show

Premiering Sunday at midnight on Adult Swim, a most appropriate and maybe the only possible space, “The Terrors of Jordan Mendoza” is, as its creator describes it in a prologue, “a ‘Twilight Zone’ sketch show,” which is just what I would have said after watching eight of its 13 11-minute episodes, had he not said it first. Emphasizing its Asian bonafides — Mendoza is Filipino American — he adds, “It would be almost racist if you didn’t do it.”

Mendoza, who stars in, directs and, with David Machajewski, writes the show, has said that some of the ideas come from actual dreams — the “terrors” in the titles are nightmares — though if my own dream life is anything to go by, the jokes are more clever and the narratives at once weirder and more cohesive. At various times it recalls the eeriness of David Lynch or the non sequitur logic of Luis Bunuel, and it has something of the flavor of “The Vince Staples Show,” which also went to some strange places in its too-short life.

Sketches, of varying lengths, build a central idea out in every direction, and a little farther than you might expect. We meet a therapist obsessed with Wendy’s. Batman, convinced that he has adult ADHD because an online quiz told him so (“I know a lot of people claim they have ADHD,” he tells Alfred, “but in my case I think I really do … I’m creative but easily overwhelmed, organized but at the same time not”). A dying man (Steve Buscemi) is obsessed with getting his last words right; a prisoner is sentenced to “15 hugs and kisses” from the “nearest judge.” A bank robber holding hostages demands to be “a famous snake … and if you can’t get on board with that then everyone in here is going to die.” In a horror movie pastiche, Mendoza is dogged by middle-aged white men compelled to tell him that their wife is Asian, which does sound like something from personal experience.

Wherever the comedy goes, it’s played straight and with intensity, as is the terror. The show can be genuinely disturbing and genuinely funny. (Two things can be true at once.) There’s also a scene in which Mendoza, playing a character convinced he’s a Harry Potter wizard, runs into a brick wall he thinks he’ll pass through, and, there’s nothing more liable to make me laugh than that, unless it’s someone hitting their head on a low door frame or suddenly falling over for any number of non-fatal reasons.

Mendoza, who is in his mid-30s, has a string of writing and acting credits, including writing for “Dave,” Dave Burd’s comedy about a suburban Jew from Philadelphia who believes himself destined for rap greatness, and parts in Julio Torres’ “Problemista” and “Fantasmas,” which are located in the same hemisphere of alternative comedy. He has the Rolodex of a well-connected person; the guest list is impressively loaded for someone making his first show.

The great Martha Kelly (from “Baskets”) plays a masseuse who exteriorizes her client’s pain, and in another sketch, she’s a woman sitting in on a confirmation class in order to learn where Jesus might be “lodging” when he returns. (She has a plan.) Kate Berlant invites Mendoza to what turns out to be a one-woman poetry slam, held in secret to avoid the Slammers Union (“They’re like the Sopranos, only violent”). Chris Parnell, Randall Park, Wanda Sykes, Thomas Lennon, Clea DuVall, Lake Bell, Toby Huss, Mark Maron, Fred Armisen and Gregg Turkington (from the world of “On Cinema at the Cinema”) all muck in.

You should know from the above whether this might be your sort of thing. (It won’t be everyone’s, but it’s definitely up my dark, crooked alley.) But, really, it’s even better than these descriptions might lead you to guess, elevated by the first-class production, assured performances (Mendoza is himself very good) and everyone’s commitment to whatever bit is up at the time. The devilishness is in the details.

THEY were the cool Brit pop duo that broke onto the music scene in 2007 with a number one album and chart-topping smash hit.

And almost two decades later, the husband-and-wife pair are still releasing new music – though their look is worlds away from their noughties heydey.

The Ting Tings, comprised of married couple Katie White and Jules De Martino have taken to TikTok to share a clip of them singing their brand new song Home.

In the video, rock chick turned boho babe Katie can be seen showing off her impressive vocals, while hubby Jules plays guitar.

They look world’s away from their earlier rock and roll vibe with Katie in particular then known for her heavy eye make-up and platinum blonde Debbie Harry-esque locks.

They wrote over their new video: “Hey, we’re Katie & Jules from a band called The Ting Tings and you might remember us from our song That’s Not My Name.

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“This is us, 18 years on singing Home from our latest album with our daughter. A lot has changed since 2008.”

The caption read: “18 years & 5 albums later… we are back in the studio, song writing and working on our 6th record.”

The iconic band made a shock comeback to the music industry back in January 2024.

In a cute video posted to Instagram, they added the caption: “Where have we been? Here, making the record of our lives. Get ready. J K x”

The scenes showed a blonde-haired toddler strolling around, leading one fan to quiz: “Is that a baby Ting Ting?”

During a chat with the BBC in 2022, they confirmed their happy news – with the tot dubbed “mini Ting” aged one at the time.

Katie admitted: “We never particularly spoke about it.

“We always wanted to keep it quite separate from the music, but it’s quite hard when you have literally a mini person.

“We’ve been together a long time now.”

The Salford-based duo formed in 2007, with their debut album We Started Nothing topping the UK charts just a year later.

Their iconic track That’s Not My Name became a huge success and has been streamed more than 1.1million times.

The group then fine-tuned their material in New York, yet a tour scheduled for three years later was scrapped after Katie suffered a hand injury.

Following their comeback, they went on to release their fifth album Home and are now gearing up for their sixth offering.

When her home burned down in the Eaton fire, artist Susannah Mills felt lost and adrift — but never alone. Her home was part of an Altadena artists collective called JJU, or John Joyce University, named after a beloved carpenter who lived there for 26 years. And although the residents were forced to scatter in the wake of the January 2025 devastation, they remained in contact, looking for ways to support one another through what is still an ongoing process of recovery.

A few months after her loss, Mills was accepted into an artist residency at BKN, a retreat in the northern Stockholm Archipelago, where she expanded her watercolor practice from relatively small works to large scale, and explored installation. Like JJU, BKN prides itself on building community, and while there Mills began talking with BKN curator Anna Viola Hallberg about bringing other L.A. fire survivors to Sweden to experience the same sense of connection and relief Mills was feeling.

Hallberg had already been thinking along those lines and suggested they create another residency to do just that. In the fall of 2025, Mills and Hallberg, with the help of another L.A. artist, Rick Gradone, started an organization named Los Angeles Wildfire Survivors, or L.A.W.S., and raised the funds to send 13 Eaton and Malibu-based artists to BKN for two months.

The result was life-altering for the artists, most of whom were still working to rebuild from the devastating loss — and some of whom had been so occupied with the logistics of recovery that they had not been able to make time to work.

“It creates a network, and people who work together in the residency continue to help each other,” said Hallberg in a recent interview. “So there’s a really true new arts community that lingers beyond the residency.”

It soon became clear to the team behind L.A.W.S. that more needed to be done, and they solicited another round of applications for a residency, set to begin later this month at Pilchuck Glass School in Washington state. Eight Eaton fire survivors have been selected in a competitive process, and plans are in the works to bring another cohort of artists to Sweden next Spring.

“We want to expand this outside of Los Angeles ultimately, because there are fires everywhere and there is climate disaster everywhere,” Mills said, explaining that the group’s mission is growing as changing weather patterns result in escalating cataclysm and displacement of artists globally.

“The media focuses on the disaster really fast, and they don’t understand just how long the recovery takes,” Gradone said in a recent interview. “So this puts some kind of resource in place where people can continue to to get help, especially artists who lose everything that they’ve made, lose their studio spaces and homes. That can’t be recovered in six months.”

