show biz

COURTING controversy is nothing new to supermodel Emily Ratajkowski.

The American beauty found global fame dancing in a nude-coloured thong in the video for US singer Robin Thicke’s 2013 song Blurred Lines.

But that seems tame compared to her latest stunt — posing topless, with a glass of sparkling wine in hand, while pretending to breastfeed a plastic baby doll.

In the same shock shoot, a “lover” in boxers is pictured at her window as she nurses the doll.

But that seems tame compared to her latest stunt — posing topless, with a glass of sparkling wine in hand, while pretending to breastfeed a plastic baby doll.

Emily, 35, who has previously been linked to Harry Styles, shared the controversial images with her army of 27.9million Instagram followers.

It was to promote an explict essay she wrote, titled MotherF***er, for lifestyle and culture website The Cut.

But is this bizarre shoot — in which she has been accused of sexualising breastfeeding — an act of genius from the Gen Z favourite rumoured to be worth £6million? Or a sign her star power is waning?

Many believe the backlash is what London-born Emily had hoped for.

A source says: “She has perfected the art of turning internet outrage into a multi-million pound brand.

“For every ‘disgusted’ comment, she gets another thanking her for her honesty. The business she has built around her body and brain is astonishing. Emily is incredibly intelligent, but most people don’t see that.”

The insider adds: “Women abhor and adore her in equal measure, and most men lust after her.

“She wants to empower women, she is open about her sexual expression.

“When people tear her down, it only goes to prove her point about how she is perceived by people.”

Emily’s Instagram post from her latest photoshoot drew more than 8,000 comments within hours.

Nude images The size 6 model pouts toward the camera while pressing the toy to her 32C chest.

She wears a black leather blazer and matching trousers, heavy eye make-up, and her brunette hair has been styled as dishevelled.

One Instagram user wrote: “That photo is genuinely disturbing.”

Another said of the shot: “When art becomes awkward, uncomfortable and unnecessary.”

Others called it a “desperate cry for attention” — which echoes criticism recently faced by Emily’s close pal Sydney Sweeney.

American actress Sydney shocked viewers of US coming-of-age TV drama Euphoria when the 28-year-old’s character Cassie Howard dressed as a baby while making content for her OnlyFans account.

It seems Emily and Sydney — both regulars on “hottest woman in the world” lists — will go to extreme lengths to make headlines.

Emily’s MotherF****er essay has also proved divisive, as she reveals she turned to casual dating after her marriage to Sebastian Bear-McClard failed in 2022 following the birth of their son Sylvester.

She writes about motherhood and marriage: “It was a violent transition into a new reality of screaming baby on my aching tit and ring on my swollen finger.

“And then, in a time period that felt both instant and excruciatingly slow, my marriage collapsed. Six months after my son was born, my husband and I stopped having sex. Less than a year later, we separated.”

The divorce was finalised last year and she reveals how it changed her as she began “compulsively dating”.

But Emily, who spent the first five years of her life in London before moving to the US with her family, writes of her time before that: “I knew that boys didn’t treat girls they thought of as sluts tenderly. Boys didn’t fall in love with, want forever with, raise babies with, or take care of sluts.

“I wanted to be taken care of — desperately. I tried to be a ‘good girl’.

“Keeping my body count low was insurance. I thought it meant no one would ever cheat on me, that I’d always be loved, happy and safe.” But she adds: “None of that had turned out to be true.”

In graphic detail, she recalls dates with a man she refers to as the “elder millennial” — and performing a sex act not long after they first met.

She writes: “I’d found everything I’d come there for — a praying mantis devouring her mate.”

Sparing the blushes of the men she has previously dated — including a whirlwind romance with Brad Pitt, and US comic Pete Davidson — Emily uses pseudonyms in the essay.

She adds: “I decided to f*** my way into a new kind of woman. I wanted to destroy the Madonna, the special girl I’d worked so hard to be before an eight-pound baby had torn my vagina in two, and replace her with the whore.”

She goes on to write that, “men are turned on by motherhood”, adding: “I’d been so scared that, as a single mother, I was unlovable, used up and discarded. I soon came to find out it was quite the opposite of ‘they don’t care’. In fact, they liked it. There were many men who experienced the loneliness that comes with years of selfishness. They were particularly attracted to the idea that being a parent meant self-sacrifice was a given in my life. Did they want me as their mummy? Maybe.”

Emily was first signed as a model at age 14 but got her big break in the controversial Blurred Lines video.

She was then named as one of the world’s “hottest sex symbols” by Rolling Stone mag, and soon after announced as FHM’s “fourth sexiest woman in the world”.

Emily, who was born to an English mum and American dad, moved into acting while also modelling for the likes of Dolce & Gabbana, DKNY, Marc Jacobs and Miu Miu.

But as her fame grew, she became vocal about protecting women.

In 2016, she went to war with US photographer Jonathan Leder, who used Polaroid images of her from a shoot four years earlier in a book she claimed was a “violation”.

Emily said she believed the photos were taken for a magazine — and that she did not give consent for the pictures, which included nudes, to be used in a book.

She wrote at the time: “Five out of the now hundreds of released photos were used for what they were intended: an artful magazine shoot back in 2012.

“These photos being used without my permission is an example of exactly the opposite of what I stand for — women choosing when and how they want to share their sexuality and bodies.”

She was supported by Kim Kardashian — who similarly has turned controversy into cash.

The pair posed topless together for a selfie taken in a bathroom after Kim was reviled for posting a naked photo online.

Emily captioned the shot: “We are more than just our bodies, but that doesn’t mean we have to be shamed for them or our sexuality.”

It led to uproar on social media, as Emily became embroiled in a row with broadcaster Piers Morgan — who claimed they were undermining feminism.

Emily later hit back, explaining: “Kim said to me, ‘You know, when Lena Dunham takes her clothes off, she gets flak, but it’s also considered brave. When Justin Bieber takes his shirt off, he’s a grown-up’.

“When a woman who is sexual takes off her top, it plays into something. The whole idea is that when Kim takes a nude selfie, she’s just seeking attention. That’s not the issue. A woman can be seeking attention and also make a statement. They don’t need to be mutually exclusive.”

Emily later started writing essays that she made into a book, My Body, which became a New York Times bestseller in 2021 — and she also launched her own swimwear business, Inamorata.

The book saw Emily discuss being sexualised and exploited during her career — and allege she was sexually assaulted by singer Robin on the set of Blurred Lines.

Of the video and how it changed her life, Emily writes: “I wasn’t just famous; I was famously sexy, which, in many ways, felt gratifying.”

She adds: “I am complicit. But I also think it’s a mistake to shame a young woman for wearing a tight dress because she wants to be noticed by someone powerful.

“I don’t think we should continue to criticise women for saying, ‘This is how I can succeed and capitalise off of my image or my body’. That is an extension of the same misogyny I’ve seen so much in my life. We are all complicit.”

Those close to Emily believe she will steadfastly continue baring her soul despite the pushbacks that come her way.

A friend says: “Emily’s honesty is uncomfortable for some, but provides validation and solidarity for others.

“People will always have something to say. There’s nothing she can do about that.

“Emily’s said it herself, she doesn’t care what people think. It’s white noise. She is doing what she wants and saying what she wants. It is her truth and it is her choice to say it.”

As Emily put it: “Like any art, there’s a million ways to interpret it. All I can say is that when a woman is naked, that’s not ­immediately anti-feminist.

“I have no apologies for it, and I’m not ashamed at all.”

MODEL Hailey Bieber gives her business a bit of a helping sand.

The 29-year-old, wed to singer Justin, posed on a beach in an ad campaign for her own skincare and make-up brand Rhode.

It was recently named one of Time magazine’s 100 most influential companies.

And she told the mag she is hungry for more.

Hailey said: “I’m an entrepreneur at the end of the day.

“I want to expand in business and I want to be able to do more things.

“But I’m definitely not in a rush.”

Last year the brand was valued at a billion dollars.

Hailey launched it in 2022 and last year it turned over £150million in sales.

She recently posed in a chic yellow bikini for another fashion shoot and she was also pictured out in New York in a white mini dress for the Met Gala after-party.

Just last November the model posed up a storm for GQ magazine in another set of sizzling swimwear snaps.

Justin and Hailey have been married since 2018, with the pair welcoming their son Jack Blues in 2024.

David Baerwald holds up his most precious possession so that it’s visible on our video conference: a very old violin in a very old, battered case.

Baerwald, an award-winning musician, film composer and songwriter who called Los Angeles home for nearly four decades, doesn’t play the violin. During his years with the Tuesday Music Club (immortalized in the Sheryl Crow album “Tuesday Night Music Club”), he played guitar. But the violin belonged to his grandfather Ernst Baerwald — and it plays an important role in his recently published debut novel, “The Fire Agent.”

Not every successful artist turns to a new medium at age 65 or moves to the opposite coast (Baerwald now lives in Kingston, N.Y.). Then again, not every artist has a family history quite like Baerwald’s, one that includes Germany and Japan, two world wars, a 1920s throuple and Beethoven’s Ninth.

The violin in Baerwald’s hands was the one his German-Jewish grandfather played as a Japanese prisoner of war in the Bandō camp at Tokushima during World War I. “It’s a very serviceable violin,” Baerwald notes. “A friend of mine played it for some years in the Long Beach Symphony. When my grandfather was older and wealthy, he bought a better violin, which was lost in a fire. But this is the one that matters.”

It matters because Ernst Baerwald was a founding member of a German POW orchestra that chose Beethoven’s great symphony as their premiere work — a performance so moving that it began a Japanese tradition marking the December holidays that persist to this day. Baerwald’s grandfather not only kept his violin throughout the war in which he fought; when he defected from the Third Reich in 1941, he placed it in an oiled bag and brought it with him via an oceanic escape.

Ernst Baerwald’s odyssey from a cushy childhood in Frankfurt to his final days in a beautiful Berkeley mansion, with a long sojourn in Tokyo along the way, reads like, well, a novel. Sent to an elite boys’ prep school in Germany, then on to a seriously disciplined Milanese dojo where he was trained by a Japanese sensei, Ernst was a prisoner in Japan for four years during World War I.

Those details might have been easy to find, but it wasn’t until David Baerwald went to clear out his parents’ house in Brentwood that he discovered papers showing that his grandfather had not only been the head of the Tokyo office of I.G. Farben, but that he had given a major speech to the nascent Office of Strategic Services (precursor to the Central Intelligence Agency) in 1943 that laid out the plan for the firebombing of Japan.

He also urged them not to allow partnerships between large corporations and the military, the way the German scientific community and government did with I.G. Farben and Krupp Armaments and Steel. “Any business that makes peace with Fascism will become Fascist,” he said. “And once Fascism captures economic control, then a Fascist coup will inevitably follow to seize political power. Germany, Italy, Rumania, Japan, Spain the story is the same. We cannot allow it to become the story of America.”

When Baerwald read that, “I was really alarmed, in the moment,” he says, realizing how closely tied his grandfather had been to the bombs dropped on Hiroshima and Nagasaki. “But it gave me a plan.” He wanted to show how deeply his grandfather had become integrated into Japanese culture.

“One of my characters tells Ernst that he has ‘yuyo,’ which might best be described as grace,” says Baerwald. “Its Japanese meaning is closer to the state of a river rock that has been washed over and tumbled thousands of times, so that it’s both distinct, and a meaningful part of its environment.” To some extent, the author understands “yuyo” personally, having lived in Japan and been educated at its International School until age 12, when his family moved back to California, “although I wouldn’t claim it for myself,” he says.

That move, in the early 1970s, may have led to his career in music. “When we got back to the States, I was extremely troubled. Call me a fish out of water, I guess. I went through a period of voluntary mutism — I think they call it selective communication. I didn’t talk to anyone, especially not to my family. My hearing would sort of come and go at will, too.” His mother understood he seemed to like his sister’s acoustic guitar, so she suggested he take some lessons. “At the time, it wasn’t at all a career path, it was a way of reassembling my brain so that I could cope with the reality I was experiencing, finding a way to communicate again.”

Part of what he was experiencing, which he knows a great deal more about now, was feeling “the secrets that were the engine propelling my family.” After Ernst’s long career of service and deception, David Baerwald’s father, Kurt, entered the U.S. Army during WWII and later became a professor of Japanese studies at both in Japan and at UCLA. The effects on their family of five still reverberate. Baerwald’s mother eventually became a clinical psychologist who specializes in trauma. “I had to separate myself completely from my family in order to survive,” he says.

However, what stalled the writing of this first novel were the two decades he initially left out, which included Ernst, Lina and their lover Chizuko being a ménage à trois in a 1923 Tokyo dealing with the aftermath of an earthquake and wildfires.

Although “The Fire Agent” is based on Ernst’s history, not all of the facts are congruent. The wrestling coach at the American school in Tokyo, Ernst’s glamorous courtesan Chizuko, and many of the characters are composites. Speaking of that courtesan, Baerwald says it’s true that his grandfather and grandmother cohabited with a Japanese woman for many years, even after Lina and Ernst had a child together. “I found so many letters between my grandfather and my grandmother and I think they truly loved each other, and I think they truly loved that woman, too.”

That didn’t make it easy for Baerwald to write about that love. “My German grandmother, on whom Lina is partly based, was terrifying,” he says. “It was easier to write about her sex life with my grandfather and their Japanese lover by creating composite characters.”

He didn’t want to leave out their sex life, though, or that of others.

“Every generation of young people thinks they invented sex, right? But nothing is new — and it never gets old. Here’s an example. One of my godfathers, Sam Jameson, was the L.A. Times bureau chief in Tokyo for decades. He was also the doyenne, if you will, of the cross-dressing community in that city. It was this rich world he was a part of that nobody knew anything about. I based the character I call Bünheimer on him.”

Some of the worlds Baerwald has uncovered through his family’s papers are rich and sensual; others, like the POW camp where Ernst was held and the speech he gave to the OSS analysts at the Presidio in the 1940s, are stark and terrible. While he renders all appropriately, he’s aware that his perspective remains that of a white Western man. How did he gain the courage to write about people of other races, cultures and genders? He says it comes from something he did when he was on a swim team in high school. “The psychological trick I would play on myself at each meet was to imagine the water I’d dive into was freezing cold,” he says. “And of course it wasn’t. Which was such a relief and kept me going.”

Like his grandfather’s beloved violin, Baerwald has taken a deep dive into previously unknown waters — and survived. As he works on his second novel, he’s better prepared for airing family secrets and the publishing world. Ever the musician, he likens his first round with it to a Shepard tone, the auditory illusion that can make listeners feel like two notes one octave apart are constantly ascending or descending in pitch (Baerwald has worked with famed composer Hans Zimmer, who used the tone in, for example, “The Dark Knight”).

“A Shepard tone can make you feel like you’re flying. Or sinking,” he says. “At this point in my life and art, I prefer to have my feet firmly on the ground.”

What does it mean to lack ambition in a country that worships wealth? It means you are a capitalist wallflower, a laggard with a serious character flaw. No field of endeavor is immune from this attitude, the art world least of all. But artists with a desire for riches and fame must not declare their intentions so brazenly. At a time when the plastic arts are about as marginalized as they ever have been, and media buzz is generated by dead painters whose works sell for enormous sums at auction, creation in and of itself has little value unless it is lashed to something marketable.

With his new novel “Contrapposto,” Dave Eggers has written a big-hearted, deeply moving story about the choices artists make, or don’t make, to square up their own notions of success and happiness. The book is dual bildungsroman, following two friends across the long span of their lives from adolescence to their 70s, as they fall in and out of each other’s lives, make their way in the world, and fumble around for meaning and purpose in their art.

