show biz

Sheriff’s deputies in San Bernardino County arrested a Hesperia wrestling coach Tuesday as part of a child sex investigation.

Gene Richard Griffith III, 36, a wrestling coach at Hesperia High School and resident of the city, faces a charge of lewd and lascivious acts with a child, the San Bernardino County Sheriff’s Department said in a statement.

Hesperia High School officials did not immediately respond to an email seeking comment Saturday.

Griffith was booked into the High Desert Detention Center in San Bernardino on Wednesday.

A representative for the San Bernardino County Sheriff did not immediately return a request for further information about the alleged incident or possible bail terms.

Detectives from the Sheriff’s Department’s Crimes Against Children unit said in a statement they believe there might be additional victims, and ask anyone with information to contact Detective Victoria Twardowski at 909-890-4904.

TV bosses of Celebrity Traitors are in fear of leaks of the line-up being exposed they have no taken extra steps to avoid this happening ahead of the upcoming series

TV bosses of Celebrity Traitors are taking no chances when it comes to keeping secrets of the show for the upcoming series under wraps.

According to reports, bosses at Studio Lambert have now put locks on the doors of the editing suite. But that’s not all. Bosses have also “banned” staff from talking about the nature of the BBC programme outside of the studio building.

A TV insider reportedly said: “They’re saying it’s become like The Masked Singer set-up, which is shrouded in secrecy with sealed production rooms.”

The source added to The Sun: “Only a few people are allowed in and out.”

This comes after it was reported that Hollywood actor Tom Hiddleston had signed up for the show but was forced to pull out at the last minute.

Earlier this month, a few names were confirmed for the second series. This included Love Island host Maya Jama, Hollywood actor Richard E. Grant, Jerry Hall, presenter and comedian Romesh Ranganathan and EastEnders star Ross Kemp.

The stars were spotted heading to the Scottish castle.

The celebrities will donate their winnings of £100,000 to their chosen charities. Filming is underway but the show will not air until later this year.

Tom, who is best known for his roles in Steven Spielberg’s War Horse, has been vocal about his love for the show. According to The Sun, his film commitments did not allow him to commit to the reality TV game show.

He recently said in an interview on BBC Radio 2: “I mean the celebrity one would be amazing. I think the whole show, the format is just the most ingenious thing, isn’t it? It’s completely compulsive. Maybe the best television I’ve ever seen.”

He added: “I’d like to be a faithful because then you can play detective, right? And you know that your conscience is clean and your heart is pure, and you’re just watching and trying to figure people out.”

Host Claudia Winkleman recently revealed that she has been told on how to spot a traitor in the mix. In an exclusive chat with The Mirror she said: “Stephen said at the last round table ‘Shall we just look at who is tired?’ because if you are a Traitor you go to bed later than everyone else.”

She added: “At that point, Jonathan’s face was slumped, Alan was yawning and Cat was asleep. And someone went: ‘No, no. You have to come at it from a different way.’ I was like ‘He has just said it’.”

The Mirror contacted the BBC for a comment.

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Bad Bunny’s halftime show at this year’s Super Bowl was largely embraced as a milestone for Latin music and Puerto Rican culture on America’s most prominent pop-cultural stage.

Not everyone thought so, though.

The Federal Communications Commission has released a massive trove of viewer complaints against the musician, the show’s broadcast partner NBC, and the NFL.

Many of them expressed outrage at the supposed bawdiness of Bad Bunny’s Spanish-language lyrics and dancing on a broadcast watched by children.

“That was the most disgusting inappropriate show. I had to make all of my children go into the next room!” wrote one traumatized Las Vegas viewer. “The none use [sic] of inappropriate language should stand no matter what language it’s in. This is the most disturbing thing I’ve witnessed on live TV in a long time.”

“NFL halftime show showed 2 men in act of intercourse while behind a pickup truck door,” wrote one aghast Ohioan. “The ratings for NFL [sic] made it safe for my children to watch but they witnessed this and became disturbed.”

Another viewer from Charlotte, NC who, to their credit, seemed familiar with Bad Bunny’s catalog, wrote that they “take issue with the vocal performances of ‘Safaera,’ which is a track widely known for explicit sexual references and graphic lyrical content, and ‘Yo Perreo Sola,’ which had choreography featuring overtly sexualized movements, including widespread twerking, grinding, pelvic thrusts and other sexually suggestive conduct.”