L.A.W.S. operates as a not-for-profit and has applied for official nonprofit status, a process that can take some time in California. It is also actively looking for fiscal sponsorship. Up until now the group has relied on its personal connections to raise money to support its artist residencies. Mills’ partner, Brian Huskey, is a comedian and actor who has rallied celebrity friends to auction off small pieces of art on cards in support of L.A.W.S. But there is a need for more help as the group grows.

“Word has really caught on with people who want to have this experience, which I’m really happy about,” said Mills.

I’m arts editor Jessica Gelt, wishing I could turn back time, Cher-like, to an era before the world fast-tracked climate change with its laissez faire approach to global warming. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Bruce Willis, left, talks with director M. Night Shyamalan on the set of the 2000 film “Unbreakable.”

(Frank Masi / Touchstone Pictures)

Unbreakable
M. Night Shyamalan’s 2000 superhero thriller with a twist stars Bruce Willis, Charlayne Woodard, Robin Wright, Samuel L. Jackson and Spencer Treat Clark.
7 p.m. Vidiots, The Eagle, 4884 Eagle Rock Blvd. vidiotsfoundation.org

SATURDAY

“the wheat leaping constantly from the shute,” Marley Freeman (2026). Oil, acrylic on linen, 58 by 54 inches.

(Marley Freeman / Parker Gallery)

Marley Freeman
The artist’s new exhibition of paintings, “worthless serpentine,” takes its title from the writings of Joan Didion.
Opening, 6-8 p.m. Saturday; 11 a.m.-6 p.m., Tuesday–Saturday, through Oct. 31. Parker Gallery, 6700 Melrose Ave. parkergallery.com

SUNDAY

Doyle Lane: Master Of Clay
The first major museum retrospective of the Los Angeles ceramic artist features more than 100 works from the 1950s through the 1980s, from functional pottery to monumental murals, as well as archival documents.
Through Feb 22. The Huntington, 1151 Oxford Road, San Marino. huntington.org

Marie Atoinette
A 20th anniversary screening of the semibiographical period film with a postpunk- and new wave-fueled soundtrack with writer-director Sofia Coppola and star Kirsten Dunst in person. Coppola and photographer Andrew Durham will sign copies of their new book, “Making Marie Antoinette,” at the Academy Museum Store in a separately ticketed event prior the screening.
6:30 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org

TUESDAY

Andrea Bocelli performs live in Vienna on Aug. 22.

(Thomas Kronsteiner / Getty Images)

Andrea Bocelli
The Italian tenor arrives at the Hollywood Bowl for two nights on his Romanza 30th Anniversary World Tour. 8 p.m. Tuesday-Wednesday. Hollywood Bowl, 2301 N. Highland Ave. hollywoodbowl.com

WEDNESDAY

Elliott Hundley
“Book of Sand” is an exhibition of new paintings, sculptures and tapestries focusing on the artist’s “own exuberant internal universe” created through compiling paint, paper cutouts, string, encaustic and other found materials.
Artist led walk–through, 11 a.m.; opening reception, 6-8 p.m.; 10 a.m.-6 p.m. Tuesday-Saturday, through Oct. 24. Regen Projects, 6750 Santa Monica Blvd., Los Angeles. regenprojects.com

The Peterson Show
The world premiere of Janine Nabers’ play about a group of former child stars from a beloved TV show about a Black family come together after a scandal entangles their famous TV father. Directed by Michelle Bossy.
Previews, 8 p.m. Wednesday-Friday, opens, 8 p.m. Saturday (sold out), runs through Oct. 26. Atwater Village Theatre, 3269 Casitas Ave. echotheatercompany.com

THURSDAY

The Case-Book of C. Auguste Dupin
The world premiere of a new play adapted and directed by John Strysik, based on the stories of Edgar Allan Poe.
7:30 p.m. Thursdays-Saturdays, 2 p.m. Sundays, through Oct. 18. Mary Levin Cutler Theatre, 241 S. Moreno Drive, Beverly Hills. theatre40.org

The Ford/Hill Project
A Waterwell Production created by Lee Sunday Evans and Elizabeth Marvel, this documentary theater piece is based on the verbatim Senate testimony of Anita Hill and Christine Blasey Ford during Supreme Court confirmation hearings, 30 years apart. The cast includes Rosemarie DeWitt, Betty Gabriel, Dulé Hill and Jerry O’Connell.
8 p.m. Thursday-Saturday. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org

The SoCal scene

A view of the Lucas Museum of Narrative Art in Los Angeles from a garden.

(Ariana Drehsler / For The Times)

Hey, have you heard? The Lucas Museum of Narrative Arts will open Sept. 22 and began member previews late last week. Just kidding. Of course you have heard, because hot takes currently abound on the new $1-billion museum. Love it or hate it, it’s here to stay, and Team Arts spent the week rolling out a spate of stories explaining how we got here, as well as what you can find in the shiny new 300,000-square-foot Ma Yansong-designed building.

Times film critic Amy Nicholson wrote about what “Star Wars” fans can expect from the new museum and contributed to a piece about 11 must-see things while you’re there. We also commissioned a handy artist-drawn map of the place that should help you navigate the 100,000 square feet of gallery space with its more than 30 discrete galleries arranged by theme. Finally, Times contributor Jane Horowitz wrote two stories: one about whether or not the museum’s disregard for established art hierarchies will upend the art world; and another on how the museum’s epic search for a forever home ended in L.A.’s Exposition Park.

I also wrote about a lawsuit that a contractor filed against the museum claiming unpaid work that shines fresh light on the Museum’s Exposition Park land deal.

Randolph Thompson, Desiree Mee Jung, Adam J. Smith, Nicole Javier and Julanne Chidi Hill in “Pericles” at Boston Court Pasadena.

(Brian Hashimoto)

Times theater critic Charles McNulty spent an evening at Boston Court Pasadena watching Ellen McLaughlin’s modern verse translation of Shakespeare’s “Pericles,” which takes place at a disaster relief center, where anxious evacuees improvise a play to escape their fear of the storm they are fleeing. “It’s hard to allow yourself to fully believe in the incredible turn of events when the prevailing attitude is so emphatically tongue-in-cheek,” McNulty wrote of the West Coast premiere.

McNulty also had lunch in Manhattan with playwright Samuel D. Hunter, who has two plays running in L.A.: “Grangeville,” which McNulty calls “Los Angeles’ most acclaimed theatrical offering of the summer” and has been extended at Ruskin Group Theatre through Sept. 21; and “A Case for the Existence of God,” in a recently opened Rogue Machine production at the Matrix Theater’s Henry Murray Stage. “Drama in Hunter’s hands is built around an encounter. He doesn’t force his characters to jump through hoops,” writes McNulty in a profile. “He listens to them, as they navigate their complicated feelings, closely tracking the way their intersecting paths lead them toward incremental revelation.”

Paintings from the private collection of the late music executive Clive Davis, estimated to fetch more than $35 million, are heading for auction at Christie’s in November.

Culture news

Lucien Smith attends the Hugo Boss Prize 2014 ceremony at Guggenheim Museum in New York City.

(Dimitrios Kambouris)

Lucien Smith, a Los Angeles–born multidisciplinary artist who garnered loads of attention in 2010s art scene, has died at 37.

IAMA Theatre Company is set to launch its ninth annual New Works Festival, which will take place Sept. 14-28 at Atwater Village Theatre, and will feature staged readings of six new plays. Tickets are $18 for each reading and can be found at iamatheatre.com. This year’s festival includes “The Half-Sibling Play” by Agyeiwaa Asante; “All Remaining Assets” by Serena Berman; “The Starters” by Laura Winters; “Betta Mus Come” by Alicia Carroll; “Werewolves” by Liba Vaynberg; and “The Great Florida Python Challenge” by John Lavelle.

