show biz

Emma Willis dropped several hints on Instagram before the official BBC Strictly Come Dancing presenter announcement – and these five telling clues show she was always destined for the role

With the news announced today (May 19) that Emma Willis is joining Josh Widdicombe and Johannes Radebe in the ultimate Strictly hosting trio, we’ve been examining her Instagram feed for the telltale signs that this had been in the pipeline for quite some time.

Following months of wild speculation after Tess and Claudia’s emotional exit, the BBC has at last announced that Emma Willis is entering the nation’s most dazzling ballroom. Yet for devoted followers monitoring @‌emmawillisofficial, the reveal may not have been entirely unexpected, as online detectives have been doing their thing! Scrolling through her stylish Instagram profile, it appears Emma has been leaving clues about her Strictly Come Dancing fate for months.

From perfecting the quintessential presenter look to demonstrating her live broadcasting prowess, here are the subtle signals that suggested she was always destined for the ballroom.

1. The trademark ‘Claudia’ power suits

If there’s one commandment of Strictly presenting, it’s that you need an impeccable wardrobe of tailored suits—and Emma’s Instagram essentially serves as a tutorial in power dressing.

Well before the BBC’s official word, her profile has been brimming with sharp tailoring, pristine blazers, and sophisticated monochrome ensembles. Whether she’s sporting a velvet suit that channels “Movie Week” or a polished black tuxedo radiating serious Claudia Winkleman vibes, Emma has been visually campaigning for the Saturday night style icon position for years.

2. Mastering the co-host dynamic

Tess and Claudia were the ultimate television double act, meaning any successor needed to know how to share the spotlight. Fortunately, Emma’s recent social media activity has been largely centred on her effortless chemistry with her favourite co-host: her husband, Matt Willis.

Through their promotional content for Love Is Blind UK, Emma has demonstrated she is the undisputed queen of the sideways glance, the encouraging nod, and the sharp-witted ad-lib.

If she can manage emotionally volatile reality stars while bouncing off her husband, keeping Josh Widdicombe and Johannes Radebe in check on a live Saturday night will be an absolute doddle.

3.Live TV glamour prep

You can’t simply waltz onto the Strictly set without a genuine appreciation for serious glamour, and Emma’s behind-the-scenes posts have been quietly radiating “high production value.” Her feed is scattered with backstage selfies in the makeup chair, highlighting her flawless, camera-ready look and her famously stylish, cropped hair being expertly perfected by her team of stylists.

She has a profound appreciation for the effort required to get television-ready, regularly tagging her glam squad. She’s already well-versed in spending hours in the makeup chair — now they simply need to double the hairspray and throw in a few rhinestones.

4. Ballroom-ready fitness

While she may be clutching the microphone instead of performing the Argentine Tango, presenting Strictly demands hours of standing in stilettos, racing up and down those iconic stairs, and maintaining relentless energy.

Throughout the past year, Emma’s followers will have spotted subtle hints about her remarkable fitness regimen. From Pilates classes to core-focused training, she’s been steadily developing the endurance needed to endure the demanding autumn timetable. Those stairs won’t stand a chance.

5. A secret penchant for sequins

Emma is typically recognised for her low-key, effortlessly chic style, but occasionally, her feed unveils a glimpse of pure theatricality.

A surprise appearance of a shimmering party frock here, a glittering statement piece there—these were the key subliminal hints. She’s been gradually preparing us for a universe where she can confidently stand alongside a rhumba performer draped entirely in Swarovski crystals without appearing remotely uncomfortable.

The Verdict

The BBC couldn’t have selected a superior candidate. Emma Willis’s Instagram demonstrates she holds the precise combination needed to embrace the Strictly role: she’s exceptionally stylish, genuinely compassionate, and completely unruffled by live broadcasting mayhem.

People have been leaving comments on her social media saying that she’ll be “perfect” for the role, and they can’t wait to watch the three of them in action.

As she teams up with Josh and Johannes to introduce a brand-new chapter of Saturday evening entertainment, one thing is guaranteed, and that’s that her feed is about to become considerably more dazzling.

Last week, news organizations and Disney bloggers learned that the Mouse House had filed building permits with the city of Anaheim related to a parking structure at Disneyland Resort.

That immediately sparked rumors about a third park — a long-held dream of Walt Disney Co. fans who want to see more rides, themed areas and Mickey-related shopping destinations.

But that will remain a dream — at least for the foreseeable future.

Anaheim city officials confirmed as much in an internal email about one of the news articles, noting to City Council members and the mayor that the permits were, in fact, for minor parking lot improvements within the existing Toy Story parking structure off Harbor Boulevard.

The email, which was reviewed by The Times, said the improvements were not related to an already-approved expansion of Disneyland Resort, or “what could ultimately be developed on the property in the future.”

A Disneyland spokesperson told me the permits are related to painting and striping at the Toy Story parking structure. So much for a third theme park.

It’s not the first time there’s been a hullabaloo about an additional park at Disneyland Resort.

In the early 1990s, there were serious talks about a Disneyland expansion called Westcot Center, a West Coast version of Walt Disney World’s Epcot in Florida. The plan at one point was to include three hotels, a public plaza and a number of retail, dining and entertainment options all around a central lake. At one point, both Anaheim and Long Beach were vying to be chosen as the site.

But that all collapsed in the mid-’90s amid financial concerns. Disney later built California Adventure, and briefly teased the idea of a third theme park complex with both a water park and amusement park that could complement the two-park resort. But that but never came to fruition.

The idea came up yet again about 10 years ago at an annual shareholders meeting in San Francisco, when former Chief Executive Bob Iger batted down speculation about a third park.

“We have plans at Disneyland for an expansion that we have not announced but those plans at the present do not include a third gate,” he said at the time.

More on that expansion later, but the truth is Disney simply doesn’t have enough land in Anaheim to build out a third theme park. I spoke with Len Testa, president of theme park travel site TouringPlans.com, who laid out the issues for me.

A third park would probably need a minimum of 80 to 120 acres of land to accommodate big new rides, as well as necessary behind-the-scenes facilities like employee break rooms and other back-of-the-house infrastructure.

“They’re landlocked,” he said. “And to acquire that land now in any way that would keep the campus centralized and avoid the logistics of a far-flung transportation network, that would be prohibitively expensive.”

That’s not to say that Disneyland Resort isn’t expanding on the land it does have.

Two years ago, Anaheim approved expansion plans for a project known as DisneylandForward, which will allow the company to build new attractions alongside shops, restaurants and hotels.

Development plans include a bigger Avengers campus with two new rides, as well as a “Coco” ride and “Avatar”-themed area in California Adventure, as well as a new parking structure.

Although it’s not a park, adding new lands and rides is “mission critical” for Disneyland Resort, Testa told me. After all, to drive attendance, you need to regularly open new attractions.

And these new rides can’t just be any old rides — they have to be “epic, mammoth blockbusters” that no one’s seen before, which takes time, space and money, he said.

Disneyland Paris is a good example. The European tourism resort saw a notable boost in attendance after it opened a World of “Frozen”-themed land in March.

“When you have that type of expansion and you can fill the park, you feel very, very good about that,” Disney Chief Financial Officer Hugh Johnston said last week at the MoffettNathanson media, internet and communications conference. “When we leverage our [intellectual property] and take that IP and build big new attractions, not little things … it’s these big new things that actually tend to just really bring in the consumers.”

That’s also key when you consider Disney’s growing competition from Universal Studios, which recently opened Epic Universe in Orlando and siphoned off some attendance from Walt Disney World.