Those viewers were likely not sated by the FCC’s February review of the performance, which found that the songs’ lyrics had been appropriately altered for the broadcast.

Rep. Randy Fine (R-FL) had called for the FCC to investigate the broadcast.”What Americans witnessed during the Super Bowl halftime show with Bad Bunny was despicable and never should be allowed to be shown on television again,” Fine told the New York Post.

Many of the viewer complaints mirror President Trump’s post-show social media criticism, calling the performance “one of the worst EVER!”

“Nobody understands a word this guy is saying, and the dancing is disgusting, especially for young children that are watching from throughout the U.S.A., and all over the World,” the president wrote at the time.

Just before the Super Bowl, Bad Bunny had won the Grammy for album with “Debí Tirar Más Fotos,” and joined a wave of artists speaking out against violent ICE raids in speeches at the ceremony. The superstar demurred on performing in the continental U.S. for similar fears, instead performing a lengthy Puerto Rican residency.

Westlife have paid tribute to Simon Cowell during an appearance on Britain’s Got Talent, with Shane Filan, Nicky Bryne and Kian Egan all taking to the stage without bandmate Mark Feehily

Westlife have paid tribute to Simon Cowell during an appearance on Britain’s Got Talent.

The band – which features Shane Filan, Nicky Bryne and Kian Egan – performed their biggest hits ahead of their 25th anniversary tour. However, they were without bandmate Mark Feehily, who will also not appear on the tour.

There was no specific mention of Mark, but the trio paid a heartfelt tribute to judge Simon, who was instrumental in their success.

“It’s been a long time since Simon Cowell suggested standing up from our stools on a key change,” Nicky said. Kian went on to pay tribute to Simon and said they wouldn’t have been there without him.

In June, it was confirmed Mark would be absent from the tour. The band said in a statement: “Sadly, Mark will be unable to join the celebrations. We hope he can join us back on stage when he is ready and able. He sends his love and positivity to you all as always.”

Mark announced he would be taking a break from Westlife just days before first ever tour of America in 2024. At the time, he shared: “Hello and much love to you all! It’s Mark here.. Most of you are aware that I have had some health challenges over the past while.

“It actually all started 3.5 years ago in August 2020 when I had surgery. Within a few days of this surgery I was in severe pain and was rushed into A&E. I eventually ended that awful day in ICU (Intensive Care Unit) where I was informed that due to a complication with the surgery, I had developed severe ‘Sepsis‘, a life-threatening infection that would require immediate emergency surgery to rectify the problem and basically save my life.”

He explained that he was in hospital for months during lockdown, and was later told he needed more surgery.

“It was physically and mentally a very difficult time, not to mention traumatic having to spend so long in ICU. In late 2021, I became very ill in Newcastle before a concert and ended up back in A&E, this time being told I had pneumonia. I was told I had to go straight home to recover and regrettably miss the rest of the concerts that December,” he said.

Speaking about Mark missing their big anniversary tour, Kian told us: “We’re devastated he won’t be joining us on this tour. We’ll be missing him every night just as much as the fans will. But he’s given us his full support. This is the 25th anniversary, it’s something that we all felt needed to be celebrated. We hope as soon as he’s ready he’ll be back with us and we look forward to that moment.”

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In the fragmented mysteries of the great Argentine filmmaker Lucretia Martel, her explorations always start with sensory flashes: faces, spaces, objects, sounds in transfixing procession. The language is its own, resulting in disorienting but undiluted depictions of the worlds of modern elites (“La Ciénega,” “The Headless Woman”) and 18th century colonists (“Zama”) alike.

But now, with her first feature documentary, “Our Land (Nuestra Tierra),” Martel unravels a political crime and the larger offenses behind it with a vital clarity. The film is centered on the 2009 murder of Javier Chocobar, an Indigenous Chuchagasta man from Argentina’s northwestern Tucumán province, who was shot while defending his ancestral homeland from a thuggish incursion. The weight of the issue at hand — stolen land, territorial rights and the overdue recognition of a colonized country’s original peoples — brings out a tantalizing lucidity from the typically elusive Martel on a serious subject that requires discipline.