The protagonist in “Contrapposto” is Rob “Cricket” Dibb, an underclass Midwestern kid, raised by a single mother in a North Indiana suburb that’s about as nowheresville as it gets for budding artists with dreams of glory. Cricket doesn’t dream big. He’s just trying to endure without bodily harm, seeking refuge from his mother’s abusive boyfriend in the basement with his grandfather Silas, who teaches him about jazz and the beauty of a glorious sunset. He draws so he doesn’t have to think. Immersion in art is his escape hatch from the dreariness of his pinched world: “The drawing meant nothing, would never mean anything to anyone, but it was true to how he saw it. His hand had recorded what he saw and felt about this thing. He was an ugly, common creature who could occasionally freeze time. That was enough.”

Cricket’s apprenticeship is decidedly informal. No full scholarship rides to Bard or Pratt for him; instead he saves up to enroll himself in a life drawing class in Chicago, where he discovers the beauty of applying rigor and rules to his work, how to break down pictures into the geometry of circles and squares, planes and angles. “He measured proportions and improved,” writes Eggers. “He grew more confident with each pass on his drawing, and realized … that much of the rightness of the drawing, of any drawing, came through time and diligence and discernment.”

He meets his slightly older schoolmate Olympia, one of Eggers’ most beguiling creations, when she implores him to scrawl scatological bathroom graffiti on a playground structure in Old-English typography. Unlike Cricket, Olympia is earnest and sincere about her art in the way that only a young person untainted by cynicism can be. She claims to inhabit the soul of Albert Camus, and flings around aphorisms about art that fly over Cricket’s head. She is an aesthete, someone who likes to go to the race track just to revel in the colors on display there. She wants to create an art scene in their little world. “You know all the great art movements have friends at their core, right?,” she tells Cricket. “A lot of time they’re jammed together by some critics and the artists reject the name and the association. But think about Patti Smith and Sam Shepard. Did you know they dated for a while?”

Cricket is beguiled by her, and Olympia in turn is taken in by Cricket’s talent. When the local library pulls a few of Cricket’s semi-nude life drawing portraits down for fear of offending their patrons, Olympia becomes his advocate and champion. In contrast to Cricket, who skates along with no end plan, Olympia is a committed careerist, an artist who insists on a captive audience to justify her work. She wants to earn money as an artist; Cricket just wants to be left alone. This push and pull between the two frame Eggers’ novel across the six decades of his narrative.

One of many joys of “Contrapposto” is observing Cricket’s artistic awakening via the mentors who guide him into his artistic consciousness. Marcus Carpenter, a wizened sage in battered work boots (one imagines him as the art world analogue to the late novelist Jim Harrison), is the moral conscience of the novel, fighting the good fight for personal expression and railing against the “new, paradoxical tyranny wherein those without technical skill terrorize those who possess it.” Carpenter plucks Cricket from arts college and its meaningless pontificating to his “atelier in the corn,” a ramshackle Victorian where Cricket learns how to transmute what he sees with color and light. “The talented have talent,” Carpenter tells Cricket during one of his endearing rants. “The untalented have theories.”

From there, Cicket’s life is a crooked line. He doesn’t abandon art, but he can’t summon the urge to sell himself or his work, to graft his joy in making things onto the caprices of the marketplace. As Eggers jumps through time, we find Cricket working as an intern in an art gallery, an arid, lifeless space where nothing inspiring can possibly exist. As a young man he works as a ship-breaker in Turkey; in middle-age, we find him in a coastal town in Cambodia, making replicas of great paintings for tourists. Olympia, his elusive love and sporadic muse, flits in and out of his life as she works her way up the tiers of the art world’s ziggurat. She gently berates him for his timidity: “This is how artists have power. We sell work. You’re implying there’s nobility in powerlessness. That’s been an idiotic trope for too long — that participating in the business side of it taints you. Do you know how dumb that is? That artists have to be these fragile little wood nymphs that are too precious to touch the money?”

As “Contrapposto” arrives at its beautiful, life-affirming conclusion, we are left pondering the significance of artistic endeavor in a world that commodifies everything, including our bodies and brains. At a time when even the greatest achievements are debased in a culture that gives equal weight to meretricious novelty, is it even worth the trouble? Eggers’ brilliant novel has the answer: Follow your bliss. In the final analysis, it is all that matters.

Weingarten is the author of “Thirsty: William Mulholland, California Water, and the Real Chinatown.”

An award-winning crime drama that boasts a stellar cast including Sherdian Smith and Stephen Graham has been dubbed as ‘one of the best dramas around’

A gripping and compelling BBC crime series that has been dubbed “one of the best dramas around” is now available to watch online.

Originally airing in 2010, Accused includes 10 individual episodes spread across two series, each following a different character on trial and how they came to be accused.

The first series stars the likes of Christopher Eccleston, Mackenzie Crook, Coronation Street’s Tina O’Brien, Peter Capaldi, and Naomi Harris across six hard-hitting episodes.

It was followed by a second series in 2012, with Sean Bean, Stephen Graham, Olivia Colman, Sheridan Smith, and Anna Maxwell Martin among the stars joining the cast.

Created by Time writer Jimmy McGovern, Accused was a smash hit and bagged a BAFTA TV nomination for Best Drama Series in 2011, with Juliet Stevenson also receiving a nod for her performance in episode three.

Two years later, Olivia Coleman won Best Supporting Actress for her role in series two at the BAFTA TV Awards and also the Royal Television Society Programme Awards, while Sean Bean won Best Actor at the International Emmys.

The gripping anthology series, available to watch on ITVX, also received rave reviews from critics, earning a score of 7.9 out of 10 on IMDb. One viewer praised the show and said, “Blown away. I can’t believe it took me so long to find this series!!!

“This is what happens when top writers and some of Britain’s most impressive actors emotionally involve themselves in making great drama. What a theme! That on paper, through the courts, there is simply a charge and a decision, without the truth behind the whos, whats, whens, and whys. One of the best dramas to date!

Another agreed: “Absolutely outstanding. Can’t recommend this series highly enough. Each episode, bar one, is a separate story, and every one is outstanding, brilliantly acted, and scripted. Stellar cast under brilliant direction- you can’t go wrong. Trust me.”

A third penned: “Very well done. This is a very well-done show and at times difficult to watch because of how real it seems. The performances are incredible, as is the writing.

“You understand these characters in a way that is rare and sometimes disturbing. As I said, this is not easy viewing, but it’s certainly worthwhile.”

Watch all episodes of Accused on ITVX

EXCLUSIVE: The Death in Paradise spin-off star opens up about cast changes in Beyond Paradise

Barbara Flynn thought she had lost her job after one week of filming the Death in Paradise spin-off.

The beloved actress, who portrays Anne Lloyd and has also appeared in Death in Paradise, has offered a glowing tribute to a guest star following their departure from the BBC drama.

The fourth series of Beyond Paradise concluded earlier this year, featuring Anne Lloyd stepping in to prevent Humphrey Goodman (Kris Marshall) from being dismissed from his position. The episode additionally saw Zoe Williams bidding farewell to Shipton Abbott for travels abroad.

New arrival Mr. James Smith (Vincent Franklin) was also exposed by Anne for conducting an affair with a DI from Heston Morley station. Anne, who featured on a repeat broadcast of Love Your Weekend with Alan Titchmarsh today, previously discussed filming alongside Vincent, describing the performer as “funny”.

She told Reach PLC: “We got on incredibly well. He’s a funny man, and we had enormous fun off-screen as well as on. He was a lovely addition and a bit of a mystery, and it’s going to all end in… not tears, but chaos or something.

“And, of course, because Anne decides to get much more involved than that, then there’s a real, there’s a real kind of shift,” reports the Express.

Reflecting on increased collaboration with Kris Marshall’s character, Barbara continued: “Well, they all find it difficult having Anne in the station.

“I mean, Humphrey is as polite as he could be. He was never rude, but he’s so in his head, and so Anne is constantly bemused by him, but at the same time, very fond.”

Kris similarly expressed his appreciation for working with Vincent, who portrayed his adversary, calling him a “genius actor”. During the repeat episode of Love Your Weekend, Anne chatted with Alan about the series and how she finds it “a joy” to go to work.

“It is lovely,” Barbara said, going on to heap praise on the show’s writers, “Tony Jordan and Tim Key are an amazing pair. Death in Paradise has such a huge following around the world, and I think it is just something pleasant.

“I said to Sally (Bretton) once, because most of my scenes are with her, who I absolutely adore, I said, ‘Look, Sal, here we are sitting on a bench on a beach’.

“We are at work, and we were doing yoga on a beach, and it was a complete delight.”

She went on to reveal that she broke her ankle after just one week of filming, which made shooting certain scenes particularly challenging. She added, “The rest of it was filmed of me from wheelchairs and crutches. I thought I’d lost a job after the first week, but they said, ‘No, no Barbara, we will wheel you up and down’.”

Beyond Paradise is available to stream on BBC iPlayer.

THE BECKHAMS appeared to put on a united front after they hit back at Brooklyn’s teams claims that Harper’s visit was “choreographed”.

Harper, who was in the US to see footballer dad David, 51, get a star on the Hollywood Walk of Fame, was seen arriving at Brooklyn’s Beverly Hills pad in a SUV.

The 14-year-old arrived “unannounced” and “left seconds later without seeing him”, according to claims in Page Six.

A spokesperson for Brooklyn and his wife Nicola Peltz hit out at his famous parents, claiming they organised the whole thing – an allegation dismissed by family source as “clearly nonsense”.

In new photos, David and Victoria, 52, were seen out for dinner at Nobu in Malibu amid the ongoing feud with Brooklyn.

The family appeared tense as they headed into the swanky eatery.

READ MORE ON THE BECKHAMS

‘SET UP’

Brooklyn Beckham’s team accuses David & Victoria of choreographing Harper’s visit

JOG ON

Brooklyn Beckham ignores dad David’s Hollywood Walk of Fame with jog in NYC

The fashion designer wore a khaki midi dress and black heels with a pair of oversized glasses, while David opted for a white T-shirt and black jeans.

Victoria and David’s son Romeo, 23, was also present for the dinner, along with his girlfriend Kim Turnbull, 25.

Romeo has stood by his parents throughout the family fallout his brother.

And last night was no different as he attended the meal out, just a day after sister Harper attempted to heal the rift by visiting Brooklyn’s LA home.

Harper was reportedly hand-delivering a letter as she arrived at Brooklyn’s home.

A rep for Brooklyn and Nicola said: “That photographers were in place as the letter was hand delivered says it all – this was choreographed for the cameras.”

But source for the Beckhams hit back today, saying: “This is clearly nonsense and just another untrue and unfair accusation.”

Shortly after news of Harper’s very brief visit, Brooklyn took to social media to reveal that he wasn’t in Los Angeles.

He shared a photo of him jogging in park in New York City.

Yesterday a source told Page Six how the budding chef, married to actress Nicola Peltz, 31, was out of town with his wife.

Earlier this year, David and Victoria Beckham‘s eldest son let rip at his parents in a brutal social media takedown – and said he has no wish to reconcile.

In a scathing statement, Brooklyn told how he grew up with “overwhelming anxiety” having been “controlled” by his parents most of his life.

Since then, understandably, tensions have been high.

This week, Brooklyn snubbed former England footballer David on his special commemoration day.

He gave his speech before unveiling his star and he mentioned his children – but did not name them individually.

“My beautiful children who are the reason I get out of bed in the morning,” he said while choking back tears.

“Kids, I hope you bring my grandchildren here one day and tell them about a boy who dreamed big,” he added.

Later on, David closed down any potential chat about Brooklyn as he insisted the family troubles are a “private matter”.

Brooklyn’s furious tirade on Instagram came amid a bitter family feud which has rumbled on for months.

In his jaw-dropping message earlier this year, he made 12 key accusations towards his loved ones including allegations of “bribery” and family members telling Nicola “she’s not family”.

During his bombshell post, Brooklyn claimed: “I grew up with overwhelming anxiety. For the first time in my life, since stepping away from my family, that anxiety has disappeared.

“I wake up every morning grateful for the life I chose, and have found peace and relief.”

He added: “My parents have controlled narratives in the press about our family.

“The performative social media posts, family events and inauthentic relationships have been a fixture of the life I was born into.”

At the time, he was criticised for “hypocrisy” after Brand Beckham had opened many doors for him in his career.

He also alleged Victoria cancelled making his spouse Nicola’s wedding dress “at the 11th hour” and that his mum then “hijacked” their first dance.

In six blistering posts on his Instagram stories he claimed dad David and mum Victoria have been trying to “endlessly ruin my relationship” with Nicola.

He said: “I do not want to reconcile with my family. I’m not being controlled, I’m standing up for myself for the first time in my life.”

Friends of the Beckhams told The Sun how the pair had been left “floored” by their son’s accusations.

When CBS announced that it planned to outsource the hallowed “Late Show” slot occupied by Stephen Colbert and David Letterman before him to “Comics Unleashed,” the syndicated, low-budget talk show with stand-ups riffing on their routines, many saw politics at play.

But the show’s host and producer, comic-turned-mogul Byron Allen, saw the math. Once a cultural touchstone, late-night television has seen its prominence erode greatly over the years with viewers and advertising dollars shifting away from broadcast TV to streaming.

“I said, ‘Look guys, you’re spending a small fortune on late night,’” recalled Allen, who estimated that the programming was costing the network more than $200 million. He offered it a solution.

His company, the Los Angeles-based Allen Media Group, would pay $15 million for the airtime to run “Comics Unleashed,” which previously aired after “The Late Show,” while keeping most of the advertising time on the program to sell. It was the same time-buy model that propelled his fledgling media empire and made him wealthy many times over.

“Comics Unleashed” drew 1.1 million viewers in its debut in the new time slot last month, down substantially from the 2.7 million Colbert’s show averaged in its final season. Critics chimed in, with one outlet even calling it a “ratings disaster.”

But Allen, typically, was not fazed, saying his show bested the competition in key markets and was more comparable with the same time period last May before Colbert’s post-cancellation victory lap.

“CBS has won big-time because they have zero production costs and now they are saving $55 million a year,” he said in an interview.

Media mogul Byron Allen at his studio on the set of “Comics Unleashed” in Culver City.

(Jason Armond/Los Angeles Times)

A relentlessly driven, shrewd dealmaker and entrepreneur, Allen is used to defying skeptics and seeing opportunity in assets overlooked by others. He was one of the first entertainers to recognize that there was more money to be made in owning your content, rather than just performing it.

Over the last three decades, he has built a multibillion-dollar business, Allen Media Group, which now has 2,000 employees across various media properties.

In addition to creating a trove of accessible, family-friendly programs, he’s taken a number of big, bold swings, buying up distressed assets that now span broadcast, cable, streaming and film distribution.

At times, he appears like a minnow trying to swallow a whale. Although many deals have landed, others, such as his bids for ABC, BET, Paramount Global and Tegna, have not.

“He’s had misses, but that doesn’t stop him from going to bat,” said Lloyd Greif, president and chief executive of Greif & Co., a Los Angeles-based investment bank.

After a major restructuring that began two years ago during which the company laid off staffers and sold off properties, Allen is back with a slew of ambitious acquisitions. In addition to owning CBS’ late-night block, he also took over the 12:35 a.m. slot with his comic game show, “Funny You Should Ask.” He declined to reveal how much he paid for that airtime.

Allen recently snapped up controlling interest in the digital media company BuzzFeed (including HuffPost) for $120 million and bought a 10.7% stake in cable channel Starz for $25 million.

Although Allen’s programming has been dismissed as low-budget, apolitical comedy, and his finances have been questioned by some, he remains undaunted by doubters.

“I like to say I’m a 65-year-old overnight success.” And he remains focused on his mission, even proclaiming he is “building the world’s biggest media company.”

An entrepreneurial streak

Allen was born in Detroit, where his grandparents owned a roller rink where he worked as a floor guard. Being surrounded by a family of factory workers and the legacy of 20th century American industry set the stage for his entrepreneurship. “I didn’t play sports; I played office,” he said.

At age 7, after his parents’ divorce, Allen moved to Los Angeles with his mother, Carolyn Folks. It was the summer of 1968 and they planned a two-week vacation. But Detroit was in flames following the assassination of the Rev. Martin Luther King Jr., and they stayed.