Additional tumult is coming for the Smithsonian Institution as secretary Lonnie Bunch announced he will step down from his leadership position. The news comes in the midst of President Trump’s pressure campaign on the organization and his administration’s attempts to alter what Smithsonian museums include in their exhibitions.

— Jessica Gelt

And last but not least

Oh, no! In-N-Out is making tweaks to staples like buns and ketchup!

A MUCH-LOVED family experience that’s one of the world’s largest truck shows will be returning to the UK in just months.

Hot Wheels Monster Trucks Live is returning to the UK in early 2027 – and this time with a new feature.

The show will tour four cities across the UK – Glasgow, London, Manchester and Birmingham.

Yes, Hot Wheels Monster Trucks Live won the Pollstar Family Show of the Year award this year, in the prestigious awards by Pollstar magazine —which reports on global live entertainment and concert industry

Fans can expect “huge trucks, jaw-dropping stunts and an arena transformed by explosions of colour”, according to Family Entertainment Live and Mattel.

The show, called Colour Bash, will have paint splattered trucks that perform different stunts including wheelies, jumps, donuts and even crashes.

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The show begins with one of the trucks, Skelesaurus, taking all the colour away from Monster Truck Island.

Then Rhinomite, Mega Wrex, Tiger Shark, Bone Shaker and Bigfoot have to fight to win back the island and all its colour.

The big twist this year though is that they will be joined by a new truck ally, who will be revealed this autumn.

There will be FMX bikes flying across the arena and a fire-breathing robot as well.

The UK tour dates are as follows:

• The O2, London – January 9 & 10
• OVO Hydro, Glasgow – January 23 & 24
• Utilita Arena, Birmingham – April 10 & 11
• AO Arena, Manchester – April 17 & 18

The shows will have both matinee and evening performances and fans can also book VIP packages and pre-show party packages that allow you to get up close to the trucks.

Tickets go on sale on September 18 at 10am, with prices starting from £25 per person.

And there is a discount available for kids under the age of 13.

Ken Hudgens, CEO, Family Entertainment Live said: “Colour Bash is the most vibrant Hot Wheels Monster Trucks Live experience we’ve ever created.

“We took everything fans love about the show — the massive trucks, the jaw-dropping stunts, the can’t-look-away energy — and supercharged it with colour.

“It’s a brand-new way to experience the action live, and we can’t wait to bring it to families in the UK in 2027.”

Monty Don recently quit Gardener’s World after more than two decades but has now landed something new, teaming up with one of the most famous footwear brands in the country

Monty Don has landed a new job just days after quitting Gardener’s World. The TV star,71, is best known for having fronted the BBC agricultural programme, and on air for more than two decades.

But he stepped down from the position earlier this week, and is already onto pastures new as he is the new face of New Balance shoes, following the launch of the launch of the footwear company’s Flimby Garden in Cumbria.

A spokesperson said: “A permanent garden curated by Bleue Burnham for the people behind the New Balance Made In UK at its factory in Flimby, Cumbria.

“Created as a dedicated space for rest, reflection and connection, the garden brought New Balance’s manufacturing heritage with Burnham’s distinctive creative language and longstanding relationship with the natural world.”

Just days ago, the presenter said the time had come for change and he was ready for his next adventure, but promised his fans that the move does not signal the end of his TV career.

Monty said: “I have decided that the current series of Gardeners’ World is to be my last. I began hosting the programme 23 years ago, first at Berryfields and for the past 16 years here in my own garden, Longmeadow.

“Throughout that time – and around seven hundred programmes – I have had the privilege of sharing my own abiding passion for gardens and gardening with an equally passionate, and often equally knowledgeable audience.

“That connection with millions, not just in Britain but across the world, who share a love of gardens, plants and the natural world is something I have always treasured and which I increasingly believe to be at the heart of a life well lived.

“I have also always relished the craft of programme making and to do so, week in week out, as part of a superlative BBC team has been a deeply rewarding experience. But now is the right time for a change.

“I look forward to continuing to work with and for the BBC on other projects, as well as following new avenues. There are more books to write, more programmes to make. And of course, I will still be gardening, dog by side, here at Longmeadow.”

Born in Germany and raised in England, Monty made his television debut on This Morning in 1989 after his home garden was featured in several publications. After repeat appearances, he got additional TV work on BBC shows Holiday and Tomorrow’s World.

He also began putting his ideas and tips into words, and has published over 25 books since 1990. In 2002, he was recommended by Alan Titchmarsh to replace him as the lead presenter of Gardeners’ World. Monty then became the first self-taught horticulturist presenter in the show’s history.

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It’s been five years since “Call My Agent!,” known in its home country as “Dix pour cent” (“10 percent”), ended with the staff of Paris’ bankrupt ASK talent agency moving en masse toward the exit, as in the closing moments of “The Mary Tyler Moore Show.”

The rich workplace comedy mounted four seasons from 2015 to 2020; the fourth was made without its creator, Fanny Herrero (she went on to create the fine but less successful “Standing Up,” about Parisian comics). But she has returned, along with “Standing Up” writer Lison Daniel, for “Call My Agent! The Movie,” premiering Thursday on Netflix, which picks up the scattered ensemble more or less where they imagined they’d be when the series ended, and gets them back in the same frame.

As a movie, it’s its own sort of beast — a complete statement in a single package, with not just A and B stories, but C and D as well, and arcs that might develop over a season of the show compressed into a couple of hours. But its essentials are essentially unchanged: It’s still about the difficulty of making art, and the often unsavory business that lets art get made, with known actors playing fun house versions of themselves and our heroes attempting to wrangle them into order, with whatever works — lies, bribes, real shared feelings. The regular cast, many of whom Americans will first have met here, still feel identical with their characters, rather than just professionals who have been paid to play them, so that even when the action is outlandish the emotions are real.

The focus here is on the fierce Andréa (Camille Cottin), who has left agenting and is about to direct her first movie, a drama set in the woods, and Noémie (Laure Calamy), whom Andrea hires as a replacement producer — she has become the producer of a hit workplace comedy, “Les Colleagues,” the sort of show that produces a lot of branded merch — believing that she can mold Noémie to her will. On the domestic front, Andréa separated from partner Colette (Ophélia Kolb), a co-parent to her daughter Flora — some sticky questions will arrive, doubling the pressure.

Noémie is still with Mathias (Thibault de Montalembert), once the most formidable of agents, who has quieted down somewhat owing to a Season 4 heart attack, and the fact that he’s working in the agency his daughter Camille (Fanny Sidney) announced at the end of the series. He’s feeling old (comparatively, he is, at 64 — though Liliane Rovère as agent emeritus Arlette beats him at 93) and things with Noémie are not great, which sets the stage for some romantic comedy, including a wild boar.

Andréa’s movie brings the old cast together, including sensitive junior agent turned aspiring actor Hervé (Nicolas Maury), and I am glad to see them. (Stéfi Celma’s Sophia, a receptionist turned actor, is sadly missing.) Much goes wrong, before things go right. (It’s a comedy, they will — though there are some moving dramatic moments along the way.) To be sure, there are no backstage comedies — or dramas, or dramedies — in which nothing goes wrong, or things even go mostly right. Disaster is the air they breathe.

On the eve of production, Andrea loses her male lead (Laurent Lafitte as himself) to a Wes Anderson movie; the psychologically delicate actor they get to replace him, Vincent Macaigne as himself, who’s represented by former ASK agent Gabriel (Grégory Montel), now working for their old rival, has a messy history with the other lead, Laetitia Casta, also as herself. They can barely work together. (There will be a bit of romantic comedy wrapped around this thread, as well.)

Then there’s a storm.

