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That sound of breaking glass? It’s Hong Kong-born conductor Elim Chan, 39, shattering a particularly stubborn ceiling after being named the first woman to lead the San Francisco Symphony in its 115-year history. Her title is currently Music Director Designate, and when she officially steps into the job of music director in September 2027, she will become the first woman to lead a major American orchestra.

Chan arrives as the orchestra’s 13th music director at a precarious moment for the organization, which in 2024 was rocked by the resignation of its last music director, Esa-Pekka Salonen, who declined to renew his contract after five years and said he didn’t share the same vision as the orchestra’s board of governors. Like many arts organizations, the symphony is still struggling with a pandemic-precipitated drop in attendance and a shrinking budget.

Fans will get their first chance to see Chan in action on June 5 and 6 when she’ll take the stage in a program including Richard Wagner’s Prelude from “Tristan und Isolde,” Hector Berlioz’s “Les Nuits d’été” wih mezzo-soprano soloist Sasha Cooke, and Claude Debussy’s “La Mer.”

“In Elim Chan, we have found a musician of unusual gifts and a leader of equal substance — a rare combination, and the one behind her remarkable international rise,” said San Francisco Symphony Chief Executive Matthew Spivey in a news release. “What sets her apart on the podium is the conviction she brings to the music itself. Works orchestras have played a hundred times sound newly made under her hand, lit by a feeling for structure, color, and emotional architecture that audiences hear before they can name.”

Chan studied piano and cello in Hong Kong before moving to the U.S. to attend Smith College. She went to graduate school at University of Michigan, Ann Arbor, where she ultimately earned a Doctor of Musical Arts degree in 2015. The year before that she became the first woman to win the prestigious Donatella Flick LSO Conducting Competition, and was named assistant conductor of the London Symphony Orchestra.

Chan made her conducting debut with SF Symphony in January 2023 and has conducted the orchestra twice since. A rep for the the group said the feedback they’ve received from “our Orchestra, press, our audiences, and donors has been remarkable.” Chan is, indeed, a electrifying presence to behold onstage, a fact that no doubt played a major role in the search committee’s decision.

And now audiences get to delight in her fresh, invigorating approach to the conductor’s podium. Glass ceilings should be broken more often.

I’m Arts editor Jessica Gelt rooting for something new and different. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

David E. Frank and Nicolet Anton in “Limonade Tous les Jours: A Paris Love Story” at City Garage.

(Paul Rubenstein)

Limonade Tous les Jours: A Paris Love Story
Romance in the City of Lights from Obie Award-winning playwright Charles L. Mee, in which a young chanteuse and a reserved American in his 50s ponder amour amid classic French cabaret songs.
8 p.m. Fridays and Saturdays; 4 p.m. Sundays, through June 28. City Garage, 2525 Michigan Ave., Building T1, Santa Monica. citygarage.org

Three Lives
Written, directed by and starring Alex Xander Luu, this solo theater performance shares the dramatic, sometimes humorous, story of the Luu family’s escape from Saigon in 1975 through the perspectives of a father, son and grandson.
8 p.m. Friday-Saturday; 2 and 8 p.m. Sunday. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org

David Call and Lena Dunham in the movie “Tiny Furniture.”

(Joe Anderson / IFC Films)

Tiny Furniture
Multi-hyphenate Lena Dunham’s breakout 2010 indie feature about a new college graduate adrift in New York City screens with “Welcome to Bushwick a.k.a The Crackcident,” an episode from Dunham’s series “Girls.”
7:30 p.m. Friday; 6 p.m. Saturday. The Eastwood (Oxford Underground), 1089 N Oxford Ave. eastwoodpac.stagey.net

SATURDAY

Daisuke Ryu in Akira Kurosawa’s 1985 film “Ran,” screening Saturday at the Academy Museum.

(Winstar Cinema)

Darkness and Humanity: The Complete Akira Kurosawa
The series continues with 35 mm screenings of “Ran,” the filmmaker’s 1985 adaptation of Shakespeare’s “King Lear” transported to 16th century Japan; and “Kagemusha,” a 1980 feudal epic executive produced by George Lucas that helped revive Kurosawa’s career and cement his legacy.
“Ran,” 7:30 p.m. Saturday; “Kagemusha,” 6:30 p.m. Sunday. 6067 Wilshire Blvd. academymuseum.org

“Cut Piece,” 1964, performed in “New Works of Yoko Ono,” Carnegie Recital Hall, New York, filmed by David and Albert Maysles. Part of the exhibit “Yoko Ono: Music of the Mind” at the Broad.