Folks put herself through UCLA and eventually worked her way up at NBC from an intern to a publicist, a move Allen credits with changing the trajectory of their lives. His mother couldn’t afford child care, so Allen often accompanied her at the studio, where he soaked up tapings of “Sanford and Son” and “The Tonight Show.” After Johnny Carson finished filming and the studio was empty, Allen would sit at his desk, mimicking the legendary late-night host.

At 14, he convinced his mother to let him do stand-up at the Comedy Store on Sunset Boulevard.

“There were literally four people and 200 chairs. And I said, ‘I have to figure out how to make these chairs laugh.’”

A writer for Jimmie “J.J.” Walker, who was starring on the groundbreaking Norman Lear hit comedy “Good Times,” caught his act. He hired Allen to write jokes for Walker along with a pair of yet-to-be discovered comics: Jay Leno and David Letterman. Allen earned $25 a joke.

Howie Mandel met Byron Allen when they were both starting out at The Comedy Store.

(Allen Media Group)

“Most people in my business wait for other people to give you an opportunity,” said Howie Mandel, the actor and comic who met Allen when they were starting out at the Comedy Store during this period. “Byron and his mom constantly made their own opportunities.”

In 1979, when Allen was 18, he became the youngest comic to appear on “The Tonight Show.” Like a shot out of a cannon, the performance catapulted his career.

While various offers poured in, Allen chose the NBC prime-time series “Real People” as a host and correspondent. It was an embryonic version of reality TV. Allen traveled around the country showcasing quirky, heartwarming stories. The hit show brought Allen to every pocket of America. It also made him a star, delivering him to the country’s living rooms each week.

He continued to tour, doing stand-up and serving as the opening act for such musicians as Lionel Richie and Dolly Parton, and starred in TV movies.

Allen became a hero to young, Black entertainers who were just starting out. Among them was Eddie Murphy, who has called Allen “one of my first inspirations.”

“He just loves comedians,” said Whitney Cummings, co-creator and executive producer of the hit CBS sitcom “2 Broke Girls.” She recalled crucial career and financial advice Allen gave her after she first appeared as a young comic on “Comics Unleashed.” “It gave me like a true north. It changed my life.”

Whitney Cummings says Allen helped her early in her career.

(Troy Conrad)

As Allen’s success swelled, he said, he realized the industry was what he calls “business show, not show business.”

“You need to know the business side and learn the business side and then you can do as many shows as you want. And I knew that I didn’t want to work for anybody,” he said.

While on “Real People,” he sat in on sales meetings and went to the National Assn. of Television Programming Executives, where he introduced himself to Al Masini, the syndication trailblazer who produced “Entertainment Tonight” and “Star Search.”

“I understand you’re the best. I’m here to learn from you,” Allen said.

In 1989 he began hosting the syndicated “The Byron Allen Show.” Two years later, he created BYCA Television Distribution to take over his talk show’s distribution and syndicate other shows.

But Allen and his new company were soon facing legal and financial issues. A group of former employees and an investor sued, claiming they had not been paid. The dispute forced the company into Chapter 7 bankruptcy.

Allen pressed on. He had absorbed another key lesson.

Learning from Richard Pryor

When he was still hanging out at the Comedy Store, he watched Richard Pryor trying out new material.

Iconic comedian Richard Pryor.

(Bettmann / Bettmann Archive)

“He would bomb night after night for almost three months,” Allen said. “I’ll never forget, he told me, ‘Byron, you’re only as good as you dare to be bad.’ I learned, OK, take risks. It’s about growing and taking chances.”

In 1993, Allen launched CF Entertainment on his dining room table in Los Angeles. The production company, later Entertainment Studios, became the foundation of his media empire. He focused on producing low-cost, syndicated programming, including interview series and court shows. Allen produced and often served as host.

His first show, “Entertainers With Byron Allen,” packaged the five-minute celebrity interviews during hotel press junkets, a conveyor belt of actors promoting their latest projects set up by the studios into an hourlong talk show.

Allen bartered the show for free to TV stations in exchange for a split of the revenues from selling commercials to advertisers. Success was not immediate. He said he received countless rejections at first.

“My house went in and out of foreclosure probably 14 times,” he said. At one point, he said, his telephone service was turned off, forcing him use a pay phone for calls.

But the format established the template for what became Allen’s highly successful business. Forbes has estimated his net worth in the billions. Allen declined to discuss his personal or business finances.

The mogul now owns multiple homes, including a $91.3-million mansion in Aspen, Colo., that was recently featured in the Wall Street Journal.

“A lot of people didn’t take him seriously and saw him as a comedian,” said Joan Robbins, Allen’s first employee, who has stayed on for 32 years as president of talent relations. “I don’t think anybody realized the extraordinary business sense he had.”

Byron Allen gets final touches at his studio on the set of “Comics Unleashed.”

(Jason Armond/Los Angeles Times)

As Allen’s media ambitions have expanded beyond comedy and syndicated talk shows, so has his company. It produces, distributes and sells advertising for 74 television programs (“Mathis Court With Judge Mathis” and “Career Day” among them) as well as owns 13 broadcast stations affiliated with the major networks in 11 markets and several dot-TV cable and digital networks including Cars.TV, Automotive.TV and Comedy.TV.

In 2016, he acquired the Black entertainment platform TheGrio and later purchased the assets of the Black News Channel out of bankruptcy for a reported $11 million, merging its TV assets and carriage deals into TheGrio’s network.

A year earlier, Allen made waves by filing the first of several multibillion-dollar racial discrimination lawsuits to tackle what he called the “trade deficit between Black America and white corporate America.” His case against Comcast for not carrying Allen-owned stations and networks reached the Supreme Court before being settled.

“I feel good about starting that conversation … because we were going in circles and we were definitely suffering from economic genocide,” he said.

In 2018, Allen’s company bought the Weather Channel and the streaming service Local Now for $300 million. His firm also announced it had raised $500 million in credit facilities organized by Deutsche Bank Securities, Jefferies Financial Group, Brightwood Capital Advisors and Comerica Bank to finance production and other acquisitions.

What unites these disparate assets? “We’re directed at where the viewers are,” he said. “That’s where we’ll be.”

But in his tireless push to expand his sprawling company, Allen has made several failed bids for high-profile assets.

In 2023, he offered Disney a reported $10 billion for ABC and some of its cable networks, and the following year bid $30 billion for Paramount Global. He also made plays for Tegna and BET.

None of his offers succeeded, prompting skepticism about his ability to finance such deals. Allen Media Group is wholly owned by the entrepreneur.

Allen dismissed such concerns. “I raised the money to buy the Weather Channel in one day,” he said. “There’s trillions of dollars looking for really good executives and really good deals. I have no problem raising capital.”

The Times viewed multiple letters from private equity firms and banks. Several indicated that Allen had financial backing on the deal to buy BET, and another showed he had $4 billion in funds to back the purchase of Paramount assets.

Over the years, former employees have criticized some of Allen’s employment practices. In 2012 he faced a class-action suit from performers and staffers on “Comics Unleashed” who alleged they were not paid residuals or reimbursed for travel and other expenses. The suit was settled in 2023.

Allen called the suits “frivolous,” saying, “I couldn’t be in business if I actually conducted myself that way.”

Last year, Allen came under fire after announcing sweeping cuts at about two dozen local affiliates that included laying off meteorologists, part of a reorganization to centralize forecasts at the Weather Channel in Atlanta. The move sparked viewer outrage and the plans were reversed.

The controversy came as Allen’s company was retrenching. He sold off about a third of the TV station portfolio for $171 million.

Allen said this was a case of “rightsizing,” paying down debt and investing more in digital. “I sold 10 of my ABC, NBC, CBS and Fox affiliates to Gray [Media] at a great price for us and a great price for them.”

Allen confirmed he is negotiating with lenders over substantial debt payments coming due in the next year, but said he is “highly confident they will get refinanced or extended.”

Shortly after he bought a stake in Starz, Allen announced his intentions to own the cable channel. Starz responded by adopting a poison pill.

“Good luck,” he said. “I still plan to take over Starz, and I will eventually get control of Starz.”

Summer, and all the vacation days and potential travel that implies, is upon us. And whether flying internationally or taking time off at home, you can’t beat a good British crime drama as the ultimate self-soother (especially in summer when the U.K.’s inevitable drizzly city streets and windswept moors can provide at least visual relief from the heat). The genre is varied, the casts inevitably fine and justice almost always prevails. So here are 15 shows, new and old, to watch. (And if that’s not enough, you can find 15 more here.)

‘Young Sherlock’ (Prime Video)

Will we ever tire of reimagining Sherlock Holmes? Not anytime soon, apparently. Created by Matthew Parkhill and developed by Guy Ritchie (who directed two episodes), this version gives us a college-aged Sherlock (Hero Fiennes Tiffin) banished to the role of Oxford University porter by his fed-up older brother, Mycroft (Max Irons), who hopes to put the arrogant young rip on a steadier path. Alas, before you can say “Sir Bucephalus Hodge” (the Oxford bigwig played by Colin Firth), young Sherlock is up to his flat cap in murder and mystery, which he is determined to solve with the aid of his new best bud — wait for it — James Moriarty (Dónal Finn). An over-the-top romp that proves, if nothing else, the near-miraculous elasticity of Arthur Conan Doyle’s iconic creation.

Mark Gatiss stars as Gabriel Book in “Bookish.”

(PBS)

‘Bookish’ (PBS)

Speaking of Holmes, “Sherlock” co-creator and co-star Mark Gatiss is up to it again, this time in the leading role. In post-World War II London, Gabriel Book (Gatiss) runs a secondhand bookshop, above which he and his beloved wife, Trottie (Polly Walker), live. But all is not what it seems, as Jack (Connor Finch), the young orphan ex-con they take under their wing, soon discovers. Gabriel apparently did something so important during the war that he is now the neighborhood’s go-to crime solver (with a letter from Winston Churchill to ensure VIP access). He also has a personal stake in Jack’s reclamation, which gives the series a fascinating and pathos-filled LGBTQ-history subtext.

Rishi Nair as Alphy Kottaram, left, and Robson Green as Geordie Keating in the 11th and final season of “Grantchester.”

(PBS)

‘Grantchester’ (PBS)

The sacred meets the secular in this long-running pairing of a young vicar with a worldly police detective in the titular idyllic Cambridgeshire village during the 1950s and ‘60s. In Seasons 1-4, that vicar is Sidney Chambers (James Norton), a jazz enthusiast plagued by memories of WWII who offers unsolicited insights to gruff and initially ungrateful Det. Inspector Geordie Keating (Robson Green). Friendship inevitably blooms, and when Sidney leaves the scene (and Norton the series) at the end of Season 4, many hearts (including Geordie’s) are broken. But subsequent replacement vicars — Will Davenport (Tom Brittney) in Seasons 5-9 and Alphy Kotteram (Rishi Nair) in Seasons 9-11 — each find their way to Geordie’s side, bringing their own charms, detectival insights and personal woes. The final season premieres June 14.

‘Touching Evil’ (BritBox)

DI Dave Creegan (a young Robson Green) is brought in to help DI Susan Taylor (an even younger Nicola Walker) of the Organized and Serial Crime Unit solve a series of abductions that Creegan comes to believe have been committed by a serial killer. The relationship sticks and the pair goes on to track down all manner of nasty killers with a combination of unconventional techniques and good police work. Green’s Creegan gets top billing, and a deeply resonant personal story, but seeing Walker (who would go on to star in so many fine series, including the terrific crime dramas “River” and “Unforgotten”) play a finely tuned second fiddle is great fun too.

‘Karen Pirie’ (BritBox)

For fans of Scottish crime drama (see also “Case Histories,” “Shetland” and “Dept. Q”), Det. Inspector Karen Pirie (“Outlander’s” Lauren Lyle) is a refreshing historic cases hero. Smart, ambitious and dogged, she is not burdened by a dark past or traumatic pain or the generally dour outlook that plague so many of her peers. Based on the books of Val McDermid, the series is set on the Scottish peninsula of Fife (the first season involves the picturesque town of St. Andrews) and all the gloriously broody scenery that implies. Murder mystery plus vicarious international mini-break.

‘Sister Boniface Mysteries’ (BritBox)

This cheeky spinoff of the iconic “Father Brown” puts a sweet-faced Catholic nun (Lorna Watson) at the center of all manner of murder in the fictional 1960s Cotswolds town of Great Slaughter. Sister Boniface is, of course, not just any nun. Having served as a codebreaker at Bletchley Park during WWII before entering the convent, she holds a PhD in chemistry, which makes her the perfect, if most unlikely, forensic specialist. (She also rides a red Vespa and serves as the convent’s vintner.) Unflappably brilliant and sincere in her vocation, she proves that faith in action can be both serious and great fun to watch.

‘The Bletchley Circle’ (BritBox)

Like Sister Boniface, Susan Grey (Anna Maxwell Martin) served her country as a codebreaker, but she is finding post-WWII life a bit more, well, boring. Forced back into the traditional roles of wife and mother, Susan tries to make do until a series of murders suggests to her a pattern unnoticed by the police. Gathering her former and still formidable colleagues who are also languishing in a sexist world, she creates, for two marvelous seasons, her own private crime unit. (See also, the one-season spinoff, “The Bletchley Circle: San Francisco.”)

‘Sherwood’ (BritBox)

When truculent Gary Jackson (Alun Armstrong) is murdered by an arrow outside his home in Nottinghamshire, near Sherwood Forest, Det. Chief Supt. Ian St. Clair (David Morrissey) is quick to put down any Robin Hood references and look instead at the town’s 30-year-old but still roiling divisions over the U.K.’s 1984-85 miners’ strike. Based on real events, “Sherwood” is both a murder mystery and a contemplation of the damage done by class-based strife and longheld grudges, often based on misinformation. With an incredible cast, including Lesley Manville, Kevin Doyle and Lorraine Ashbourne, it is deeply moving drama that illuminates the personal price of social divisions. Season 3 premieres this year.

Lesley Manville as Susan Ryeland and Timothy McMullan as Atticus Pund in “Magpie Murders.”

(Nick Wall / Eleventh Hour Films / PBS)

‘Magpie Murders’ (PBS)

Season 3 of “Magpie Murders” — titled ”Marble Hall Murders” — is also set to bow this year, so now is a good time to catch up on the previous adaptations of Anthony Horowitz’s Susan Ryeland novels, which both satirize and honor the murder-mystery genre. Ryeland (Lesley Manville) is a book editor whose most famous — and tiresome — author, Alan Conway (Conleth Hill), has just turned in his final murder mystery called “Magpie Murders.” Only the last chapter is missing and Conway has just been found dead at his country home. So it’s up to Ryeland, working with Conway’s literary detective Atticus Pünd (Tim McMullan), to figure out what happened, both in real life and in the book. This mystery-within-a-mystery launches two vivid characters, Ryeland and Pünd, working separately and together to solve crimes, sometimes in two different timelines.

Bill Nighy as headmaster Alan Lockwood, from left, Sharon Small as Det. Sgt. Barbara Havers and Nathaniel Parker as Det. Inspector Thomas Lynley in “The Inspector Lynley Mysteries.”

(Alex Bailey / BBC)

‘The Inspector Lynley Mysteries’ (BritBox)

The many, and voluminous, novels of Elizabeth George are being adapted in “Lynley,” a new series that has its charms. Still, I’m sticking with the older version, which ran from 2001 to 2008. Over six seasons, the unlikely partnership of Det. Inspector Thomas Lynley, eighth earl of Asherton and generally natty guy played by Nathaniel Parker, and his distinctly working-class and perpetually disheveled sergeant, Barbara Havers (Sharon Small), creates a classic odd-couple mix that allows some actual insight into issues of class and gender. But mostly, they make a great detective team, often using their differences to their advantage. The mysteries range far and wide over the U.K., from gritty streets to posh country homes, and 24 90-minute episodes are enough to keep you going all summer long.