The French actors playing themselves are not well known here — Casta may be more familiar as a ’90s supermodel, for those who are familiar with that sort of thing — but Americans have been given the gift of cameos from Eva Longoria and an uncredited George Clooney who takes a comically unproductive lunch meeting with Andrea, crashed, in more than one sense, by Noémie.

Though the series finale made for a satisfying ending, there was already talk then of another season or a film. Still, “The Movie” arrives seemingly out of left field, as sort of a happy surprise. It doesn’t betray its legacy. We know from the supermarket magazines and internet scandal sites that some actors are seemingly as crazy as these actors pretend to be. But somehow movies get made. Most every show business satire is also a show business celebration. There’s no business like it.

ABC comedian Jimmy Kimmel’s interview with Texas Senate candidate James Talarico won’t air on broadcast television amid the network’s high-stakes skirmish with the Federal Communications Commission.

Kimmel, during his Wednesday night monologue, said his talk with the 37-year-old Texas Democrat would instead stream on his show’s YouTube channel — depriving ABC viewers and TV stations of a potentially newsworthy interview with Talarico, who has been surging in the polls.

The Texas race is shaping up as a key contest in what could help decide control of the U.S. Senate in the mid-term elections.

Talarico is running against Texas Republican Atty. Gen. Ken Paxton, who has been endorsed by President Trump.

Kimmel alluded to the Walt Disney Co. network’s ongoing dispute with FCC Chairman Brendan Carr as the reason for the switch. This spring, Carr’s Media Bureau ordered ABC to submit to an early review of its TV station licenses for Disney’s eight owned stations. The FCC launched the review a day after President Trump demanded Kimmel be fired after First Lady Melania Trump became upset over a joke the comedian told on his program, “Jimmy Kimmel Live!”

ABC has since sued the FCC, alleging Trump’s disdain for Kimmel and other ABC programs has fueled the FCC’s heavy-handed approach to the network, in violation of its 1st Amendment rights.

Kimmel pointed to the “unusual circumstances” in his monologue.

“For the whole 20-plus years of our show, in fact, I’ve been interviewing Americans who are running for office with no problem at all, just like [David] Letterman did, [Jay] Leno did, Arsenio [Hall], etc. etc.,” Kimmel said. “I’ve interviewed a lot of political candidates — from Hilary Clinton to Ted Cruz to Donald Trump.”

But, Kimmel said that in the current climate, airing the Talarico interview on the public airwaves carried too much risk.

“Out of consideration for our local stations, especially our ABC affiliates in Texas who would have to deal with this nonsense,” the ABC interview, which was scheduled for Thursday, would instead play on YouTube, he said.

ABC declined to comment. An FCC spokesperson did not immediately respond to a request for comment.

The issue surfaced nearly one year after a major dust-up when ABC temporarily benched Kimmel after comments he made on his show over the shooting of conservative activist Charlie Kirk. During that episode, Carr seemed to threaten Disney by saying that Kimmel should be punished.

“We can do this the easy way or the hard way,” Carr said. “These companies can find ways … to take action … on Kimmel or there is going to be additional work for the FCC.”

Two station groups removed Kimmel’s show, but ABC eventually stood by the comedian returning him to his perch the following week.

The Disney-owned station licenses were not set to expire for several years when the FCC demanded that Disney defend its stewardship of the outlets. The license for Disney’s KABC-TV Channel 7 in Los Angeles extends to 2030 but it is now being challenged.

The Burbank giant has asked a federal judge to issue a temporary restraining order and injunction to halt the FCC’s early station review.

ABC also is defending against an FCC probe into whether its daytime talk show, “The View,” should be entitled to an exemption from the so-called equal-time rule for political candidates who appear as guests.

Carr has challenged the status of “The View,” arguing that the topical chat show is not a bona fide news program and, thus, should not be entitled to the exemption.

The same issue tripped up former CBS late night comedian Stephen Colbert who interviewed Talarico in February — before his program, “The Late Show with Stephen Colbert, was canceled.

At the time, Colbert told viewers CBS lawyers forbid him from airing a Talarico interview on his program due to the FCC’s increased scrutiny of exemptions to the equal-time rule, an allegation that CBS disputed.

But Colbert’s interview played on the program’s YouTube channel — not the CBS network.

The FCC has said it was investigating ABC stations over whether the company’s diversity and inclusion policies are in violation of the Communications Act of 1934 and the agency’s rules, including its “prohibition on unlawful discrimination.”

Last week, the FCC asked a federal judge in Washington to dismiss ABC’s 1st Amendment lawsuit, calling Disney’s challenge to the early review “meritless” because the commission hasn’t made a decision on whether to escalate the matter or rescind Disney’s station licenses.

Kimmel ended his monologue, saying he was grateful for the YouTube channel “because in the America we live in right now, that is the best that we can do until November.”

Comedian Nick Mohammed, who appeared on Celebrity Traitors towards the end of last year, will act as host in the new stage production based on the hit game show

Nick Mohammed will take on the role of the host in the new stage show The Traitors – Acts Of Betrayal at the Gillian Lynne Theatre, London.

The comedian and Ted Lasso actor, 45, was a contestant on The Celebrity Traitors where he reached the final but lost to fellow comedian Alan Carr. The Traitors host Claudia Winkleman formally swore Mohammed in during a video filmed at Ardross Castle in the Scottish Highlands, where the BBC show is filmed.

In the video, former Strictly Come Dancing host Claudia says: “Nick Mohammed, you stand before me. You have been chosen to take this game to the West End. Eight shows a week, no retakes, no edits, no mercy.”

She then pronounces him a Traitors host and hands him a cloak At the end of the clip, she jokingly says: “I’m out of a job.”

Written by John Finnemore and directed by Robert Hastie, The Traitors – Acts Of Betrayal is a cycle of five new plays, each playing out an entire game of The Traitors, traitors chosen, players banished and murdered, a winner crowned, in one evening.

Nick Mohammed said: “At first, I didn’t want to believe that a series of fictional plays based on The Traitors could ever contain as many brilliant twists and turns as the real thing – or be quite as compelling.

“But John Finnemore has crafted an absolute masterpiece: a cycle of five plays that are each as funny as they are moving, and of course, deeply, deeply unpredictable!

“And under the direction of the brilliant Robert Hastie, I couldn’t be more delighted to be joining such an original and wildly ambitious show.

“To take on Claudia’s role, as it were, is not just a privilege but a real challenge as an actor – I simply don’t have enough hair! But I will do my utmost not to disappoint.

“Either way, this time round, I promise not to let down the whole nation right at the very end. Now let the game begin…”

The production also does something television cannot: it answers the question of who would have won if different players had been chosen as the Traitors.

From Monday to Friday the story begins identically but takes five different paths. Characters banished or murdered early in one version emerge victorious in another.

On Saturdays the audience decides who will wear the cloak, and their choice determines which of the five plays unfolds that day. The stage production begins previews from May 11 2027, with opening night on June 8 2027.

Tickets are on sale now at thetraitorsonstage.com.

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FROM the moment the opening note of ‘Circle of Life’ played, I was transported to the African savannah.

The Lion King is one of the West End’s longest running productions – and with good reason.

The fan-favourite Disney story features everything you could imagine and more if you had brought the film to life.

And Sun Club members can get 10% off tickets with London Theatre Direct, when booking via our Sun Club Promo page.

To get your tickets, sign up to Sun Club for £1.99 a month or just £12 for one year, then head to the Sun Club Offers hub and London Theatre Direct page or click here. 

Of course, I don’t mean real-life lions prowling across the stage. And let’s be honest, none of us would want that either.

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Instead I mean vibrant sets and costumes that bring the audience to the African savannah, but with an artistic touch.