And while the company’s TV and film business is vital, its theme parks still throw off most of the cash — new Disney CEO Josh D’Amaro recently called the parks the “physical centerpiece of the company.” And of course, they retain a deep link to Disney’s heritage.

As Walt himself noted, Disneyland is a “living” entity that would “never be finished.”

Stuff We Wrote

Film shoots

Number of the week

Lionsgate’s musical biopic “Michael” retook the top spot at the box office last weekend with a haul of $26.1 million in the U.S. and Canada.

The film, which chronicles the early career of singer Michael Jackson, has had remarkable staying power atop the charts since it debuted in late April. The film’s weekend revenue was down only 31% in North America compared with the previous weekend.

Overall, “Michael” has now made an estimated $703.9 million in worldwide box office revenue, with $421.1 million coming from international markets.

What I’m watching

Now that WNBA season is in full swing, I’ve been watching my L.A. Sparks and caught the game against the Toronto Tempo on Sunday. It was a rough game, but here’s hoping the Sparks can start turning things around, and quickly.

On the second weekend of May, Gustavo Dudamel gave the New York Philharmonic a salsa shock. He gleefully brought the startled players together with the Spanish Harlem Orchestra, an uptown salsa and jazz band, for concerts at Lincoln Center and Washington Heights. The city‘s classical music fans treated it as a cultural breakthrough; Dudamel is expected to transform the orchestra as a cultural institution when he returns in the fall as its music and artistic director.

A day later he was back in Los Angeles to begin rehearsals at a Walt Disney Concert Hall that had been fantastically transformed by Frank Gehry for the Los Angeles Philharmonic’s staging of “Die Walküre.” Transformation — be it cultural, orchestral, personal — has marked Dudamel’s 17 years as music (and more recently artistic) director of the L.A. Phil, which is now coming to an end with his three weeks of concerts in Disney to close the season June 7, followed by a celebratory weekend at the Hollywood Bowl in late August.

But meeting with Dudamel in his dressing room after a “Walküre” rehearsal (the opera begins Tuesday night at Disney and runs for six nights, an act a night, the full opera performed twice) , he says as he has said before, he does not think of this as a culmination, merely the beginning of a new adventure. He’s apartment shopping in New York. But he is keeping his house in Los Angeles.

He’s also departing with two very long new titles as “Die Walküre” premieres: the Diane and M. David Paul Artistic Cultural Laureate of the L.A. Phil and Jane and Michael Eisner Founding Director and Conductor Laureate of Youth Orchestra Los Angeles (YOLA).

Gustavo Dudamel conducts the Los Angeles Philharmonic in a performance of Beethoven’s Missa Solemnis at the Walt Disney Concert Hall on Feb. 22.

(David Butow / For The Times)

“We are talking about projects,” he says. “Look, I’m coming back for two weeks in December,” when he will lead Beethoven programs. He returns in the spring. The Bowl will always be a second home.

“I’m living here and I’m not living here,” he explains. “The connection will always be here.”

The energy in New York is, he continues, “super exciting.” And what excites him the most is how comfortable he feels with the very real differences between L.A. and New York.

“As a Latino from Venezuela,” he says, “I have an immediate connection with the New York that is home of salsa. When I was in the womb I was hearing salsa.” His father, Oscar Dudamel, is a trombonist and salsa musician.

But he adds that mariachi, ubiquitous in Mexico and L.A., is also an integral part of Venezuelan culture. “What I have to say is that I am blessed. I’m blessed that both cities are now part of my life.”

Bringing ‘crazy’ ideas to Los Angeles

L.A., of course, has been the major part of his adult life. At 24, an unknown, he made his dazzling U.S. debut in 2005 leading the L.A. Phil at the Hollywood Bowl. Four years later, he became the orchestra’s music director and caught the world’s attention.

There is no doubt that Dudamel’s extraordinary talents would have meant a major career wherever he landed. But, here, he inherited the world’s most culturally open major orchestra, where fresh thinking and new music thrive. Disney Hall allowed him the extraordinary freedom to dream. Being back at Disney, Dudamel admits, is very emotional, especially conducting “Walküre” with Gehry’s sets of billowy, sumptuous clouds and fanciful white papery horses.

“Frank is here with us,” Dudamel exclaims about the architect, who died in December and with whom he had become close. Conducting Wagner’s opera, in many ways, sums up Dudamel’s ambitions, the way he has connected with more sides of L.A.’s cultural landscape than possibly any other artist.

In L.A., Dudamel grew as an artist and a person, he says, through his relationship with an orchestra that is uniquely flexible and a welcoming community. This allowed Dudamel to be what he likes to call “crazy.”

“I remember the first time I came here. I didn’t have a chance to do or see anything,” he says of his Bowl debut. “So, I remember driving from the airport to Sunset Boulevard, where my hotel was, and I didn’t understand anything. But immediately it was the connection with the orchestra.”

Frank Gehry designed the sets for a Jan. 18, 2024, performance of Wagner’s opera, “Das Rheingold,” with Gustavo Dudamel leading the Los Angeles Philharmonic at Walt Disney Concert Hall.

(Allen J. Schaben / Los Angeles Times)

Flash forward 20 years from 2005 to 2025. In what seemed like a truly crazy idea, he brought the L.A. Phil to the Coachella Valley Music and Arts Festival, where he led a varied set of classical favorites and appearances with pop stars, for 150,000 people shouting “L.A. Phil! L.A Phil.” Among the highlights was “Ride of the Valkyries,” the English title of “Walküre.”

The symbolism of doing “Walküre” is, for Dudamel, unmistakable. Wagner’s four-part “Ring” cycle, of which “Die Walküre” is the second opera, strongly influenced the “Star Wars” films Dudamel grew up with. The saga’s composer John Williams is another L.A. legend who became for Dudamel like family. Williams has, in fact, written a fanfare, “Bravo Gustavo!” that Dudamel will premiere on June 4 in a concert in which he celebrates the musicians of the L.A. Phil.

The “Walküre” production, moreover, further expresses his desire to remain connected with L.A. When asked whether he still plans to complete the “Ring” cycle with the L.A. Phil, which he began two seasons ago with “Das Rheingold,” he says, “completely.”

It’s a radical notion, to say nothing of an extraordinarily expensive and time-consuming challenge for any orchestra given to a former music director, but Dudamel has never been one to take no for an answer. “At my last conversation with Frank,” he recalls, “I said I was coming to talk about ‘Siegfried’ [the next opera in the cycle], and he said, ‘You are crazy.’”

“That was Frank. He freaked out about the operas every time I talked to him about them. And then he came up with fabulous ideas.

“You know I never dreamed about coming to the L.A. Phil. I was happy in Venezuela and guest conducting elsewhere. But when I met Frank and John [Williams], I knew I had come to the right place.”

One reason Dudamel was happy in Venezuela was his position as music director of the Simón Bolívar Youth Orchestra, part of El Sistema, the country’s famed music education program. He brought a version of that to Los Angeles with YOLA, which offers free musical education to students. Bringing young people together to learn — and not just to play music but to listen to each other — has grown increasingly essential to him.

Gustavo Dudamel has fun with John Williams at the Hollywood Bowl as he conducts the L.A. Phil during “Maestro of the Movies: John Williams with the LA Phil” on July 9, 2023.

(Emil Ravelo / For The Times)

On Thursday evening, USC awarded Dudamel an honorary doctorate during its graduation ceremonies at the Coliseum, where Dudamel also gave the commencement speech.

“I will never tire of repeating this: music, art and beauty are universal rights,” he told the graduates, urging them to go out into the world listening to others, seeing others, paying attention to everything. These are the practices he has long championed as the essential need for youth orchestras.

