show biz

With a boisterous laugh, Giselle Bonilla recalls her introduction to Hollywood at the age of 12: on the set of “Freedom Writers,” the 2007 drama about at-risk high school students in Long Beach. She played a young version of Eva, one of the film’s main characters.

“I remember the first thing we shot was an initiation scene where I get the s— beat out of me,” she tells De Los, sitting at a coffee shop in Silver Lake on Sept. 11 (more on this date later). “They put this candy blood in my mouth, and I thought it was so fun.”

In retrospect, Bonilla, 31, finds great irony in how that initial foray into professional acting fictionally materialized her Mexican immigrant parents’ worst nightmare.

“We don’t come from money. They hustled all their lives and put my sister and I in private education, because they had this irrational fear that I would join a gang … then the first thing I ended up booking as an actor was getting initiated into a gang,” she says grinning.

Since that unique formative experience, Bonilla has traveled a winding path in and out of the industry, which ultimately led her to direct her first feature: the dark comedy “The Musical,” in theaters Friday.

The movie’s antihero, Doug (Will Brill), is a middle school theater teacher plotting his revenge against his ex-girlfriend Abigail (Gillian Jacobs), also a teacher — and her new boyfriend, the more charming Principal Brady (Rob Lowe).

Doug’s plan? To secretly persuade his young students to put on a musical about the horrors of 9/11 and its aftermath that’s certain to cause controversy and get the principal in trouble.

“I feel like you can be more honest with comedy,” says Bonilla about why this genre appeals to her. “You can get away with everything that you’re angry about and want to yell about. If you make them laugh first, people tend to listen.”

Left to right, back row: Alex Heller (screenwriter), Will Brill (center row) Gillian Jacobs, Giselle Bonilla (director) and Rob Lowe (on the floor) from “The Musical” at the Los Angeles Times 2026 Sundance Film Festival studio presented by Chase Sapphire in Park City, Utah on Jan. 24.

(Christina House / Los Angeles Times)

Though the actual show is only a small element of the narrative, it turned off distributors, who argued they wouldn’t be able to market a comedy that involved such a delicate subject.

Still, “The Musical” is making it to the big screen as a self-released title thanks to its executive producers, who believed in the film enough to put in more money for a release.

“I’m going to make sure people watch it regardless,” Bonilla says about being very involved in the marketing. “Even though it didn’t sell at Sundance, we still found a way, which is how we made the whole movie. It was nonstop fighting against the universe just to make a comedy.”

Less than a week before production started, Bonilla lost the actors who were originally playing Principal Brady and Abigail. As her film fell apart, she reached out to the industry contacts she had made after working as an assistant for a few years. Miraculously, the screenplay piqued Lowe’s interest. He came on board, essentially saving the project.

Will Brill and Rob Lowe star in “The Musical.”

(Blue Harbor Entertainment)

As a student at the AFI Conservatory, Bonilla had directed a short film version of “The Musical” that writer Alexander Heller, aware of her affinity for comedy, had conceived for Bonilla to direct. The core group of artists who made the short also worked on the feature.

And though she has always pushed for diversity on screen — including in her short films “Virgencita” and “Bullfighter” — for “The Musical,” Bonilla believed the adults had to be white.

“It would be way more damaging if I had pinned a brown person to be behind the staging of a musical about 9/11,” she explains. “It was very clear to me that this was a comedy about white liberalism and how people weaponize tragedy for their own agenda.”

When it came to the kids in Doug’s class, Bonilla wanted to reflect the multicultural mosaic that is the Los Angeles Unified School District. To be able to see herself in “The Musical,” Bonilla wanted a Latina girl as the child with the most ambition to succeed in the arts. That character became Lata: played in the feature by Melanie Herrera in her first acting credit.

“She’s a dancer. But she’s very precocious and has a really confident, type-A personality,” Bonilla says of the young actor. “Melanie gives Reese Witherspoon in ‘Election,’ like, ‘I will do whatever I have to do for the part,’ and I recognized that in myself as a kid.”

Filmmaker Giselle Bonilla on the set of “The Musical.”

(Peter McCollough)

An L.A. native raised in North Hollywood, Bonilla started doing improv at a young age encouraged by her father, Art Bonilla, who grew up in Tijuana and has worked as an actor in the U.S. for over 40 years.

Her mother, originally from Sinaloa, does workers’ compensation insurance, which provided a stable income and allowed her partner to pursue acting.

“It was tough seeing him struggle and not have any agency over work,” Bonilla says of her father. “He’s such a great actor and he’s really funny, but he’s always getting cast in these very small bit parts as a gardener or an immigrant crossing on the border.”

Unsurprisingly, when Bonilla began auditioning for roles as a teenager, similarly one-dimensional and stereotypical characters from a “troubling perspective” came her way.

“They always make the main character in those stories a white person,” she says. “And then we’re painted as these puppies that just keep getting beat up. I didn’t want to contribute to that.”

Bonilla’s interest in being on the other side of the camera solidified after playing an illiterate South Central high school student in the Byron Allen sitcom “Mr. Box Office.” She attended Pasadena City College, where she studied film production, then used the residuals from the show to help pay for her tuition at NYU Tisch School of the Arts.

Attending film school on the East Coast was, as she puts it, a necessary experience, because she grew up rather sheltered.

“I’m a first-gen Mexican American woman and I was supposed to live at home until I get married,” she explains; but it also exposed her to the concept of impostor syndrome.

“I always had this impostor syndrome at NYU, because that was where I first really confronted wealthy people,” she explains. “I had never been in a predominantly white institution before. And that was really eye-opening.”

It was only when COVID restrictions were lifted that Bonilla decided to apply to the AFI Conservatory, where she regained her confidence and met her now close collaborators.

She has, however, never forgotten her biggest and earliest supporters. Since she started directing, Bonilla has cast her father in many of her short films. And in “The Musical,” you can see both of her parents in the audience during the culminating school show.

“My dad is the one that yells at Rob Lowe at the end in slow motion. He’s pissed that I cut his line, but it was a union film, and we couldn’t afford to give my dad a line,” she says. “But he will be the first one to tell you that he’s not an extra. He did a ‘cameo!’”

“The Musical” director Gisella Bonilla poses at the Los Angeles Times 2026 Sundance Film Festival studio presented by Chase Sapphire in Park City, Utah, on Jan. 24.

(Christina House / Los Angeles Times)

Bonilla’s next project takes inspiration from her memories attending a Catholic school run by nuns in Sun Valley, where a teacher was discovered to be a pedophile. She describes it as “an erotic thriller told from the perspective of virgins.”

Once again, she’ll tackle an unsavory topic and figure out how to bring it to fruition; then distribute it come what may, because she refuses to be boxed in by the industry’s expectations.

“Identity stories are very important. If someone wants to do that, they should be able to do that,” Bonilla says. “But I don’t think our opportunity as Latinos should be limited to painting ourselves as victims against the supremacists.”

Coronation Street actress Sally Dynevor has been a Weatherfield icon for more than 40 years

Coronation Street legend Sally Dynevor is not the only actress in her family, and Netflix fans are sure to recognise her eldest daughter.

In 1986, Sally, 63, burst onto screens as Sally Seddon on the long-running ITV soap. She was first seen waiting for a bus when Kevin Webster (played by Michael Le Vell) drove past in his van and accidentally splashed her with water.

Initially, Sally was only supposed to appear on Corrie for a short stint, but she soon became the mechanic’s girlfriend and grew into the funny busybody fans know and love today.

Sally and Kevin welcomed two daughters into the world, but their romance didn’t stand the test of time, and Sally eventually found love with Joe Metcalfe (Joe Duttine).

Away from the ITV soap, life is much simpler for the actress, as she has been married to her screenwriter husband, Tim Dynevor, since 1995.

Happy couple Sally and Tim share three children: daughters Phoebe, 31, and Hattie, 22, and son Sam, 29. Both of the girls have followed in their footsteps and are enjoying careers in television.

Hattie stars on the BBC drama Waterloo Road, playing Libby Guthrie, the daughter of history teacher Neil (Neil Fitzmaurice), and has so far appeared in series 13 – 17.

She also appeared in the recently released gripping Netflix series Legends as Arabella, which also stars Steve Coogan and Tom Burke.

Who is Phoebe Dynevor?

Phoebe launched an acting career on the BBC drama Waterloo Road, playing Siobhan Mailey between 2009 and 2020.

She went on to land the role on the Netflix series Bridgerton, playing Daphne, the wife of Simon Basset, the Duke of Hastings, played by Regé-Jean Page, between 2020 and 2022.

She has since starred in a long list of popular television shows, including The Musketeers, Dickensian, Snatch, and Ten Percent. Away from the small screen, Pheobe has starred in the movies The Colour Room, Inheritance, and Thrash.