Director Julie Taymor fuses the actors directly into the beautiful animal puppets, rather than hiding them in clunky mascot-like costumes.

Each is like a piece of art bringing the safari animals that feature in The Lion King to life.

Some critics have labelled the puppets as “dated” compared to newer productions such as War Horse or My Neighbour Totoro.

I disagree – everything in the show’s design remains timeless, from the costumes to the sets.

As living artwork parades down the aisles on either side of the theatre, I felt transported to the Pride Lands.

The most mesmerising part had to be when – spoiler alert – the life-sized elephant puppet ambled across the stage, with the same methodic but gentle stomps you’d expect of the magnificent beast in the wild.

It isn’t just the animals that are impressive – across the show much flora and fauna sets scenes and creates a depth to the stage.

Even one of the smallest characters (by size, not personality) – Zazu – was brilliant, where the puppeteer and actor was able to create comedy with a single head tilt, squawk or wing flap.

A memorable moment in the film is the stampede that takes Mufasa’s life.

And it is just as poignant on stage – my heart raced as the staging created a terrifying scene of hundreds of wildebeest stamping towards the audience.

Scenes at Pride Rock are equally as impressive, with the giant rock emerging magically from the floorboards.

Singing, dancing and acting – all simply phenomenal.

And just like the film, there are multiple tear- jerker moments which will leave you wishing you didn’t wear mascara to theperformancee.

George Asprey who plays Scar is one of the West End’s longest running actors having played the role for 17 years, as is his co-star, Shaun Escoffery who plays Mufasa.

In a previous interview, George told Sun Travel: “Allow yourself to just open up to the set and the costumes.

“It is difficult to take everything in, in one sitting, and when you come again, you’ll pick up the different nuances. Maybe in the scenery, for example.”

And in terms of where to sit, the age-old question – do you need to fork out for the posh seats? Not at this show, apparently.

George said: “I’ve had friends right at the front of the stalls and I have had friends right at the bottom end of the upper circle, and I think the one thing about the Lyceum is that all of the viewing is extraordinary.

“I really don’t think there’s a vantage point in the upper circle where you won’t see everything still.

“I think it’s a decent price for a reason and I don’t think it’s not worth it – I wouldn’t avoid coming if you can only afford a certain seat, because you still get a wonderful experience.”

The Lion King is performed eight times a week, with evening performances on Tuesdays through to Saturday at 7:30pm and then the matinee performances take place on Wednesdays, Saturdays and Sundays at 2:30pm.

No performances take place on Mondays.

The show lasts two-and-a-half hours with an interval included.

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When Strictly foxtrots back on to our screens later this month, it will be the first time in 14 years without longest serving female pro dancer Karen Hauer, who shimmied her way through more than 100 numbers on the show. But she’s not ready to kick off her dancing shoes just yet – revealing her ambition to cha-cha her way into the role of fiery Puerto Rican, Anita, in West Side Story. She says: “My dream role would be Anita in West Side Story. The world is my oyster.”

When Strictly’s new season launches on Saturday 19 September, it will also be the first time Karen has watched it live. She says: “I’ve never watched it live – I was always in it.”

And Karen – who announced her departure in a statement on social media in March – is not the only high profile departure. Longtime hosts Claudia Winkleman and Tess Daly have also left, as have pro dancers Gorka Márquez, Nadiya Bychkova, Luba Mushtuk and Michelle Tsiakkas. Karen says: “Things have to evolve. Whether people like it or not.”

But Karen will be rooting for the new hosts, Emma Willis, Josh Widdicombe and Johannes Rabede. She says: “The new series is so exciting. I’ll definitely be watching my friends and I’m really looking forward to seeing Johannes, Emma and especially Josh. I danced with him on the Christmas Special dressed as penguins.”

Karen, who was in the show from 2012 to 2025, has already started her new chapter – playing teacher Mavis in Devonshire Park Theatre’s production of the Richard Harris comedy, Stepping Out in Eastbourne until the end of April, before taking it on tour until the end of September. She will then be playing the Wicked Queen in Snow White at The Princess Theatre, Torquay, in December and January.

She says: “I’d been preparing myself mentally for a long time to leave [Strictly]. I’m doing great, I’m really happy. I’m going to miss Strictly, but I’m definitely enjoying my new chapter.”

But the dancer was shocked by the outpouring of love she felt from fans when she announced her departure. She says: “I’ve never felt so much love. I made such an impact without even actually knowing. I was shocked. I was like, ‘how come you guys didn’t vote for me to win?’ Goddamn it.”

Giving no dramatic reason for going, she simply says it was “the right time” to go, adding: “There’s a time when you just have to go, ‘okay, well, that’s a wrap.’ Now I have free time. I don’t know what’s going to happen in five years. So, I’m literally living the best life that I can right now, and not overthinking about the future.”

The first to admit to being a romantic, Karen has had three husbands. She was married to dancer Matthew Hauer from 2000 to 2009, to fellow Strictly pro dancer Kevin Clifton from 2015 to 2018 and then to fitness professional Jordan Wyn-Jones from 2022 to 2023.

But she now shares her rural home near Preston, Greater Manchester, with her boyfriend of three years, rugby player Simon Davidson and four rescue dogs, Betty, Phoebe, Marley and Joe. After her hectic Strictly schedule, she says of Simon: “It’s probably really weird for him to have me home.”

Positive she has now found ‘The One,’ she continues: “I love love. I think love is incredible, and I found it in Simon. I love being in a partnership, and in a partnership that’s healthy. “Knowing what a healthy relationship looks like and being in it … I think that’s what I love is, and that’s what I’ve been searching for. Joy for me is being at home with Simon and the dogs.”

Honouring her love of dogs, in November, Karen is hosting the The Burns Bravery Awards, in which the pet nutrition brand is calling on people to nominate Britain’s Bravest Dogs. Research from Burns Pet Nutrition reveals that three-quarters of owners say they turn to their dog when they’ve had a bad day.

And Karen can see why, saying: “My rescue dogs are the best thing to ever happen to me. Mentally, physically, my dogs get me out of bed, they get me out for a walk. My dogs have been through all my ups and downs. I think my dogs need therapy now.”

The dancer also turns to her mum Mirian when she needs comfort or inspiration. She says: “She inspires me every day. ‘It’s not going to be easy, kid, but you got this’ – that’s what I’ve always known since I was a kid. I’ve always fought and I’ve seen my mum struggle. I’ve seen what it takes to make it – not just as a person on television, but to make it in life.

“My mum raised three kids in New York City, in the Bronx, on her own. She always says, ‘don’t let your head get to the clouds.’ And that’s why I’ve always been very grounded, no matter what kind of job or who I’ve met. We’re all the same. On Strictly, I was never the flashy one, I was always grateful that first of all I had a job – and one that I loved and which entertained the entire nation.”

Karen made it to the Strictly final twice, with partners Jamie Laing and Mark Wright, but never lifted the glitterball. She says: “I was winning every year just being there. It’s great getting a 10, it’s fantastic, but it’s the moments that bring a smile to people’s faces and make them go, ‘That was really funny’, that I’ll remember the most.”

One such moment was when Anton Du Beke and Ann Widdecombe danced together at the Blackpool Tower Ballroom in 2010. This hilarious moment was how she likes to remember the long serving former Conservative MP, who died on July 9, aged 78, and whose death is now the subject of a murder inquiry.

Speaking fondly of Ann and Anton, Karen says: “He took her by the hand and the foot and was just swinging her around in a yellow dress. I was on the floor, peeing myself. It’s those moments, that’s what Strictly’s about.” Meanwhile, Karen gave her many famous Strictly partners – who included Westlife’s Nicky Byrne, actor Greg Wise and comedian Jayde Adams – the same advice.