Derek Jacobi in the title role of “Cadfael” in 1995.

(ITV)

‘Cadfael’ (BritBox)

Though the oldest series on this list (1994-1998), “Cadfael,” based on the books of Ellis Peters, remains a classic and constant recommendation. The great Derek Jacobi plays the titular 12th century monk who was once a soldier of the Crusades. Now a botanist and apothecary, Cadfael aids the local sheriff in solving all manner of crimes committed in and near Shrewsbury Abbey during England’s 15-year civil war known now as the Anarchy. Though the series does not delve as deeply into the politics of the time as the novels do, it creates an uncertain world in which violence runs rampant. Mercifully, there is a monk who knows his stuff, and if Jacobi isn’t enough reason to watch, the costumes and landscape are pretty great too.

‘No Offence’ (BritBox)

Joanna Scanlan was punk rock long before her turn in “Riot Women,” especially as the wildly frank, slightly raunchy, take-no-prisoners DI Viv Deering in this blackly funny depiction of the wayward Friday Street division of the Manchester Police. They are not misfits exactly — Deering knows what she’s doing as does her team, including the ambitious Det. Constable Dinah Kowalski (Elaine Cassidy), the self-doubting Det. Sgt. Joy Freers (Alexandra Roach) and Paul Ritter’s wise-cracking Randolph Miller (OK, maybe he is a misfit) — but they are much more recognizably human than most TV coppers. We know they’ll get their man, but it will take some time, and more than a few hilarious and heartbreaking misfires.

‘Inspector George Gently’ (Acorn TV)

After the murder of his wife, Inspector George Gently (Martin Shaw) leaves London’s Metropolitan police force in search of a more peaceful life in 1960s Northumberland. But as anyone who has seen “Vera” could tell him, Newcastle Upon Tyne is far from peaceful. Still brokenhearted, Gently finds himself solving crimes, and trying to teach his sergeant John Bacchus (Lee Ingleby) to be an honorable man in a time of shifting social mores and political upset.

‘Whitechapel’ (Hulu)

Come for the Jack the Ripper overtones, stay for the always great character actor Phil Davis (“Trying,” “Vera Drake”). He plays old-school Det. Sgt. Ray Miles, a member of an East End squad that is less than thrilled by their new guy, opposite the smooth and ambitious Det. Inspector Joseph Chandler (Rupert Penry-Jones), who shows up to his first crime scene in a tux and doesn’t appear to understand that this is the East End. But with what seems like a Ripper copycat on the loose, everyone needs to put aside their preconceived notions and figure out what’s going on. The series is wildly atmospheric with plenty of gallows humor and more than a few truly loopy plotlines, but great fun with Davis managing, as ever, to sell even the most preposterous scene.

James Norton as Henry Alveston, from left, Matthew Rhys as Darcy and Matthew Goode as Wickham in “Death Comes to Pemberley.”

(Robert Viglasky / PBS)

Death Comes to Pemberley (PBS)

This adaptation of P.D. James’ sequel to “Pride and Prejudice” is a miniseries, and just three episodes long, so this might be a bit of a cheat. But if you haven’t seen it, you should. Elizabeth Darcy (nee Bennet) (Anna Maxwell Martin) and Fitzwilliam Darcy (Matthew Rhys) are happily married and planning a ball. Sure, a couple of servants see a ghost in the woods (where Elizabeth encounters a suspicious woman), and Col. Fitzwilliam (Tom Ward) clearly wants to marry Georgiana (Eleanor Tomlinson), who doesn’t seem too keen, but what of it? Then Elizabeth’s sister Lydia (Jenna Coleman) shows up uninvited and hysterical; her still-caddish husband, George Wickham (Matthew Goode), had an argument with his friend Capt. Denny (Tom Canton), and the two vanished into the woods where shots were subsequently heard. Once again, Mr. Darcy must do what he can to protect the dreaded Wickham, and in doing so all manner of secrets are revealed. Jane Austen meets Agatha Christie with a cast either writer would kill for.

MOLLY-MAE and Tommy Fury have revealed the name of their baby boy after days of online speculation.

The Love Island star gave birth to the couple’s second child weeks ago, with Tommy announcing the boy’s name in last night’s boxing match.

They have decided to name their son Midas.

It was made public as Fury walked to the ring to fight Hall.

The name comes from the Greek legend King Midas of Phrygia, with the story leading to the phrase “midas touch”, which refers to someone with a knack of being successful or profitable.

What do you think of Molly-Mae and Tommy’s name choice? Have your say in our exclusive poll.

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Béla Guttmann may be the most consequential soccer coach you’ve never heard of. But if it weren’t for Guttmann, you may never have heard of Pelé.

And Brazil may never have become the greatest soccer-playing country on Earth.

That’s because Guttmann changed the shape of modern Brazilian soccer — and changed the sport forever — when he imported the revolutionary 4-2-4 system from Hungary to Sao Paulo in 1957. A year later, Brazil won the first of five World Cups and the joga bonito was born.

But what Guttmann brought to Brazil isn’t nearly as interesting as how he got it there. That’s just one of the fascinating stories in “The Beautiful Game … The Untold Story,” the exhibit that will open the Holocaust Museum LA on Sunday at the Goldrich Cultural Center, a $70-million expansion that will double the size of the Pan Pacific Park museum’s campus to 70,000 square feet.

A soccer ball from the holocaust is among the items on display in the exhibit “The Beautiful Game … The Untold Story” at the Holocaust Museum LA.

(Eric Thayer/Los Angeles Times)

The exhibit was unveiled during a private reception on Saturday followed by a free preview day open to the public from 10 a.m. to 5 p.m. The grand public opening will take place in August.

The show’s launch coincides with eight local World Cup matches, which kicked off with the United States’ 4-1 win over Paraguay on Friday at SoFi Stadium, and it shines a light on the important but largely overlooked relationship between Jewish life and the global game, as well as how Jewish innovators like Guttmann shaped the modern rhythm, style and culture of the sport.

“It was in the same intellectual level as jazz, as art and everything modern and progressive,” journalist Allon Sander, who helped curate the exhibit, said of Jewish participation in European soccer in the years before World War II.

“The origin of the game and how it intersects with Jews and the Holocaust and the impact that these Jewish footballers and coaches had to shape the game and help popularize the sport is so fascinating,” added Beth Kean, the museum’s CEO. “And it’s an unknown history.”

Much of that story can be told through Guttmann, who was born in Budapest in the final year of the 19th century and developed into one of the sport’s first Jewish stars, representing Hungary in the 1924 Olympics and playing for nine teams in two countries before retiring to become a coach.

But none of that success mattered when the Hungarian government began introducing anti-Jewish laws in 1938, costing Guttmann his job and nearly his life when he was sent to a Nazi forced-labor camp, where he was tortured. Just days before he believed he would be shipped to Auschwitz, which meant certain death, he escaped alongside Erno Erbstein, another Jewish coach.

Erbstein revolutionized soccer in Italy before dying in 1949, along with the entire Torino team, when their plane crashed into a hilltop outside Turin. Four years ago, he was inducted into the Italian soccer hall of fame. Guttmann, meanwhile, who lost much of his family in the Nazi death camps, would go on to coach for 42 years in 14 countries, winning championships in six of them yet only staying in a single place for more than two years just once.

“He’s running away from his demons,” said Ronen Dorfan, a journalist and sports historian based in Budapest whose research was instrumental in putting the exhibit together. “His father was murdered, his sister was murdered. You never know how you survived in Budapest during the war so he had guilt feelings.”

A jersey worn by player Max Wozniak and a jersey from the 1930s are displayed in an exhibit called “The Beautiful Game … The Untold Story.”

(Eric Thayer/Los Angeles Times)

The exhibit was designed in three sections, the first devoted to the years before World War II, the second is about the Holocaust and the third is the postwar years. And while it details Jewish participation in, and influence on, global soccer, it also challenges the cliché that Jews were intellectuals, artists and laborers but not athletes.

“We are always trying to challenge stereotypes. Stereotypes that we might have about ourselves and even stereotypes that we believe about others,” said Jordanna Gessler, the museum’s vice president of education and exhibits who helped curate the show. “It’s crucial to help people find their place and their voice and really see the unity, the similarities between people.

“This is a story that was lost in time and we’re really bringing it out,” Gessler added. “To really have this conversation and encourage people to explore stories that they might not know.”

One thing people might not know is that in the 1920s and ‘30s, Europe’s best teams weren’t in England, Germany or France, but in Austria and Hungary, where they were led by Jewish players and coaches such as Hugo Meisl, Jozsef Braun, Arpad Weisz, Marton Bukovi, Gusztav Sebes and Gyula Mandi. Weisz and Braun were both killed by the Nazis.

A soccer ball from the 1974 World Cup is displayed at an exhibit called “The Beautiful Game … The Untold Story.”

(Eric Thayer/Los Angeles Times)

The surge of antisemitism and fascism in Germany, Italy and Eastern Europe helped spread the influence of those revolutionary players and coaches around the world.

“With the rise of the Reich and the Holocaust, the coaches ran away,” Dorfan said. “And they ran to every corner of the world, to Brazil, to Argentina, to Portugal [and] provided coaches to Real Madrid, to Barcelona, to Benfica, to Flamengo.

“There isn’t one of these clubs that doesn’t owe its tactical development in the ‘40s and ‘50s to the Jewish coaches, which came primarily from Hungary.”

The primary tactical development was the shift from the popular but rigid 2-3-5 formation, which required immense physical endurance and tactical discipline, to the fluid 4-2-4, which spread the wingers to the touch line and allowed for improvisation and creativity on the attacking end, a formation pioneered in Budapest in the 1920s.

“They developed a more refined game of passing the ball, keeping it on the carpet rather than the English kick and run, and really put thought into tactical thinking,” Dorfan said.

Guttmann, who played or coached for more than two dozen teams in his career — including one, in Romania, that paid him in vegetables during the postwar period — brought the Hungarian approach to Brazil in 1957 when he coached Sao Paulo to a championship. After Vicente Feola, the manager Guttmann replaced at Sao Paulo, took over the national team a year later, he brought the formation with him, popularizing many of the tactics still used in modern soccer, such as fluid defensive wingers, overlapping full backs, the use of a withdrawn striker and an attacking midfield.

The soccer team at the Theresienstadt concentration camp’s flag is displayed in a Holocaust Museum LA exhibit called “The Beautiful Game … The Untold Story.”

(Eric Thayer/Los Angeles Times)

“He is the whole exhibition in one man,” Dorfan said of Guttmann.

“Obviously if we wouldn’t have had the Holocaust, those [coaches] wouldn’t be kept out of Europe, Europe would be much stronger, much more developed. [And] then the development of Brazil or the success of Brazil would be coming much later,” Sander said.

Dorfan spent the better part of two years tracking down many of the more than 100 trophies, uniforms, photos and trinkets that make up “The Beautiful Game” exhibit, a search that required determination, perseverance and more than a little luck. Many of the items, because of their ties to Jewish athletes and teams, were hidden during the war and presumed lost. Others resurfaced only through detective work that sent Dorfan following leads that spanned decades and crossed more than a dozen borders.

That also cost money. So Alan Rothenberg, the man who, as president of the U.S. Soccer Federation, first brought the World Cup to Los Angeles 32 years ago, stepped up to lead an effort that raised more than $1 million to fund the exhibit.

“The story really needs to be told, particularly with what’s going on right now with respect to antisemitism,” Rothenberg said. “It’s really important for people to realize what can happen. And soccer is a great vehicle to draw them in. The one main thing in the museum is bringing schoolkids in.”

The Nazis and their collaborators failed in their attempt to erase the history of Jewish soccer pioneers; in fact, they inadvertently popularized both the men — and women — and their ideas. But the sport also helped other Jews survive a dark period and Kean said that may be the most beautiful and uplifting part of “The Beautiful Game.”

“The main reason we decided to do this exhibition in the first place is because for years so many survivors, when they talk about their life before the war, so many of them talk about soccer. So many of them were passionate and fond of the sport,” she said.

“We knew the exhibit opening was going to coincide with the World Cup. L.A. is going to be on the world stage. This is a great opportunity for the museum to get these stories out.”

DAVID Beckham can’t keep away from his Hollywood Walk of Fame star, proving to be is own biggest fan.

It has been a monumentous week for David, 51, who got honoured with the coveted star on the iconic walkway on Friday.

And it seems that Sir David still can’t get over the exciting honour.

He was seen posing with it the day after it was unveiled at a formal event attended by his famous family.

Crouching down to see it while donning casual clothes, the sporting legend looked proud as punch as she took a selfie with the star.

His wife Victoria then snapped a photo of her husband as he took the selfie, with her sitting several feet away from him.

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She then uploaded the snap to her own Instagram story and wrote: “Spotted. @davidbeckham fan.”

David’s wife Victoria Beckham and three of their children, Harper Seven, Cruz and Romeo were all in attendance at the formal event that saw the iconic star unveiled on Friday.

David’s eldest child Brooklyn failed to show up to the very special event, despite living down the road from the Los Angeles location that the unveiling took place.

As David gave his speech before unveiling the star, he mentioned his children – but did not name them individually.

“My beautiful children who are the reason I get out of bed in the morning,” he said while choking back tears.

“Kids, I hope you bring my grandchildren here one day and tell them about a boy who dreamed big,” he added.

After the star’s unveiling, the Beckham’s youngest child Harper visited eldest sibling Brooklyn’s Los Angeles home.

The 14-year-old, who was in the US to see footballer dad get his star on the Hollywood Walk of Fame, was seen arriving at the plush Beverly Hills pad in a SUV.

According to claims in Page Six, Harper arrived “unannounced” and “left seconds later without seeing him”.

A source then told the publication how the budding chef, married to actress Nicola Peltz, was out of town with his wife.

Earlier this year, David and Victoria Beckham‘s eldest son let rip at his parents in a brutal social media takedown – and said he has no wish to reconcile.

In a scathing statement, Brooklyn told how he grew up with “overwhelming anxiety” having been “controlled” by his parents most of his life.

His initial statement read: “I have been silent for years and made every effort to keep these matters private.

“Unfortunately my parents and their team have continued to go to the press, leaving me with no choice but to speak for myself and tell the truth about only some of the lies that have been printed.

“I do not want to reconcile with my family. I’m not being controlled, I’m standing up for myself for the first time in my life.”

He then went on to recall the night of his wedding and how his mother danced in an “inappropriate way”.

Brooklyn also sent his parents David and Victoria a legal notice warning they can now contact him only via lawyers.

The extraordinary “desist” letter also instructed them not to “tag” him on social media.

The war film, which follows a young British soldier’s journey to the D-Day landings, is being praised by viewers as a more authentic and moving portrayal of WWII than Saving Private Ryan — and it’s currently available to stream in the UK

A “moving” and largely forgotten film from the 1970s depicting the D-Day landings is being hailed as “more realistic” than modern representations of the historic battle.

Overlord (1975) charts the experience of Thomas Beddows (Brian Stirner), a young British serviceman from his enlistment into the East Yorkshire Regiment, through initial training and ultimate participation in the Allies’ landmark amphibious invasion of German-held Normandy in June 1944 (codenamed Operation Overlord).

The picture, directed and co-written by Stuart Cooper, blends authentic archive material of the momentous military operation with sequences of Tom reflecting on his own death and the horrors awaiting him.

Screenrant writer Tommy Lethbridge observed that while it lacks the brutal, visceral intensity of the D-Day scenes featured in Steven Spielberg’s groundbreaking 1998 picture Saving Private Ryan, Overlord ultimately provides a more “authentic” depiction of the clash between Allied and German troops.

This, he argued, stems from Overlord’s deployment of archival footage, combined with the incorporation of “extensive detail from real soldiers’ diaries, clips from British Army training missions”, and seized German material, all of which grant the work “unrivalled authenticity”.

Fans have flocked to IMDb to lavish praise on the lesser-known war epic, with one saying: “The archival footage which makes up much of the film’s most stunning imagery is meticulously chosen and edited.