In one sense, she’s dealing with a rights issue too painful to be aggressively aestheticized, but she’s also exploring a blood-soaked injustice that can’t be treated conventionally. She begins, in fact, with rolling satellite images from space — as if to say: This appropriation of nature is the world’s problem, not just Argentina’s.

What follows, toggling between a courtroom and vast, contested land (filmed with dreamlike urgency by cinematographer Ernest de Carvalho), is a righteous, visually arresting swirl of fact and feeling, past and present. It’s also anchored by the stories of a community desperate to claim territory they’ve cultivated for centuries. “Our Land” is as honorable a documentary as you’re likely to encounter this year about what fighting looks like in today’s era of grab-what-you-can thievery.

First, we hear from the defendants, captured by Martel’s cameras at their 2018 trial in Buenos Aires (an unconscionable nine years after the shooting). The three accused men — a businessman and two ex-cops — flounder at positioning themselves as the true victims when their own handheld video of the incident shows otherwise: The confrontation with the Chuchagastas only escalated because they brought a gun. Their lawyers obnoxiously push a narrative of ownership versus trespassers, backed by reams of documents and tossed-around historical dates.

But as Martel patiently unfolds the Chuchagastas’ perspective — personal narratives that come to life in intimate photos, atmospheric sound design and warm home footage — we begin to understand that documents and files are a bogus battleground given their hundreds of years of careful tending. One community member distrusts dialogue to begin with, calling it a means to “give up something.”

“Our Land” is the work of a director whose attention is rigorous, whose care is genuine, but who is also conscious of her outsider’s perspective. It’s an ally’s respect. There’s no better proof of that than in her drone shots of this embattled community’s sun-soaked valley: elegant, purposeful, even awkward (a bird hits one) visitations from the air. They’re a reminder that she’s the filmmaker, surveying a story that belongs to others. Documentaries don’t get much more honest than that.

MUSIC fans were divided after Oli Sykes slammed them for leaving his band’s gig early.

Oli, 39, fronts the massive band Bring Me The Horizon and went on the rant at their recent gig in Nashville, USA.

Kneeling on the stage wearing a large cowboy hat with a pink feather hem, Oli angrily pointed in the direction of the crowd in a video posted to TikTok by user @professionalconcertgoer.

“Now I start seeing t***s leaving early to beat the traffic… I can see one there, that c***t and he’s a VIP one too,” Oli said looking into the audience.

“Why did you pay all that money for?”

Fans of the band explained their reasons for needing to leave gigs before they finished and also slammed Oli’s attitude.

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“I always think it’s wild when artists talk about the fans that lined their pockets like this. I thought better of Oli,” wrote one person in the comment section of the TikTok.

Another added: “Oli my brother in Christ the last bus / train home is like 10:45 we have to leave early or we’re sleeping on the street.”

But a third commented: “I’ll never understand why people leave early. I’ve done it a couple of times and have regretted it every time.”

While a fourth posted: “He said this in toronto too, i felt bad but he’s gotta take it up with go transit 😭 if i miss my train i’m stranded in the city, i don’t have money or a credit card to get a hotel for the night.”

Bring Me The Horizon formed in 2004 and have released six studio albums.

They have been nominated for two Grammys and this year won a Brit for Best Rock/Alternative Act. They’ve also scooped seven Kerrang! gongs in a career that dates back 20 years.

There was no greater sign of a mainstream breakthrough than when they collaborated with Ed Sheeran for a souped-up version of his hit Bad Habits at the Brit Awards in 2022.

Adding rocky riffs and synths to the catchy pop tune, the heavier element clearly thrilled Ed who performed the collab with a big grin.

Last year, Oli officialy became a dad after his Brazilian model wife Victoria Alissa Salles Silva announced she had given birth to twins.

In an Instagram post, she shared an image of the tots – writing, “amor infinito,” which translates to “infinite love”, adding, “grey & zélia.”

To describe a movie as including a ski mask, a camcorder and $50,000 in cash would certainly lead one to imagine a specific type of story. Add two men and sex work and the brain might roll around more pointed scenarios.