She says: “I told all of my celebrities, ‘you have to enjoy it. We’re going to work hard, but I want to have a laugh. If you’re not having a laugh, then this is not going to work.’ A lot of people find it really hard to enjoy it, because there’s so much panic.”

Another of Karen’s favourite moments came in 2019, during Halloween week, when her wig came clean off her head on live TV.

“It was hilarious,” says Karen. “But so what if your wig comes off? People are going to remember that you made them smile. That’s what I’ll remember when I’m 85 … or dancing with Jeremy Vine coming out of a bath, or with the late Dave Myers, who I absolutely adored. Wow, I was living the dream, wasn’t I?”

*Following a public voting period, winners will be announced at the Burns Bravery Awards in November. For more information, and to nominate your dog, enter at burnspet.co.uk/pages/burns-bravery-awards

The Channel 4 star has continued to bag huge television and film roles

The Inbetweeners star Henry Lloyd-Hughes looks almost unrecognisable almost 20 years after he found fame on the hit comedy.

Fans will remember the British actor, 41, for playing school bully Mark Donovan in the now-iconic series. For those who missed it, the E4 drama aired for three seasons between 2008 and 2010.

It followed the wild adventures of pupil Will (played by Simon Bird) and his group of friends: Simon (Joe Thomas), Jay (James Buckley) and Neil (Blake Harrison). Donovan was known for picking on the main characters, and infamously snapped a picture of Will in the toilet on his first day of school.

We watched the schoolmates’ last adventure together over a decade ago, and Netflix is bringing them back for a third feature-length film. But whatever happened to villain Donovan?

Lloyd-Hughes, the actor behind the teenager, is almost unrecognisable these days. He has remained in the industry, just like most of his co-stars.

The London-born performer recently appeared in Netflix’s The Thursday Murder Club, opposite the likes of Helen Mirren and Pierce Brosnan. He has also enjoyed roles in Killing Eve and Steven Spielberg’s new thriller, Disclosure Day.

Although casual viewers may not instantly recognise the actor as a “grown up,” devoted fans can pick him out of a crowd even after all these years.

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Lloyd-Hughes shared the story of a sweet run-in with a fan back in 2021. “This is not a humblebrag but I was giving blood this morning. Obviously you’ve got to wear a mask,” he told Square Mile.

He went on to reveal that a nurse came over to him and said: “Excuse me, I’d like to ask a question. Have you ever done any acting?” To which he replied: “Yeah, sometimes.”

The healthcare worker then asked: “Are you The Inbetweeners?” Lloyd-Hughes went on to explain: “It was a middle-aged to elderly Indian man who recognised me.

“I was not expecting, when I was wearing a school uniform, filming for like £5 a week, that ten years later or whatever I’d be getting recognised. Even behind a mask!”

The Inbetweeners series is available to stream on Channel 4’s on-demand service. The Inbetweeners 3 will stream on Netflix.

A SLEW of Howard Stern Show staffers have been marked safe from the rounds of layoffs that concluded over the summer.

In a new video posted to the show’s official Instagram page, at least nine employees were revealed to still be working for Stern.

Executive producer Gary Dell’Abate, also known by his nickname Baba Booey, greeted fans from his office in Stern’s SiriusXM studios before colleagues began to imitate his signature voice.

Producer Jason Kaplan then chimed in with his impression, along with associate director Sam Greenwood.

Richard Christy, JD Harmeyer, Steve Nowicki, Will Murray, Mike Pearlman and Sal Governale also gave their takes on Dell’Abate.

Sadly, at least 50 Stern Show employees were laid off in two rounds of layoffs this year, including the last cut in July.

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On-air talent Memet Walker, Benjy Bronk, Jonathan Blitt, Mike Trainor and Rahsaan Rogers were among those let go from the team.

The cuts come with many changes at the Stern Show, including the shock jock downsizing to just one show a week.

SiriusXM archival channel Howard 101 was dropped, and taken over by Stern’s rival Andy Cohen. (Just Howard 100 remains.)

In addition, segments like The Stern Show’s Fantasy Football League will not return this season.

“The Stern Show Fantasy Football League is defunct…it’s done,” the league’s commissioner Michael Rapaport announced last week.

The league had been held for the past 18 years, and the source of major friction between staffers each fall.

The reclusive Stern has remained silent about the layoffs and changes, though he will return to air on September 14.

Stern is thought to have remained hunkered down on his Hamptons compound, making just a rare appearance at John Mayer’s concert in Amagansett in August.

The King of all Media re-signed a three-year deal with SiriusXM in December, after heated negotiations and rampant rumors the show would be canceled once and for all after 20 years at the streamer.

Billionaire comedy duo Trey Parker and Matt Stone are unveiling a new name for “South Park” ahead of the show’s 29th season: “South America.”

The satirical series’ name change follows President Trump’s renaming of Lake Ontario to Lake America amid the escalating U.S.-Canada trade war. Last week, tech behemoths Apple and Google honored Trump’s executive order and renamed the Great Lake on their maps for U.S. users.

Parker and Stone made the announcement on social media on Tuesday, writing, “Inspired by the bravery and patriotism of Apple and Google, we are changing the name of South Park to SOUTH AMERICA. We especially want to thank our parent company Paramount — a Skydance Capitulation.”

The duo also jabbed at their parent company and its new owner, Skydance Media, for what media critics have characterized as caving to the Trump administration’s Federal Communications Commission. The “capitulation” involved controversial corporate and programming adjustments as well as agreeing to a $16-million settlement over a lawsuit brought by Trump involving a “60 Minutes” segment to get Paramount’s $8-billion merger with Skydance approved.

Last year, following a particularly incendiary episode of the show — in which a parody of Trump has an X-rated fling with Satan, and the president is portrayed as having an animated micropenis — the White House issued a statement to Variety slamming the series.

“The Left’s hypocrisy truly has no end — for years they have come after ‘South Park’ for what they labeled as ‘offense’ [sic] content, but suddenly they are praising the show,” White House spokesperson Taylor Rogers said in a statement to the outlet. “Just like the creators of ‘South Park,’ the Left has no authentic or original content, which is why their popularity continues to hit record lows.”

Last week, “South Park,” won an Emmy Award for outstanding animated program. And last summer, Parker and Stone reached a five-year, $1.5-billion deal with Paramount to secure exclusive global streaming rights on Paramount+, making the series one of television’s most valuable shows and its creators two of the highest-paid comedy writers in the biz.

The 29th season of “South America” premieres Sept. 16 at 10 p.m. on Comedy Central.

WASHINGTON — It should have been the safest of political appearances — a group of kids gushing about their love of science and space exploration with Vice President Kamala Harris.

But for Harris, it became a controversy.

The children, it turned out, were paid actors. And the video, filmed on location at the White House and the vice president’s official residence at the Naval Observatory, was promoted on NASA’s YouTube Channel and Harris’ Twitter account last week without making that clear.

The fallout over the video, produced for YouTube’s original programming platform, is the second in recent weeks where a seemingly innocuous appearance by Harris has become modestly troublesome.

Late last month, Harris generated more serious consternation and criticism from pro-Israel Democrats and media for not pushing back when a student at a classroom encounter at George Mason University in Virginia accused Israel of “ethnic genocide.” Harris spent the next several days clarifying her longstanding support for Israel and reaching out to pro-Israel organizations, including the Anti-Defamation League.

Such stumbles have been featured extensively in conservative media, where Harris is a regular target. But they also reinforce concerns among Democrats that Harris has not yet found her political footing since taking office amid high expectations. The presumed front-runner to succeed President Biden on the Democratic ticket in 2024 or 2028, Harris recently enlisted two veteran Democrats to help stabilize her communications efforts.