This was, in fact, almost precisely what he said when he first arrived in L.A. “I was very young, but I grew up with these ideas,” he told me.

“You have to say to the students, ‘Stop! Let’s pause. Just listen.’”

“It’s a way to really connect with what surrounds you, but also connect with yourself. That’s the beauty of all the layers of listening we do as musicians. I now think that is our main tool. In the end it’s not listening only to sounds. It’s listening as connecting with others.”

Practicing what he preaches

As Dudamel plans for his next chapter, he indicates that the advice he gives students is what he is also saying to himself.

YOLA students perform on stage during a “Gracias Gustavo Community Block Party” at the Judith and Thomas L. Beckmen YOLA Center in Inglewood on Oct. 11, 2025.

(Etienne Laurent / For The Times)

What L.A. gave him, he concludes, is a greater depth of his own listening. There was the guidance of Deborah Borda, who, as the orchestra’s president and CEO, hired and mentored him. There were the opera productions with Peter Sellars, who made him look deeply inside himself. There were the communities to discover and with which to collaborate.

New York, he insists, will be a further continuation of this process. “There are a lot of things to do. As I did here, that will be not only conducting but spending a big amount of time doing other things. I will have to listen to the community. Every place is different.”

And every place needs to be, for Dudamel, connected. He began his last season in Disney in the fall with the world premiere of Ellen Reid’s “Earth Between Oceans,” a bicoastal co-commission between the L.A. Phil and the New York Philharmonic, sonically evoking the environmental difference between L.A. and New York. He recently repeated it with his new orchestra in David Geffen Hall in New York.

In L.A., Reid’s score felt like a vast, moving, spiritual soundscape of our fires’ fury as well as our coastal fancy. At Geffen, it became a gripping showpiece, like attempting to zoom in a Ferrari through Manhattan streets, were they ever empty — the thrill of taking it all in.

Dudamel says his favorite place in New York so far is the orchestra’s archives. Becoming absorbed in the history of America’s oldest orchestra gives him new ideas. He wants simultaneously the old, the new and the many.

He also insists on ever more connections. ”We are making, many, many projects together,” he says of the L.A. Phil and the New York Philharmonic. That includes bringing the two orchestras together in a further experiment in listening.

“That‘s very important to me, one of my dreams. And it’s not difficult,” he says. “We have plans and it’s beautiful. We have to do that.”

The Rich House, Poor House mum had to turn down a job that would change her life

A single mum living on £98 a week was forced to turn down a life-changing opportunity.

Steph recently appeared on Rich House, Poor House and was offered a job but she had no choice but to refuse the offer due to a family issue and unable to take on the long commute.

Alongside her mother Gail and her daughters – 12-year-old Amelia and seven-year-old Darcey, they swapped lives with wealthy Mr Whippy owner Joe Sealey on the Channel 5 series and their worlds couldn’t be more different.

At the time, Joe traded his six-bedroom estate – complete with cinema room, gym and indoor pool – for seven days in Steph’s three bedroom council house with a damaged ground floor and mould spreading through Amelia’s room.

Despite working six days a week from home in telesales, Steph struggles to cover essential costs. Once fundamental household expenses are paid, they’re left with just £98 per week for all other needs.

At the end of the swap, she was given a life-changing opportunity as Joe offered her a position on his sales team with a starting salary of £60,000 a year.

However Steph has revealed that she’s had to make the heartbreaking decision and turn down the job offer after the office moved to a different location.

Giving viewers an update, she took to her TikTok and explained that the relocation means she would have had to do a four hour round commute, which she says wouldn’t work due to being a single mum and her mum’s health deteriorating.

She said: “In relation to the job, I agree with all of you that it’s an amazing opportunity. Sadly due to the main office relocation it would mean a four hour round trip commuting for me, to be able to go there and take that job offer up.”

During the swap, Steph had no choice but to send her mum home after she became too unwell to continue with the programme and it seems her health is still a concern for Steph.

Steph explained: “As you all know I’m a single mum, I’ve got two beautiful girls. My amazing mum, whose health is not great, it’s not massively improved since the show, so it’s not viable for me to be able to travel a four hour round trip.

“I need to be closer to my girls and my mum but again it was an amazing opportunity that was put forward. Sadly the location did change in between and it’s just not viable for me to do that

“But I just again wanted to say a huge thank you to Joe, my production team, Channel 5 and most importantly every single one of you. It’s not easy to put yourself out there.”

Following a successful business meeting on the show, Steth was promised £20,000 from the initial sales proceeds but unfortunately the sale still hasn’t gone thorough.

Steph added: “Since filming last year, Joe has been tirelessly working with Kaspas trying to get the deal across the line, that obviously you would have seen me go and do the sales pitch for. At the moment, that hasn’t been completed but I know Joe is still working in the background trying to get that over the line for us.”

You can stream Rich House, Poor Holiday on Channel 5

KATIE Price has begged fans for help after issuing an update on husband Lee Andrews.

The star, 47, insisted that police still cannot find him after he went ‘missing’ six days ago.

Lee, 43, was due to jet to the UK to appear on Good Morning Britain alongside Katie but failed to show up – largely understood to be as a result of a travel ban.

Katie has now issued another video statement and begged fans for their help.

The star said: “I just don’t know what to say. The last time, you know, I heard from as I said before was Wednesday at 10 o’clock.

“I’ve been reading his last few messages and then I’ve heard nothing.

TRUTH ABOUT LEE

Katie Price’s conman hubby EXPOSED as Sun’s Clemmie catches him red-handed

ROLL THE TAPES

Listen to Katie Price’s conman hubby’s voicenotes to The Sun IN FULL

“My anxiety levels are sky high.

“I just don’t know what to say.

“If there is anyone in Dubai or you know anyone in Dubai and you spot him – cause I don’t know where he is.

“Cause the last thing I know his hands are tired. He had a hood over his head, not fully over and he was in the back of a van.

“And that’s all I know.

“The police can’t find him anywhere where he’s been detained.

“No phone calls have been made. So I don’t know where he is.”

Clearly worried, Katie added: “I just want to know someone helped find him.

” I don’t know where he is. I don’t know what’s happened to him. And it’s been five days.

“I’m a survivor, but I’ve never been in a situation like this.

“I don’t think many people have been in a situation like this where all of a sudden the last message you get, FaceTime from your husband in the back of a van, a dirty old van.

“The thoughts in my mind was just his face on that FaceTime and then he’s gone.”

The star concluded her lengthy video statement by saying:  “We need to find him.

“And that’s all I can say, just please help find him.

“Then when we find him, I’m sure there’ll be an explanation or something where we know exactly what’s gone on until then – he’s been silent for five days, gone off grid for five days.

“That’s not normal for anyone.

“I know there’s all this stuff online that he’s a con man, he’s a scammer, but I just want to say to everyone, I want to find him.

“So just keep your eyes open. And I’m really upset and distressed that everyone thinks I’m in on this.”

It comes just days after Katie said she feared Lee had been “kidnapped”.

However, we exclusively revealed he was not missing but hiding out in his villa.

The Sun’s Clemmie Moodie shared that Lee has not been “kidnapped“.

It came after she caught Lee red-handed and released a bombshell account about his burner phones and scamming voice notes.

Clemmie gave Lee some money to invest to see what he would do with it, and spent weeks chatting to him about investment opportunities.

However, she has since not seen a single penny of her money returned.

Ali Bastian played Becca Hayton in Channel 4 soap Hollyoaks for six years before the character was brutally murdered in a heartbreaking storyline

A Hollyoaks legend has opened up on being killed off unexpectedly by Channel 4 bosses.