Phoebe recently married actor and producer Cameron Fuller at a chateau located in Provence, France. Her husband is the son of producer Brad Fuller, who specialises in horror films, including The Purge franchise and A Nightmare on Elm Street.

On-screen, Cameron, 32, has appeared in shows such as The Last Ship, Insecure, Into the Dark, and The Goldbergs.

He has also worked as a producer on numerous films, including The Astronaut, Dead Sea, and The Girl in the Woods.

Taking to Instagram on Thursday (September 17), the new Mrs. Fuller shared two photographs from the big day, including a black-and-white picture of her and her new husband kissing under a floral-adorned wooden arch. “Married my best friend,” she sweetly captioned the post.

Proud mum Sally was quick to respond, as she gushed in the comments section of her daughter’s post: “Best weekend of our life. Beautiful Phoebe and Cameron. Love you both so much.” Sister Hattie also shared: “The best weekend ever.”

Coronation Street airs weekdays on ITV and ITVX

Four days before they’re set to play the first-ever concert by their new band, Dhani Harrison and Nigel Godrich sit down to enjoy a post-rehearsal libation in the parking lot of a North Hollywood practice space.

“Is there an opener?” asks Godrich, who holds a bottle of fancy root beer. Harrison, who’s clutching a Sapporo, grabs his friend’s drink and neatly pops the top off using his own bottle.

“I went to Brown,” he says with a little smile. “That’s what they teach you in the Ivy League.”

Harrison, 48, is the son of the late Beatles legend George Harrison; long before college, he got a priceless musical education from his father, whose final solo album — 2002’s Grammy-winning “Brainwashed” — Dhani helped complete after George’s death in 2001. Godrich, 55, made his name working in the studio with Radiohead on game-changing records like “OK Computer” and “Kid A”; he’s also produced for Beck, Paul McCartney and Roger Waters and played with Thom Yorke and Flea in Atoms for Peace.

Now the two have teamed up in Dragonflies, a spacey and atmospheric art-rock duo with a self-titled debut album due Friday from Dark Horse Records, the label George Harrison founded in 1974 and Dhani Harrison relaunched in 2020. This weekend, Harrison and Godrich will celebrate the LP’s release with two shows at Hollywood Forever’s Masonic Lodge, where they’ll be joined by guitarist Nick Valensi (of the Strokes) and drummer Joey Waronker (who’s played with Beck, R.E.M. and Oasis).

Asked how exactly the group came together, Godrich and Harrison look at each other across a picnic table and shrug. “The real reason we did it was as a vehicle to hang out,” Godrich says of the two, who’ve been pals since both were living in Los Angeles in the early 2000s and who both found themselves back home in England a few years ago.

Yet “Dragonflies” has plenty to offer the rest of us: Built around Harrison’s high, sighing vocals, the music moves with a funky rhythmic propulsion rooted in Godrich’s signature tape loops; lush string arrangements by David Campbell (also known as Beck’s dad) add a touch of slightly spooked romance to songs about nature and friendship.

Harrison describes the band’s sound as “a bit creaky” and compares it to the feeling of being out on the water. “I always thought that’s a cool place to start — like you’re on a sinking ship,” he says.

Godrich laughs and adds, “Well, I hope not.”

For Harrison, working with Godrich provided a kind of full-circle moment nearly two decades after he caught one of Atoms for Peace’s first gigs at downtown L.A.’s Orpheum Theatre in 2009.

“I remember it made me want to quit music,” he says, which draws a frown from his bandmate.

“That’s not a great review,” Godrich says.

“No, that concert blew me away,” Harrison replies. “I went home and I was like, Oh, they’ve already done all the things I want to do. So I just went and sulked for a few days.”

Dragonflies began after Harrison returned to England, where he’d grown up on his father’s Friar Park estate, following the death of his grandmother, who famously raised George Harrison’s widow, Olivia Harrison, in Hawthorne. “I was still here basically to be around her,” says the musician, who formed the bands Thenewno2 and Fistful of Mercy while in L.A. “When she passed, that was the last of my grandparents. My mom was living in England, and so I just thought, Well, time to go.”

Harrison sought out Godrich for help on his 2023 solo album, “Innerstanding”; later, he lent the producer one of his dad’s old tape machines — “They did ‘Shankar Family & Friends’ on it,” he points out — which led to a series of casual jam sessions at Godrich’s studio in London’s Brixton neighborhood.

“It was like, ‘Hey, you want to get some Japanese food and make some tape loops?’” Harrison recalls.

Godrich notes proudly that “the way the record was made was completely mechanical,” meaning nothing was programmed on a computer but instead recorded “live on the fly” using older equipment.

“Fortunately, we both own a ridiculous amount of analog gear,” Harrison adds. “Because we’re nerds.”

“I’m not a nerd,” Godrich says. “I hate gear chat.”

“That’s true,” Harrison says. “He doesn’t nerd out about that stuff — I’m the nerd. He won’t even let me use six Kaoss Pads onstage.”

What’s a Kaoss Pad?

“You don’t want to know,” Godrich replies.

Gearhead or no, the producer was adamant that Dragonflies not rely on prerecorded backing tracks when it starts playing live.

“No computers were harmed in the making of this show,” Harrison says — thus the extra players.

(Brian Feinzimer / For The Times)

Waronker is an old friend of Godrich’s who played drums in Atoms for Peace and on Beck’s “Sea Change” and “Morning Phase” (not to mention Beck’s brand-new “Ride Lonesome,” which Godrich mixed); the producer has known Valensi since he “didn’t work with the Strokes,” as he puts it, in 2003, when Godrich tried a couple of sessions with the New York garage-rock band before deciding it wasn’t a good fit.

Godrich says he plays bass in the live group because it’s easy. But also: “Bass is such an important part of the sound that if somebody else was doing it, they would never do it the same as me, and it would annoy me.”

Top three bass players of all time, according to Dragonflies?

“McCartney’s good, isn’t he?” Godrich asks.

“Les Claypool,” says Harrison. “I’m a huge Primus fan.”

“I like David J from Bauhaus,” Godrich says. “He’s an incredibly innovative bass player — always did very interesting things. Stylistically, he’s someone that I probably copy a lot from. It’s just the root notes, but whoever’s in control of the root notes is in control of everything.”

“It really is a power move to be the bass player,” Harrison says.

“I don’t want to be at the front — that’s not my thing,” says Godrich. “I don’t want to be the guy.”

Does Harrison?

“It takes me a while to get warmed up,” he says. “I don’t really look at people when I’m playing a show. I’m not sure if that means I’m mildly spectoral. I took the test, actually — I scored highest in my old band. I know a lot of neurodivergent people who perform.” He shrugs. “Sometimes you don’t get to choose if you’re the guy, but you’re the guy.”

In addition to his father, one of Dhani’s mentors was George’s friend and latter-day creative partner Jeff Lynne, who for all his musical genius has never seemed particularly comfortable onstage.

“He’s brilliant at what he does, but you talk about in-ear monitors or the sound onstage or the lighting or something, and it’s over,” Harrison says. “It’s too much input. That’s why Jeff wears the Spider-Man goggles,” he adds, referring to the ELO frontman’s ever-present aviator shades. “He has too much Spider-Sense. My dad was the same way. He definitely was like, ‘Look at him — don’t look at me!’”

After Dragonflies’ Hollywood Forever shows, Godrich and Harrison have dates scheduled in Europe for November and hope to play more in the future, depending on when Godrich finishes a couple of records he’s producing. (To give a sense of the stress he’s under, he mimes putting a gun to his head.) The duo already has enough material for a second album too.

How much time does Harrison intend to dedicate to the project?

“As much as I can, really,” he says. “How much do you want to hang out with your mate? I got bored of being Dhani Harrison anyway — I like being Dragonflies now.”

KATIE Price has plugged a questionable weight-loss jab – that’s ‘not intended for human use’.

The former glamour model, 48, is championing the injectable which is not approved in the UK.

She wrote on X: “Guys, I have started my peptide journey with @supreme_cbd and this is a great offer to start on! £40. Wow that’s brilliant.”

Katie continued: “I’m loving these peptides.”

She then added a discount code, confirming, “If you want to lose weight.”

Concerned fans commented: “What Katie? Why?”

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A second worried user pointed out: “Commented this on the post but surprisingly got nothing back, so I’ll try with you… ‘not for human consumption?’”

Another bemused fan queried: “Why would you be on a peptides, there’s f*** all on you?”

Tesamorelin is legal to possess in the UK for scientific research but it is not authorised for human consumption in the UK.

It is legal to buy, possess and sell tesamorelin in the UK strictly for in-vitro laboratory research and scientific investigation.