But none of that can prepare you for what micro-indie “Blue Film” has in store. The nexus of perversion, pain and sexual purpose driving writer-director Elliot Tuttle’s dark, discursive chamber drama is of a stripe rarely attempted in even the most self-consciously daring movies. Should you need a self-imposed break afterward from intimate two-handers, even Tuttle might understand, then wink in the general direction of his Pasolini posters. (I’m guessing at this provocateur’s wall art.)

Is it clear yet that “Blue Film,” set primarily in a house in Los Angeles over the course of a revelatory night, isn’t for everybody? Some of that “everybody,” incidentally, includes the festivals and distributors who rejected the queer filmmaker’s debut feature, despite having critical buzz, Tony-winning actor Reed Birney as one of its stars and indie guru Mark Duplass as a mentoring producer.

But certain subjects (spoilers ahead) are bound to trigger a different kind of scrutiny. Initially, our attention is on macho-posturing tattooed camboy Aaron (“Boots” star Kieron Moore), graphically boasting to his followers online of the big payday he’ll receive that evening from a submissive client. What he later encounters, however, at the door of a Craftsman on a quiet street is a masked, polite, older host (Birney) with a camera and, once it’s turned on, a lot of personal questions, the kind that begin to crack the facade of a young man used to being in control of his transactional life.

Then his client’s face is revealed and Aaron recognizes it’s his middle school teacher Hank, a convicted pedophile who once coveted him. Hank, who completed prison time for the attempted assault of a different boy, has made a cross-country trip to seek out the adult version of someone who could have been his first victim. He is still processing what he is, wondering if desire, even love, is available to him anymore.

The question is, will you care? Even viewed through Aaron’s cautious, clear-eyed empathy, it’s a steep ask. But you should. Tuttle’s fearless inquisition won’t insult your intelligence, ask your mercy or hogtie your feelings. Honestly, it’s refreshing to be repulsed and intrigued by a movie willing to plumb these psychological depths when Hollywood won’t. In its commitment to unvarnished talk — even if that leads to a clunky staginess — “Blue Film” has thoughts about identity, choice, sin and salvation. There’s a sincere engagement with humanity’s more difficult realities.

Needless to say, this type of graphically articulated exchange wouldn’t work if the performances didn’t land. Thankfully, Moore’s affecting portrayal of jumbled masculinity mixed with situational curiosity is well-calibrated, while Birney, a pro with a challenge, eases us into Hank’s weary self-possession (if not always the nauseating facts of it) before coloring outside the lines with a believably interesting philosophy about reckoning.

But “Blue Film” is tough, make no mistake. Awkward and searching, it exists in a filmic space that you could argue was opened up by last year’s courageous documentary “Predators.” And sometimes that gaze is just discomfiting, full stop. Tuttle wants that. He has room to improve but he’s someone to watch, plumbing the hard-to-fathom.

If, god forbid, there’s a natural disaster in L.A. in the near future, Jena Malone might be one of your first responders.

“I’ve been studying Community Emergency Response Team training,” the actor-musician, 41, said, drinking coffee in the living room of her home overlooking pomegranate trees and a canyon in northeast L.A. “Whether it’s fire management or building a neighborhood tool shed, it’s less important for me to hit career milestones now than to transform how I live on this planet. Let’s build something where we’re all taking care of each other’s needs through mutual aid.”

Those are galvanizing priorities from Malone, who’s led generationally beloved films like the sci-fi noir “Donnie Darko,” played the axe-chucking Johanna Mason in two “Hunger Games” tentpoles and recently co-starred in the lesbian bodybuilding revenge flick “Love Lies Bleeding.” For almost as long, she’s also made experimental folk and electronic records that toy with avant-garde noise and quietly poignant songwriting.

This is a wild time in L.A. for anyone concerned about the city and its culture industries, and Malone is deeply invested in both. Just before the release of her new Netflix series, the Duffer Brothers-produced “The Boroughs,” she’s released her first album in nearly a decade. “Flowers For Men” is an effects-shredded, future-primitive record, written after the birth of her son upended her obligations — and expectations — toward the men in her life and the world they’ll inherit.