“It frequently becomes Tom’s dreams and visions of the War as it unfolds, and for the viewer, it is a vision of what WWII was, seen from both German and British sides.”, reports the Express.

“Cooper so masterfully situates Tom, an everyman, in visions of the surrounding war, that by the end of this surprisingly short, yet incredibly rich film, the magnitude of the toll the war took on the individuals fighting it becomes overwhelmingly moving.”

Another added: “If you watched Saving Private Ryan, go and see this film too. It’s totally different, but it deals with the personal feelings of a private much better, no battle scenes, just the perfect backdrop about a normal soldier going off to war, knowing what will happen.”

A third described it as “not your average war film”, noting: “There’s very little in the way of dramatised battle scenes as it shows one soldier’s path to one of the most important, pivotal battles of all time: his farewells with family, his journey to his unit, his training, his preparation for Overlord.

“No heroics, no jingoism, just the reality of what soldiers go through in becoming soldiers and how they handle the fact that eventually they’ll need to use this training in deadly earnest.”

A fourth viewer said: “It’s a sad tale, one of the forgotten men in a conflict long ago, but its universality still stands strong.”

Overlord, which carries a 15 certificate, is available to buy or rent on both Amazon Prime and Apple TV.

MOLLY-Mae Hague and Tommy Fury have finally revealed the unusual name they have picked for their newborn son.

The couple announced the arrival of their second child on Wednesday evening, sharing a black-and-white family photo alongside the caption: “…and then there were four.”

Influencer Molly, 27, had previously hinted that fans would “hate” the baby’s name.

Tommy finally revealed their son’s name – Midas – during his boxing match with Eddie Hall on Saturday night, sporting it on his jacket in gold writing while walking out to the song Midas Touch.

Tommy also had the name Midas on his black shorts as another tribute to his newborn son.

Molly-Mae was in the audience to support Tommy, despite the fact the match was delayed and didn’t get underway until close to midnight.

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The choice follows the naming of their daughter Bambi, which sparked criticism online due to its unconventional nature.

In April, Molly revealed the shortlisted baby names she’d ruled out and said their newborn was going to have a distinctive moniker.

She said in a vlog post: “In my opinion, you get one opportunity to name your child something that is going to make them be remembered by,” she said.

“There was so much controversy around Bambi’s name but, thank God, because I wanted to give Bambi a name people are going to remember and that no one else in her classroom was going to have.

“What I’m so triggered by, in my class, there were three Mollys and we were all best friends…

“I really think it’s an opportunity for you to set your kid apart. I think there’ll appreciate it, it’s a conversation starter.”

Giving an indication of the sorts of names she’d been considering, Molly said: “I have loads of girls names I love. I think boys names are a lot harder. I really really love, we won’t be using this, but I do love the name Bunny.

“I actually loved the girl name Goldie, but I feel Goldie now is too used. Goldie was always a top contender for me, even with Bambi.”

Continuing the metallic theme, Silver and Sylvie also made the list.

She continued: “I also love the name Junie for a boy. Junior, TJ — Tommy Junior. It’s not gonna be a Tommy Junior.”

Molly and Tommy shared the birth news yesterday.

Boxer Tommy, Molly and Bambi all gathered around the babe as they lay sleeping on a hospital bed.

Stunning Molly was still in her hospital gown in the picture but she looked utterly overjoyed, beaming down at the baby.

She captioned the post: “…. and then there were 4.”

Molly and Tommy revealed they were set to become parents for a second time in February, when the star was already six months along.

Announcing the news with a sweet video, the star shared a clip of her daughter Bambi with a “big sister” jumper on.

In the black and white montage of clips, Molly-Mae’s bump was seen for the first time as she giggled in the mirror while Tommy placed a supportive hand on her stomach.

She captioned the post: “Soon to be four”.

The pregnancy news came after Tommy and Molly-Mae rekindled their relationship following a shock split in summer 2024.

There was a time in the beginning of Sublime’s recent revival when Jakob Nowell, the son of the band’s late singer Bradley Nowell, saw himself simply as a good son trying to help his adoptive uncles — drummer Bud Gaugh and bassist Eric Wilson — restart his dad’s iconic Long Beach trio. The goal wasn’t to take the place of his frontman father who died of an overdose in 1996. “I’ll never look at it as my band. Sublime is my dad’s band, and I’m helping out, that’s all,” he told The Times in 2024. Luckily, he was wrong.

The journey of finding his own voice through his father’s sly, shambolic poetry and reggae rock anthems, along with his determination on the road with Gaugh and Wilson through a barrage of festivals and tour dates helped him eventually step into his own as a songwriter and Gen Z rock star. It’s all been done with the mission to preserving his dad’s legacy and having fun while doing it. Now it feels as natural as the trio sitting together on the waterfront in LBC’s shoreline marina within earshot of the bellowing horn of the Queen Mary earlier this year as they were finishing the recording of “Until the Sun Explodes,” the first album under the Sublime moniker in 30 years.

Just like the band’s original recipe of shoving punk, dub reggae, hip-hop and ska into a blender, the new songs dutifully stick to the formula along with Jakob’s soulful caterwauls that sound scarily similar to his dad. But what emerges from the 21-song tracklist is the evolution of a trademark sound that gives a nod to the past while standing strong on its own, just like Jakob, despite coming to the interview on crutches while healing from a performance-related knee injury. The band members chatted with The Times about recapturing the effortless essence of their immortal beach-ready sound and looking forward to a second chance to chase an endless summer.

This interview was edited for length and clarity

It’s kind of a rare thing for all three of you guys to be in one place at the same time. What was it like working in the studio together to finish the new album?

Bud Gaugh: Magical. Things are just coming together. We showed up, Jake had an idea for another song, and he sent us a little demo and said “Hey, this is what I’ve been thinking about.” And then we get down to the studio [in San Pedro], and he’s like, “Oh yeah, so I had another idea,” and kind of changed it. We jumped in there [and by the end of our sessions, we had written] brand new songs to the list of songs that we already had.

The band’s revival has been a long time in the making. I remember when you guys had your first show together, a surprise gig a couple years ago as part of a benefit show for the Bad Brains frontman H.R. Do you feel you’ve come a long way since then?

Eric Wilson: I never thought the chemistry would be like it was with Bradley.

Jakob Nowell: Especially now that we’ve been playing together this long, the chemistry is very much there. We’re just comfortable and having fun. Jamming together is the best. We get in there to do a take for a song, and I’m always like “Let’s just do like three more!” It’s just that much fun, and that’s how it feels playing live too.

When did the idea for creating a new album come about?

Gaugh: It was pretty much just while we were playing shows, At first, the idea was that we were getting together to do this benefit for H.R. [at Teragram Ballroom in December 2023]. We went from “How’s this going to work?” and then [after the show] it was like, “Wow, this is something special. We should definitely go out and play some more shows, and get this music out there and get the opportunity to bring the music to the people in the purest form that we possibly could.” As we’re doing that, it’s like we’re seeing the reaction in the fans, and we were feeling it emotionally. We realized this is going to be bigger than we ever thought. That’s when we really decided where it was going to go.

Jakob Nowell, right, once thought Sublime was only his late father’s band; now, fronting the Long Beach trio, he’s leading a new chapter that still honors Bradley Nowell’s legacy.

(Allen J. Schaben / Los Angeles Times)

Were any of the songs on the new album mined from previously unreleased material or did you start fresh?

Nowell: There was that song we did with Stick Figure [“Feel Like That”], so I think that kind of inspired us. [We realized] “Oh s—, there really is some meat on the bone.” And then I had found some old recordings of stuff that were just like jams without even like vocals or whatever. Then it became just this thing during sound check or maybe in the middle of sets, we’d just start jamming these random progressions and stuff, and it kind of just evolved from there naturally.

The new songs that I’ve heard fit right in the vein of what people love about Sublime. What was it like putting some of those new songs in the setlist as you were building them?

Nowell: It was like magic. We were joking yesterday that sometimes we’ll play a new song for the first time just randomly and I’d see people try mouthing the lyrics and stuff and I’ll say “you’ve never even heard this before! I know you haven’t. We don’t even really know what the hell we’re saying.”

Gaugh: You frontin’! [Laughs]

Nowell: But [the new material] sounded like it was supposed to be there, so it was kind of a rad little test in a lot of ways. We almost don’t even have to think about it. That’s always going to be the guiding goal of any band trying to make fun music that’s relatable.

Wilson: What if you’re Slayer? That’s not true if you’re Slayer.

Jakob, it seems like you’ve gotten a lot more comfortable in the frontman role since joining the band. What’s it like just taking the lead, not just for the sake of your dad, but for the fans?

Nowell: Oh, dude, it’s the best. I don’t even have to think about it. We really feel like this is — we’re a band, you know?

Gaugh: It’s [Jakob’s] band too. Now it’s our band. It’s us.

Nowell: It feels like that whenever we’re hanging out, just doing stuff, or at the studio or at these shows. So, this upcoming year feels like a really rad adventure. We got all these different eras [of fans] — people who were in their 50s when [Sublime’s] first stuff dropped, who are still alive, and then their kids and their grandkids and great grandkids. Everybody finds a piece of the discography they can relate to. That’s what is most exciting. It’s not just one or two songs, people sing along to everything.

I was at Warped Tour in Long Beach last year when you guys played and —

Nowell: That was my favorite set!

To me that felt like it encapsulated what you were talking about with the multigenerational groups of fans that have enjoyed you guys and associate you with Long Beach.

Gaugh: It was like a homecoming for me. I remembered playing the Chili Cook off, you know, right over there in the same area [as Warped Tour], and it was just bringing me back 30 years. It’s so meaningful to be in our backyard playing our music again, right there. This is where it all started. It’s come full circle.

Nowell: It was like playing at a local bar in a cool way. I had this huge group of people up front, they were just talking and shouting and saying stuff, like f–ing with us and joking around. I was like “Damn this is great!”

How about you, Eric? How’d you feel playing Warped?

Wilson: [Mumbles] It was f–ing awesome.

Now that you’ve played all these festival shows, from Coachella to No Values, you’ve got your own festival going on. Can you talk a little bit about Sublime Fest and your Sublime Reef Madness Cruise and how you came up with it?

Nowell: We could put on a bunch of the bands we love, and some of our boys, like Vandals, and make it our own vibe.

Gaugh: You walk around Coachella and there’s so many different elements there. Wouldn’t it be neat if we could make like all this like a Long Beach element, a Sublime element. Looking at this thing, it’s like “Oh wow. So we can actually get some of our friends and set up like a tattoo booth, and have our idea of art and everything out there, and mix it all together — food, art, music — bringing all these different elements, and friends of ours that play music. We get to decide who’s going to share the stage with us, so it’s really neat. It’s like planning a high school party or something like that.

Nowell: The biggest backyard party ever seen.

You guys always had your own sound going on, what’s it like to see that the fans still want it?

Wilson: It took a lotta years to catch on, but it did.

Nowell: Yeah, the kids really want that, like ‘90s, Y2K kind of vibe. That was the last era of like cool authenticity and stuff. You can see it when young people make stuff to look retro … when things get so high fidelity, we’re almost losing a little element, so I think these festivals kind of seek to bring some of that back in a way that everybody can get into.

With “Until the Sun Explodes,” Sublime’s first album in three decades, Jakob Nowell, Bud Gaugh and Eric Wilson rediscover their studio chemistry, jamming new songs that feel instantly familiar onstage.

(Allen J. Schaben / Los Angeles Times)

You guys also have the timeless iconography of the Sublime sun logo. The title of the album is “Until the Sun Explodes.” Does that title have any particular meaning to you?

Nowell: It’s almost just another way of saying “forever,” like “Oh baby I’m gonna love you till the sun blows up.” That’s gonna happen in billions of years, if at all. The fact that [Sublime’s] lasted this long and has this many fans is evidence to me that we wanna be here forever. I think that’s what everybody wants for themselves.

Jake, you’ve taken steps to advance your own aspirations and music with your label, Sunburnt Records, how does that fit into where Sublime is right now?

I was inspired by the whole Skunk Records thing [Sublime’s first label], Evan Zinger with [his lifestyle brand] SRH, and just all the local brands I grew up with when I was a kid. So just trying to do a cool, chill local thing that has that vibe of putting on small shows and kind of getting to use this new notoriety to be like, man, I have so many friends in these small bands like Strange Case and Eight Ball, and other bands up and down Southern California. Let’s put on shows and sneak them on a Sunburnt Stage at [Sublime Fest] and if people really like that Sublime sound here’s a bunch of kids who are carrying the torch like Slightly Stoopid did when they started out. Mike Watt always said “start your own band!” So the more we can inspire people to do that and be some small part of that, it’s a dream come true.

Do you feel like this version of Sublime is something Brad would be proud of?

Gaugh: We all kind of brought our own element to the music orignally. So we just kind of followed that recipe. Jake’s his own person, he’s got his own influences, and we just kind of stick with that idea. Jake brings in his feelings, and Eric brings in his and we sat there and recorded this song, and then as we were recording it, we’re coming up with ideas. It’s like, “Oh wait, we should do this here, slow that down there, stop here,” it’s all a conglomeration of ideas, everyone does their part, brings in their own spices and we mix it in a pot like gumbo.

In this week’s episode of The Envelope podcast, Riz Ahmed talks about drawing on his own experience for “Bait,” his Prime Video series about a British Muslim actor whose life is upended when he’s rumored to be the next James Bond.

Kelvin Washington: Hello, everyone, and welcome to the next episode of The Envelope. Kelvin Washington, Yvonne Villarreal, we have Mark Olsen. And Mark, I’ll stay with you for a second. You had a chance to speak with Riz Ahmed, who is the creator and the star of “Bait,” which centers around the idea of who could be the next James Bond. So then, dang it, I’m asking you two the same question: Who could be, should be the next James Bond? Is there somebody or somebodies that you’ve thought about for a while and said, “Well, that would fit, that could work”?

Mark Olsen: It was recently announced that they have begun the casting process to replace Daniel Craig in the beloved and long-running James Bond franchise. And there have already been at least one sort of confirmed person, the actor Tom Francis, auditioned. But then there’s a lot of other names being thrown around, like Callum Turner, Jacob Elordi, Aaron Taylor-Johnson. Kind of everybody about that age bracket you could think of. You know, it’s funny, in the last movie, “No Time to Die,” Lashana Lynch was given the number 007, so she was not James Bond, but she was 007. And I always thought, actually, in the last couple of movies, that Léa Seydoux would make a perfect [00 agent] — she’s cool, she feels kind of dangerous. She would have seemed to me like a great person for that kind of role. But then also, that’s obviously not James Bond. So who knows who it could be. Yvonne, what do you think? Do you have anybody in mind?

Yvonne Villarreal: Can it be a toss-up between you two? How would you fare?

Olsen: I don’t know if I’d pass basic training.

Washington: They have doubles, OK? They got stunt doubles and CGI and AI for all of that and for you, OK.

Villarreal: It’d be like the Leslie Nielsen version.

Washington So it’d be like 007 with a question mark: 007?

Villarreal: More seriously — not that I don’t take you two seriously as candidates — I would throw my enthusiasm around Jonathan Bailey or Damson Idris.

Washington: I’m gonna one-up your Idris and just go [with] the obvious, Idris Elba. It’s been sitting there for the last 15 years or so.

Villarreal: That’s why I didn’t [say that], because I’m like, “It’s been sitting there and they still haven’t.”

Washington: But sometimes it just makes sense. Sometimes it’s just sitting smacking you in the face, or shooting you with a silent 9mm — whatever he uses, James Bond. It just makes sense, and to be honest, it’s one of those, he’s probably passing [on the role] because you wanna have a franchise you can hold on to for 20 years with a particular actor, give or take, and he seems like he’d be probably too senior for that at a certain point. The podcast, the conversation behind what really happened there is going to be fascinating because, to your point, it just seems like the momentum was building for it and it didn’t happen. So it would be interesting to hear what actually comes out of that. But those are my are my guesses right there.