Harris’ office and NASA would not discuss the decision-making process that led to her participation in the YouTube Original or the administration’s marketing of the special, which was produced by a Canada-based company called Sinking Ship Entertainment.

Harris’s office did not select the children who participated in the YouTube Originals special, a White House official said. A YouTube spokesperson said that “the casting process for this show was no different from typical unscripted kids’ shows across other networks and streaming platforms.”

The special debuted during World Space Week. It features NASA astronaut Shane Kimbrough giving five children the clues for a scavenger hunt that takes them to the U.S. Naval Observatory, where they not-so casually run into Harris, who welcomes them onto the porch of the vice presidential residence.

While sitting in a white chair alongside the children, Harris reminisces about going to the lab with her scientist mother during her childhood and says she is excited to chair the National Space Council. She offers advice to the children about showing their true selves.

“Never let anybody tell you who you are,” she tells them. “You tell them who you are.”

Like many online productions, the special has the feel of something between a kids’-oriented news segment and a scripted show. The children, who introduce themselves with their hometowns, act surprised and excited as they meet the real-life astronaut and the vice president.

Earlier this week, one of the children who appeared in the video described in detail his audition process to KSBW TV in Salinas, which sparked mockery online and news coverage. Harris’ appearance drew especially sharp critiques in conservative news outlets. Fox News, in its coverage, has tried to draw a comparison to the criticism unleashed on former President Trump after his 2015 campaign launch in which he paid people to act like supporters.

Appearing as a guest on Fox News host Tucker Carlson’s show, commentator Candace Owens falsely told viewers that Harris paid children to appear in the special.

White House officials have a long history of appearing as themselves in scripted shows, often with children. First Lady Nancy Reagan promoted her anti-drug message on the popular 1980s sitcom “Diff’rent Strokes,” and then-President Obama participated in a televised sketch alongside comedy duo Keegan-Michael Key and Jordan Peele during the White House Correspondents’ Dinner.

The difference this time was that the show’s format was ambiguous, and its presentation and promotion by Harris and NASA led commentators to believe it had been produced by the government.

Communications consultants said the vice president’s staff should have more thoroughly vetted the program and ensured it was clearly labeled as a reality show with paid actors when the U.S. government promoted it.

Ultimately, Harris’ staff let her down, they said.

“The vice president and the president can’t do their own vetting on things like this,” said Kevin Madden, who served in senior communications roles for Mitt Romney’s 2008 and 2012 campaigns.

Madden added that Harris should not have participated in the program with paid actors, especially “in an era where there is a very high quotient of fake news and misinformation, you have to expect this kind of scrutiny.”

“The criticism [here] becomes warranted,” he said.

24 Hours in Police Custody fans have been left gutted as fan favourite Tom Hamm revealed he’s left the show.

Detective Sergeant Tom Hamm has announced he’s officially retired after more than 22 years of police service and seven years on the show.

He shared the news with his fans on social media this week, writing: “So tonight is likely to be my last appearance on #24hoursinpolicecustody.

“I hope that the episodes I have appeared in have somehow influenced people by showing the difficulties that police face when investigating crime. Thanks for the support.”

Tom’s followers were devastated by the news.

One wrote: “Happy retirement Tom, I bet all the free time you get will be a breath of fresh air.”

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A second said: “Happy retirement Tom! Love the series, its great to see what goes on behind the scenes. Time to relax now.”

“The series won’t be the same without you working on the team. Well done to your team and everyone else who was involved,” this person posted.

The last episode featured a 17-year-old boy was left for dead under a railway bridge, suffering traumatic brain injuries.

Police originally thought he was a victim of a hit-and-run in Luton in June 2022.

They boy survived but had life-changing injuries.

Tom, who worked for Bedfordshire Police, said: “This case, for me was quite emotional because the victim was a twin and I have twin boys of similar ages to him and the parallel of how my children’s lives and the difficulties and circumstances of his life was something that played on my mind.”

“I could put myself in the position of his parents and how I would feel if I got that knock on the door from a police officer saying one of them had been hurt.

“This, by the grace of God, could be me.

“And I understand how it would affect the other twin.

“They do share a different bond than other siblings I think.

“Knowing how close mine are, if one of them is suddenly not there, it does affect them deeply.”

He had another reason to feel personally attached because of an enduring regret over the loss in quick succession of first his father and then his mother.

Tom’s personal feelings are evident in the two-part documentary, 24 Hours in Police Custody, in which he and his team investigate the mystery of why a 17-year-old boy was left critically injured on the roadside after suffering catastrophic head injuries.

“Initially, we didn’t know who the victim was, and we were working hard to establish his identity,” says Tom, who has now retired from Luton CID after 22 years of service.

At first, it looked like a hit and run but as all the injuries were to his head, medics believed they were inconsistent with a car collision.

When the victim’s twin brother arrived at the police station, he told them that he believed his brother had come to Luton from London to meet a girl.

But then he learnt on social media that he had been involved in some sort of altercation,

With the victim lying in hospital in a life-threatening coma, Tom told his team their priority was to get his family by his bedside as soon as possible.

He discovered that the case was linked to a county line drugs trade, where drugs are moved between different part of the country.

Hamid was found guilty of conspiracy to cause grievous bodily harm and was sentenced to 10 years and nine months in jail.

Jasmine Aldrich was also charged with conspiracy to cause grievous bodily harm but was found not guilty.

It’s never too late to go back to school. But after years of deferred admission, can a new generation of students at Hillman College score high at delivering a compelling, modern take on the groundbreaking sitcom “A Different World”?

The foundation for an updated version of the popular sitcom set at a historically Black college was set three decades ago. In the 1993 series finale, the show’s central couple — smart, bespeckled math whiz Dwayne Wayne (Kadeem Hardison) and high-maintenance Southern belle Whitley Gilbert-Wayne (Jasmine Guy) — were embarking on their next chapter as newlyweds, relocating to Japan and expecting their first child. Before their departure, a professor jokingly quips to Dwayne: “I can’t wait to have your child in my class in the year 2014.”

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But plans for a revival — the original series itself was a spinoff of “The Cosby Show,” centered on the Huxtables’ free-spirited daughter Denise (Lisa Bonet) — to suit that time frame were in limbo for years. Producer and director Debbie Allen, who joined the original series in its second season to help it better reflect the HBCU experience, actively pitched and tried to relaunch “A Different World” in the early 2010s, but those efforts were derailed by the highly publicized sexual assault allegations against the show’s creator, Bill Cosby.

“It’s very difficult,” Allen told The Times. “The biggest difficulty, just being totally transparent, was people’s hesitation to work with Mr. Cosby; to have anything to do with him. [But] we were so independent. He kind of put us on a boat and said, ‘Go.’ And that’s what we did. And he was happy to know that we were going on our way.”

In early 2023, another push began to revive the series while also distancing itself from Cosby. Now, its decades-long gap year finally complete, a new incarnation of “A Different World” is starting up classes this fall at Netflix. And it hopes to carry on the legacy of its predecessor, which was celebrated for its depiction of Black culture and life in a higher education setting during its six-season run on NBC, from 1987 to 1993, bringing HBCUs into the mainstream.

Rashida (Alijah Kai), left, Deborah (Maleah Joi Moon) and Hazel (Kennedi Reece) in Netflix’s “A Different World.” After years of trying to tell the story of a new class at fictional Hillman College, Debbie Allen, who returns as an executive producer and director, says the sequel arrives at the right moment: “If there’s any voice we need to hear from right now, it’s young people.”