However, it is not a licensed human medicine in the UK and is not approved by the MHRA for clinical use.

It cannot legally be marketed, sold or labelled for human consumption, therapeutic treatment or veterinary applications and is licensed in the US for people with HIV-associated lipodystrophy.

In June, she admitted her weight had plummeted due to “stress” after her estranged husband Lee Andrews was first arrested in Dubai.

The mum-of-five recently shared a health update on son Harvey as he continues his fat jab journey.

She previously shared her concerns over her 24-year-old son’s health after revealing he weighs 30st.

Harvey, who lives with Prader Willi Syndrome, blindness and autism, started taking fat jab Mounjaro earlier this month.

Katie revealed that Harvey’s BMI is double that of someone classed as obese – and also recently said on her podcast that he had been taking fat jab Mounjaro for nearly a month.

In August, the terrified mum said she feared Harvey would suffer a heart attack.

It comes after she ended her marriage to Lee Andrews, 43.

The model appeared on Good Morning Britain earlier this week and admitted she’d had enough of Lee’s lies.

The final straw came when she discovered a crypto account he claimed contained £37m had just £2.20 in it.

Meanwhile, Lee said that he hasn’t “pulled the wool over anyone’s eyes” nor has he “thrown Katie under the bus”.

A solitary man believes he’s been wronged by a vast, overarching system. Feeling helpless to take it on directly, he picks up a gun and violently confronts the most powerful person he can think of who embodies his grievance.

It is a chilling dynamic that keeps repeating itself in American culture, and one at the heart of “American Hostage,” a dramatic miniseries making its debut Sunday on MGM+.

The eight-episode series re-creates the true story of Tony Kiritsis, an Indianapolis man who, in 1977, kidnapped Richard O. Hall, a mortgage broker whose family Kiritsis blamed for his own financial hardships.

The standoff lasted 63 hours, during which Kiritsis kept a shotgun attached by wire to Hall’s neck, and it became a national media spectacle. Throughout the crisis, Kiritsis made live calls to Fred Heckman, a local AM radio news broadcaster, pleading to listeners for the justice he believed he was due.

A half-century after this incident, not even the creators and stars of “American Hostage” can say for certain why we find stories like this so compelling — or why they keep happening in real life.

“We haven’t quite figured this situation out,” said Jon Hamm, who plays Heckman in “American Hostage” and is one of its executive producers.

Jon Hamm plays Fred Heckman, a radio news broadcaster, in “American Hostage” and is an executive producer.

(Jason Armond/Los Angeles Times)

The “Mad Men” star — no stranger to period pieces — said that beneath its retro production values and wide lapels, “American Hostage” is fundamentally about how people who feel voiceless in our society fight to be heard, even if the means is violence.

“There’s a lot that really resonates in the current media landscape and culture 50 years down the road, that people can still really connect with,” Hamm said.

Hamm and his colleagues hardly need to argue that point when the nation has been fixated on the case of Luigi Mangione, who in August pleaded guilty to federal charges in the December 2024 killing of Brian Thompson, the chief executive of UnitedHealthcare.

Though work on “American Hostage” had begun before Mangione’s crimes and the show was not inspired or motivated by them, series co-creator Shawn Ryan said that audiences have a boundless fascination with these types of stories — with or without any counterparts in current events.

“Dramatically, it’s always very interesting to see somebody do the wrong thing for the right reason,” Ryan said.

The TV series originated with a 2022 scripted podcast, produced by Criminal Content and also called “American Hostage,” on which Hamm also played the role of Heckman. It told of how Kiritsis, an Army veteran, enacted the kidnapping on his belief that the Hall family had swindled him on his mortgage — a loan for land where he had hoped to build a shopping center.

While Kiritsis sought to use Hall’s life as a bargaining chip for prosecutorial immunity, he also portrayed himself as an underdog taking on powerful financial interests. On the other end, Heckman wrestled with the moral predicament of giving airtime to a potential murderer while hoping to keep Hall alive. (Hall survived the ordeal and Kiritsis, acquitted of his crimes by reason of insanity, was later institutionalized.)

In the spring of 2022, Hamm approached Ryan, the creator of TV thrillers like “The Shield” and “The Night Agent,” with the idea of adapting the “American Hostage” podcast into a miniseries.

Ryan created the TV adaptation with Eileen Myers, a collaborator of his on shows like “Last Resort” and “Mad Dogs.” They both saw in the source material a story that was a combination of classic 1970s films like “Network” and “Dog Day Afternoon.”

(In a parallel development, Kiritsis’ story was also adapted into the Gus Van Sant film “Dead Man’s Wire,” which was a box-office disappointment earlier this year.)

Ryan and Myers said they were fascinated with how the American news media covered the kidnapping in instantaneous fashion and in an era long before the internet. In the 1970s, Ryan said, “There were fewer journalists and they were better and more trusted, and if Walter Cronkite said something, you believed it.”

Shawn Ryan, Jon Hamm and Eileen Myers executive produce the TV adaptation of “American Hostage.” Hamm approached Ryan, who brought in Myers to co-create and co-showrun the series.

(Jason Armond / Los Angeles Times)

The question that journalists like Heckman were confronted with, Myers said, was, “Do you allow a man who’s got a shotgun to somebody’s head dictate the terms of whether you’re going to put them on the air or not?”

Hamm, who has played alluring if ultimately disreputable characters on “Mad Men” and now Apple TV’s “Your Friends & Neighbors,” said he appreciated that “American Hostage” gave him a character who an audience can feel good about rooting for.

“I thought, I’m 55 years old,” Hamm said. “I was close to Fred’s age when this all went down. It was fun to play somebody morally conflicted that is actually on the good side.”

With some hesitation, Hamm pointed to the career trajectory of Bryan Cranston, who followed his celebrated heel turn on “Breaking Bad” with projects like “All the Way,” the play and TV film about President Lyndon B. Johnson.

“I don’t want to draw a comparison that’s stretching the bounds of reality,” Hamm said, “but Bryan went from Walter White to LBJ. You go, ‘All right — he’s still morally conflicted, but at least he’s on the right side of things.’”

“American Hostage” also benefited from the casting of Giovanni Ribisi (“Saving Private Ryan,” “Avatar,” “Sneaky Pete”), who brings a blend of volatility and humanity to the role of Tony Kiritsis.

Hamm recalled how Ribisi was in the midst of shooting another project — the upcoming Prime Video miniseries “The Greatest,” about Muhammad Ali — when he agreed to do a reading for “American Hostage” over Zoom.

“He brings value to every project he does, and he’s picky, as he should be,” Hamm said. “He’s a phenomenal DP — he might just go be a camera person or something if he wants to do it. So we were lucky to get him.”

Giovanni Ribisi plays Tony Kiritsis, the man who kidnapped Richard O. Hall. “So we were lucky to get him,” Hamm said.

(Steven Ackerman / MGM+/Sony Pictures Television)

There are of course unavoidable parallels between the stories of Kiritsis and Mangione, including the fact that both men were celebrated as folk heroes by some people who identified with their broader resentments.

But Hamm drew a crucial distinction between the two cases: Mangione “killed a guy,” he said. “He shot a man in cold blood. Like, I don’t care how good your point is. That’s not how we do it.”

Going back to the Boston Tea Party, Hamm said, every era of American history has had its dissidents who feel “wronged and done over by a system that is stacked against you” and are willing to take aggressive actions against it.

Hamm said that feeling persists and thrives today. “I think this is a big part of the rise of Trumpism,” he said. “I think this is a big part of the rise of the MAGA mentality, of ‘I have been done wrong and no one is hearing my complaints.’”

When those feelings go unaddressed for long enough, Hamm said, people will come to accept a certain amount of lawlessness from the figures they feel can solve their problems.

“We have a guy in the Oval Office right now who thinks that the laws don’t apply to him and a Supreme Court that said, ‘Yeah, they don’t — you can do whatever you want,’” he said.

For supporters of President Trump, Hamm said, “I think it’s fun for them to be able to flout the law and say, ‘Who cares?’ and all the things that they’re currently saying, but it’s not the principles that we were founded on.”

Hamm and Ryan make no secret of the fact that they’d like to keep “American Hostage” going as an anthology series and explore more of what Hamm called “these watershed moments of American life, to see how they rippled and how we got here from there.”

One could certainly imagine other events that would fit the show’s interest in real-life hostage crises that became media spectacles — the 1974 abduction of Patty Hearst; the 1963 kidnapping of Frank Sinatra Jr. — though Hamm kept any specific plans for the series close to the vest.

Perhaps the upper limits they face are the hours in a day to make and to broadcast the show.

“We’re living in great times right now for television,” Hamm said. “There’s so many opportunities to tell stories. Almost too many.”