Ali Bastian joined the cast of the popular soap opera back in 2001 as Becca Hayton. At the time, the show was attracting millions of viewers and she found herself at the centre of some of its biggest storylines.

After deciding to leave the show in 2007, the actress admits she initially worried she’d made a huge mistake by walking away at the height of its success. However, she was soon rewarded with a regular role in ITV crime drama The Bill.

Opening up about her time on the soap to new online bingo brand Zingo Bingo, Ali recalled: “I was 19 when I started Hollyoaks, and it was a huge break for me. I’d always really wanted to be an actress. It was something that was just kind of in me.

“Becca went through loads of highs and lows in those six years and as an actor, I got to try loads of different things: comedy and heartbreak! My character, in the end, went through a lot of heartache, but it really challenged me as an actor and the speed as well that soap works at is insane.”

Fans will remember Becca was brutally murdered by her prison cellmate, Fran Hathaway in 2007. She had been sentenced to two years imprisonment for sexual activity with a minor, but the claimant, Justin Burton (Chris Fountain), admitted to lying.

Becca was stabbed shortly after being released, and died in hospital. She was officially exonerated posthumously in July 2007. Opening up on a storyline fans didn’t get to see before her emotinal exit, Ali explained: “If I hadn’t left at that point, I think that the plan was for Becca to return [to Hollyoaks village] and end up with Jake.

“This was a plan that was floated by me, but it was never sort of officially down on paper. By that point, I was also just really ready to go home as well. I’d been in Liverpool for six years and I felt that I was ready for a new start. At that point, I made the decision to leave. That is why that storyline ended how it ended [with Becca being killed off].

“I went home and I had about a month of thinking, ‘Oh my God have I made the biggest mistake here? What’s going to happen?’ Then I got an audition for The Bill. I went in as a guest and actually managed to get a regular role. I got a phone call that night saying, ‘You didn’t get the job, but they want you to come back tomorrow because they’re casting for a new regular’.

“I was like, ‘oh my God!’ I went back to that audition and I got the job and then I started as a regular on that and was there for three years. Our industry is so bonkers. You never know what’s around the corner. One door closes, another opens.”

Over the years, Hollyoaks bosses have brought back several iconic characters from the dead and Ali isn’t ruling out a return as Becca, saying: “I was ready [to leave], but I don’t think I would have chosen to die. I remember when I heard that I was like, ‘Oh, great. That is really the end of that. I’m never coming back’. I was a bit gutted, because I had that sense of knowing there was no way back.

“At the same time, it gave such a strong ending to that storyline and to her journey. I am quite glad I didn’t just disappear into a cupboard and never come out again. I did get a cracking final story. You hope for that, of course, but it did make it feel final!

“I mean, If they wanted me to go back as a ghost, I would definitely consider it. I feel like [Becca’s son] Charlie Dean (Charlie Behan) could do with some guidance. I’d be right in there to be like, ‘what’s going on here?’ That phone call never came. In some ways it’s like it kept me moving forward and kept me doing new things and different things and I’m glad for that too.”

Hollyoaks airs Monday to Wednesday on E4 at 7pm and first look episodes can be streamed Channel 4 from 7am

A new series of Married At First Sight was planned for September but plans are now on hold, according to TV sources.

The 2026 series of Married At First Sight will not air on Channel 4 as planned – after a BBC Panorama investigation raised serious concerns about the programme. Two women who have appeared on MAFS UK in the past alleged they were raped by their ‘husbands’ during the filming.

In light of these serious allegations and other claims raised on the programme about the welfare of those taking part, Channel 4 announced an external review into the show, which is made by CPL productions.

It leaves the future of MAFS UK uncertain, and the 2026 series which has already been filmed, will not currently go out as intended in September. The Mirror understands plans for series are now completely paused, with a final decision of when the series could go out to be made at a later date, once the review presents its findings to Channel 4.

READ MORE: Channel 4 statement in full as MAFS UK is pulled amid rape claims from contestantsREAD MORE: Two Married at First Sight UK brides tell BBC they were ‘raped by onscreen husbands’

In the past few years, the MAFS UK series has always launched in mid-September and that was thought to be the original plan for this year. However those plans have been thrown into chaos by the Panorama investigation and the allegations made.

One source at series makers CPL said they felt the series would “definitely be delayed” whilst a Channel 4 source also confirmed that the broadcasters would be awaiting the results of the lengthy external review before making any firm decisions on the future of MAFS, along with the edit of the new series.

Even if the external review presents their results to Channel 4 before September, a source said they intend to “react responsibly” to the findings and implement any changes that need to be made. This will also take time and is expected to delay any future episodes being transmitted.

On Monday, Channel 4 removed all episodes from streaming and linear services, alongside MAFS UK social channels. Hours before the Panorama investigation was aired on the BBC, Channel 4 also put out a statement.

They insisted MAFS UK was “produced under some of the most comprehensive and robust welfare protocols in the industry”. Their statement added that the show included: “most thorough background checks available, a Code of Conduct which clearly sets out behavioural standards, daily contributor check-ins with a specialist welfare team and access to additional support before, during and after filming.”

But despite this, a number of contributors clearly feel let down and Channel 4 said that in April “Channel 4 was presented with serious allegations of wrongdoing against a small number of past contributors, allegations that we understand those contributors have denied”.

Channel 4’s recently appointed CEO, Priya Dogra has now instructed an external review of contributor welfare on MAFS UK.

This review is now underway and has two elements. The first, conducted by law firm Clyde & Co, is examining the welfare protocols in place on this programme at the time claims were raised, as well as the handling of these claims.

Channel 4 says it expects the review to report in the coming months and will share a summary of findings and recommendations at the appropriate time.

Priya Dogra, Chief Executive of Channel 4 said: “I want to express my sympathy to contributors who have clearly been distressed after taking part in Married at First Sight UK. The wellbeing of our contributors is always of paramount importance.

“It would be wholly inappropriate for me to comment on what are very serious allegations made against some MAFS UK contributors. Those allegations – which I understand are disputed by the contributors accused – are not something that Channel 4 is in a position to adjudicate on. We are also mindful of our ongoing duty of care to all contributors, and the need to preserve the anonymity and privacy of all involved.

“On the claims that Channel 4 may have failed in its duty of care, I believe that when concerns about contributor welfare were raised, and based on the information available at the time, Channel 4 acted quickly, appropriately, sensitively and with wellbeing front and centre.

“Nevertheless, because we aspire to the highest standards of contributor welfare, I felt strongly as Channel 4’s new CEO that it was right that we look again at how we handled issues raised at the time and ask whether changes should be made to further strengthen contributor welfare.

“That’s why last month I commissioned an external review of contributor welfare on MAFS UK. That review will report to me in the coming months.

“We take these issues very seriously and are committed to ensuring that we continue to lead the industry in our duty of care for contributors.”

Production company CPL have yet to release a statement in light of the Panorama findings. But lawyers for CPL, which makes the UK version of the show, said its welfare system is “gold standard” and industry-leading, and that it acted appropriately in all these cases.

The unnamed men accused of sexual misconduct on Panorama all deny all the allegations against them.

There have been 10 series to date on Channel 4 of the British version and it is one of their most popular shows, with consolidated audiences of over two million viewers per episode.

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A brand new thriller series from the creator of one of the most successful crime drama franchises of the past decade has become a huge Netflix hit

Fans of the wildly popular Power series won’t want to miss this.

A new Netflix crime drama has shot to the number two position on the streamer’s chart of top 10 TV shows, despite some disappointing ratings.