(© Yoko Ono)

Yoko Ono: Music of the Mind
The first solo museum exhibition in Southern California of the singular artist, musician and activist, organized in collaboration with Tate Modern, London, includes work from her seven-decade career; direct participation by visitors will be invited in many of Ono’s transformational works.
Through Oct. 11. The Broad, 221 S. Grand Ave., downtown L.A. thebroad.org

Artist Kyungmi Shin, whose solo exhibition “My Fantasy’s Burdens” is currently showing at Perrotin Los Angeles, talks with Aleesa Pitchamarn Alexander on Sunday.

(Todd Gray)

Kyungmi Shin
The L.A.-based artist will discuss her work, including the current exhibition “My Fantasy’s Burdens,” with Aleesa Pitchamarn Alexander, curator of Modern and Contemporary Art at the Cantor Arts Center and co-director of the Asian American Art Initiative at Stanford University. “My Fantasy’s Burden” includes both paintings and ceramics by Shin, featuring the artist’s practice of interrogating the Asian American diasporic identity, focusing on the cultural, economic and scientific consequences of colonialism.
4 p.m. Saturday; the exhibition concludes May 30. Perrotin Los Angeles, 5036 W Pico Blvd. perrotin.com

SUNDAY
Bob Dylan double feature
It’s the music icon’s 85th birthday and what better way to celebrate than with screenings of his 2021 concert film “Shadow Kingdom,” directed by Alma Har’el, and the 1987 musical melodrama “Hearts Of Fire” — one of Dylan’s forays into acting — directed by Richard Marquand.
7:30 p.m. Aero Theatre, 1328 Montana Ave., Santa Monica. americancinematheque.com

Stephen Schwartz performs during the Songwriters Hall of Fame induction and awards gala in 2025.

(Charles Sykes /Invision / AP)

An Evening With Stephen Schwartz
Katharine McPhee, Joey McIntyre, Loren Allred and other performers join the celebrated composer-lyricist for a benefit concert to help the Altadena Music Theatre recover from the Eaton fire. Schwartz has won three Oscars, three Grammys, four Drama Desk Awards, a Golden Globe and the Richard Rodgers Award for Excellence in Musical Theater, in addition to six Tony nominations for shows including “Wicked,” “Pippin” and “Godspell.” Preceded by a VIP cocktail hour.
7:30 p.m. Manoukian Cultural Performing Arts Center, 2495 E. Mountain St., Pasadena. altadenamusictheatre.com

Arts anywhere

New and recent releases of arts-related media.

An Evening with Nicole Scherzinger

The lead singer of the Pussycat Dolls crowned her triumphant, Olivier- and Tony-winning turn as Norma Desmond in the musical revival of “Sunset Boulevard” with a series of solo concerts at prestigious venues (including Walt Disney Concert Hall). The latest edition of “Great Performances” captured Scherzinger’s performance at London’s Royal Albert Hall in October 2025, when she sang showtunes, covers and songs from her own repertoire. 9 p.m. Friday on PBS and streaming on the PBS app

“Reading Pictures: A History of Illustration,” by D.B. Dowd.

(Princeton University Press)

Reading Pictures: A History of Illustration

In this visual chronicle, D.B. Dowd, a professor of design and American culture studies at Washington University in St. Louis, follows this unique art form from relief prints and woodcuts in ancient China and Japan, through the development of the printing press in 15th century Europe, and on to modern developments such as illustrated news, recreational reading and ad-driven consumer culture. Dowd reconsiders the traditional narrative to view illustration in the context of race, gender, literacy and cultural memory. The book examines the integration of reading and looking, the increasing prevalence of images in the digital age, and what it means to be literate in the 21st century. Princeton University Press: 400 pages, $60

— Kevin Crust

Culture news and the SoCal scene

Kylie Victoria Edwards and Daniel Yearwood in “Brigadoon” at Pasadena Playhouse.

(Jeff Lorch)

Theater lovers rejoice: “Brigadoon” at the Pasadena Playhouse may be the “best local staging of a musical” Times theater critic Charles McNulty has seen in 20 years covering the scene for The Times. The revival, directed by Katie Spelman with an updated book by playwright Alexandra Silber, is “the high-water mark so far of Pasadena Playhouse producing artistic director Danny Feldman’s ongoing reexamination of the American musical canon,” McNulty writes. In the same column, McNulty notes that another classic musical revival, “Flower Drum Song” at East West Players, does not hit its mark.