All right, Mark, you had a chance to speak with Riz Ahmed, obviously the creator and the star of “Bait.” Fascinating to me, just the concept of the show as a whole.

Olsen: Riz Ahmed is someone who, he’s so thoughtful about his own career, but also his place in the world. And so he does such a great job with this show and taking this idea of like, “Could an actor like Riz Ahmed, could he be James Bond? Should he be James Bond? Why not?” And so the show is just so thoughtful and finds all these really inventive ways of exploring that idea. He’s playing a little-known actor who it becomes public that he’s auditioned for the role and that throws his whole life into tumult both within the industry, with sort of like online hate towards him, but then also with his own family. And the show is also meant to be kind of a real love letter to the South Asian communities of London. Riz in the conversation talks about how they went out of their way to shoot in parts of London that you don’t normally see. So the show, it’s just so inventive and fun in a lot of really terrific ways.

Washington: Well, let’s hear more of your conversation with Riz now.

Riz Ahmed.

(Christina House / Los Angeles Times)

Mark Olsen: On the show, you play an actor who auditions for the part of James Bond. It leaks to the press, and then his whole world turns upside down. For you, is the premise of the show predicated on the idea that someone like you would never get that part, or is it that, of course you should get that? Which end of the telescope are you looking at it from?

Riz Ahmed: Kind of neither, really. The premise of the show was something a bit more emotional than that. The James Bond thing came right at the end, to be honest, of the creative process. Really, the heart of the show is the idea of auditioning. James Bond really serves as a symbol in the show, a symbol of aspiration, pinnacle of achievement in this industry and also of alpha masculinity and all this kind of stuff. And so it’s really the idea of trying to be that guy, which on some level, we’re all trying to be this kind of preferred version of ourselves, right? We’re all performing. We’re actually all always auditioning. So it’s about that feeling, [which] I think extends outside this industry. We’re doing that on LinkedIn or social media, on this podcast right now. We’re performing a version of ourselves. When actually the true version of ourselves is kind of messy, chaotic and vulnerable. So it’s that distance between the public and private self that I was really interested in, and James Bond just served as an aspirational symbol of that public way that you would love to be seen.

Olsen: But Bond, because of the specific cultural baggage that comes with that franchise, did you feel like it fit thematically with what you were trying to do?

Ahmed: Oh, perfectly. It was a godsend. It was like one of those moments where it’s like, “OK, so we want to do something about, like, aspiring to be anything but yourself. We want to do something about feeling like life is one big audition, but we need something that encapsulates success and cultural acceptance.” And it was like … Of course: Bond. And because the process of making this show was one of pulling so much from my own personal life, there was a moment or two when my name was mentioned in that conversation. I mean, along with, you know, everyone and their dog. But it was an interesting kind of thought experiment, it was an interesting, as I said, kind of vessel to place all of the themes into. And so when that idea came about, it was like, “This is perfect. We can talk about everything we want to talk about using this symbol.” We’re like, “OK, now how are we gonna get it?” And everyone told us Barbara Broccoli would never let us use it. Rightly so, she was very protective of this IP. But I wrote her a letter, sat down with her, showed her the scripts and she understood. She understood that it’s not really about Bond. It’s a show about self-love, and she really kind of vibed with that. Shout out Barbara Broccoli, thank you for letting us use Bond exactly how we wanted to.

Olsen: You recently hosted the new “SNL UK” and in your monologue, you made this joke that you don’t just play intense roles, that there’s this image of you that it’s all that you do. Did you purposely want to make “Bait” as a way to break you out of that perception?

Ahmed: It wasn’t that careerist and calculating, to be honest. I was just trying to make something that was authentically me. And I think the people who know me know that I’m a lover of comedy. My first rap song was a comedy rap song. I got banned on British radio back in the day because it was a quite an acerbic kind of satire. And actually it’s funny because I think that’s an American perception of me. In the UK, nine times out of 10, when I get stopped is for a British comedy I did called “Four Lions.” Which is like a kind of cult classic British movie. It’s a very British comedy. That’s like me, that’s like how I am in real life. And so when I wanted to make my own show, it just stands to reason it would be a reflection of my taste. So the overall frame was comedy, but I kind of have quite a maximalist sensibility. I want to have my cake and eat it. So I also wanted it to be a spy thriller and a family drama and quite surreal and psychological thriller and all of these elements kind of put together, but the frame of it all, I would say, is comedy. And yet it was really actually important to us that we tried to defy genre and defy categorization in that way.

Olsen: Did you feel like this was a role that, like, nobody was going to give you, like you had to write this for yourself?

Ahmed: It wasn’t so much out of a kind of frustration or a desire to create work for myself or break out of a pigeonhole or anything like that. Honestly, I just tried to make something as honest and authentic and vulnerable as possible, if that doesn’t sound too eye-rolly. I guess I reached a point in my life as a creative where I realized, actually, performance isn’t about putting on the mask, it’s about taking it off. It’s about sharing with the world who you are, sharing your privacy and your insanity. And if you do that, people will connect with it because it’s honest. And if you name your pain and your craziness, there’s something healing in that for yourself and others. I had kind of gotten to that place in my life. And so I wanted to kind of follow that through to a place that felt quite scary and pull on the most personal aspects of my own neuroses and my life and my neighborhood that I grew up in — so many locations are literally where I’ve grown up. So many moments in the show I pulled very directly from my life experience. My character has a panic attack at the end of Episode 1 at this particular music venue in North London. I had a panic attack in that venue in North London when I was supporting Wu-Tang Clan. My character is approached by MI5 and MI6. They say, “Hey, you’re a rising actor, do you wanna work with us, help with messaging?” That happened to me specifically once I started to become a bit more well known. There’s just so many things that kind of came from that place, and it was all based on this idea of like, “If I wanna make a show about a character who needs to learn how to take off the mask, then I need to do that as well.” And we kind of had a mantra in the room, which was like, “If it feels scary and it’s true, do it.” And there were times when I didn’t want to do it, definitely times when I wanted to kind of hide, but I just increasingly have this feeling that if you can offer up a part of yourself, then that’s one of the most liberating things you can do as an artist. And also for an audience, it just feels honest. That’s where you can connect most with people, if you’re willing to share that vulnerability.

Olsen: What was the writing process of the show like for you? Was there a moment where you had like a whiteboard with a list of awkward things that had happened to you?

Ahmed: That whiteboard would be very, very big, very, very large. Let’s say we’ve got a lot left in the tank if we ever do another season. The writing process was a learning curve for me, never having been in an American writers’ room system before. Hugely grateful to my co-showrunner, Ben Karlin, who’s got himself a really eclectic background. He’s one of the founding writers of the Onion, the satirical website. He has this track record, “The Daily Show With Jon Stewart” and “The Colbert Report,” but also “Modern Family.” And so I wanted someone who had that eclectic background, and we had a writers’ room that was similarly very eclectic. We had stand-up comedians. We had novelists. We had playwrights. We had experienced TV writers. We had U.S. [people], we had UK people. I just knew that I wanted this to feel quite eclectic, and as I say, kind of genre-bending. And so I wanted that breadth. So actually the writing process for this was like, “How do we make this feel as chaotic and messy and unpredictable as possible?” That requires a crazy amount of craft. And there were a lot of late nights, there was a lot of hair being pulled out. And it was, I think, one of the most intense periods, more so than the shoot, even. It was just trying to figure out what this show was. And I came to this realization, which is, Shah Latif, my character, is having an identity crisis. He’s trying to work out who he is. So it stands to reason the show should also be trying to work out what it is. The show needs to be having an identity crisis. So then we gave up on this mission of trying to make it feel coherent and consistent. And we said, “Of course, he’s an actor trying to work out who he is. Every episode should be a different genre. We should have our James Bond-goes-to-the-gala-in-a-tux episode. We should to have our Bollywood-proper episode. We should have our Linklater walk and talk. We should have our Greengrass does a spy thriller.” So we really deliberately and really defiantly tried to embrace the identity crisis of the character in how we told the story. And when we did that, everything fell into place. We would stop trying to straitjacket this into something more predictable.

Olsen: And what was it like for you to be filling this role of not just actor but also writer, producer, showrunner? How did you feel about taking on all those roles?

Ahmed: I felt scared. I felt out of my depth. I felt like I needed the help of people much smarter than me. Luckily, I had that help. And more than that help, their patience. I continually said, “No, we’ve got to go back and do it again. We’ve got to rewrite that episode. We’ve gotta redo this whole section,” as it felt so personal to me. Not just because it’s my personal experiences, but because there’s a world that hasn’t quite been put on screen before in this show, and I felt a tremendous sense of responsibility and emotional connection to that world and these characters. So at times it felt overwhelming. ButI’m of this philosophy that usually when you’re making something, you kind of end up feeling how the character is feeling. The character feels out of his depth, feels overwhelmed, feels like he does not quite know what he’s doing, it stands to reason I should feel like that. If I really feel like I’ve got it all worked out and I’m in control, we’re doing something wrong. So as far as possible, I tried to remind myself that that was a sign of almost being in touch with the material. At least that’s how I tried to talk myself off the ledge, man.

Olsen: Can you just talk to me a little bit about the title? As I understand it, “Bait” is UK slang?

Ahmed: The title actually has many different layers to it. I always say this is a show that’s hard to sum up in a sentence, but it’s really easy to sum up in one word, and that word is bait, because it has like five or six different meanings. So one key meaning is British slang. It means really blatant and in your face. So if you’re blowing up someone’s spot, you’re baiting them up. You’re being really kind of, “Look at me, look at me,” you’re being bait. So that speaks to Shah Latif, the character, and his attention seeking. But bait also means, online, trolling. It also means, in Urdu, your loyalty or your allegiance. It also mean in Arabic, in Hebrew, home. And it also, in literal meaning, it’s something used as part of a trap, which speaks to the spy thriller element to the show. So all these different layers to the word bait correspond to a different layer of show, correspond to each different episode. That’s exploring that meaning. And I wish I could tell you we had this all worked out upfront, but we struggled with the title for so long and it kind of like hiccuped itself up into the ether in a late-night kind of hair-pulling session. We realized, “Oh, my God, that’s it. That’s exactly what it should be.” So yeah, the title I think encapsulates how we’re trying to explore these different genres and all the different narrative threads in the show.

Olsen: All the things that your character of Shah Latif is going through trying to move forward in his career as an actor, remaining true to his community and his sense of self, how much of those are your own issues? Are there things that you feel like you’re on the other side of now? Are those things that you’re sort of constantly trying to figure out for yourself?

Ahmed: Of course, like this idea of searching for your identity in a world that either commodifies it or punishes it, that’s something I relate to. But I also kind of feel like that’s something we all relate to. There’s a lot of me in Shah Latif, but I actually think there’s a lot of Shah Latif in all of us. This idea of feeling as though you’re not enough. This idea of trying to cultivate a public version of yourself because you’re ashamed of the private version of your self. I think that’s such a universal feeling right now in this performative culture that we live in. We all wanna be looked at, but we don’t wanna be seen. And somebody once told me that the distance between your public and private self is the amount of shame that you carry. I think it’s true, more or less. I’m not saying you shouldn’t have a private life and some things shouldn’t be kept private. It probably should. But in a kind of deeper sense, I think there’s a truth in that. So I wanted to make a comedy in this playground of shame because it’s something that I can relate to, but I just had a sense that this is a very universal feeling.

Olsen: How much of these are issues or things you were going through in your career maybe five years ago, 10 years ago? What are the the sort of top-line things that you feel like you’re struggling with now?

Ahmed: This is where it becomes a full-blown therapy session. I would say that there was a period of time when I was just really desperate to be in the room. And now I’m in a place where I’m really excited to try and build my own room. And that, in a way, is a journey that the character goes on. I think it’s a journey that I’ve gone on, and the show, in a way, is a culmination of that journey. You know, it was just such a privilege to be able to create a playground and bring together this kind of ensemble. I don’t think there’s ever quite been a brown ensemble like this on screen before and [to] showcase all that talent and create that sense of family and specificity. And yeah, as I said, kind of build my own room rather than asking for a seat at someone else’s table. So I think that journey is one that I’ve been on and one that, I think, the show is exploring.

Olsen: There are these title cards throughout the series that give you these neighborhoods and locations, and I don’t know London super well, but like, it feels like it’s a very specific version of London. What was the importance of those locations for you?

Ahmed: The shows that I really adore and the ones that really inspired me on this journey are ones that are unapologetically specific. The Holy Trinity in my mind was “Atlanta,” “I May Destroy You” and “Fleabag.” These half-hour shows that are super personal, but also super specific in the world they’re exploring, whether they’re a city like Atlanta or a certain kind of Black London, or a very particular kind of white, middle-class British family in “Fleabag.” And so I wanted that unapologetic specificity. I wanted it to be a love letter to my London. And so I wanted to shout out these neighborhoods that really mean something to me. But more than that, I wanted to give a nod to the spy genre with those title cards. You know, in a Bond movie it says like, “Somewhere in the Caribbean,” you know, “Mexico City.” I wanted do that with Kentish Town, with Brick Lane, with Wembley. I wanted to elevate our daily experience and those neighborhoods to that kind of grand stage and those epic stakes and say, “Actually, this is as magical, as important, as exotic, as thrilling as any of those locations within that kind of genre.” Jordan Peele, when he made “Get Out,” said, “Being Black in America is like living in a horror movie. That’s why I made ‘Get Out.’” I can add this thesis that being brown in the West is like being in a spy thriller. And that’s why we made this. So I wanted those neighborhoods to feel like those chyrons you have in a spy thriller.

Olsen: You’ve often mentioned in the past, it’s a phrase I’m very taken with, “stretching culture,” expanding the idea of what’s possible. And I’m just curious, like, how is that going for you?

Ahmed: There’s the idea that the universe is expanding in all directions at the same time. I feel like that with culture. I feel like things are getting crazier and better at the same time simultaneously at an accelerating pace. You know, that’s kind of how I feel about it. And it’s like our consciousness, right? You get a little bit crazier, even as you get smarter. It’s that kind of feeling. For whatever it’s worth, it may sound pretentious, but I kind of feel it’s important to try and anchor myself in some sense of purpose. And I think that’s the purpose of storytelling, is to kind of constantly expand horizons of who is considered human and what is considered human. And I think for me, at least in this moment in my journey, I want that to be about telling stories that haven’t been told before, portraying worlds and communities and characters that maybe we haven’t been that familiar with.

Olsen: You’ve expressed some frustration recently with the phrase “representation” — that it’s become kind of a hollow gesture. What would you like to see happen moving forward?

Ahmed: Well, I was really proud to be part of the conversation, when we were kind of collectively coining that term, right, going from diversity to representation. But I do think it’s not an end in itself. Like I said, being in the room doesn’t necessarily change anything. It’s what are you allowed to do in that room? Does the room change you, or do you change it? It’s what the show’s exploring. And so at least for me right now, the kind of representation I’m interested in is how authentically we can represent ourselves. Do you know what I mean? Like, do I have to code switch? Do I have put on a mask or do I get to take it off? That to me is, I think, the most exciting kind of knot to unpick right now. And as I said, that’s kind of at the heart of the show.

Olsen: I want to be sure to ask you about some of the other cast on the show, specifically Guz Khan. I feel like I could watch the two of you just driving around in a car together for hours.

Ahmed: I’ll send you the rushes.

Olsen: Did you two have an immediate chemistry?

