed responses. One person said: “I think it is a choice of words that different people are comfortable with. You should use what you feel comfortable using and let others use what they prefer. Let’s not judge, it is a personal viewpoint.”

A second added: “Why would you argue with a family about how they express that.” Hitting back at criticism, Kirstie fumed: “The family issued a statement saying that Dame Penelope had ‘died while living with cancer; a particularly elegant way of addressing two issues I felt. I obviously double checked that before telling BAFTA what I felt about their statement.”

She added: “BAFTA is an organisation not a person, and as Dame Penelope’s family statement said she had died, they should have at least reflected their language.” But Jeremy Clarkson was in support of Kirstie, stating: “I loathe ‘passing’. Loathe it’

Paying tribute, Dame Penelope’s family said in full: “We are deeply saddened to announce that Dame Penelope Keith died peacefully whilst living with cancer at her home in Surrey where she had lived for more than 50 years.

“The family is grateful for the care and support she received throughout her treatments, and ask that their privacy be respected at this time.” The Good Life followed the couple Tom and Barbara Good, played by Briers and Kendal, who try to escape the rat race in their suburban house in Surbiton. They try to become self-sufficient, turning their gardens into an allotment and introducing farmyard animals, much to the horror of their neighbours – Margo and her hen-pecked husband Jerry, played by Eddington.

In one of her last TV appearances in October 2025, Penelope fronted The Good Life: Inside Out on U&Gold, looking back on the sitcom’s huge success. Dame Penelope won a BAFTA in 1977 for her role in The Good Life.

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

KATIE Price has furiously hit back after Meg Matthews branded her “utterly irresponsible” for buying a £2,000 dog with husband Lee Andrews in Dubai. 

The 48-year-old announced yesterday how she and Lee, 43, had dropped the huge sum of cash on a male pomsky, which is a mix between a Siberian Husky and a Pomeranian.

Following the news, Meg, 60, took to Instagram to slam Katie, writing: “Why buy a puppy when you don’t live in Dubai?

“This is utterly ridiculous, irresponsible… a husky mix in Dubai, heat training takes time [and] commitment.

“Do they have a house and garden/yard? Just heartbreaking, sends the wrong message.”

Katie wasted no time in responding to Meg’s words, commenting on her post:  “Am I missing something Meg?

slip up?

Katie Price appears to wish Princess happy birthday on wrong day – but had reason

New arrival

Katie Price & Lee say ‘we’re having a baby boy’ as they buy £2k puppy in Dubai

“Go back through your messages to me, how nice you have always been, asking me for help and now this?

“You don’t know me personally so calm down. And Lee lives in Dubai, my husband.”

Katie and Lee excited announced their newest addition yesterday, with her telling fans: “Just like we signed for our marriage, we’ve signed for our baby.

Lee added: “We’re new owners of this baby boy.”

Katie jumped in, explaining: “We’ve got no kids but this is our baby boy.”

“He’s our first baby together,” she later added as she introduced the puppy to fans.

The couple have chosen to call the blue-eyed dog Dubaii – with an extra ‘i’ – as a nod to where he’s from.

It comes days after the death of one of Katie’s Sphynx cats and disappearance of two others – Eilleen and Doris.

Announcing the sad news on Cameo, Lee told a fan: “I love dogs, I love cats, I love animals. So does Kate, so we share that empathy. She’s got five Sphynxes actually. One has just passed away.

“Sorry, eight Sphynxes, five dogs. Eight Sphynxes, now seven, one passed away.”

Another former bombshell has apologized for past use of a racist slur that got her ousted from the villa.

Fired “Love Island USA” contestant Alannah Keyser posted a video to TikTok on Saturday addressing a past video that showed her using the N-word as she sang along to the Roddy Ricch song “The Box.” On Friday, Peacock confirmed to The Times that Keyser had been dismissed from the hit reality dating show after the resurfaced video began circulating online.

“I do want to begin by addressing the video of me singing along to a Roddy Ricch song that contains a racial slur,” Keyser says in her video. “I’m sorry to whoever has seen that video and has been offended by it; that was never my intention. The video is from six years ago, and that word is just not in my vocabulary anymore.”