“It changed everything,” Malone said, about raising a son. “I grew up learning to thrive and mask in masculine spaces. Grind culture is a masculine toxicity that I inherited and indoctrinated myself in. But parenthood offers you this opportunity to burn your entire life down in sacrifice to finding out what’s real. I had no idea what it was to be a man. All of my ideas burned down and not much was being raised back up.”

For millennial film fans, Malone’s been a consistently compelling, trust-anything-she’s-in actor since her child-star turn in 1997’s “Contact.” Few embody a tortured, beguiling Americana quite like her.

“The Boroughs” — a high-profile follow-up to “Stranger Things” from the masters of unreality, created by Jeffrey Addiss and Will Matthews — has a stacked cast that includes Alfred Molina, Geena Davis and Bill Pullman, set amid a bucolic retirement community under supernatural threat. A ragtag group of Duffer Brothers misfits teaming up to fight off eldritch horror might be the last safe bet in television.

Yet that’s also how Malone feels about the current climate of Hollywood — a once-stable neighborhood fending off malign forces. Institutional consolidation and retreat, spiraling costs, technological upheaval — they all add to a creeping sense that an era is over, and worse is coming.

“Film is in such a delicate transition. I think that where music was 20 years ago, film is now,” she said. “It’s like being on an elevator where every floor is on fire. A lot of the things that I loved about it no longer exist, even if what I love about it is still wildly potent. My stress levels go down and my creativity goes up when I’m building a world that does not rely on the film industry, even though it’s my main love.”

That feeling called her back to music on “Flowers For Men,” arriving nine years after her last LP. The ego-shattering experience of giving birth in 2016 and raising a son prompted reflections about what men’s inner lives were really like, and she wanted to write about them.

“I was raised by two moms, and I had this strange aspiration to become the dad,” Malone said, laughing. “I was the breadwinner of my family then. But being a parent was all brand-new to me. I kept seeing my father in him, my grandfather, these older relationships with men. It was asking me to look at him with curious, childlike eyes.”

“Flowers For Men” was written from a sincere curiosity about mens’ strictures, bad influences and better aspirations. To inhabit someone else’s life, she had to sound different, too.

“Film is in such a delicate transition. I think that where music was 20 years ago, film is now,” Malone said. “It’s like being on an elevator where every floor is on fire. A lot of the things that I loved about it no longer exist, even if what I love about it is still wildly potent.

(Evan Mulling/For The Times)

The most prominent instrument on the album is its layers of vocal treatments. Malone has a lovely natural voice — intimately whispered, with hints of ‘70s country rock. But here she douses it in pitch-shifted digital acid, like a late 2000s R&B record dropped in the pool at the Joshua Tree Inn.

It’s an uncanny combo, but its lends modern melancholy to “Barstow,” which has the narrative structure of a Townes Van Zandt banger but is corroded with bleary effects. “Create In Your Name” has a Billie Eilish-worthy late-night murk, with lyrics so devotional they almost sound consumptive. “Disaster Zones” is all blown-out ambience, and the LP closes on a showstopping cover of John Prine’s classic “Angel From Montgomery.”

“I just love that a man wrote a song where the first line is ‘I’m an old woman,’” Malone said. “As a female songwriter, it gives me so much permission. Now all the doors are open. If I was to give flowers to all of the different men that have touched or changed things that deserve celebration, John Prine would be one of them.”

That idea — celebrating men for the good they’re capable of — felt transgressive enough today that it cohered the album for her. But it also came with questions about how romantic partnership fit into her life. Settling into motherhood, she read up on relationship anarchy — which she sees as not abiding by tiers of connection. She bought books on ethical nonmonogamy (“Sex at Dawn” was a big one) to learn how other lives were not just possible, but maybe even more fulfilling.

(Perhaps this was not a stretch from an actor who played the wild child Lydia Bennet in “Pride and Prejudice.”)

“I had been under this societal understanding that hierarchical love, placing one partner above everything else, was the ultimate romantic expression. I could name hundreds of movies that brought that up,” she said. “But while I’m learning to take care of this child, I’m realizing that self-love is one of the most important parts of this equation. I need to have expression, some work in life that felt like another love. And then my family, and how important friends were. And all of a sudden there’s no world where I would just have one love, not even just romantic love.”