Ahmed: Can I tell you, the story of me and Guz is its own bizarre bromance. Here’s how I thought I knew Guz. Guz went viral in the UK because he did a joke, kind of like [a] shout-out against Steven Spielberg, right? Because there’s a kind of dinosaur in his “Jurassic Park” reboot that sounds like a racial slur in the UK. I’m just gonna let people check it out for themselves. I’m not gonna say more than that. This is like 10 years ago, something like that. He goes viral, he starts blowing up, people start offering him his own TV show. He DMs me on Twitter and he’s like, “Bro, like, what’s the industry like? Is it like crazy Illuminati vibes?” I was like, “Yes, but the Illuminatis are actually very fun, come and join us.” And just started this banter with him, and he goes on his journey, becomes one of the most beloved comedians. I’m on set with him, shooting “Bait.” And he goes, “You don’t remember the first time we met and we spoke, do you?” I said, “I remember, you DM’d me like a crazy guy.” And he was like, “No, no. We met 20 years ago.” I was like, “What are you talking about?” I was doing a spoken-word performance in the Midlands in the UK. No one was coming to see it. It was a completely empty club. So I take it upon myself to go outside and start flyering passers-by. Down a dark alley, I see guys with some of his friends engaged in a business of some sort. His legal team have asked me to refer to it as “selling tulips.” They were selling tulips, OK? I go down to this alleyway, I hand him flyers, him and his friends. I’m like, “How are you doing there, gentlemen? Would you like to come and see me do some spoken word?” They’re like, “What the hell? We’re in their mid-tulip transaction.” He decides out of the kindness of his heart with his boys to come and watch me do spoken word at Coventry Student Union. And he said it was the first time he saw someone that looked like him doing something like that in a space like that. … Twenty years later, we’re on set together. We met when we were like 20 years old and I’d completely forgotten him, but he remembered. We have like a brotherhood and a friendship in real life. I wrote that role for him. He is someone who constantly reminds me that as an artist, your art can only be as expansive as your heart is. He’s just that guy on set you want to be around. He brings the positive energy, he reminds you this is meant to be fun. And actually, when you’re having fun, you’re feeling relaxed and loose, you do great work. He’s evidence of that. And so I just have so much love for him, but I would only say that because he’s not here. If he was here, I would be making fun of him aggressively.

Olsen: Now that to me seems like this notion of stretching culture, where you’ve had this influence on him that you kind of didn’t even know.

Ahmed: I would love it if he would say that publicly, rather than me having to tell the world that I’m responsible for his career. Thank you for saying it. If we can clip that bit, that would be great. Send it to Guz, yeah? Email that to him. I don’t know, man. I kind of feel like we’re all in this relay race, right, and we’re just fumbling the ball to one another and trying to move forward. And one of the great things about this show was being in community in that way. I think for some people, particularly in the UK, they’re familiar with the world that’s portrayed here. I think, for a lot of Americans, they’re really not. Interestingly, I’ve had a lot of Latin viewers and Latina viewers approach me saying, “That’s my family, I get that, I know what that is.” And so I don’t know, I just think it’s kind of exciting. One of the things I love most about storytelling on screen is we can bring people into worlds they haven’t been to before. That’s what I remember falling in love with when I watched “Goodfellas” and “Mean Streets” in that world that Scorsese creates. So yeah, I think as long as we’re all leaning into this specificity, doing so in community, maybe that’s how we get to stretch culture.

Olsen: In a recent profile on you, the actor Sandra Hüller, who you work with on the upcoming movie “Digger,” she said that one of the things she most admires about you is that you take yourself and your work seriously. And I think I feel the same way, like there’s an intentionality to what you do, there’s a sense of purpose to what do.

Ahmed: It sounds so boring, though, when you put it like that. Doesn’t it? I hope I don’t take myself too seriously. I guess I take it seriously that I’ve got this opportunity to try and tell stories, and I believe that they matter. But I actually hope I don’t take myself seriously, very seriously. I hope this show in a way is evidence of that. That’s Exhibit A. Yeah, you got Hüller’s testimony here and then you got “Bait” over here. Who do you believe?

Olsen: Is there anything you can tell me about “Digger”? It’s a new film from Alejandro González Iñárritu, it stars Tom Cruise, and it has quickly become, I think, one of the most anticipated movies of the year. People are very excited about it. And there’s very little known about it, is there anything you can say about it?

Ahmed: It’s funny you should say that because I spoke to Alejandro today and he gave me permission to reveal something exclusively to you on this podcast. No, not really. There’s nothing. Absolutely nothing. I actually might get assassinated for just saying that even.

Olsen: And have you seen it?

Ahmed: I feel like anything I say, there’s like a bomb on my leg that might go off. I’ll say this, it was a really unique and incredible experience. Alejandro is this crazy genius and being around that level of — Tom Cruise as well — they’re all obsessive perfectionists that have just like endless rocket fuel in them. It’s just inspiring to be around, honestly. Really, really unique. I don’t know if I’ll ever have an experience like that again.

Olsen: And then you were nominated for an Academy Award for acting for “Sound of Metal,” but you won an Academy Award for the short film “The Long Goodbye” that was based on an album that you put out. As you’ve become busier in your acting career, has it become difficult for you to still make time for your music?

Ahmed: The projects that I have out right now with “Hamlet” and “Bait” are things that I’ve built. I’m not saying this is the way, necessarily, it’ll always be, but at least over the last several years, acting is like this cherry on the cake. I’m spending all this time building these other things and writing these things and producing these things. And in a way making music is part of that. It’s like being in a writers’ room, with musicians in a studio. And one of the things that I’ve enjoyed most is bringing the development of stories together with the development of albums. “The Long Goodbye” short film is an example of that. But I mean, I joke about this to my friends, one of the main reasons I made “Bait” as a TV show is so that I could make a soundtrack. You know, I grew up on Bollywood where, in a way, the movie was just an excuse for the music. I partly almost feel the same way here. We’ve got a soundtrack for “Bait,” which I’m very, very proud of. And it’s a reflection, I think again, of that eclectic, multicultural London that I know and love. It pulls together artists from across the diaspora, from the Bay Area and the U.S. through to India and Pakistan, from Trinidad and Bangladesh and Karachi and London. And it’s something that I think kind of speaks to the genre-bendiness of the show as well. So in a weird way, as I’m developing more of my own stories, I’m able to incorporate music into that process more.

Olsen: But are you making music of your own?

Ahmed: Yeah, I’ve got two tracks on that soundtrack, for example. Yeah, one of them with a rapper who I’ve been a huge fan of for many, many years. So that was a lovely moment. His name is Casisdead, makes very kind of cinematic UK hip-hop. So I’ve got two tracks on that and yeah, I mean, watch this space. Hopefully I’ll have some more time.

Olsen: And then, this is a moment in the show, and I know it’s something that’s happened in the past, but are you still ever mistaken for Dev Patel?

Ahmed: Honestly, every time I’m mistaken for Dev Patel, I’ll take the flowers. I’m such a fan of his, personally, and he’s actually also from that very particular pocket of Northwest London where I’m from, that this show is almost a love letter to. That pocket of London has produced, if I may humbly put myself in that bracket, myself, but also Dev Patel, Jay Paul, Jay Sean and Jay Shetty. All the Jays. All of them. So I’m very proud of Dev and everything he’s doing, and he’s telling his own stories as well in a way that I find really inspiring.

Beneath azure skies and fluffy white clouds, three giggling toddlers and their mothers arrive at a candy-colored water park in the town of CoComelon.

It’s the opening of “Fast Little Fishy Splash Water Park Adventure,” a three-minute episode of “CoComelon,” the popular children’s cartoon series that is perhaps as controversial as it is appealing to young children.

Moonbug Entertainment, the studio behind “CoComelon,” says the episode, which debuted on YouTube in May, is the result of a years-long collaboration with a UCLA think tank.

In an unconventional move for a privately held entertainment company, the studio released its child development guidelines on its website Tuesday. Moonbug’s head of communications Bao Nguyen said the company began to incorporate findings from the research into its creative process in late 2025.

“It’s a great example of what we’ve been trying to do,” said Rich Hickey, Moonbug’s chief creative officer, referring to the episode. “Inclusive storytelling and learning through play — they’re all evident within that episode.”

Nina and Cody, ecstatic about visiting their neighborhood splash pad, run through fountains and hop in kiddie pools, but protagonist JJ is a bit more skeptical.

With support from his friends and his mother, who offers him goggles and a pair of orange arm floaties, JJ decides to face his fears. He joins his friends under a tipping bucket, and — spoiler alert — realizes that he actually enjoys playing in water. (“I just love to swim, swim, swim,” he sings.)

The guidelines, called the “Moonbug Learning Principles Framework,” are informed by academic research and advise that Moonbug shows should help young viewers navigate “real life moments” and “model positive relationships among children and their friends and caregivers.”

Other priorities include creating shows that encourage kids to learn through play, as this helps them develop their imagination and creativity, and featuring characters from diverse backgrounds (“CoComelon’s” Nina is Mexican American, Cece is Korean American and Cody is Black) — and giving said characters depth — across all Moonbug shows.

“We’re a digital-first company and we realized that there may be some … hesitation to sharing online content with children,” Hickey said. “This is really to keep building on the trust we think we’ve built.”

“CoComelon” is Moonbug’s flagship preschool show, and the series’ origins date back to 2006 when commercial director Jay Jeon shared a YouTube video of an alphabet cartoon set to music. The videos began to revolve around toddler JJ in 2017.

By 2020, “CoComelon” was the most-watched YouTube channel in the world, averaging 3.5 billion monthly views. That year, the show made its streaming debut on Netflix — where it broke ratings records — and was bought by London-based entertainment company Moonbug.

Moonbug was then acquired by Candle Media, a firm led by ex-Disney execs Kevin Mayer and Tom Staggs, for a reported $3 billion. Disney+ has since obtained the exclusive streaming rights to “CoCoMelon.”

“CoComelon‘s” image woes aren’t new. The series has developed a reputation for keeping children glued to the screen, as seen in videos that have gone viral on social media of babies bolting to the television upon hearing the marimba theme song.

In 2020, a Guardian columnist wrote that “CoComelon” was “like crack” for a preschool child. A New York Times report in 2022 gave the public more insight into Moonbug’s audience development process, which included testing “CoComelon” videos on young children to make its shows as attention-grabbing as possible.

The program has been a hot topic on parenting forums. The exchange typically goes something like this: Someone asks if “CoComelon” is “bad” and a gaggle of parents weigh in. “Very overstimulating,” said a user in one Reddit thread. “It moves too fast for kids’ brains to process, which can cause a speech delay,” wrote another.

Asked to respond to the criticism, Hickey said he believes Moonbug makes “age-appropriate content” and produces a range of videos to cater to different moments throughout a child’s day, from slow bedtime videos to faster-paced ones meant to encourage movement, Hickey said.

In 2023, Moonbug recruited the Center for Scholars and Storytellers, a think tank at UCLA that bridges entertainment media and psychology research, to “create the best possible product” for its audience, Hickey said.

The center was tasked with analyzing Moonbug’s content and crafting the learning principles to guide the studio’s future preschool programming, which also includes the “Blippi” and “Little Angel” franchises.

A scene from Moonbug Entertainment’s “Blippi’s Job Show.”

(Jessica Perez / Moonbug)

Moonbug also asked the center to determine if there was research showing that audiovisual content could be addicting for preschoolers, said Yalda T. Uhls, an assistant adjunct professor of psychology at UCLA and executive director of the Center for Scholars and Storytellers. Uhls said the center’s review of existing peer-reviewed research found that there was no such evidence.

And despite oft-repeated claims that long-form content is better for kids than short-form content, “there isn’t really actually any evidence for that,” Uhls said. “It’s very inconclusive.”

The center found that preschool children struggle to learn as much from content with frequent cuts, though consuming it doesn’t impact their attention span negatively, Uhls said.

As such, the principles the center crafted recommend Moonbug “minimize distractions and tangential songs or storylines” when characters are navigating real-life situations to make sure it does not interfere with preschool children’s ability to learn lessons.

The center interviewed members of Moonbug’s creative teams and formed an advisory council of academic experts in child development to evaluate a selection of Moonbug’s episodes, assess the quality of socio-emotional learning and find areas for improvement, Uhls said.

“The content certainly had a lot of places where it could improve, but it wasn’t horrible,” Uhls said. “There was some learning within the episodes. … It wasn’t all good, it wasn’t all bad.”

Uhls said she recalled several instances of episodes modeling unsafe behavior, but declined to share specifics.

The center plans to continue to work with Moonbug to integrate child development research much earlier in the studio’s creative process and aid with the integration of the learning principles into its content slate, Uhls said.

“The Listeners,” which premieres Friday on Starz, began unusually as a story written by Jordan Tannahill as the basis of Missy Mazzoli‘s 2022 opera, also called “The Listeners” (libretto by Royce Vavrek), which he turned into a 2021 novel, which became a 2024 BBC television series, also written by Tannahill. Starz has cut its original four episodes into five, which means that they end in odd places, but given its controlled, glacial pace, shorter might be better.

Tannahill’s inspiration is an unexplained phenomenon reported in the real world — though exactly how real it is is open to interpretation — generally called “the hum,” where people experience a low but persistent background noise inaudible to others. (It isn’t tinnitus, or any diagnosable medical condition.) One such sufferer is Claire (Rebecca Hall), a high school literature teacher with a husband, Paul (Prasanna Puwanarajah) and a teenage daughter, Ashley (Mia Tharia), with whom she gets along well. We begin on an up note, Claire and Ashley singing along to Richard and Linda Thompson’s “I Want to See the Bright Lights Tonight” as they drive to school (she also has Nick Drake on her phone). And then the 1970s British folk rock gives way to a less pleasant auditory landscape, as the hum appears, bringing on headaches and nosebleeds and affecting her concentration and mood, her work and family.

Any condition can be isolating from those who don’t share it, and Claire gets some relief when she’s approached by a student, Kyle (Ollie West), who also hears it. They go investigating possible sources of the sound — wind turbines, a radio telescope — and wind up eventually at something like a support group for hum-hearers run by Omar (Amr Waked) and Jo (Gayle Rankin). There is some sketchiness in their past, including a changed identity, and they like to keep the group on a tight rein, but the breathing exercises and visualizations seem pretty standard, and more benign than, say Scientology, and the suggestion that one may tame an affliction by embracing it is pretty reasonable. Claire’s mistake here is not to get a signed parental permission slip, as it were, or enlist a chaperone, and her growing closeness with Kyle (not romantic, not sexual we are assured) will cause them trouble, cost Claire her job and mess up her marriage. She makes some insufficiently careful decisions, but those around her tend to overreact. This is very much a story about listening and not listening.

Directed by Janicza Bravo and photographed with great intention by Jody Lee Lipes, it has the studied look and tempo of a 20th-century art film. (It is always great to look at.) I was reminded of Antonioni’s “Red Desert” and Bergman’s “Persona,” psychological studies of women going to pieces, but also, thematically, of Spielberg’s “Close Encounters of the Third Kind,” with its characters driven to what looks like madness by private bulletins from the ether, pushing them away from family and toward others who are getting the same message. No aliens here — not a spoiler — though I might have liked that ending more than this, which in its own way seems to drop from space.

You can look for metaphors and social comment here — there are references to conspiracy theories and industrial noise pollution and such — but it seems to me to operate most effectively as a beautifully rendered mood piece and character study, and, certainly in the case of Hall, whose story this is, a platform for some exquisitely subtle acting.

AS the biggest heart-throb on the planet, Harry Styles is the last person you’d expect to be ringing in New Year alone.

But the pop superstar has revealed how he “shut out” the world after struggling to live up to the “perfect” image his fans projected on to him.

In a candid new interview, the 32-year-old, who kicked off a record-breaking 12-night run at Wembley Stadium on Friday, said: “I was supposed to spend New Year’s with friends and I landed in Italy and felt really unwell, so I just went home.

“And I woke up and I had this kind of beautiful New Year’s by myself. I was feeling the most alone I’d felt in a really long time, but in the most beautiful way. I didn’t feel lonely at all.”

Harry added that he became a “hermit” after his last tour ended in 2023.

Flying into Italy for a “quiet time”, he rejected all invites as he ­recuperated from the gruelling Love On Tour series of live shows.

READ MORE ON HARRY STYLES

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SPEAKING OUT

Moment Harry Styles speaks out over tour backlash after fans vent over stage

In an interview on the Q With Tom Power podcast, Harry said: “I was just feeling myself kind of shut out from a lot of the world.