STACEY Solomon has explained why all of her sons are sleeping in the same room at her new £2million mansion – after it was revealed that she is the sole owner of the property. 

Yesterday The Sun told how Stacey, 36, bought the sprawling Essex home without the help of partner Joe Swash. 

The Sort Your Life Out host – mum to Zachary, 18, Leighton, 14, Rex, seven, Rose, four, and three-year-old Belle – has been keeping fans up-to-date on her makeover plans for the house.

In a new clip shared on social media Stacey shared how renovations mean the boys are currently packed into the same bedroom. 

She said: “All the boys are sleeping in one room because they don’t have bedrooms yet because we’re working on the upstairs.  

“They’re all sleeping in one room downstairs, it’s like The Brady Bunch when they go to bed.” 

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Stacey and Joe stunned fans earlier this month when they packed up their dream home Pickle Cottage – which she bought alone in 2021 for £1.3million – and moved to the new property. 

On Thursday The Sun revealed how the former Loose Women panelist purchased it without the help of Joe, 44.

A well-placed insider told us: “Stacey’s a canny businesswoman and was also the sole owner of Pickle Cottage, which sold for over £1million, so it made sense she’d buy the new home on her own.

“She even got some money knocked off the official asking price.

“Stacey paid over £2m for the new Essex mansion – but she’s worth over £10m so that’s not even a dent in her bank balance.”

Earlier this year The Sun told how Stacey – who it was previously revealed is not legally married to former EastEnders star Joe despite a lavish wedding at Pickle Cottage – had hit the £10million mark in her business empire.

ANNE Robinson has split from Queen Camilla’s ex-husband Andrew Parker Bowles after moving from the Cotswolds to London, it has been reported. 

In a recent podcast appearance, Anne, 81, told how she’s been forced to sell her £4million mansion in the countryside “because my eyes aren’t good and I can’t drive”. 

Now the Daily Mail have alleged the TV presenter has called time on her relationship with Andrew, 86 – who still lives in the Cotswolds – after around four years of dating. 

The publication reports that, when asked if she’d been going out with the retired brigadier, Anne replied: “I might have done.

“It’s very difficult to talk about a relationship where part of it is owned by somebody else, so out of politeness I don’t talk about it.”

Anne and Andrew have never been photographed together and he’s never confirmed their relationship. 

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He and Camilla, 79, were married from 1973 until 1994 and are parents to Tom, 51, and Laura, 48. 

During a recent appearance on the Experience is Everything podcast with Lorraine Kelly, Anne opened up about ageing and said: “I do Pilates twice a week, I run and I do exercises. 

“I don’t mind the Pilates. The keep fit trainer is very nice but that’s quite boring.

“And I just try not to be ill. But you don’t know. 

“I mean, I’m just selling my house in the country because my eyes aren’t good and I can’t drive, and I can’t be really isolated anymore.

“But you know, and I don’t hear that well. Otherwise I’m OK.”

Anne confessed that leaving the Cotswolds after 40-odd years was a “heartbreaking decision.”

MILLIE Bobby Brown has shared the first picture of her second baby and revealed its gender, after adopting another child again aged 22.

Yesterday it was revealed how the Stranger Things actress and her husband Jake Bongiovi, 24, had added another addition to their growing brood.

Now, Millie Bobby Brown has thrilled fans by sharing the first picture of her son .

The TV star, who adopted her first child in August last year, shared a picture of her hands placed over her new baby’s.

Posting the snap on Instagram, the mum-of-two wrote: “Hi little guy!”

The star’s news has already had over two million likes, including from stars like David Beckham, 51, Chrissy Teigen, 40, and Amanda Holden. 55.

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Millie and husband Jake announced that they had adopted their first child just over a yearagoo.

At the time she wrote: “This summer, we welcomed our sweet baby girl through adoption.

“We are beyond excited to embark on this beautiful next chapter of parenthood in both peace and privacy.”

She signed off the post, writing: “And then there were 3, love Millie and Jake Bongiovi.”

The Stranger Things star married the son of Jon Bon Jovi in 2024.

People reported that the couple had married in a private ceremony at Villa Cetinale in Tuscany, Italy in May 2024, with Millie taking her husband’s last name.

They met in 2021 and announced their engagement in April 2023.

The couple now live in the state of Georgia.

The Federal Communications Commission on Thursday granted Paramount Skydance’s request to allow Middle Eastern royal families to hold a substantial stake in a merged Paramount-Warner Bros. Discovery.

The sovereign wealth funds of Saudi Arabia, Qatar and Abu Dhabi are slated to indirectly own nearly 50% of the equity in David Ellison’s proposed mega-studio, Paramount-Warner Bros. That will give them a hefty stake in CBS, CNN, Comedy Central, HBO and two historic Hollywood film studios.

Ellison needed FCC approval because the deal will change the ownership structure of CBS.

As part of the Communications Act of 1934, Congress placed restrictions on foreign ownership of broadcast outlets because of concerns about national security. Current rules prevent foreign investors from owning more than 25% of a company that holds a U.S. broadcast license — unless the FCC determines that foreign ownership would serve a public interest.

CBS owns more than two dozen TV stations with FCC licenses, including KCBS-TV Channel 2 and KCAL-TV Channel 9 in Los Angeles.

“Upon review of [Paramount’s] Petition and consideration of the record of this proceeding, we find that the public interest would be served by granting the Petition,” FCC said in its ruling, noting that Paramount has said the proposed ownership changes would “not result in a transfer of control of Paramount.”

Instead, “Ellison family will retain a majority of the voting interests and control of Paramount,” the FCC said.

FCC Chairman Brendan Carr, an appointee of President Trump, has been supportive of Paramount’s takeover of Warner Bros. Trump and his lieutenants, including Defense Secretary Pete Hegseth, have been cheering for Ellison to control CNN, a Warner property.

Anna M. Gomez, the lone Democratic FCC commissioner, slammed the agency’s decision, saying it “just let some of the most repressive governments in the world indirectly control nearly all of a combined Paramount-Warner Bros.”

“An investment this large in one of America’s biggest media companies doesn’t just buy equity, it secures influence over what gets said and what gets made,” Gomez said. “That’s why I called for this new and novel issue to go to a full commission vote given what’s at stake. Instead, the FCC snuck this ruling out as a staff-level decision, with no public vote and no accountability for a call of this magnitude.”

Ellison’s billionaire father, Oracle co-founder Larry Ellison, in February agreed to personally guarantee the $47 billion in equity needed to buy out Warner Bros. Discovery’s existing shareholders for $81 billion. Ellison and longtime Skydance investor, RedBird Capital Partners, then entered into agreements to assign some of their purchase rights to the sovereign wealth funds.

The funds plan to invest $24 billion in the Paramount-Warner deal. Saudi Arabia’s Public Investment Fund is set to contribute $10 billion while the Qatar Investment Authority and Abu Dhabi’s L’imad Holding Co. will separately add $7 billion.

Paramount has separately lined up debt financiers to help pull off the leveraged buyout of Warner Bros. Discovery — Hollywood’s biggest merger in decades. The deal has been stalled by an antitrust challenge brought by California Atty. Gen. Rob Bonta and 11 other Democratic attorneys general, representing such states as New York, New Jersey, Colorado, Nevada and Oregon.

The foreign ownership rule was adopted nearly a century ago because members of Congress wanted to make sure that hostile foreign players were barred from using U.S. airwaves to spread propaganda, particularly in times of war.

“We appreciate the FCC’s careful review and are pleased that it has granted Paramount’s petition,” Paramount said in a statement, adding the Trump administration’s Committee for the Assessment of Foreign Participation in the United States Telecommunications Services Sector had separately recommended approval of the deal, subject to several conditions to protect the data of the company’s U.S. based consumers.

Paramount said that, once the deal closes, the Ellison family and RedBird would “collectively hold the largest equity stake in the combined company and 100% of the voting shares, with no other equity participant having any governance rights.”

Paramount has two classes of stock — an ownership structure that will be replicated in a merged Paramount-Warner Bros.

The Ellison family owns 77.5% of Paramount’s voting Class A common stock. RedBird indirectly holds the remaining 22.5% of the Class A shares. The Ellison family separately has 40% of the non-voting Class B shares.

“At a time when the media industry faces unprecedented competitive pressure from dominant big tech companies, a combined Paramount-WBD will have the scale and resources necessary to compete, invest, innovate, and deliver premium content to audiences worldwide,” Paramount said in its statement.

EXCLUSIVE Coronation Street actress Sair Khan, who plays Alya Nazir on the ITV soap, has teased drama with the Barlows, and told viewers to watch out for Idris Nazir

There could be trouble in paradise for Coronation Street couple Alya Nazir and Adam Barlow very soon.