(Daniel Delgado Jr. / Netflix)

Billed as a sequel series premiering Sept. 24, a Wayne offspring is our anchor for the freshman class at Hillman College, the show’s fictional historically Black college based in Virginia. Deborah Wayne (Maleah Joi Moon) is an aspiring artist forced to attend her parents’ alma mater on academic probation after her NYU acceptance is rescinded. As the youngest Wayne child, she continues the family’s legacy at the school: her older sister — the child Whitley was pregnant with at the end of the original series — and an older brother are both alums.

She’s joined by a mix of first-gen and legacy students: star quarterback Shaquille Johnson (Cornell Young IV), who is the only child of original character Ron Johnson (Darryl M. Bell); criminal justice major Rashida Duvall (Alijah Kai); psych major Amir Rodale (Jordan Aaron Hall); Ghanaian-Nigerian fashion merchandising student Kojo Achebe (Chibuikem Uche); and small-town pastor’s daughter Hazel Henry (Kennedi Reece).

Some of the show’s original creative team join Allen as executive producers, including Tom Werner, and original series writers Reggie Rock Bythewood and Gina Prince-Bythewood. (Mandy Summers of “That ’90s Show” is also an executive producer.) To shepherd this reimagined version of the sitcom, Allen enlisted her former “Grey’s Anatomy” colleague Felicia Pride, who was most recently part of the writing staff on “Bel-Air,” the dramatic reboot of ’90s comedy “The Fresh Prince of Bel-Air.” It was a dream call for Pride, who as a kid living in Baltimore recorded and rewatched episodes — namely, the one involving a step competition that she obsessively watched after school to learn the routine. But she was reluctant.

“I love the show so much,” Pride said, seated next to Allen inside a Netflix conference room in Los Angeles on a recent day. “I was like, ‘I don’t want to be the one to mess it up.’ But she [Debbie] was so adamant that the time was now to hear from young Black America — and that, I could get with.”

Allen remembers it this way: “I don’t have an ego. I begged her. It’s the truth. To get this show back up, we’ve tried for years. But this is the time that’s right … We had inspired all these kids, not just Black kids, all young people to go to college. This was a peep into college that had never happened before, where you saw young people being responsible and living their lives and being crazy, but still dealing with what is happening in this world. If the young people in the country don’t have a voice, that country is dead. And if there’s any voice we need to hear from right now, it’s young people.”

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1. The original “A Different World”: Dwayne (Kadeem Hardison), left, and Ron (Darryl M. Bell). 2. Jaleesa (Dawnn Lewis), left, Freddie (Cree Summer) and Whitley (Jasmine Guy). With Netflix’s modern take, showrunner Felicia Pride wanted the series to be intergenerational: “That’s why I’m so glad that we were able to have the legacy cast in the show — I wanted it to have the heart.” (NBCUniversal via Getty Images)

The show has been credited with boosting enrollment at HBCUs. While overall HBCU enrollment rose by 26% between 1976 and 1994, according to the National Center for Education Statistics, much of that increase occurred during the stretch of the show’s run.

Pride said she rewatched the original series, paying particular attention to the shift that materialized in Season 2 when Allen was brought on to overhaul it, as a starting point. Allen had a document of ideas detailing the types of characters she wanted to see depicted, including a star athlete, the first out queer character in the show’s universe and an African student. One major detail was a nonnegotiable: Allen wanted the show to revolve around Dwayne and Whitley’s daughter. (How they arrived at the character’s name — Deborah (pronounced Deb-OR-ah), which also happens to be Allen’s first name — is fuzzy. Pride remembers the name already being set by Allen; Allen recalls being amused upon seeing it on the page, thinking Pride had chosen the name.)

And just as in college, legacy matters on TV.

“I wanted the show to feel of now,” Pride said. “I also wanted it to be intergenerational. That was important to me, and that’s why I’m so glad that we were able to have the legacy cast in the show — I wanted it to have the heart … These [characters] were like my friends. I felt comfort in them. I felt like I could be them. It was also culture in a way that I hadn’t seen before, represented by people who look like me.”

Several familiar faces from the original make their way into the sequel, some taking on the mentor role of the older characters from the original, others representing how one gives back to the community that shaped them. Hardison and Guy lead the cast from the original series who reprise their characters, along with Bell, Cree Summer as Freddie Brooks, Charnele Brown as Kimberly Reese Boyer, Ajai Sanders as Gina Deveaux, Karen Malina White as Charmaine Brown, Jada Pinkett Smith as Lena James, Jenifer Lewis as Dorothy Dandridge Davenport and Allen as Dr. Langhorne.

Several original “A Different World” cast members reprise their roles in the new version of the series, including Charnele Brown, left, Jasmine Guy, Kadeem Hardison, Darryl M. Bell and Cree Summer.

(Quantrell Colbert / Netflix)

“They were so happy to be back,” Allen said. “There was a day they were all together —”

“That was the day where I felt like, ‘Oh, this is history,’” Pride added.

“In between takes, it was just chaos,” Allen continued. “They just laughed and acted up. It was just wonderful.”

To make the new characters and their stories resonate in a deeper, more contemporary way required as large a commitment to reflecting HBCU life as the original had under Allen’s guidance. The creative team assembled two paid student councils from various HBCUs — one to advise the writers’ room on storylines and campus issues; the other worked on the show’s Atlanta set, with students hired as production assistants that had working schedules tailored to their classes. The background performers filling up scenes in the quads, classrooms and parties feature 59% HBCU students and grads. And some key characters are portrayed by HBCU alumni who bring their lived experience to the screen, including Reece, who went to Howard University.

The freshman season will explore issues that Gen Z is grappling with such as financial insecurity, learning struggles, activism in the age of social media and matters of mental health, as well as bigger systemic issues like uncertainty around funding for HBCUs and immigration enforcement. The series also doesn’t shy away from its real-world backdrop — while it doesn’t explicitly mention President Trump by name, there is reference to the state of affairs under his administration.

Actors Jordan Aaron Hall, left, Cornell Young IV, Chibuikem Uche and Dasan Frazier are part of the new class of students at Hillman College in “A Different World.”

(Eli Joshua Ade / Netflix)

But this version of “A Different World” departs from its source material in its narrative format and tone. The original series was a multi-camera sitcom taped in front of a studio audience — and Allen initially thought any sequel of it would follow that same blueprint. But when the new series found its home at Netflix, it became a 10-episode single-camera dramedy. (Allen directed three episodes in the season, including the premiere, which set the cinematic style of the series.) As if to signal this iteration hasn’t completely deviated from its roots, in the show’s opening moments, Deborah Wayne coolly flicks the iconic flip-up frames made famous by Hardison’s Dwayne. And its memorable theme song that had versions from Phoebe Snow, Aretha Franklin and Boyz II Men hasn’t gone anywhere: Brandy was tapped to give a fresh spin on it that helps straddle the line between generations.

Now, Allen and Pride are on the cusp of seeing how this long-gestating idea will fare in the streaming world.

“You play the cards you’re dealt,” Allen said. “It took a while, but it was right for it not to happen until now. Right now is when we need it. Young people are struggling to find hope and inspiration and guidance, connection …”

Allen’s hope is that the show will have enough seasons to let the characters evolve: “On Netflix, not too many shows go past three, maybe four [seasons],” Allen said. What’s the goal? “At least three.”

Pride isn’t thinking ahead to graduation just yet. She’s still thinking about surviving the first day of school with this different (but familiar) show made for a different world.

“I came to understand we can never re-create the original show, and … even trying to pursue that is just not the thing to do,” Pride said. “It was a different time. It was a different everything, and it should stand on its own. What I wanted to do, personally, was just [focus on]: How can we capture that spirit and hopefully have a show that young people today can see themselves in, and that people [who watched the original] can also enjoy and be proud of?”