A USC film student from Miami, Keyser also addressed some of the other social media chatter about her that had been making the rounds prior to her dismissal. Included were accusations of racism due to screenshots of her alleged use of the racist slur on Snapchat and Instagram as well as observations that alleged she had interacted less with Black men on the show.

She said those screenshots had been “falsified.”

“What has been shared does not reflect the truth, and it’s never been in my character to discriminate against anybody’s skin color,” Keyser said. “I do want to say directly that I do not support racism or discrimination of any kind, and I never have.

“When I first found out that these things were going around online, it really broke my heart, and I couldn’t do anything about it. But this has definitely been a learning lesson for me, and it sucks that I didn’t get a chance to really show my personality and who I am,” she added.

In the caption of her TikTok video, Keyser wrote that “reality tv is HEAVILY edited & [her] chats/kisses with the other boys were unfortunately not aired.”

Keyser was the second “Love Island USA” contestant who was dismissed from the show this season after video of them using the N-word surfaced on social media. Earlier this month, Peacock axed Oregon-based beauty technician Vasana Montgomery just days after it announced its slate of Islanders for the show’s eighth season. She has since apologized, saying, “There is no excuse” for her use of the slur.

Last year, contestants Cierra Ortega and Yulissa Escobar were dismissed from the show for their use of racist slurs. Ortega had been caught repeatedly using a derogatory slur for Chinese people (and Asian people in general) on social media, while Escobar had used the N-word in a couple of podcasts. Both have since apologized.

Reuben Owen will be going head-to-head against Jess’ dad in tonight’s Season 3 finale.

Reuben Owen Life in the Dales is almost over once again – but there’s a silver lining.

Spreading his wings away from his family’s original Channel 5 show Our Yorkshire Farm, eldest son Reuben Owen takes centre stage in his own series Life in the Dales.

The ambitious 22-year-old entrepreneur has been continuing to tackle building up their plant machinery and groundwork business with help from his friends and girlfriend Jess.

Season 3’s ninth episode and grand finale airs tonight, Tuesday, June 30, spelling the end of the popular docu-series with no confirmation of a fourth outing just yet. However, fans of the young Yorkshire farmer will be thrilled by its Channel 5 replacement on TV schedules next week.

Series 3 might be ending but next Tuesday, July 7, fans are going to be treated to a repeat episode from Reuben Owen Life in the Dales Season 2.

The instalment that’s taking up the primetime slot at 8pm will be episode seven where Reuben celebrates his 21st birthday with a vintage tractor journey. His girlfriend Jess also organises a cute surprise of balloons and a cake which is secretly transported under his best friend Tommy McWhirter’s tractor engine.

As of yet though, it isn’t clear if this is just a one-off repeat of Life in the Dales or if Channel 5 is going to continue airing episodes every Tuesday.

But before fans step back in time, there is the Season 3 finale to get excited about. The official synopsis for tonight’s episode reads: “With lambing season well underway, Reuben and Jess race to stock-proof the fences at Brough Castle Farm before more than 300 newborn lambs arrive in the fields.

“However, when Reuben challenges Jess’s dad Dave to a battle of man versus machine, Jess is left caught in the middle.

“Capper and Sonny attempt to breathe life back into a vintage tractor, but getting it to run proves tricky.”

Reuben Owen Life in the Dales is available to watch on Channel 5.

The ITV star has been hosting another well-known programme this week away from her role on Good Morning Britain.

A Good Morning Britain star has shared a career update with her followers online.

Popular ITV presenter Charlotte Hawkins has moved channels as she’s been fronting Jeremy Vine’s show on Channel 5 – and fans have been rushing to comment following her debut.

Charlotte, who has been a regular face on Good Morning Britain since it launched in 2014, confirmed she’d be filling in for Jeremy on her social media last Friday (June 26) after she’d guest-hosted Matt Allwright’s show on the channel.

Now, the 51-year-old has been showered with support after fronting Jeremy’s show for the first time on Monday (June 29) as she shared a snap of herself in the studio alongside Joanna Jarjue and Mike Parry.

One person commented: “You looked amazing. Good job done.” Someone else added: “It went very well, very natural.”

Another fan wrote: “This works for you, good job.” While on X, one viewer shared: ” #Jeremyvine Oh Charlotte’s swapped the sofa on ITV’s Good Morning Britain to the Channel 5 desk and chair #ThisMorning #Gmb “

While someone else commented: “Great seeing @CharlotteHawkns on @JeremyVineOn5 this morning #Jeremyvine .”