Sair Khan teased drama with the Barlows, an “uneasy journey” for Adam and Alya, and Sair also teased we should watch out for Alya’s villainous relative Idris Nazir. Sair spoke exclusively to the Mirror while promoting This Girl Can’s recent campaign, Move for 10.

The campaign aims to empower women – particularly those from underrepresented groups or communities – to reconnect with their bodies and find joy through movement. Sair spilled all about what was ahead on the cobbles, and whether she thinks her character Alya’s romance with Adam will last.

She said: “I think for Alya and Adam, there’s definitely not going to be an easy journey. As much as I want to see them committed, it’s not going to be the easiest journey for that to happen. So keep watching just for that. There might be a few obstacles in the way.”

Hoping to revisit the past, she added: “Don’t forget Tracy Barlow was actually responsible for Alya’s father’s death. I guess somewhere that’s not forgotten, even though time has passed.

“So, there is a lot of history there, and a lot of untapped potential either way, whether that’s them repairing and being unlikely friends, or there being a fallout.” Teasing Barlow drama on the way, Sair said she hoped Alya and Adam will make it through.

She said: “I really like the idea of them as a power couple, they’re both serious about their work, they’re kind of a modern day version of what we’ve seen before. I love working with Sam [Robertson] as well, and I really hope it does continue.

“Who knows, their relationship might get more serious in terms of the drama, which you can’t avoid if you’re in a soap opera! I know that Alya is going to be getting in between some of the Barlow drama, but, they’ve been so great with me and really welcomed me into that family, so I’m here for it. I’m here for the drama.”

As for Idris, Sair said she hopes Alya catches him out and holds him to account over his recent manipulation tactics. She said: “I think everyone would be wise to proceed with caution when it comes to Idris!

“As much as he’s family, he’s also a businessman, and he wants to look out for himself, and he’s not come from money and he’s come into it. I think he’s got the taste for success and he won’t necessarily let anyone or anything stand in his way.

“I would like to see him go further, and I would like to see Alya realise the way that she was gently manipulated into giving over her shares of Speed Daal, because at the moment, I think maybe it’s been a bit glossed over, or he’s made her think it’s her idea, whereas is that what she really wants? But there’s always time. Maybe she’ll get it back one day.”

Sair also spoke to us about her reason for taking on the Move for 10 challenge, revealing the positive impacted it has had on her. She told us: “I’ve always admired the This Girl Can campaigns that they’ve run since 2015.

“I just think it’s such a positive and encouraging message that they always send. I think this particular campaign really hit me in a different way. I’m in such a different stage of life than I was when I first started on Corrie.

“I think the campaign really resonated with me because it’s just so easy to do. I think that’s what I need at the moment, to just be able to slot something in into my life without too much fuss.”

She went on: “It’s just difficult because it’s all about balancing, with work and family life, but I almost think that that’s a bit of a myth these days, because sometimes you can do it all, and other weeks work is really busy, or someone at home is sick, and there is no balance to be seen. And I think in those times, you just have to be realistic with your expectations of what you can achieve and just do what you can.

“That’s why the Move for 10 really appealed to me, because it was something realistic, which meant I could still prioritise my own well-being, and still manage to do what I needed to do for my family and what I needed to do for work. I think that’s so important.”

Sair features in This Girl Can’s recent campaign – Move for 10 – which encourages women to move for 10 minutes, 10 times a month. Empowering women to reconnect with their bodies and find joy through movement, unlocking the powerful benefits that small but regular sessions can offer. To find out more search, This Girl Can Move for 10 .

Rosalind Ashford, the soprano behind hits from Martha and the Vandellas including “Dancing in the Street” and “Heat Wave,” has died. She was 83.

The singer died of natural causes on Tuesday in the Michigan suburb of Redford Township, per the Detroit Free Press.

Ashford was an original member of the Motown girl group Martha and the Vandellas, best known for their timeless soul pop songs. She sang on more than 20 of the group’s top 40 singles on Billboard’s R&B chart, including “Heat Wave,” which hit No. 1, and “Dancing in the Street,” which peaked at No. 2 on the U.S. Billboard Hot 100 chart.

“I am deeply saddened to hear about the passing of Rosalind Ashford,” Martha Reeves said in a statement. “Rosalind played an important part in the early days of Martha and the Vandellas. Her voice will forever be with us through our great recordings together, and she will be missed, but never forgotten. Our Motown Family has just gotten a little smaller. My heart is heavy.”

In 1995, Martha and the Vandellas were inducted into the Rock & Roll Hall of Fame, becoming the second all-female group to land the acclaim.

Born on Sept. 2, 1943, to John and Mary Ashford, the budding soprano developed her chops singing in the church choir and then in the glee club at Wilbur Wright High School in Detroit. In 1957, the musically inclined teen landed an audition at the Detroit YMCA, and it was there that she, Annette Beard and Gloria Williams linked up with local music manager Edward “Pops” Larkins, and formed the girl group the Del-Phis.

According to the Motown Museum, the Del-Phis invited Reeves — then a secretary to William “Mickey” Stevenson, Motown’s Artists and Repertoire director — to join their girl group. Together, they took on gigs as backup singers, including on Marvin Gaye’s early songs “Hitch Hike” and “Pride and Joy.”

The Del-Phis became Martha and the Vandellas when “My Guy” singer Mary Wells missed a fortuitous recording session. Reeves, with the Del-Phis singing backup, filled in for Wells, and Motown was so impressed, the label signed the group to the Gordy label in 1962, sans Williams, who left the group around this time.

The trio’s breakout hit, “Come and Get These Memories,” was released in 1963 and performed well on the Billboard charts, reaching No. 6 on the R&B singles chart. “(Love Is Like a) “Heat Wave” dropped the same year and topped the charts, followed by “Quicksand,” which also became a top-10 hit. The 1967 song “Jimmy Mack” went to No. 1 on the Billboard R&B singles chart and was the final top-10 hit in the U.S. for the group.

“Heat Wave” scored the group a Grammy nomination for best R&B recording for 1964 and made the trio the first Grammy-nominated Motown group.

Ashford left the group and the music business behind in 1969, and worked at the Michigan Bell Telephone Co., though she would occasionally reunite with former Vandellas members for reunion performances.

Classic Motown posted a tribute to the singer on Thursday, writing that her harmonies served as the soundtrack to a generation. “The Motown family mourns the passing of a true icon, Rosalind Ashford,” read the statement. “As an original founding member of Martha and the Vandellas, Rosalind’s vocal talent helped define the golden era of the Motown sound.

“Rosalind’s contribution to American music and Motown history will never be forgotten. Rest in power, Rosalind. Thank you for the music.”

Coronation Street fans think they know what Lucy Parkinson has planned for poor Sally Metcalfe, who appears to be a target of the troubled teen amid some dark behaviour

Fans of Coronation Street think Lucy Parkinson’s plans for Sally Metcalfe could get very sinister.

While Lucy has been lashing out at Sally, who has been caring for her since her mother Rachel’s murder, and her dad Richie’s imprisonment for the crime, she also appears to be setting her up. Things are set to continue when next week, Sally is alarmed by a picture Lucy has drawn.

Sally is soon confiding in her husband Tim Metcalfe about Lucy lashing out, and the drama with the picture. But with Sally not sure she can keep looking after Lucy, there could be worrying twists ahead.

Some fans now think they know what Lucy’s plan is, and where this might lead. With Lucy also targeting the kids Sally and Tim have fostered, will Lucy have them taken away from them?

One fan predicted: “After watching tonight’s episode, I’m sure Lucy’s plan is that Tim and Sally lose custody of Joanie, Shanice and herself.” Another fan said: “I am really worried for Sally, she’s either going to get hurt or Lucy is going to get her reported to the care worker which will have consequences for the other kids.”

A third viewer said: “Tim and Sally will be lucky to get out of this alive and still together.” A fourth fan commented: “She really seems to have it out for Sally and manipulates Tim.”

Another theory saw fans wonder if Sally would be attacked. One said: “I strongly suspect this is all building up to Lucy losing it and attacking Sally.” Another said: “There’s going to be a potential stabbing for Sally.”

Another fan wondered if Lucy had targeted someone else before Sally. They said: “After seeing Lucy had obviously given herself the mark and blamed sally, do we think this isn’t the first time she’s done this?

“What if she’s hurt herself before, and blamed her mum, so her dad killed her out of anger?” It comes as some fans speculated over who attacks Eva Price next week, after spoilers teased someone hurts her.

It’s not yet clear if Eva falls down the stairs or is pushed. One theory is that Lucy attacks her after drama airing next week. Other names thrown into the mix as possible attackers are Jodie Ramsey and Ross Wilkes.

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 .