The new series from Power creator Courtney A. Kemp and co-creator Tani Marole currently has a Rotten Tomatoes audience score of just 49 percent, though critics have been more generous and awarded it an impressive 90 percent rating.

Its eight-part first season follows two rivals from opposite sides of the law who are at each other’s throats when a daring heist in Los Angeles opens up old wounds.

Nemesis then follows an exhilarating game of cat-and-mouse as an LAPD cop desperately tries to hunt down a criminal mastermind behind a string of robberies.

Matthew Law (Abbott Elementary) portrays LAPD Robbery-Homicide Division Lieutenant Isaiah Stiles, while Y’lan Noel (Insecure) is career criminal Coltrane Wilder.

After being released on Netflix just a few days ago, on Thursday, 14th May, the series has very quickly proven popular amongst UK fans, beating out hit thriller Man on Fire and true crime documentaries such as Should I Marry a Murderer? in this week’s charts.

A synopsis for this must-watch series reads: “What starts as a subversion of the heist genre, amped by thrilling life-or-death stakes, family dynamics, and explosive action, becomes an exploration of what drives us, sustains us, and ultimately destroys us.”

Despite its less-than encouraging audience score on RT, a strong fanbase has already formed around the show and is especially recommended for fans of Kemp’s previous TV hit, Power and its various spin-offs.

One RT user gushed: “Kept me engaged and not sure whose side I was on. Binge watched twice. I need season 2.”

Someone else exclaimed: “Love it!!! Courtney does it again!!! can’t wait for season 2!!!”

“Binged in one sitting- very authentic catchy story line. I hope there is a season two!!! Excellent show,” another agreed.

Rave responses continued on IMDb, where one fan said: “Ugh…this was a masterpiece! The rollercoaster, amount of cliffhangers, and overall writing was top notch!

“I pray they have a season 2, because this gave me all the entertainment I needed for this year! I am looking forward to how they are going to make it through this.”

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Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan.

This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows.

This includes the brand new UK drama Unchosen, starring Asa Butterfield and Christopher Eccleston.

For the time being, Netflix has not confirmed whether or not Nemesis will return for a second season, but co-creator Marole revealed to Decider that he and Kemp “have an arc in mind” for a follow-up.

“We need the numbers to go up so we can get a renewal guy. So run it up, guys. Run it up,” he added.

“There are no episodes off. Every episode moves forward. This is not a second viewing situation. This is first screen viewing. Put your phone down. Eyes up. Enjoy. Surround systems up.”

Nemesis is available to stream on Netflix.

MICHELLE Heaton has opened up about her surprise feud with a rival noughties pop star.

The Liberty X singer held back tears as she discussed the band’s battle with Hear’Say – the winners of ITV‘s Popstars.

Shortly after finishing as runner-ups on the 2001 reality series, Michelle and her bandmates Tony Lundon, Kevin Simm, Jessica Taylor and Kelli Young, were were formed into a new group.

However, despite being friends during filming, Michelle says: “There was a war from the get-go

“We were constantly pitted against each other in a world we were trying to navigate.”

It saw the breakdown of Michelle’s close friendship with Suzanne Shaw.

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Opening up to Paul Brunson on his podcast We Need To Talk, Michelle said: “It was evident they wanted us to fail. Not just Hear’Say as a team, but the people around them.

“And so that would have then stirred up the pot with the Hear’Say members in order to add fuel to the fire when they did interviews about how they were bigger and better and we were not so… and that we were running on their coattails.

“It felt really harsh. We didn’t know how to navigate it. It felt like it wasn’t the five people that we met in the audition process.

“And alongside all of this, all I kind of wanted to do was reach out to Suzanne because that’s like one of the people that I got really close to.. and be like, ‘how is it? What’s it like?’

“I really wanted to share that with her. And at no point did I see what we were doing as hanging on their coattails.”

Thankfully, years on from the height of their fame, the pair reconnected.

Proving their bond back in 2016, Michelle wrote in her OK! Magazine column: “Massive congrats to my friend Suzanne who announced her pregnancy in what has to be the sweetest way possible.

“The video she made made me cry and her son Corey’s response was priceless. I loved the video and I love Suzanne. I’m so happy for her little family.”

It’s a tight three-way race at the top, with a second helping of “Beef,” which won eight Emmys for its first serving, barely ahead of Richard Gadd’s “Baby Reindeer” follow-up, and a suburban noir with abundant heart from Steven Conrad, the maker of “Patriot.”

Glenn Whipp says, “ ‘DTF St. Louis’ is the standout limited series, a murder mystery in form that’s really about suburban loneliness, particularly the isolation that can cripple middle-aged men.”

While Lorraine Ali calls “Half Man” “the series to watch in this race,” not all of her Buzzy buddies are as enthusiastic: “I fear that ‘Half Man,’ Richard Gadd’s aggressively unpleasant follow-up to ‘Baby Reindeer,’ will get a knee-jerk nomination here,” says Kristen Baldwin, “but that vote would be better spent on PBS’ superb adaptation of ‘The Count of Monte Cristo’ or Riz Ahmed’s ‘Bait.’ ”

Tracy Brown says, “Recent trends suggest this race might come down to voters’ appetites for bleak British miniseries” such as “Half Man,” but “ ‘Adolescence’ co-creator Jack Thorne’s ‘Lord of the Flies’ adaptation was a bit more in my lane so I’ll give it the edge.”

The twice-cooked “Beef” isn’t to all the panelists’ tastes, either. Matt Roush says it “left me cold but probably has a better chance than the streamer’s terrific historical drama ‘Death by Lightning.’ ”

More predictions: Limited / TV movie actor | Limited / TV movie actress

1.“Beef”
2. “Half Man”
3. “DTF St. Louis”
4. “Love Story: John F. Kennedy Jr. and Carolyn Bessette”
5. “All Her Fault”
6. “The Beast in Me”
7. “Bait”
8. “Lord of the Flies””

Los Angeles Times

Lorraine Ali

1. “Half Man”
2. “Bait”
3. “DTF St. Louis”
4. “All Her Fault”
5. “The Beast in Me”

“ ‘Half Man’ is the series to watch in this race, but what should you watch on your screen at home? ‘Bait,’ which follows a struggling British Pakistani actor (Riz Ahmed) as he auditions to become the next James Bond. Is the world ready for a brown Bond? Not really. Hilarity ensues.”

Freelance Critic

Kristen Baldwin

1. “Love Story: John F. Kennedy Jr. and Carolyn Bessette”
2. “Beef”
3. “The Beast in Me”
4. “DTF St. Louis”
5. “All Her Fault”

“I fear that ‘Half Man,’ Richard Gadd’s aggressively unpleasant follow–up to ‘Baby Reindeer,’ will get a knee-jerk nomination here, but that vote would be better spent on PBS’ superb adaptation of ‘The Count of Monte Cristo’ or Riz Ahmed’s ‘Bait,’ a surreal blend of showbiz satire and immigrant-family comedy.”

Los Angeles Times

Tracy Brown

1. “Beef”
2. “DTF St. Louis”
3. “All Her Fault”
4. “Lord of the Flies”
5. “The Beast in Me”

“Recent trends suggest this race might come down to voters’ appetites for bleak British miniseries. I wouldn’t be surprised if ‘Baby Reindeer’ creator Richard Gadd’s ‘Half Man’ is among the nominees, but ‘Adolescence’ co-creator Jack Thorne’s ‘Lord of the Flies’ adaptation was a bit more in my lane so I’ll give it the edge.”