The Skirball Cultural Center‘s latest exhibit takes on the genesis of Punk rock in the 1970s, and traces its rise from the UK to New York and Los Angeles. The exhibit, “Outsiders, Outcasts, Rebels + Weirdos: Punk Culture 1976-86,” pegs punk’s year zero to 1976, “when the Ramones debuted their self-titled record. That same year, the Sex Pistols cursed on live TV, John Holmstrom and Legs McNeil co-founded Punk magazine, and the Damned released the first British punk single, ‘New Rose’.”

Erin Davis, son of Miles Davis, poses for a portrait during Musichead Gallery’s photography exhibition marking a centennial celebration of the jazz musician.

(Jason Armond / Los Angeles Times)

As the world celebrates the centennial of jazz legend Miles Davis, a unique photo show is happening at Musichead Gallery on Sunset Boulevard. “The show celebrates the late jazz musician’s centennial through imagery captured over a career spanning nearly five decades,” writes staff writer Julius Miller, noting that some of those photos have not even been seen by members of the Davis family.

Times classical music critic Mark Swed sat down for an exclusive interview with Los Angeles Philharmonic Music and Artistic Director Gustavo Dudamel as he readied to play his final shows with the orchestra at Walt Disney Concert Hall before departing for the New York Philharmonic. “I’m living here and I’m not living here,” Dudamel told Swed. “The connection will always be here.”

Swed also weighed in on two performances marking composer Philip Glass’ 90th birthday (which arrives at the end of January): Paris Opera’s “shocking” new “noir” production of Glass’ “Satyagraha”; and a UC Santa Barbara Arts & Lectures-commissioned show called “Philip Glass and the Poets,” which premiered at Campbell Hall featuring readings by performance artist Taylor Mac and dancer/choreographer Lucinda Childs.

Lisa Waund’s work in the Joy Department at the Hospital of Emotions at St. Vincent Medical Center.

(Carlin Stiehl / For The Times)

The Times got an exclusive first look inside the soon-to-open Hospital of Emotions, which features 70 artists in a takeover of 80 rooms at the shuttered St. Vincent’s Medical Center on the outskirts of downtown L.A. The sprawling immersive art project is divided into various departments including joy, fear and sadness, and shines a spotlight on wellness and mental health.

Meow Wolf L.A. won’t open until later this year, but The Times got an early look at a new character that will be featured in the immersive art space. Its name is WoWoW and it’s the creation of the experimental video art collective Everything Is Terrible. Read all about the “20-foot-tall, 1,000-pound amoeba-like creature” here.

Guests enjoy wine and friendship at the Barnsdall Art Park Foundation’s weekly wine tasting.

(Janna Ireland / Barnsdall Art Park Foundation)

Barnsdall Friday Wine Nights are returning for a 17th year. The event is set to begin May 29 and run through Sept. 11, every Friday evening from 5:30 to 9:00 p.m. Located on the West Lawn of Frank Lloyd Wright’s magnificent Hollyhock House, the gathering occupies one of the city’s most magical outdoor spots. A $55 general admission ticket gets you four glasses of wine from Silverlake Wine, along with a rotating lineup of food trucks. DJs also regularly perform throughout the series. Best of all: Proceeds support arts programming and preservation at Barnsdall Art Park. A rep for the event notes that, “this year’s fundraiser is especially critical amid proposed budget and staffing cuts to the City of Los Angeles Department of Cultural Affairs.”

Break out your best picnic basket and blanket: Independent Shakespeare Co. has announced this summer’s Griffith Park Free Shakespeare Festival, which runs outdoors every year at the park’s Old Zoo. This year’s lineup includes the Bard’s “Coriolanus” and “The Comedy of Errors.” Performances are free, but registration is requested at www.IndieShakes.org.

— Jessica Gelt

And last but not least

Times restaurant critic Bill Addison declares the 10-table Wilde’s the new “crown jewel” of Los Feliz.

Rylan Clark is the latest celebrity to be grilled on ITV’s The Assembly, where autistic and neurodivergent interviewers pose no-holds-barred questions

Rylan Clark was left stunned when probed about his ex-husband on ITV’s The Assembly. The Radio 2 star, 37, is the latest celebrity to be grilled on the experimental programme, where autistic and neurodivergent interviewers pose no-holds-barred questions to a host of famous faces.

Rylan knew he would be asked some difficult questions on the show, but when one interviewer brought up the topic of him cheating on his ex, Dan Neal, who he split with in 2021 after six years of marriage – he was floored.

Caught completely off-guard, Rylan was asked: “When you told your husband you cheated on him, he divorced you. Is honesty always the best policy?”