Chris Brown is speaking out after lawmakers honored him during his concert in Arlington, Texas, then apologized for the honor.

On Sept. 12, U.S. Rep. Jasmine Crockett (D-Texas) and Democratic Texas Rep. Venton Jones appeared at AT&T Stadium for Brown and Usher’s R&B Tour, where they honored both singers for their contributions to music. The politicians presented them with a Congressional Record recognition and state proclamation.

“Right now, we are experiencing Black joy to the highest level,” Crockett said on stage. “And I wanted to make sure we document that in the Congressional Record.”

Usher was not on stage when either honor was presented.

The incident sparked public backlash because of Brown’s history of domestic violence. In June 2009, the “Forever” singer pleaded guilty to one count of felony assault for physically attacking Rihanna.

On Monday, the 37-year-old singer and dancer took to social media to apologize to Crockett for the criticism she received following the recognition, uploading a photo of the two to his Instagram story with text that read: “I apologize for any backlash you have to deal with for awarding for me. I’m not political but I move off of frequency and energy and I’m so grateful. Once again, thank you.”

But by Tuesday, Jones released a statement apologizing to his constituents for his role in presenting Brown with a state resolution.

“Over the past few days, I have listened closely to the conversations, concerns, and heartfelt feedback shared across our community following my presentation honoring Chris Brown with a state resolution,” Jones said.

Jones, who first assumed his role in 2023, said that the presentation was an attempt to reach voters ahead of the Nov. 3 midterm election.

“First and foremost, I want to acknowledge the women, the Black women, whom my actions have hurt. In moments like these, I think it’s important to be specific and just as loud with an apology as our original actions were,” Jones added in his statement. “I apologize.”

After Jones’ statement, Brown called out the representative.

“I didn’t ask to be honored because I knew some s— like this would happen and [Venton Jones] immediately started tap dancing and apologizing because he didn’t wanna lose voters and support,” Brown wrote on Sept. 15 on his Instagram. “I have a great idea.. how about [y’all] leave me the f— alone and let me focus on the fans that spent their money to actually see and support me.”

Outside of the most widely recognized incident involving Rihanna — which occurred hours before the couple was set to appear at the 2009 Grammy Awards — there have been multiple domestic violence allegations against Brown, including by his ex-girlfriend Karrueche Tran. She was granted a restraining order against the singer in 2017.

Brown has been accused in several other cases of violence against women from 2018 to 2022, either dismissed, settled out of court, or the investigation dropped.

This summer, the singer pleaded guilty to beating up a man in a London nightclub with a glass bottle in 2023. There is an active $50-million suit against Brown and members of his entourage by four male concertgoers who allege they faced a “brutal, violent assault” backstage following a Fort Worth, Texas, show in 2024.

All Creatures Great and Small fans were quick to share their thoughts on the first episode of the new Channel 5 series.

Beloved Channel 5 period drama All Creatures Great and Small has returned.

On Thursday (September 17), fans were thrilled when a brand new series kicked off as the residents of Darrowby were now settling into a post-war existence. The episode kicked off with James in London, as Channel 5 viewers got to see Helen’s (Rachel Shenton) sister Jenny (Imogen Clawson) as a nurse in the city.

However, when the couple returned to Darrowby, trouble arose as a new vet arrived in the village, which didn’t sit well with Siegfried (Samuel West), who accused him of trying to poach his clients from Skeldale House.

Fans also saw the return of Dorothy (Maimie McCoy), who made a comeback during the festive special last year and has since sparked a romance with Siegfried.

Although during the episode, it seems as though the pair are including Mrs Hall (Anna Madeley) on their dates, as they spoke about going to see a film at the cinema later that night.

Elsewhere, Helen and Mrs Hall spoke about her return as Helen mentioned her being back had ‘made a difference’. Mrs Hall agreed as she said: “In more ways than one.”

Despite Helen joking that it meant she was keeping Siegfried out of their hair, Mrs Hall remarked: “No, she’s exactly what he needs. I had a feeling she would be if he gave her another chance.

Helen replied: “He doesn’t know how lucky he is to have you, do you know that?” As it seemed as though she was suggesting there was more to their friendship than is said, Mrs Hall didn’t notice.

As Dorothy later suggested, the three of them saw another film, Mrs Hall told her she didn’t mind if they wanted to spend time just the two of them, as she told her: “I’d hate to feel like I was getting in the way.”

Her friend replied: “If anyone is getting in the way, it’s me. You’re working, and here I am getting under your feet.” Mrs Hall added: “If you were in my way, I’d tell you.”

Later on, Siegfried was frazzled over the new arrival as Dorothy assured him he had no reason to worry over it, although Mrs Hall didn’t seem too convinced as she stayed quiet on the matter.

The interactions between the three characters didn’t go unnoticed with viewers, as many were quick to comment on the episode as they noticed the only link between Siegfried and Dorothy is Mrs Hall.

On X, one person said: “Both Dorothy and Siegfried are basically dating Audrey because she is the only common interest they have. brilliant.” Someone else added, “Audrey is the glue between Siegfried and Dorothy. These two do not have much in common, which became obvious. D doesn’t know Siegfried needs truth, not flattery, and Siegfried doesn’t even want her opinion.”

Another person added: “Wait. Why is Dorothy so hesitant to spend time alone with Siegfried, without Audrey there as well? Are things not going well? ill-matched?” While someone agreed: “So the cracks are already visible? Just what my predictive analysis hinted at. We would see stuff already, but things are going south just yet.”

All Creatures Great and Small continues Thursdays on Channel 5 from 9pm

KATIE Price appeared to ignore her marriage breakdown for the night as she celebrated her best friends’ engagement.

After ending her marriage to Lee, 43, the former glamour model was played a voice note from him on GMB on Wednesday, in which he insisted “there’s been no wool pulled over anyone’s eyes”. 

Tonight, Katie appeared in good spirits as she joined her friends for a boozy night out.

Katie flashed a big smile alongside celebrity interviewer pal Lewis Nicholls and Mike Turner.

He shared a photo of the trio and wrote: “Reunited to celebrate our engagement with Katie tonight,” with a red love heart emoji.

Katie was seen beaming as she held a glass of bubbly in her hand while joining her friends at Bank House Hotel Worcester.

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Speaking to Susanna Reid and Ed Balls this week, Katie candidly confessed that – despite everything – she still loves Lee. 

She said: “I love him… but who is he?

“I love the man I met. I can’t take it. I was stupid to fall for him. It’s really sad.”

Katie also admitted she believes her ex loves her too, saying: “I do believe he did. 

“I think he’s got himself in such a situation… where he copy and pastes what he says to women… I do believe he’s fallen for me.”

Katie then revealed the signs that finally made her open her eyes.

She said: “For example, one of the rings he bought me he said was worth £72,000. So I thought I’d better get it insured.

“So I took it into a shop and got it cleaned to get it insured. When they gave it back to me I said, ‘How nice are the diamonds?’

“They said, ‘They’re really good lab diamonds. They were grown in a lab. The ring is probably only worth about five grand’. Do you know how embarrassed I was?”

On the latest episode of her podcast The Katie Price Show, Katie held up her hand to sister Sophie, 36, and said: “I’m still wearing my ring but on the other hand because I love the ring. 

“I’ve taken Lee out of [my Instagram] bio now. Enough is enough now, it gets to a point where you can tolerate so much… 

“I did what I had to do. It doesn’t matter what people say about whoever I’m with. I have to do what I need to do. 

“If there are things that I question, that’s for me to find out myself to make my decision. Things haven’t added up and I’m not happy about them. He is still in prison and I haven’t spoken to him.”

Tone Capone, the Bay Area producer whose smash hit “I Got 5 On It” for Luniz defined his region’s hip-hop sound, has died. He was 59.

The producer’s death was first reported by KQED. Capone had most recently lived in Las Vegas. No cause of death was given.

Capone, born Anthony Douglas Gilmour in Berkeley, learned to DJ while attending Berkeley High School. He often performed at college and house parties with his close friend Nick Peace, who became an accomplished hip-hop producer as well. While Bay Area hip-hop was famously independent and insular, Capone produced singles for major-label groups like the R&B combo SWV and the Oakland group Capital Tax, rooted in his love of ‘70s soul and hard-edged funk.

His sound — soulful yet martial, with a distinct, emphatic downbeat — yielded some of the region’s most beloved and distinct hip-hop hits, including Mac Dre’s “Fire” and “Not My Job,” E-40’s “Ring It,” 3xKrazy’s “Keep It on the Real” and cuts by Celly Cel, Andre Nickatina and countless others.