“I had been under this societal understanding that hierarchical love, placing one partner above everything else, was the ultimate romantic expression. I could name hundreds of movies that brought that up,” Malone said. “But while I’m learning to take care of this child, I’m realizing that self-love is one of the most important parts of this equation. I need to have expression, some work in life that felt like another love.

(Evan Mulling/For The Times)

“Flowers For Men” is, in her way, a bargain with that contradiction — to love men deeply, but never put them above all else, even as she got engaged to her partner, actor Jack Buckley, earlier this year.

She’s still sorting out how to present this album live. She said she’s a fan of the Dead City Punx model of renegade shows in forgotten corners of L.A. Maybe as the city seems to fall apart, she’ll find a leafy park or the back of a dingy bar that’s the right home for these strange, lonely yet hopeful songs.

“I want someone to walk into the bathroom and be like, ‘Whoa, why is there a woman singing to me?’” Malone said. “I like the idea that art makes you a little uncomfortable and you don’t have the previously held expectations to know how to hold it.”

AN EERIE silence hangs over the sleepy Majorcan town where Towie star Jake Hall tragically died this week. 

The picturesque streets of Santa Margalida, a peaceful holiday retreat, appear unusually subdued following the 35-year-old’s death in a rented villa.

Investigators believe Jake died from a chest injury caused by a shard of glass.

Initial reports suggested that the reality TV star suffered devastating head injuries after he reportedly “turned aggressive,” police sources claimed. 

Now, the £200-a-night luxury villa where he was staying sits sealed off behind police tape, casting a chilling presence over the rustic neighbourhood.

The Sun visited the scene to find a noticeably quiet atmosphere – with empty restaurants, hushed streets and locals speaking in low tones.

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Staff at nearby eateries appeared muted, some barely present, as news of the Brit’s death rippled through the community.

A neighbour living right next door to the property appeared visibly shaken.

He glanced nervously towards the cordoned-off home before abruptly refusing to say a word.

One of the few locals out on the streets said: “It definitely feels quieter. I’m not sure if it’s because of his death but it could be.” 

KATIE Price has touched down on home turf from her Dubai visit to see husband Lee Andrews.

Though it wasn’t the happiest of trips for the former glamour model, 47, who has been accused of refusing to stump up for her cosmetic surgery bills while in the UAE.

The Sun exclusively revealed she hasn’t settled her debts – despite hubby Lee claiming to be a billionaire.

The mum of five flashed a smile as she arrived in the UK’s Gatwick Airport, wearing a tight-fit grey crop top which clung to her curves and black joggers.

She pulled on a trendy pair of sunglasses and styled her hair poker straight, looking fresh from the long-haul trip.

Katie – who flashed her huge wedding ring in the Arrivals terminal – was accompanied by an assistant who wheeled three bags of luggage alongside her.

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There is ongoing speculation that her husband Lee, 43, is unable to leave the United Arab Emirates city after allegedly forging his ex-girlfriend Dina Taji’s signature to secure a £200,000 loan – something he’s strongly denied.

Back in April, Katie appeared to confirm he is subject to a travel ban

As such, she is the one doing the graft with the long haul flights.

Though this time around, Katie’s spouse has been slammed by a popular UAE-based aesthetic clinician for failing to cough up the money for the cosmetic work they’ve had in recent months.

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1998 – Katie underwent her first breast augmentation taking her from a natural B cup to a C cup. She also had her first liposuction

1999 – Katie had two more boob jobs in the same year, one taking her from a C cup to a D cup, and then up to an F cup

2006 – Katie went under the knife to take her breasts up to a G cup

2007 – Katie had a rhinoplasty and veneers on her teeth

2008 – Katie stunned fans by reducing her breasts from an F cup to a C cup

2011 – Going back to an F cup, Katie also underwent body-contouring treatment and cheek and lip fillers

2014/5 – Following a nasty infection, Katie had her breast implants removed

2016 – Opting for bigger breasts yet again, Katie had another set of implants, along with implants, Botox and lip fillers

2017 – After a disastrous ‘threading’ facelift, Katie also had her veneers replaced. She also had her eighth boob job taking her to a GG cup