Blavity

Trey Mangum

1. “Half Man”
2. “Beef”
3. “Love Story: John F. Kennedy Jr. and Carolyn Bessette”
4. “All Her Fault”
5. “DTF St. Louis”

“ ‘Love Story’ was the talk of the town when it first premiered, but the last few episodes seemed to have landed softly with the majority of people. I think later entries ‘Beef’ and ‘Half Man’ are immediately dominating conversations, and at the right time.”

TV Insider

Matt Roush

1. “Half Man”
2. “Love Story: John F. Kennedy Jr. and Carolyn Bessette”
3. “Beef”
4. “DTF St. Louis”
5. “All Her Fault”

“Not the strongest field this year, though Richard Gadd’s ‘Half Man’ and Ryan Murphy’s ‘Love Story’ seem unstoppable. The offbeat ‘DTF St. Louis’ might be a spoiler. Season 2 of Netflix’s ‘Beef’ left me cold but probably has a better chance than the streamer’s terrific historical drama ‘Death by Lightning.’ ”

Los Angeles Times

Glenn Whipp

1. “DTF St. Louis”
2. “Beef”
3. “Half Man”
4. “Love Story: John F. Kennedy Jr. and Carolyn Bessette”
5. “All Her Fault”

“ ‘DTF St. Louis’ is the standout limited series, a murder mystery in form that’s really about suburban loneliness, particularly the isolation that can cripple middle-aged men. The cast — Jason Bateman, David Harbour, Linda Cardellini, Richard Jenkins and Joy Sunday — is superb. Emmy noms for all!”

CANNES, France — Cannes is technically half over and the hunt for a masterpiece continues. Critics on the Croisette are starting to resemble that classic comic-strip panel in which an explorer crawls desperately across the sand toward an oasis that’s only a mirage.

This far into an underwhelming festival, good films have a way of looking like great ones, such as James Gray’s “Paper Tiger,” a grimy thriller with Adam Driver and Miles Teller playing brothers in 1980s New York who get mired in a scheme to sanitize the Gowanus Canal. Driver’s ex-cop knows the codes of cutting deals with the Russian mob; Teller’s engineer is the square who can’t grasp how doing things the right way just makes the situation worse. As the normies, Teller and his naive wife, portrayed by Scarlett Johansson, feel like kids playing dress-up. (Johansson’s perm is a bit much.) Still, the script is tense and tight — and at this point, I’m happy to see anything with a plot.

Rodrigo Sorogoyen’s “The Beloved” has two of them: It’s a film within a film about a famous director (Javier Bardem) who casts his estranged actor daughter (Victoria Luengo) in his latest project. The fictional movie he’s making looks stiff, a period epic about Spain’s colonialist withdrawal from the Sahara in the 1930s, which doubles as a metaphor for the father’s destructive absence from his now-adult child’s life. A boozer, she’s not stable enough to stand up to the scrutiny of his sudden attention. Luengo herself holds the camera splendidly even in her character’s weaker moments, turning her charisma off whenever her father needs her to turn it on.

Consider it a shot and chaser to “Garance,” which stars a vibrantly sloppy Adèle Exarchopoulos as another alcoholic actress. Sharp, smartly paced and entertaining, it’s fantastic until the last stretch, which peters out and then abruptly stops.

One of the festival’s big themes seems to be connection: that we’re all stuck on this rock together and, ultimately, the difference between human and android, man and woman, is moot. At least three movies have someone saying, “That’s life,” with a shrug. The films themselves, however, are lifeless. Worse, they’re long. I can roll with movies that are mostly vibes, but only to a limit — say, 85 minutes.

Sophie Thatcher in the movie “Her Private Hell.”

(Neon)

Nicolas Winding Refn’s “Her Private Hell” is longer than that and the inertia is excruciating. The Danish director of “Drive” hasn’t made a feature film since “Neon Demon” premiered at Cannes in 2016 and this grim fairy tale feels more like a feint than a comeback. A sulky daughter (Sophie Thatcher) skulks around a misty skyscraper with her hot young stepmother (Havana Rose Liu) idly fretting about a murderer named the Leather Man. Down below, an Army private (Charles Melton) hunts the killer. Little happens other than chain-smoking, costume changes and interminable shots of color-shifting strobe lighting splaying across the cast’s cheekbones. Thankfully, Kristine Froseth adds pep as a bimbo who hasn’t yet learned how to talk as leadenly as everyone else.

Too much of the program is made up of tedious movies by beloved Cannes veterans — essentially affirmative action for auteurs. Eight years ago, Hirokazu Kore-eda won the Palme d’Or for “Shoplifters,” a chaotically enchanting portrait of a family of fraudsters. Now, he’s returned with “Sheep in the Box,” a slick and dull story about two grieving parents who adopt a clone of their dead son. “Sheep” aspires for Spielbergian catharsis — one scene seems to consider itself an art-house take on “A.I. Artificial Intelligence” — but the human characters come off as mechanical as the little robot boy. Between the musty setup and saccharine score, it’s the film equivalent of a bowl of stale candies.

Arthur Harari, who co-wrote 2023’s Palme- and Oscar-winning “Anatomy of a Fall,” is here as the director of “The Unknown,” a stilted drama about a sulky male photographer who wakes up in the body of Léa Seydoux after a nameless, wordless one-night stand. You can imagine Brian De Palma running with the sex-contagion idea (or “It Follows” director David Robert Mitchell grumbling that he deserved an inspired-by writing credit). But “The Unknown’s” shape-shifting intrigue stalls out once you realize that none of the characters have a personality to begin with. Who cares what soul is inside each shell if they’re all monotonously slack-faced? “Face/Off” it isn’t.

Léa Seydoux in the movie “The Unknown.”

(Festival de Cannes)

On that note, one emotional highlight to date was the presentation of an unannounced honorary Palme to John Travolta. (Yes, his face-swapping 1997 thriller with Nicolas Cage was in the celebratory montage.) Already bursting with passion to be world-premiering his directorial debut, “Propeller One-Way Night Coach,” Travolta was moved to tears. “Surprise complète!” Travolta gasped, kissing his trophy and blurting, “I was just happy to be here.” Indeed he was, as evident by the jaunty white beret he’d worn for the occasion, which quickly went viral on social media.

Travolta’s infectious enthusiasm carried over into the movie itself, a semi-autobiographical trifle about his childhood love of air travel. Set in 1962, a boy roughly Travolta’s age voyages from New York to Los Angeles on a series of hopping flights with his mother, who is hoping to land a rich husband or a good Hollywood role in that order. The kid’s joy is as stratospheric as the plane; he adores everything but the airline’s chicken cordon bleu. As a nostalgia piece, it’s “A Christmas Story” with a third of the jokes, none of the cynicism and not quite the length to justify itself as a movie. At barely an hour, it skedaddles in time to leave you with a sheepish smile.

Given the choice, I’d prefer to see a truly terrible movie over one that’s merely bland and mediocre. With that context, I’ve been literally raving over “Butterfly Jam,” a film so fundamentally misguided it could almost be the cineaste version of “The Room.”

Set in New Jersey, “Butterfly Jam” is a tale of toxic masculinity among braggadocious Circassian immigrants played by Barry Keoghan, Harry Melling and Riley Keough — actors who, despite their talent and effort here, are too notoriously Irish, English and Graceland-ian to be convincingly a part of a subculture this specific. It’s filmmaker Kantemir Balagov’s fault more than theirs. Despite supposedly arriving to the States as teenagers, the cast don’t even have accents, just dyed jet-black hair. While adamantly miserabilist, it does have a plot or at least one shocking plot point that’s so ghastly it made me giddy. A few scenes later, a pelican switches on a cotton candy machine with its bill, sending hot sugar whirring through the air — seriously — and I nearly applauded in delight.