“Oh, wow”, Rylan replied, taking a deep breath. “Yeah, I think it is. I’m okay admitting I’m in the wrong, because actually I don’t deal well with guilt and I don’t deal well with secrets.”

After his split with Dan, the TV star took a lengthy sabbatical from all his television work and admitted he’d grappled with suicidal thoughts. Telling the interviewer he had been “really ill”, he shared: “It made me so ill, like so ill. It sounds a terrible thing to say, but I’m glad it happened.”

In another curveball, the former X Factor icon then admitted he didn’t “regret anything” as he shed more light on their break-up. Lifting the lid on life post-divorce, he said: “Do you know, I never think of him.

“So, this is like, my whole body just went [tense]. I miss feeling like I’ve got it all. I thought I had life done – I’ve got the job, I’ve got the family, I’ve got the marriage, I’ve got the car, I’ve got the house.

“I thought I had it sussed. I didn’t have anything sussed. I didn’t know what was a real relationship, and I can look back now and know that I don’t regret anything.

“I don’t regret anything, so I’ll leave that up to your imagination.”

Speaking to a make-up artist during a break from filming for the programme, Rylan, who went public with new partner Kennedy Bates in January, said he was pleased he took part in The Assembly, even though it was uncomfortable.

He said: “I’m so glad I did this. But yeah, [the] Dan questions, I was like [surprised] – I don’t even say his name. When my marriage ended, you know that term when someone says, ‘To pull the rug from under you?’

“That’s the only way I can describe it. It’s like someone went like that and I fell over, and I couldn’t get back up. [It was] like I broke both my arms and legs.”

Admitting he didn’t think he was going to “get out of it”, he concluded: “I went back to live with my mum because I didn’t want to be in my house, because there were too many memories of things in there.”

Like this story? For more of the latest showbiz news and gossip, follow Mirror Celebs on TikTok, Snapchat, Instagram, Twitter, Facebook, YouTube and Threads.

Ricky Martin had to stop his concert Thursday in Montenegro after someone in the audience “discharged tear gas toward the stage,” causing an “abrupt” interruption to the show as fans retreated and got any needed medical attention, the singer’s publicist said in a statement posted on Instagram.

The show did go on.

“As a precautionary measure, Ricky Martin and his entire team exited the stage while security personnel and local authorities worked to contain the situation and ensure the safety of those in attendance,” the statement said.

“We didn’t understand what was happening,” one shaken Montenegran concertgoer said on Instagram during the outdoor show. “Suddenly, people started pushing each other, and we smelled pepper spray. Many people quickly covered their mouths and left the area. I don’t know if there’s still anyone in the area right now. I didn’t see what the police did. I can hear that the concert has started again, but I left the area. I hope everyone is OK.”

Whether the substance was tear gas — which, incidentally, is a powder, not a gas — or pepper spray is unclear. Both substances have similarly irritating effects, despite different ingredients. Tear gas is typically employed by law enforcement for crowd control while pepper spray is often used by individuals for self-defense, according to hazmat and crime-scene cleanup company Bio Recovery, which operates mainly in the American south. Both substances can disperse widely in the air.

Martin, 54, decided to resume the show once authorities said everything was back under control even though “members of the artist’s team advised against continuing the performance,” the publicist’s statement explained.

The headlining performance, which was part of festivities marking the 20th anniversary of Montenegro’s restored independence following the breakup of the former Yugoslavia, came as the “Livin’ la Vida Loca” singer gets ready to embark on a European tour with dates in Italy, Switzerland, Germany, Czechia, Poland, Hungary, Istanbul and more from June into August.

Also Friday, Martin announced he would join the U.K.’s Heritage Live Festivals with a show Aug. 22 at the Royal Sandringham Estate in Norfolk with Sugababes, Olly Alexander and Sophie Castillo. It will be his only U.K. show in 2026. Other artists appearing in Heritage Live shows in July and August include UB40, Lionel Richie and Eric Clapton.

“The rise of Latin music as a global force has been phenomenal, and we’re thrilled to welcome one of the true pioneers who helped bring it to a massive international audience,” Giles Cooper of Heritage Live Festivals told the BBC. “It’s set to be an incredible party.”

Martin, who hails from Puerto Rico, joined Bad Bunny’s all-Spanish halftime show at Super Bowl LX in February with a 30-second cameo in a scene invoking the cover of the latter singer’s album “Debí Tirar Más Fotos.” Clad in all white, Martin sat in a white chair and dove into “Lo Que Le Pasó a Hawaii,” a ballad that implores Puerto Ricans, should the opportunity arise, to resist compromises that Hawaiians made when those islands became a U.S. state in 1959.