He’ll be best known for Luniz’ 1995 hit “I Got 5 On It,” a slinky, spooky track riffing on the Club Nouveau song “Why You Treat Me So Bad,” which entered the canon of ageless west coast hip-hop. The song hit the Billboard top ten, and recently resurfaced in a slow, eerie remix for Jordan Peele’s 2019 horror film “Us.”

Capone’s slow-rolling sound also traveled well to Houston, he worked with Scarface, Devin the Dude and more. His productions on Scarface’s 1997’s “The Untouchable” helped it go platinum, with “Smile” sporting one of the last verses recorded by Tupac Shakur.

A Big Brother duo have sparked romance speculation just days into the new ITV series

Two Big Brother housemates have seemingly ‘confirmed’ their romance after just four days in the famous house.

The duo entered the experiment on Sunday (September 13), alongside 14 other contestants. But they have now been spotted laying together in bed and holding hands, prompting fans to suggest that they have already ‘hard launched’ their connection.

The moment came during Thursday (September 17) night’s episode, when the house was transformed into a ‘dreamland’. While nominated housemates Millie, Pauline and Rochelle stayed in the main house, the remaining contestants were sent to a much smaller ‘nightmare room’.

As they were settling into the their new living space, Chelsey and Lynx were seen holding hands while chatting with their co-stars. And the duo didn’t appear to be hiding their intimate body language from the rest of the house.

This has sparked conversation on X, formerly Twitter, where one viewer wrote: “Finger interlocking holding hands in front of basically everyone, oh they really hard launching this romance thing init #bbuk.”

Many fans have complained about the pair’s alleged “showmance,” arguing that they are treating the social experiment like a dating show. “Chelsey & Lynx need to realise this is not Love Island #BBUK,” said one.

Another frustrated viewer posted: “Stop trying to make a chelsey and lynx showmance happen! it’s not going to happen! #bbuk,” while a third added: “they’re holding hands now? #bbuk.”

Someone else chimed in with: “Do they know its not love island ffs stop holding hands #bbuk,” with a final viewer putting forward: “We’ll have to get one of Lynx or Chelsey out soon if they continue, they think they’re on Love Island. #bbuk,” reports OK!.

Although their romance has come under fire, Chelsey and Lynx have separately attracted some support since joining the show. Manchester-based Chelsey has been described as “a sweetheart”, with one fan writing: “I really like Chelsey so far, she’s got a great bubbly personality. #BBUK.”

Lynx has his admirers, too. “I like lynx #BBUK,” one supporter posted, while another declared: “Lynx might be the coolest name i’ve ever heard #bbuk.” Chelsey and Lynx aren’t the first pair to find a connection on the series. 2025 contestants Marcus and Elsa, who met on the show, recently announced their engagement and first pregnancy together.

Away from the romances, the house is preparing for an eviction. Big Brother’s undercover moles, Tays and Philip, nominated Millie, Pauline and Rochelle, leaving the public to decide who goes.

The result will be revealed during Friday’s live broadcast, with AJ Odudu and Will Best on hand to interview the departing housemate.

Big Brother continues on ITV2 and ITVX tomorrow night at 9pm

KATIE Price’s ex Dane Bowers has updated fans from his hospital bed about ‘complications’ after a seven-hour surgery.

Back in August, the Another Level singer revealed he needed to have a “very serious operation”.

On Thursday, Dane, 46, took to Instagram from his hospital bed to share an update on how his spinal fusion went.

He said: “So I had my surgery yesterday, luckily enough I didn’t really have much pain, obviously I had this morphine drip thing that I could press the button for and I’ve not used it.

“I used it once right at the beginning to see what it felt like I guess, but I’ve not used it which is good.”

But the singer – who wore a hospital gown with a piece of white material tucked into the neckline – then explained something was wrong with his neck and chin.

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He said: “I have this thing here on my chin which needs to be seen to, which is why I’m talking a bit weird, it’s all numb and it’s from where my face was down.

“My surgery was seven hours which is quite long. And it’s sort of seeping as you can see…disgusting.

“So I think I’m having a dermatologist and some sort of skin doctor come to see, but that’s the only sore bit really.”

Dane – who dated Katie between 1998 and 2000 – then revealed he had managed to get out of bed and stand up with a physiotherapist and used a walker to do some steps around the ward.

He added: “My back is sore when I move but I’m not particularly in pain. I did have a bit of cramping in my good leg but otherwise not too bad.”

When Dane shared the news of his upcoming surgery last month, he said: “I got a second opinion and I am glad I did, because it’s pretty much changed what I am doing.

“Bad news for me, I do need to have a very serious back operation. I need to basically have a fusion”.

Spinal fusion is a procedure which sees two or more vertebrae joined together with metal rods, cages or screws.

LADY Gaga’s baby name has finally been revealed after the star welcomed her first child with fiance Michael Polansky.

The Born This Way hitmaker, 40, who had kept her pregnancy under wraps and spent months out of the public eye, gave birth in June.

Now, after rampant speculation, the couple’s baby has been revealed to be a girl named Rose Bean Polansky, reports TMZ.

The outlet, who obtained the birth certificate, says she was born in Los Angeles on June 9 at Cedars-Sinai Medical Centre.

Baby Rose was welcomed with the help of Dr. Robert Katz, who helped deliver Ciara and Russell Wilson‘s baby Sienna in 2017.

The inspiration behind the name remains unclear but some have speculated it could be linked to La Vie En Rose, the famous french song she sings in hit film A Star Is Born.

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As a toast to the song, the star had a rose tattoo inked down the length of her spine in 2019.

Meanwhile, the middle name Bean could be a nod to singer Carl Bean who provided the inspiration behind her hit “I Was Born This Way”.

Lady Gaga – real name Stefani Joanne Angelina Germanotta – was seen out and about with her new baby for the first time earlier this month.

The new mum was snapped taking a stroll with fiance Michael with the tot close to her chest while out and about in the California sunshine.

Baby Rose was wrapped in a beige sling and white baby-grow, with its face turned to her chest.

The popstar placed a tender hand protecting the tot’s neck as they spent some quality time together.

Lady Gaga gave a hint as to her family plans in 2025, when she spoke openly about her thoughts on motherhood in a series of interviews.

She told the New York Times: “I’m excited to be a mom. I used to have a lot of apprehension about it.

“The thing that’s the most important to me is to not force my children to live a life that they are not choosing.

“So the more that we can give them space to discover who they are on their own, that’s the thing that I believe in the most”.

She also told Rolling Stone last year: “Being a mom is the thing I want the most.”

And talking about her own relationship with her mum with Allure in 2019, she said: “I really hope that when I have maybe a little girl one day, or a little boy, and they see Mommy put her makeup on, that they have the same experience that I did.

“That’s the greatest gift of all, when you can connect with your parents.”

Lady Gaga and Michael first got together in 2019, but went public with their relationship in 2020.

They went Instagram official in February 2020, when Gaga posted a pic of her cuddling up to her new man.

SUPERSTAR Ed Sheeran quietly donated £1.5million to aid in the Middle East ongoing conflict amid the fallout from Macklemore being removed from his Loop tour.

The four-time Grammy Award winner asked US stadium owner Robert Kraft to match his donation to bring aid to the region.

Rather than publicize the generous move himself, Ed’s donation has come to light after Macklemore publicly challenged Robert to match his own £750,000 ($1 million) donation to Palestinian organizations.

Taking to Instagram, Robert wrote: “Earlier today, before Macklemore challenged me to match his donation, Ed called me and asked me to commit $2 million to match his donation to aid in the region to fight this humanitarian crisis.

“Ed now plans to reach out to other venue owners and our goal is to continue to work together to build bridges.”

Ed’s huge donation comes after 15 years of supporting countless charities around the globe.

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He teamed up with Médecins Sans Frontières across both his Mathematics and Divide tours to help raise money for some of the world’s most conflict-torn states.

The charity provides humanitarian medical care—focusing on projects in conflict zones and in countries affected by endemic diseases.

The fallout comes after Robert Kraft took the unprecedented move to ban Ed’s support act Macklemore from performing at his Gillette Stadium near Boston.

The rapper had used previous support slots to call for a “Free Palestine” on stage and flashed up images of Gaza.

As well as referring to the war as “genocide,” Macklemore also dedicated a song to pro-Palestinian protesters.

Macklemore took to social media to slam the move, prompting a global backlash.

In his statement on Tuesday, Ed, who has tried to keep out of politics all his career, said: “I am appalled by the conflict between Israel and Palestine.

“The suffering and pain caused on both sides is a human tragedy. There are too many wars across the world causing immeasurable pain, none of which should be tolerated.”

He added: “Macklemore coming off tour was the promoter’s decision, it was not mine. I would never let down the fans who had made plans, nor would I abandon the touring crew and the other support acts and musicians who rely on me for work and to make a living.”