Woody Harrelson and Kristen Stewart in the movie “Full Phil.”

(Festival de Cannes)

Likewise, a friend warned me against staying up through 2 a.m. for the premiere of Quentin Dupieux’s “Full Phil,” cautioning that it was the worst film they’d ever seen at Cannes in over a decade. But there was no way I’d miss watching Woody Harrelson and Kristen Stewart play a miserable father and daughter on a Parisian vacation, directed by a French oddball who rarely fails to entertain — although this time, he comes close.

The story is simple: The dad flusters, fidgets and whines; the girl gobbles room service as though aspiring to become human foie gras. “Full Phil” took about an hour to reveal its point — that parenthood makes you a glutton for punishment — and the jokes are more gestures at where a joke should be. Still, I support Harrelson and Stewart signing on to a project this cuckoo. Better still, it boasted something in short supply: a satisfying ending. Here’s hoping the festival itself ends stronger too.

Coronation Street spoilers for next week’s episodes have teased lots of drama, discoveries and a new arrival on the ITV soap, with new romance, and some shocking news

There’s some big moments ahead next week on Coronation Street, spoilers have revealed.

Will’s shocked as Sam confronts him, before Will overhears a heartbreaking admission from Ben. Will climbs high up on the shop yard scaffolding, swigging vodka as Megan watches on, but can Maggie talk him down?

George and Christina attempt to bury the hatchet with Todd, while Tracy speculates Danielle is guilty of Theo’s murder. When Todd refuses to attend Theo’s funeral, Danielle accuses him of being the killer, only for Ryan to drop an admission about Danielle.

Ryan tells Lisa what he knows, and Danielle is taken in for questioning. Leanne gives Dylan and Betsy a trial shift at Speed Daal but explains there’s only one vacancy.

READ MORE: Emmerdale summer spoilers: Caleb’s revenge on Joe, stunt horror and two arrivalsREAD MORE: Coronation Street spoilers: Megan’s comeuppance, Carl’s fate and Jodie’s sad past

Idris arrives, and deals with a situation at the restaurant, while Adam takes an instant dislike to him. Soon, it’s revealed Idris is hiding something. Idris invites Leanne for a drink, but Alya is unhappy to find out they’ve kissed.

Daniel tells Ken that Bertie’s being bullied, as he’s determined to identify his troll. As the police get involved, Jodie tells Daniel it seems the troll has stopped posting, but Daniel is soon ambushed.

Sarah is struggling without Kit and Todd takes a call only to receive some shocking news. Jodie loses her job at the café, and Hope gets closer to Will.

It comes as fans speculated Summer Spellman is not the killer of Theo Silverton. As Monday’s episode heavily hinted she was to blame, she became the prime suspect.

Many fans do not think she did kill him though, and that someone else carried out the crime. While some added that she could be covering for this person, it’s yet to be revealed just how involved Summer is.

Fans think it was Sam Blakeman who killed Theo by accident though. With him experiencing hallucinations and possible psychosis, fans think he might have killed Theo thinking he was Will. A fan posted online: “I’m saying Sam.”

Another viewer posted: “I think Sam killed Theo during one of his mental health breakdowns.” A third fan added: “I think Sam pushes Theo (thinking he was Will), and Summer is covering for him.”

Sharing a similar theory, another fan posted: “Was that scene of Sam hallucinating with the view of the scaffolding an hint to him being the killer of Theo thinking he was Will?” A fan then wrote: “I really think Sam killed Theo.” The suggestion kept on being shared online, as one said: “I think Sam pushed Theo off the scaffolding while he was in a deluded state of mind maybe thinking it was Will.”

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

EastEnders spoilers for next week have teased a feud brewing between the Brannings and the Mitchells, as well as two exits being teased and some chaos at Vicki and Ross’ wedding

There’s big moments ahead on EastEnders next week, as spoilers confirm bombshells, rivalry and twists and turns.

Max is suspicious of Lauren after a car delivery at the car lot, and he soon confides in Cindy. As Grant, Sam and Phil dismiss Max’s claims, Max and Cindy go public with their suspicions about Mark.

Everyone’s shocked when Grant claims he’s behind the dodgy car scheme. Cindy accuses Grant of lying and Max threatens to call the police.

Lauren tips off the Mitchells as the police arrive, while Sam considers joining Grant in Portugal whenever he plans to go back. Preparations are underway for Vicki and Ross’ wedding, while Zack receives some upsetting news.

He offers Vicki a bracelet but she refuses his gesture, leading to him dropping hints to Ross that Vicki is cheating. As the wedding arrives, Ross is rattled and Zack tries to get Vicki to leave Ross.

READ MORE: Emmerdale summer spoilers: Caleb’s revenge on Joe, stunt horror and two arrivalsREAD MORE: Coronation Street spoilers: Megan’s comeuppance, Carl’s fate and Jodie’s sad past

Soon, Ross comes to a realisation and asks if Zack was the man she slept with. Tensions simmer between Eddie and Harry after Eddie criticises Gina.

Ian and Elaine clear the air and agree to be friends, while Will is upset when he misses a rave. Ravi returns home, and Priya hopes they can rebuild their relationship.

Denise receives a call from the hospital requesting she come in that morning for a bone marrow test, with her going alone. Meanwhile, Denise receives the results of her recent hospital tests and is left stunned when doctors tell her she has blood cancer.

But will she confide in her loved ones? It’s set to be another big week on the BBC soap next week according to these spoilers. It comes as the soap teased life-changing scenes ahead in the coming weeks.

In the trailer, some of Walford’s biggest names appear to be gathered in the pub in their finery. They’re all enjoying a drink until the clock hand moves and David Bowie’s ‘Changes’ plays.

Everything starts to tilt out of place and sirens can be heard before four characters – George Knight, Ian Beale, Denise Fox and Max Branning – look at the camera. While their smiles fade, an ominous voice warns that this is “the night that everything changes”.

According to the BBC, the night in question is Vicki and Ross’ wedding. The Beale, Branning, Knight-Mitchell and Fox-Trueman families will “find themselves at the heart of the drama”, but all for different reasons.

Over the course of a week, the same night will be explored, with new details emerging about what happened to each family and how this will effect them in the run up to New Year.

EastEnders airs Mondays to Thursdays at 7:30pm on BBC One and BBC iPlayer. * Follow Mirror Celebs and TV on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .

Francesco Caballero has been juggling a lot — quite literally.

When he’s not tending to his online studies at the California Virtual Academies, the 13-year-old can be found in the circus ring — hurling bowling pins, straw hats, hollow rings and rubber balls high up in the air, all in one harmonious cycle.

But the bright-eyed teen is also balancing something far greater: a legacy. The rookie showman is proving his mettle as part of the Caballero Circus, a five-generation family of performers, by enchanting audiences with his charismatic stage presence and sharp coordination.

“My family is a circus family. That’s what they did when they were kids and it just passed on to me,” said Francesco, hours before a Wednesday night performance in Santa Ana.

Though Francesco is only a month into his journey as a traveling cast member, he pranced about the ring Wednesday with the confidence of a seasoned ringmaster. For his act, the teen juggled up to five objects at a time; as a couple of stray balls fell to his side, he swiftly picked them up and tossed them into the air, as if it were part of the script all along.

And, once the thrill wore off, Francesco marched into center stage with a small motorbike — enclosing himself in a chamber known as the “Globe of Death”: a mesh sphere where riders ramp their bikes using the power of centripetal force to loop around the Globe. He also played the trumpet.

“In order to grow as a performer and to be better, you really have to be patient,” said Caballero. “It’s not something that’s easy, that you’ll be better in like a week.”