Opening the show on Monday, Charlotte commented: “I’m Charlotte Hawkins, sitting in for Jeremy while he enjoys a holiday!”

Charlotte confirmed that she’d be back on the programme on Tuesday (June 30). During Monday’s episode she welcomed back Mike Parry to the panel after his recent treatment for skin cancer.

When asked how he’s doing, he replied: “I feel very well, thank you. I can’t thank The Royal Marsden Hospital enough for what they did for me last week.

“It was five consecutive days, a blast of radiation, once a day, a serious blast and then other procedures.

“But, I feel good at the end of it, I feel mentally very well. I know I was in the hands of some of the best people in the world.”

He also shared a warning to viewers as he highlighted the importance of keeping out of the sun following his diagnosis.

Mike added: “can I say to everybody, please, please, take the greatest precaution against that big yellow ball in the sky, the sun. It will get you; you have a chance to stop it.”

The Jeremy Vine show airs every weekday on Channel 5 from 9:15am.

Unlike Jimmy Savile, Rolf Harris was caught before his death and was made to pay the price for his many years of criminal behaviour – but only in the UK

Survivors of Rolf Harris have spoken out for the first time about his abusive behaviour, with one branding the late entertainer and artist as a “disgusting old man”.

The Australian star, who died in 2023, was jailed in the UK for five years and nine months for indecent assault in 2014. One of those who helped to convict him was the best friend of his daughter Bindi, known as Victim A, who was just 13 years old when his attacks started.

Now a new documentary features other women revealing what they went through, with one assaulted by Harris when she was a teenager on a Mediterranean holiday, another attacked while making a TV commercial and a third while on tour with her theatre group in London.

Sunny was 15 when she was filming a TV ad alongside Harris, who was the face of a brand called British Paints. She said the assault happened soon after he arrived on set and stood very close to her, “right in my face”. “That’s when he assaulted me, then walked off. The reason I am doing this is to say to him ‘you are a disgusting old man and you can’t get away with it any more’. Just f*** right off,” she says.

Pamela was on holiday with her boyfriend and another couple in Malta in 1970. “I was 18, everything was fun,” she remembers, until they ran into Harris in a bar and he took her into another room to show her “more of his art”. “He just pushed me against the wall and he put his hands on my breast. He kissed me which was not very nice, very horrible,” she says. “And then he put his hands in my pants, up my dress. And then he said ‘I’m sorry’, and then he cuddled me.”

She believes she knows why his mood changed suddenly. “I really thought he was going to rape me – I had my period at the time. I think that’s why he stopped.”

Although the paedophile and serial sex offender had made the UK his home, he travelled regularly back to native Australia. Another victim, called Nina, said that she was 14 in 1984 when Harris came in to a motel where she was staying with her family because of her dad’s job.

“Rolf Harris started to touch me in quite an imposing way. He was rubbing himself up against me and putting his hands over my shoulders and touching my chest. I just didn’t know how to make him stop,” she recalls. “He was reciting a poem while he was groping me, rhythmically, groping my breasts in time to his little nursery rhyme. Obviously for him this was funny and this was how he was treating a child.”

Nina reported him to police at the time but the programme finds that New South Wales authorities have no record of her complaint. She now feels angry that they ignored what she told them. ‘They were looking at their watches, yawning. By disregarding it, this behaviour is escalated. He’s repeated it over and over again with children, and all those children have been damaged by him. The police could have addressed that in 1984 and they just didn’t choose to. The whole thing leaves you feeling isolated. It’s hard to describe the impact that has on your development and confidence.”

One of the most disturbing elements of the two-part documentary is how many people knew what he was up to but did nothing to stop him as he hung out with pals including Jimmy Savile. Investigative reporter Meirion Jones describes how his wife was warned about Harris while working at the BBC. He says an executive told her not to get into a lift with him on her own or walk up the stairs in front of him. “Management knew Rolf Harris was in the habit of groping, and they were trying to transfer that problem to the people around him, saying to women, ‘don’t put yourself in a position where he might attack you’.”