LONDON — Ireland will boycott the Eurovision Song Contest for a second year over Israel’s participation, the country’s national broadcaster said Thursday.

RTÉ said it will not send an act to the 2027 competition in Bulgaria and will not broadcast the show because of the “appalling and ongoing loss of lives in Gaza and the humanitarian crisis there which continues to put the lives of so many civilians at risk.”

Ireland was one of five countries — along with the Netherlands, Iceland, Slovenia and Spain — to skip Eurovision this year to protest Israel’s inclusion in the pan-continental music contest.

Eurovision Director Martin Green said organizers regretted RTÉ’s decision but “fully respect” it.

“All broadcasters decide on an annual basis to participate in the following year’s contest. We will remain in dialogue with RTÉ and hope to welcome them back to the contest in the future,” Green said.

Dutch broadcaster AVROTROS announced last month it will also boycott next year, calling Eurovision a “platform for division.”

“AVROTROS will not participate in the Eurovision Song Contest in 2027 because the event can no longer be considered neutral, with a participating country still involved in a large-scale military conflict,” it said.

Next year’s competition is due to take place in Bulgaria’s Black Sea resort of Burgas in May, after Bulgarian singer Dara won the 2026 event with her infectious party anthem “Bangaranga.”

The contest was founded in 1956, in part to help unite a shattered continent after World War II. It pits acts from dozens of countries against one another for the continent’s musical crown.

Israel has taken part in Eurovision since 1973, one of a few non-European countries to compete. But calls for Israel to be kicked out have swelled over the conduct of Prime Minister Benjamin Netanyahu’s government in the Hamas-Israel war in Gaza.

The 2024 Eurovision contest in Malmo, Sweden, the 2025 in Basel, Switzerland and this year’s contest in Vienna saw pro-Palestinian protests and heightened security.

Moments after the final rapid-fire rhythm of Anthrax’s opening number “Caught in a Mosh” fades from the open air of the Sports Illustrated Stadium in Harrison, N.J., shaggy-headed vocalist Joey Belladonna addresses the audience. “I gotta ask everybody out there right now. Who’s never seen Anthrax before?” Around half of the 6,000-or-so crowd members who showed up by 6 p.m. for the three-band bill, headlined by heavy metal legends Iron Maiden, raise their hands. “Ah, yeah! We got a lot of new friends here today. Thank you for being here.”

Some bands with a four-decade career would be disappointed by the turnout, or by the realization that many fans not wearing Maiden shirts are dressed in Megadeth merch. But for Anthrax, preaching to the unconverted is an opportunity to expand their fan base beyond the somewhat insular community of thrash metal, a style of music that took the aggression of bands like Iron Maiden and turbocharged it with the speed and fury of hardcore punk. As much as Anthrax cherish being one of the “Big Four” — Metallica, Megadeth, Slayer and Anthrax — playing a 35-minute set well before dark is a great way to reach new listeners.

“We have a strong base of fans that are deeply into this band, but we know there are also people that have never listened to this type of music before,” says bald-headed, gray-bearded rhythm guitarist and lyricist Scott Ian from his home office outside of L.A. a week before the show. “They’ve heard band names, but maybe they haven’t dipped their toe in the water. So, it would be great to reach them and give them something they didn’t even know they wanted and then they’ll fall in love with it.”

A full 10 years have passed since Anthrax released their last studio album, “For All Kings,” which helps explain why they’re not as well-known as some metal veterans. Instead of rushing out an album after the pandemic, Anthrax took their time writing and fine-tuning new songs before entering Dave Grohl’s Studio 606 in L.A. in 2022. Then, they wrote more songs and massaged those for another two years before finishing the recording and sending the album to be mixed in 2025.

“I nitpicked over every detail of these songs before I even sent the demos to the other guys to put their two cents in,” says drummer and main songwriter Charlie Benante, clad in a black T-shirt and blue jean shorts, and sporting cropped black hair and a slanted mustache. “I wanted them to be as good as they could possibly be. Being good enough wasn’t OK.”

The 11 tracks on “Cursum Perficio” (Latin for “I complete my journey”) encapsulate the finessed brutality, incisive melodies and experimental flourishes from Anthrax’s years with Belladonna (from 1984-1992 and 2005 to the present), during which the band wrote its fastest, most aggressive songs. As much as Anthrax were driven this time by the desire to attract new fans, they were also motivated by many popular new metal albums — and not in a good way.

Anthrax’s meticulously crafted album was recorded at Studio 606, using Iron Maiden support slots to court new listeners beyond the thrash faithful.

(Travis Shinn)

“I hear bands with new records out, and they’re horrible,” Benante says, squinting his eyes and grimacing. “The genre has gotten stagnant to the point where you see a social media post by some band mentioning they have new music coming out, and you can tell exactly how it’s going to sound just by the way they look.”

While “Cursum Perficio” may be a bit heavy for some metal fans, it’s neither dull nor predictable. The album is loaded with Anthrax trademarks — serrated, crunchy riffs, soaring lead vocals, bludgeoning beats, and scorching guitar — but there are also galactic noise effects, angular song structures and atypical chord configurations. The most striking number, “The Edge of Perfection,” starts with chiming ethereal guitars and gently tapped cymbals, then detonates in a conflagration of feral blast beats, minor-key tremolo guitar picking (redolent of black metal), and chanted tribal vocals before climaxing in a slithering riff and ebullient chorus.

“After 30 years as a band, I can honestly say that’s the best song we’ve ever done,” says Ian, the most voluble member. “I feel like it’s genre-defying and can appeal to fans of atmospheric stuff and extreme metal, and anyone who likes aggressive music or even just guitar rock.”

For such a bruising cut, the lyrics of “The Edge of Perfection” are surprisingly optimistic. “It’s about striving for perfection, which, of course, is impossible. But that doesn’t mean you can’t reach for it,” says Ian. “To me, true perfection is happiness and health, and that comes from love, and it isn’t a given. I work hard at being an empathetic person and I only do things out of love and wanting to make everybody around me feel good as well.”

Lest Ian’s Zen-like proclamation color him a romantic, the guitarist stresses that much of the energy and anger of “Cursum Perficio” stems from the political, social and economic turmoil of the last decade. The problems, he stresses, are cutthroat capitalism, rampant partisanship and mankind’s seemingly innate instinct to destroy.

“Humans are really good at one thing and that’s murder, and we’ve excelled at it over the centuries,” Ian says, shattering the good vibes that flowed like a clean mountain spring just a minute ago. “Every year, we get better at treating each other terribly, which I can’t understand. I mean, there are people on this planet who, if they wanted to, could end world hunger. But I guess there’s no money in that. They would rather make the world a s— place by draining the resources. I swear to God, it’s just like [the 1971 Dr. Seuss book] ‘The Lorax.’”

While Ian purposely scrapped any early lyrics he wrote about politics in the age of Trump (“that would have been boring”), on “Everyone’s Got a Plan” he addresses the partisan strategy of “divide and conquer,” and in the first single, “It’s for the Kids,” he writes about the ubiquity of school shootings. Neither song has stopped naysayers from characterizing Anthrax as left-wing.

“I’m not a liberal,” he plainly states. “I’m a centrist. I like skeet shooting and I enjoy going to a range and shooting at targets.  But I believe in common sense. And no matter what your political leanings, I think everybody can agree that nobody wants to see an 8-year-old shot in the face, which happens all too often.”

“I love this country,” interjects Benante. “But that doesn’t mean I don’t have some problems with it…. The way we go about things in this country is just wrong, and it makes me frustrated to the point where I’m like, ‘F— it. I’ll just put my head down and write a song.’”

“Cursum Perficio” delivers classic Anthrax crunch with experimental flourishes, anchored by genre-defying centerpiece “The Edge of Perfection.”

(Travis Shinn)

Much of “Cursum Perficio” caters to neither the left nor the right. “NYC 93” is about the celebratory chaos of band life in the early ’90s, “The Long Goodbye” addresses the horrors of dementia, and the title track is about closure, whether positive or problematic. The Latin translation of the phrase, along with Benante’s past comments that he can’t imagine writing another full Anthrax album anytime soon, have led to speculation that the band is nearing the end of the line; the theory is seemingly supported by lines like, “The journey’s over/ The threads that hold it all together.” But while there are no plans now to write any new songs, and four of the members are in their 60s (lead guitarist Jonathan Donais is the baby at 47), growing too old to headbang isn’t even a notion.

“I truly believe that going out and playing shows keeps us young,” concludes Benante. “We get in a zone, and the music takes over and the energy going through our bodies is the same as it was when we were 20. Why would we ever want to give that up?”

Wiederhorn is the co-author of Scott Ian’s 2014 autobiography, “I’m the Man: The Story of That Guy From Anthrax.”