Francesco Caballero, 13, poses for a portrait at the Caballero Circus on Wednesday, May 13, 2026, in Santa Ana.

As boldly charismatic as Caballero appeared on stage, his path to performing in the family circus was hardly clear-cut.

At the age of 3, he was diagnosed with leukemia: a cancer that causes the body to produce too many abnormal white blood cells. This made it difficult for his body to fight infections, carry oxygen and stop bleeding. He was in treatment for four years, until he finally beat cancer by age 7.

This is why his mother, Liliana, a former flying trapeze artist, felt overprotective of him when he began showing interest in the performing world — which began with a small role in the Cirque du Soleil show “The Beatles Love,” in which he played one of the Fab Four in childhood.

At first, Liliana would watch closely to make sure Francesco didn’t get tired or bruised. Yet doctors eventually assured her that physical activity for a recovering pediatric leukemia patient would be beneficial to his quality of life.

“I was against it [at first], but he was so spoiled,” said Liliana. She joked that her son, the youngest of her three children, was “mimado” — a term in Spanish used to describe someone who receives excess attention. Back in the ring, as Francesco prepared his juggling act for another night of play, she stood farther back in the stands, being an ever-observant coach.

“When he told me that he wanted to be like my family, like his grandparents, it was a great satisfaction for me,” said Liliana. “After everything we’ve been through, and still my son dreams of being in the circus, it was a huge blessing for me.”

1/4

The Cartoon Poodles perform at the Caballero Circus on Wednesday, May 13, 2026, in Santa Ana.  (Kayla Bartkowski / Los Angeles Times)

2/4

Chicharron performs at the Caballero Circus on Wednesday, May 13, 2026, in Santa Ana.  (Kayla Bartkowski / Los Angeles Times)

3/4

Francesco Caballero, 13, juggles pins during his performance at Caballero Circus on Wednesday, May 13, 2026, in Santa Ana.  (Kayla Bartkowski / Los Angeles Times)

4/4

Nicole Caballero, 15, second from left, Gianna Rios, 8, Francesco Caballero, 13, Judith Caballero, 15, and Chicharron perform at the Caballero Circus on Wednesday, May 13, 2026, in Santa Ana.  (Kayla Bartkowski / Los Angeles Times)

The Caballero circus dynasty dates back to the turn of the 20th century in Guadalajara, with Adelaida Caballero was the first in the family to practice the joyous spectacle. Her daughter, Isabel, would be the first of the Caballeros to open her own circus, as a way to earn income during the Mexican Revolution. (They allegedly entertained Pancho Villa, a well-known circus-lover, in 1916.)

During this time, circus families blossomed all over Mexico, aided by the appearance of the steamship and railway systems, as the circus historian Julio Revolledo Cárdenas would detail in a 2018 article for the Fédération Mondiale du Cirque.

However, much of the Caballero family’s performance lore begins with Isabel’s son, 82-year-old Rubén: an apparatus connoisseur well-versed in the high wire, trapeze and hand balancing. Around 1981, Rubén would bring the entire Caballero family to the United States; all eight of his children performed for the esteemed Ringling Bros. and Barnum & Bailey circuses, with the flying trapeze as their specialty act.

Two members of the Caballero family, Rubén Sr. and Rubén Jr., are also recognized for being the first to execute the quadruple somersault under the big top tent in 1985. It requires extreme faith in the opposite catcher, as much as it does for the individual flipping multiple times over — they even recorded the groundbreaking stunt for posterity’s sake, along with other home videos.

In 1995, this risky act helped the family secure the esteemed Payaso de Oro: the top prize at the International Circus Festival of Monte-Carlo, an award comparable to soccer’s Ballon d’Or or music’s Grammy. Some of the Rubén’s direct descendants would win the award once again 30 years later.

By 2000, Rubén would open his own white-and-purple tent circus, Caballero Circus, where Liliana now oversees the concession stand. Her sisters Maria and Judith manage the circus and supervise show details, respectively.

“My father’s American dream was always to run his own circus,” said Liliana.

Rubén Sr., who continues to be the patriarch of the Caballero family, is teaching his youngest grandson everything he knows. “He wants me to be better,” said Francesco.

Nicole Caballero, 15, from left in the front row, Melody Caballero, 22, Francesco Caballero, 13, and Judith Caballero, 15, at the end of the show at the Caballero Circus on Wednesday, May 13, 2026, in Santa Ana.

Now carrying the family’s torch is the fifth generation of tumbling acrobats skilled in the art of balance and flexibility. Liliana’s 15-year-old daughter, Nicole, specializes in the Globe of Death, where she gets in the locked cage with her cousin Judith, also 15; together they maneuver the motorbikes around the globe at opposing-intersecting paths. This is a skill set she takes pride in, since many in the audience assume there are men underneath the protective gear.

“Once we come out, we take our helmets out and they see girls can do it too,” said Nicole before her Wednesday performance.

Melody, host of the bilingual show, competed as a contortionist on Season 8 of “America’s Got Talent,” which aired in 2013. “ We could have the worst day of our lives, but when we step on stage, we have to have the biggest smile in the world,” said Melody.

Two of Rubén’s older sons, who married Russian acrobats during international stints, broke off and founded their own troupe as Circus Caballero. They have their own touring show stationed in Bell through May 25.

Francesco Caballero, 13, gets ready in a mirror inside a trailer at the Caballero Circus on Wednesday, May 13, 2026, in Santa Ana.

Some of the Caballero family members also compete internationally as the Flying Caballero — something the youngest Caballero member, Francesco, hopes he can work his way up to.

“ I’ve been told that they’ve been to France, to Italy, Germany, everywhere,” he said. “My primos just went to one of the most prestigious festivals in Monaco and they won first place. I wanna be like my cousins and do what they’re doing.”

Francesco might still be learning the ropes of the circus world — but before he can compete on the glamorous world stage, he must first conquer his school’s virtual talent show. On June 8, he will participate in a nationwide competition by the virtual academy K12, which will showcase student talent from across the country.

Thankfully, he will have plenty of time to practice. The Caballero Circus will station itself in Lakewood between May 22 to June 7.

“Not a lot of kids do what I do,” said Francesco. “It teaches us to connect with the public, to connect with other people.”

VICTORIA Beckham put on an Adams family party to celebrate the 80th birthday of her dad Tony. 

Posh Spice, whose maiden name was Adams, posed with her clan, including husband Sir David and 14-year-old daughter Harper — but estranged son Brooklyn, 27, was not there. 

Fashion designer Victoria, 52, was also joined by her younger sons Romeo, 23, and Cruz, 21, and her mum Jackie. 

The lavish celebration at the weekend was at Hotel Café Royal in Central London. 

Victoria, who wore a white dress at the party, said as her father turned 80 yesterday: “Happy birthday, Daddy, we love you so so much! 

“Thank you to all our friends and family who helped to make it so special! Such an amazing night celebrating my wonderful dad.” 

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The mum-of-four was known as Victoria Adams before marrying England footie star David in 1999. 

Brooklyn made a rare mention of his family by posting a photo on social media, right, of him and Tony and saying: “Happy 80th papa x I love you so much.” 

Brooklyn is said to still be close to his grandparents despite not seeing them for months amid his feud with his parents and brothers. He has remained in the US with his wife Nicola Peltz, 31. 

Sir David, 51, gave Tony a leg of Monte Nevado ham as a gift and called him “the best father-in-law I could ask for”. 

There was a more down-to-earth birthday celebration yesterday — a visit to a pie and mash shop in Waltham Abbey, Essex, where Tony was presented with some school cake.