2018 – Katie went under the knife yet again for a facelift

2019 – After jetting to Turkey, Katie had a face, eye and eyelid lift, Brazilian bum lift and a tummy tuck

2020 – Katie has her 12th boob job in Belgium to correct botched surgery and a new set of veneers

2021 –  In a complete body overhaul, she opts for eye and lip lifts, liposuction under her chin, fat injected into her bum and full body liposuction

2022 – Katie undergoes another brow and eye lift-and undergoes ‘biggest ever’ boob job in Belgium, her 16th in total

2023 – Opting for a second rhinoplasty, Katie also gets a lip lift at the same time as well as new lip filler throughout the year

2024 – Katie has her 17th boob job in Brussels after revealing she wanted to downsize. She performed at Dublin Pride just days later and surgeons warned the lack of recovery posed a risk of infection

Lee allegedly refused to pay the bill, however he insists the work was ‘complementary’.

The clinic specialises in facial contouring and liquid rhinoplasty among other surgical and non-surgical treatments.

In response to a recent Sun post about Lee using fake money to scam women, the clinician has shared his own experience with the couple.

Just days ago, the beauty clinic owner claimed that he had not received any money and was still chasing the couple.

But in a surprise move, he alleged that he had been blocked, without any explanation for their failure to pay.

He said: “This is expected as they both left without paying for their treatment and after multiple sent invoices, I was blocked.

“Although no mention of being unhappy with the results was ever brou- ght to my attention.

“What Katie is experiencing with her treatment is perfectly normal.”

But Lee has denied these claims when the The Sun reached out to him.

He has insisted that Katie was left “unable to move her mouth” following the procedure and disputes the charges.

Coronation Street fans had a lot to say after Abi Webster actress Sally Carman celebrated her birthday.

Coronation Street fans have been left floored after learning the real age of Abi Webster actress Sally Carman.

Abi made her debut on the long-running ITV soap back in 2017 – and it’s fair to say she has quickly become a firm favourite with fans. The character has also played a part in several big storylines during her stint on the soap.

From her drug addiction, the tragic death of her son Seb (Harry Visinoni), and, more recently, her affair with Carl Webster (Jonathan Howard) behind her husband Kevin’s (Michael Le Vell) back, her time in Weatherfield has not been short of drama.

Away from the cobbles though, on Saturday (May 9) Abi actress Sally celebrated her birthday – and fans couldn’t believe her real age.

On a Coronation Street Facebook fan page, one person paid a sweet tribute to Sally and said: “Sally Carman is 51 today. Happy Birthday Sally.” And rushing to the comments section, fans were left gobsmacked by her age.

One person wrote: “51?! She looks in her 40s!” Another added: “She doesn’t look a day over 30.” A third chimed in: “I’d have guessed she was in her 40s.” Someone else wrote: “She doesn’t look that age! Gorgeous lady.”

Last year, Sally revealed the secrets behind her remarkably youthful looks. In an interview with The Sun, Sally confessed: “Oh, it’s no secret – I have fillers, I have Botox, facials…. I do all of it.”

Sally continued: “I’m really open about it. I don’t think there’s anything worse than someone promoting a cream saying: ‘Buy this mega-bucks cream and your face will be as smooth as mine.’ I’m like: ‘Yeah, whatever.’ So there’s no cream – well, there is, but there are other things on top.”

Meanwhile earlier this year, Sally confirmed that fans will be seeing her playing Abi until at least 2027 as she signed another year-long contract. Speaking exclusively to Radio Times at the TV Choice Awards, she confirmed: “Just signed for another year, which is great. My goodness, I love it. It’s my favourite job I’ve ever done.”

The soap star also shared that she would be honoured to follow in the footsteps and have the same screen longevity as Corrie royalty Sally Dynevor, who recently marked the milestone of playing Sally Metcalfe for 40 years. “If they’ll have me, yeah!” Sally joked.

In addition to her success on Coronation Street, Sally has also found love on the show. She met her co-star Joe Duttine, who plays Tim Metcalfe, on set in 2017, and the couple got engaged in 2020 before tying the knot two years later.