“I think I got used to saying no to invites from friends and maybe a weekend trip or a birthday party or something.

“I just got used to, you know, if I have a week at home, I don’t want to go somewhere else for three days. I just want to stay home.

“And when I got to Italy and was in this quiet place, I felt like, ‘OK, if I’m going to spend all this time out here and I’m going to keep ­saying no to everything, I’m just going to shut myself off from the world’.”

Harry released his latest album — Kiss All The Time. Disco Occasionally — in March and it immediately shot to No1 in the charts.

And his Together, Together tour is currently making history at London’s Wembley.

But the As It Was singer admits that he struggled to live up to his fans’ adoring perception of him, saying: “I had this relationship with my own image where people had this projected version of me that was perfect.

“And when the standard you hold yourself to is this perfect person, it’s impossible not to feel like you’re falling short.”

He confessed that any criticism could take a devastating toll, saying: “If you don’t feel great about yourself and someone says you’re terrible, it’s like the claw is in and it’s ripping you.

“But if you have a more solid sense of yourself, you can hear those things and it doesn’t destroy you in the same way.”

It is a frank admission from a man who has conquered the world of pop, and America, after spending half his life in the glare of the global spotlight.

Harry was 16 when he stepped on to The X Factor stage in 2010, where music mastermind Simon Cowell grouped him with four other hopefuls to form One Direction.

What followed was global ­hysteria. And as the breakout star of the record-breaking boy band, Harry was propelled from a quiet Cheshire upbringing into a whirlwind of stadium tours and platinum records.

He then defied the odds to build a critically acclaimed solo career, with hits such as Watermelon Sugar, and a £235million fortune, according to the Sunday Times Rich List.

But during his period of isolation in Italy, Harry realised that avoiding the downsides of global fame also meant missing the best parts of life.

He added: “You can sit at home and think it’s hard for me to do these things — people are looking at me, taking pictures. But when you shut out those things that might be negative, you also shut out a ton of ­positive things.

“If you think it’s hard to go to a bar and hang out with friends because people might act a certain way, there are also incredible people you could meet in that bar that you’re shutting out.”

Taking his own advice and stepping back into the world clearly paid off.

It was during this period that Harry met his fiancée, US actress Zoe Kravitz.

The couple, who began dating in late 2025, are reportedly planning a small wedding in London this winter.

Harry also said that he has spent the past two years learning to love himself and accept that ­he can make mistakes.

He said: “I’m still figuring a bunch of stuff out and it’s OK to have a little self-compassion around making mistakes. For a long time, I struggled to admit when I’d made a mistake because the reward when you meet people’s expectations is so loud and shiny.”

Ultimately, Harry believes that taking a step back from the spotlight saved him.

He reflected: “Having time to sit at home and be bored and really look at the emotions I was feeling allowed me to lean into them instead of being afraid of them.

“And it means I’m now in a much healthier place than I was last time I was putting music out.”

Now back on the road, he wants his latest dance-pop record to be less about his personal life and more about his fans’ experiences.

He said: “With this record, I want the listener in the front seat and I’m in the seat behind you.

“It’s not really about me or what clubs I’m going to or who I’m hanging out with — it’s about you having your own experience.”

Ariana risk for musical

RUMOURS are sweeping theatreland that Ariana Grande is set to drop out of musical Sunday In The Park With George.

The singer was due to appear opposite her Wicked co-star Jonathan Bailey at London’s Barbican Centre next summer, but ticket sales have been delayed until autumn.

I’m told that bosses have also met with actresses who could step in to replace Ariana, who last week kicked off her energetic Eternal Sunshine Tour.

A source said: “Ariana has a lot on her plate and there are concerns she is over-subscribed.

“It’s too risky to start flogging tickets until it’s all locked down. It will be a demanding production with eight shows a week.”

In the last few years, Ariana has transformed herself into a fully-fledged actress as Glinda in the Wicked films.

She will appear in the 13th series of American Horror Story and will voice a character in the 2028 animation Oh, The Places You’ll Go!.

Ariana, whose tour includes a ten-night residency at London’s O2 Arena in August, said: “I’m very excited to do this small tour. But I think it might not happen again for a long, long time.”

I hope we do get to see her treading the boards . . . 

Wa-Haye David

DAVID HAYE is on dating site Raya “looking for a third” for a throuple with him and girlfriend Sian Osborne.

The ex-boxer posts with a tux snap: “I’m a selfish p***k, nothing is ever good enough. I always want more, rarely satisfied. But I’m working on it.”

THE Isle of Wight Festival kicks off on Thursday with some surprises in store.

As well as headliners Calvin Harris, The Cure and Lewis Capaldi, chief John Giddings says: “We’ve introduced new areas, the Last Chance Saloon, our country music destination, and new onsite pub Wild Horses.”

John also revealed that Sir Paul McCartney had the craziest rider.

He said: “We had to track down a nail technician to apply acrylic nails to strengthen his fingernails for playing acoustic guitar.

“And Jay Z wanted somewhere private to have dinner with Beyonce, so we ended up hosting them in the Boat Museum and our caterers took care of it.”

This week who would I…

Snog

Marry

Avoid

NOT everyone sees their childhood dream become a reality, but Sian Welby is one of the lucky ones. 

The This Morning and Capital radio presenter has wanted to be in Toy Story since she was ten. 

And Sian says she was so surprised to get the call asking her to be in the new movie that she thought she was being pranked by one of her co-hosts.

In an exclusive interview, the 39-year-old, who voices the Inflatable Flamingo, says: “If you’d told me as a nine or ten-year-old when the very first Toy Story movie came out, that one day I’d have a role in one of the sequels and that I’d be laughing and joking with Tom Hanks, I’d have never believed you.

“If a clairvoyant had predicted it, I’d have said, ‘No way, what a con’.

“I’m from a village in the Midlands with no showbiz connections, without a hope or a prayer of making it in the TV industry so what’s happened to me is just magical.”

Sian and her radio co-host, I’m A Celeb star Jordan North, 36, were talent-spotted by the Disney UK team, who were looking for people to do regional voice cameos.

Jordan plays a Garden Gnome in the film, which will be released in cinemas on Friday.

Sian says: “I honestly thought it was a Capital Radio prank by Jordan and Chris Stark, because we always begin the year telling each other what’s on our bucket list.

“Jordan said he wanted to interview Barack Obama, Chris said he wanted a barbecue with David Beckham and I said I wanted to be a little voice in a Pixar movie.

“Then, in March, I got the call. I was actually a bit angry as I thought, ‘That’s really mean to pretend I’ve got a role in Toy Story as they know it’s my dream’.

“I told my agent the email must be a con but she came back and said, ‘I have double-checked and triple-checked and it’s definitely from Disney’.”

Weeks later Sian, who has presented the flagship breakfast show since 2020 and been a main studio co- host on This Morning since 2024, recorded her voice role.

Then she was given the job of interviewing Tom Hanks, who plays cowboy doll Woody, and Tim Allen — Buzz Lightyear himself — before the film’s premiere last month.

Sian has spoken to many A-list celebrities but giggles as she says: “I grew up watching Tom Hanks in Big and I loved Tim Allen in The Santa Claus.

“These guys are absolute legends and there I was, meeting my heroes.

“I’ve interviewed huge stars like Harrison Ford, and they make you feel on edge the entire time, but Tom and Tim were so nice and warm and giving. They were brilliant.”

And when the duo took to the red carpet, Sian says Oscar-winner Tom treated her like a “full-on co-star”.

She says: “I had chronic imposter syndrome, but he was such a decent man and included us in all the cast photos. He was so welcoming.

“I was in disbelief the whole time and literally felt like a competition winner, but I rem- ember Tom saying to me, ‘You’re in good company, co-star’. We had such a laugh.

“I have to pinch myself most days at the moment. Every week, something else happens where I think, ‘Is this my actual life?’.”

In 2010, Sian, who hails from Newark in Nottinghamshire, would record videos from the New Look store where she worked as a shop assistant to try to get on TV.

One, filmed in the fitting room, was spotted by former Channel 5 boss Richard Desmond and Sian became the station’s lead weather presenter, despite having no experience.

She went on to present Channel 5’s Formula E: Street Racers show about electric car racing before landing a hosting role on Heart FM in 2017.

Instead of feeling over- whelmed when meeting and interviewing high-profile celebrities, Sian has ended up becoming friends with many of them.

Kylie Minogue stayed in touch after they chatted and American actor Chris Pratt even forgave her for giving him an electric shock with a cattle prod.

Sian recalls: “I got on famously with Chris Pratt. There was a scene in the Jurassic Park movie where they use electric shocks on dinosaurs, so we found these mini electric shock things and did a quiz where if you got an answer wrong, you electrocuted each other.

“Chris was like, ‘Sian, I can’t electrocute you’, but I said, ‘You can, because I’m going to get you’, then I gave him a proper zap like you’d feel from a TENS machine when you’re giving birth, and he said, ‘I kind of liked that’, so we carried on.”

Another famous name who got on board with Sian’s sense of mischief was Mariah Carey, who she interviewed a year ago.

Sian says: “I bonded with her and we talked about the fact that she gets followed around with this Mariah Carey lighting rig and gets a lot of jip for it.

“She has this special Mariah Carey light — like a floor light, that lights upwards.

“I said to her, ‘You get a lot of heat for being a diva, but I bet you carry these lights because you’ve had some interviews where you were lit so badly and you felt gross’, and she was, like, ‘I’ve had hundreds’. She was basically saying that she did so many interviews where she felt like she looked awful because of the lighting that she was, like, ‘I’m solving this problem and I’m bringing my own’, and I really applauded it.

“I thought she was actually a very nice person — very sweet. And I don’t know how to phrase this without swearing, but I think that she is just a diva, not a d*ck.

“She’s not awful for the sake of it or difficult for the sake of it, but she’s definitely got high standards.”

The one celebrity who almost made unflappable Sian lose her cool was Bridgerton, Wicked and Jurassic World Rebirth actor Jonathan Bailey, who was voted People Magazine’s Sexiest Man Alive last year.

Sian says: “Whether you’re boy, girl or beast, there is something about that man. He’s gay, but absolutely everyone fancied him and he’s got the most charming charisma you could ever ask for.

“I was interviewing him for Capital last summer and when he entered the room, I just got lost. I was hanging off every word he said.

“And what was really lovely, too, was that even though he’s been in these massive movies and might have gone all Hollywood, he was just really nice and down to earth.”

Sian has presented at both the Baftas and Brits. Last weekend, she hosted the Capital’s Summertime Ball at Wembley Stadium, which was headlined by acts including Fatboy Slim, Calvin Harris, Raye and former One Direction singer Niall Horan.

But she says her biggest challenge to date is juggling her career with being a mum to her two-year-old daughter, Ruby.

Sian is also planning her wedding to Heart Breakfast producer Jake Beckett, 33.

She says: “I try not to think too much about how I do it, or I’ll have a nervous breakdown.

“There have been moments when I have been physically and emotionally exhausted, and I’ve burst out crying.

“I’ve literally been running from a Timothee Chalamet interview to sort out an explosive nappy at home.”

When she and Jake get married next year, little Ruby will play a key part in the ceremony.

Sian says: “It’s great Ruby will be old enough to be involved. Jake is my biggest fan and I’m his, and we make such a good team. He’s definitely the groomzilla — he’s a man that plans an outfit three months in advance.

“But because my job is so stressful, I’m way more relaxed. I’ve learned to just go with the flow.”

First though, Sian will be celebrating her 40th birthday this September.

Laughing, she says: “It feels like being a proper grown-up and I feel like I have been masquerading as an adult for years. When I look back at my sliding doors moments in my career, it was probably a bit of skill versus luck versus chance versus opportunity.

“As for the future, I still want to be doing radio.

“I’d love to do a big Saturday night TV show and maybe I could co-star in a comedy movie with Tom Hanks.

“We could be the new comedy double act no one saw coming.”

In “The Little Sister,” a teenager tries to hide in plain sight. Although everyone comments on her beauty, 17-year-old Fatima prefers to tie her hair back in a ponytail, her bright eyes buried underneath a black ball cap, her body concealed in unflattering tracksuits. As played by first-timer Nadia Melliti, who won the actress award at last year’s Cannes Film Festival, Fatima is encased in a kind of armor, an outward manifestation of her hesitancy to share her sexual orientation with a world she knows will judge her. This graceful film chronicles the process by which Fatima gradually sheds that reserve.

Adapted from Fatima Daas’ 2020 novel “The Last One,” a work of autofiction detailing the French author’s own coming out, “The Little Sister” takes place over five seasons, observing Fatima as she completes grade school and begins attending university. An adept athlete with a tomboyish demeanor, Fatima disappears inside a friend group consisting of immature teen boys who treat her like one of the guys, including her in their raunchy sex talk. Fatima has a boyfriend, Adel (Ahmed Kheloufi), but the relationship feels vestigial, with him constantly complaining that she should dress more feminine. Just as upsetting to Adel: When he tells Fatima that he loves her, she doesn’t respond in kind.

This is the third feature from French actor and director Hafsia Herzi, who herself made an acting splash in 2007’s “The Secret of the Grain.” For “The Little Sister,” Herzi takes a cue from Daas’ book, mapping Fatima’s inner journey as a modest series of tentative steps forward and anxious steps back. Fatima has reason to be skittish. The youngest of three daughters in a loving French-Algerian Muslim family, she conceals any hint of her sexuality from her mother, father and sisters, anticipating their disapproval. Many queer coming-of-age movies position the character’s awakening as an act of defiance. For Fatima, a practicing Muslim who adores her parents, the stakes feel even higher. Melliti’s performance is one of silent suffering, illustrating Fatima’s deference to her family.

But as much as she smothers her desires, others can sense them. An altercation between her friends and a gay male classmate gets heated once the classmate accuses her of being closeted, which she vehemently (and violently) denies. Soon after, Fatima secretly joins a dating app, hoping to understand her queerness. Her first date, in which she uses a fake name, focuses on learning terminology such as scissoring, and she approaches each new encounter like a fact-finding mission. Melliti keeps the shy teenager’s reactions neutral, Fatima’s stoicism a strategy to prevent exposing her inexperience.

That’s when she meets Ji-Na (Park Ji-min, the free spirit of “Return to Seoul”), a physician’s assistant who practically glows in her presence, overwhelming Fatima’s cautious nature. Ji-Na and Fatima’s love story — its blossoming, its unraveling, its possible resuscitation — forms the heart of “The Little Sister,” which also received the Queer Palm at Cannes. Melliti and Park exude a frisky, lusty chemistry, but it’s a film as much about self-love, as Fatima seeks to become comfortable in her own skin. Ji-Na is open and confident while Fatima remains closed off, her shame about her sexuality deeply culturally ingrained. When our main character starts lowering her defenses, however, that’s when she’s hit by a jolt that sends her spiraling.

Herzi’s slender, unassuming drama contains few emotional crescendos or grand insights, although this is the rare French film to center on a Muslim lesbian as its protagonist. “The Little Sister” grows even more intriguing once the love affair runs aground, forcing Fatima to flounder in her heartache. Her odyssey will lead to threesomes and lonely nights, but also difficult questions regarding how her faith and family may leave her perpetually adrift.

“The Little Sister” leaves much unspoken, which is fitting for a protagonist who rarely expresses herself in clear terms. Even during a touching scene near the finale, as Fatima sits at the dinner table weeping, upset over the end of a relationship, she and her mother (Amina Ben Mohamed) engage in a nimble dance: Fatima doesn’t feel safe explaining precisely why she’s crying, while her supportive mom chooses her words carefully, perhaps knowing more about her daughter than she dares say aloud. But despite the character’s rocky path to sexual awakening, Herzi navigates toward a hopeful conclusion that doesn’t peddle phony uplift. Fatima still faces a community that won’t embrace her true self. But maybe, at last, she’s willing to be seen.