The first episode also features Cathy, who had come to London on a six week tour with her theatre group in 1986, when she was 15. She was told that Rolf Harris was going to come and watch their final performance to give feedback. “He said to me ‘come and sit on my lap’ and he was telling me how talented he thought I was and that I should keep going,” she remembers, growing tearful. “

He started to put his hand on my legs and going under my skirt. This is all happening while we’re all singing and talking and laughing. It was so bizarre, no one knew anything was going on. I just went really quiet and was in shock, I just thought ‘I wish my Mum was here’. I went to the bathroom and I started to cry, I wasn’t sure if it had really happened. I composed myself and walked out and when I did he was right by the door – with a big smile on his face. That’s when he assaulted me. He put his fingers inside me and assaulted me and then he just walked away.”

She said the assault has had a lasting impact on her and she never returned to the theatre group. “For that one moment of whatever he got from it – it destroys people’s lives. Not just six months or a year, your whole life. Nothing is the same.”

Ben Markham, Detective Inspector with the Metropolitan Police who worked on Operation Yewtree, said Victim A was motivated to come forward after seeing Harris appear on screen at one particular event in 2012. “The turning point came with the Queen’s jubilee,” he explains. “It was like a dam bursting, she just felt ‘this is enough’.

Rolf Harris: Primetime Predator is streaming now on Amazon Prime Video.

BBC viewers shared the same complaint about the coverage of the tennis championship

BBC viewers have hit out at the broadcaster’s coverage of Wimbledon.

The tennis tournament got underway on Monday (June 29), with the BBC switching between BBC One and BBC Two to bring viewers all the action from SW19, as well as showing games on the iPlayer.

But several fans were left fuming during the evening coverage and claimed they missed a vital moment because of a channel change, with some calling it “a joke”.

Former Wimbledon winner Novak Djokovic was playing Wu Yibing on Centre Court when the coverage swapped channels, leading many fans to post messages on X saying that it had caused disruption as Wu was about to win the second set.

One person posted on the platform, which was formerly Twitter: “They didn’t just miss that Wu set win because they were changing channel. Oh wait… they did. Shambles.”

Another viewer said it “spoiled the tension”, as someone else exclaimed: “Channel change at set point @BBCSport – really!!”

“Shocking from @BBCSport to leave the channel at such a crucial point to switch channels and it’s not even on there!!” posted somebody else.

Another person said it was “appalling”, and one remarked: “Fed up of BBC coverage of #wimbledon only just started and already there is constant channel hopping, and missing crucial stages of the match as a result is unacceptable.”

“Shocking #Wimbledon coverage from BBC there,” commented somebody else.

“Djokovic serving to stay in the set, they switch channel with both showing an advert, then come back to the game with the set over. What’s the point watching for hours then missing a key moment!”

“Would have been nice to watch that set point live @BBC but instead you switched from BBC One to BBC Two with no great hurry… missed the set point and now they’re closing the roof so there’s a delay anyway – Could you not have waited one minute?!” asked another viewer.

“The BBC coverage of Wimbledon truly is a joke,” posted somebody else. “An absolute disgrace. If you’re going to follow a match live, then don’t keep switching channels halfway through. Either dedicate yourself to the tournament, or let it go.”

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

Gray Atkins has made a return to EastEnders as Toby-Alexander Smith reprises his iconic villainous role. He was last seen in the Square back in 2022

Gray Atkins has made a return to EastEnders as Toby-Alexander Smith reprises his iconic villainous role.

The villain was last seen in Albert Square in 2022 when he was sent to prison for murdering Chantelle Atkins, Kush Kazemi and Tina Carter. The serial killer has not been seen since, with Toby-Alexander Smith now reprising his role for a short stint.

Speaking about his return, he said: “It’s been very surreal returning to EastEnders and stepping back into Gray’s shoes.

“He’s one of the most complex characters I’ve had the opportunity to play and revisiting him after several years has been an exciting challenge to get my teeth into. Exploring who Gray is now has been, fascinating, and I’m excited for the audience to see this version of him and watch the storyline play out.”

Gray is currently serving a life sentence in prison but needs the help of his grandmother Sheila (Sheila Ruskins) to get close to ex-wife Chelsea Fox after Jordan’s harrowing accident.

With motives still unclear, there’s trouble ahead but what does Gray want?