Discussing their unique engagement tale on Kate Thornton’s podcast, White Wine Question Time, Sally shared: “It was while we were in lockdown and we were staying in the Dales with his sister, who has a lot of space, with, his kids” she said.

She added: “We were walking around this big field on this walk and he went: ‘Kids, have a look in between the dry stone walling because you know, they used to put coins and precious things to hide them in the walls.”

Sally continued: “So I’m having a look and there’s this box. And I opened it. I’m like: ‘No way.’ And then there was another box inside. And I turned around and he was on one knee.”

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

ELIZABETH Hurley really is the gift that keeps on giving and today the sexy star gave fans another treat.

The stunning actress, 60, thrilled her followers when she shared her latest bikini selfie which showed off her enviable figure and also gave them her secret body hack.

In Liz‘s latest sizzling post, she was seen modelling a stunning white striped bikini.

The pictures saw the model languishing by a swimming pool, while showing off her timeless body.

In one photo the stunning actress threw her head back to soak up the sun, with her washboard abs on full display.

Taking to Instagram to share the slew of sexy snaps, Liz penned a body positivity message to fans.

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“Being photographed in a bikini can be scary so here’s my number one tip: LIE DOWN!!” she wrote.

It comes as the actress continues to enjoy a sizzling romance with country music icon Billy Ray Cyrus.

The smitten couple took the world by surprise, when they revealed they were dating.

The pair went public on Easter Sunday last year with a loved-up picture in a field.

Since then they have continued to thrill fans with their romance, and can’t seem to keep their hands off each other.

Billy and Liz were recently spotted snogging at a country and music festival.

The Sun previously revealed the pair reconnected in 2024 after his third marriage to singer Firerose crumbled.

Confirming this, Billy revealed how Liz got in touch with him to make sure he “was doing ok” during his last divorce.

“Suddenly, I get a text from a number I don’t recognise. It says, ‘The vultures are circling, but I’m in your corner,’ the singer revealed.

“The thing is, I didn’t know who sent it. It turned out to be from someone I least expected.

“This girl was just as beautiful as her words. We went out for a date, and our chemistry was real. We’ve been together ever since.”

BBC Breakfast has been hit with complaints by angry viewers following a major shake-up

BBC Breakfast viewers have been left rather unimpressed following a segment shake-up.

The morning show returned to screens on Saturday (May 9) for another instalment. Naga Munchetty and Charlie Stayt were back at the helm, to discuss some of the biggest stories hitting the headlines.

However, normally on the programme, the hosts pass over to Newswatch host Samira Ahmed, who delves into viewers’ thoughts on recent BBC News coverage.

BBC Newswatch is a weekly show offering viewers and listeners the opportunity to respond to BBC News. The segment sees Samira presenting viewer feedback on the BBC’s reporting of major stories, with audiences either praising or critiquing the coverage.

But fans hoping to watch the latest Newswatch were left disappointed as the segment was conspicuously missing from BBC Breakfast. As the clock approached the typical Newswatch time, Naga and Charlie continued their interview with Labour’s deputy leader Lucy Powell.

And when the interview stopped and the hosts moved onto the next topic, angry fans soon took to X to fume over there being no Newswatch. One person wrote: “Hope newswatch hasn’t been binned for repeats of the same political news.” A second added: “Never thought I’d be desperate for news watch.”

A third comment read: “Fuming it’s dropped.” Another person penned: “Mean buggers binning newswatch, it’s only 10min long sods.” Someone else said: “Saturday viewing fun completely in tatters lol.”

This is not the first time Newswatch has taken a break from screens. In March, Samira announced the segment would be off air for several weeks – but reassured viewers that it would return to screens.

“We are off air next weekend over Easter but we will be back to hear more of your thoughts about how the BBC covers the news, in a fortnight,” Samira told viewers.

Meanwhile, journalist and broadcaster Samira has 20 years’ experience in print and broadcast and has hosted Newswatch since 2012. In 2020, Samira was named British Broadcasting Press Guild audio presenter of the year.

She has presented many news and arts programmes over the years for BBC TV and radio, including The World Tonight, PM, Sunday Morning Live on BBC One, Night Waves on Radio 3 and The Proms on BBC Four.

BBC Breakfast airs Monday to Sunday from 6am on BBC One.