REBEKAH Vardy insists that “hell will freeze over” before she ever apologises to former pal Coleen Rooney over their Wagatha Christie row.

The wife of footie star Jamie said she must live with her libel loss to Wayne Rooney’s missus.

But Becky, 44 — accused of leaking stories about Coleen — said: “I’m never going to apologise for something I didn’t do. Hell will freeze over before I do that.”

Rebekah says her Wagatha Christie beef with Coleen is “done, it’s over” — and does not care what her ex-pal thinks about her.

The wife of former Leicester striker Jamie insists her own “peace” is more important amid the fallout to their legal battle.

In new ITV reality show The Vardys, she admits to still suffering from a public backlash after losing her libel case against Wayne Rooney’s missus.
Becky, 44, had taken legal action after Coleen claimed stories about her were leaked from her Instagram account.

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And she says: “I’m living with the judgment the judge made but, still to this day, I believe she was wrong.”

The mum of five goes on: “People constantly go, ‘Well, it’s not going to change anything unless you apologise’ — but I’m not apologising for something I didn’t do. Like never, ever, going to apologise for something I didn’t do — it’s never going to happen. Hell will freeze over before I do that.

“It’s over, it’s done, I’m not going to carry on living in the past. I’m so f***ing bored of it.”

The Sun revealed last year that the Vardys had signed a deal for a tell-all reality series, and the cameras followed them as Jamie, 39, left Leicester for Italian Serie A minnows Cremonese.

But before Becky packed her bags, she opened up about the High Court battle which finally ended last May, when she was ordered to pay Coleen’s legal fees of around £1.2million.

She says: “I don’t have any negative feelings towards her whatsoever. Some people might go, ‘That’s bull’, but whatever, that’s your opinion. If I ever saw her or bump into her, people will assume it’ll be like handbags at dawn, or ‘Birkins at dawn’, whatever they want to say. ‘Wag War 4’. I’ve forgotten how many headlines have been ‘Wag War’, but my peace is too important.”

She adds of her one-time friend: “I’ve got no idea what she thinks of me, but I’m not bothered.”

Becky was heavily pregnant when Coleen publicly revealed in 2019 she had turned detective to find out who was leaking stories about her.

Becky’s Prem-winning hubby has stayed silent on it, until now.

He says: “Becky’s a strong woman. If she wasn’t, it would definitely have broken her 100 per cent. But that’s not her.”

He adds: “People thinking that Bex was a villain, it’s just a load of s but everyone close to her knows, that’s all she needs. It was really tough seeing Bex in pain, obviously with all the crap coming her way. As a husband, the only thing you can do is be there for her.”

The couple celebrate their tenth anniversary today — and their close bond is evident during The Vardys’ opening episode.

Whether it’s playfighting in their home gym, Jamie’s disdain for her “banana breath” or Becky’s utter bewilderment at how “chilled out” her husband is, they are perfect reality TV material.

Becky says: “We have five kids, but if you include Jamie in that, we have six.”

Jamie is seen telling his young children about him leaving Leicester after 13 years.

But the transfer was far from straightforward — as he was initially bound for a Dutch club.

Becky rants: “The last 24 hours has been a total s*** show. Yesterday morning we were all on holiday in Portugal, chilling, rosé, life couldn’t get any better. And then Jamie tells me, ‘I’m going to sign for a Dutch team.’ I ask him, ‘Are you sure?’ And he seems pretty sure at that point.

“So I thought, ‘OK, that’s fine then, we’re going to Holland’ and literally, just as we’re boarding a flight home from Portugal, he changed his mind — standard Jamie.

“We landed back in the UK at 3pm, dropped the kids off, went straight back to the airport and back out on a flight to Italy.”

• The Vardys starts on ITV, June 2, 9pm, with all episodes on ITVX.

Kylie Minogue’s sister Dannii is no stranger to the spotlight, but the popstar has another sibling fans aren’t familiar with

Kylie Minogue fans are more than acquainted with her sister Dannii, but who is the pop icon’s other sibling?

The celebrated singer, 57, has just opened up about her rise to global stardom in new Netflix documentary show Kylie. Tracking her career from soap star to chart-topper, the series features interviews with those closest to the Australian celebrity.

However, her brother Brendan only makes a brief appearance in the show. In Episode 1, Kylie’s brother is shown during a scene where the Minogues gather around for a bonfire. Fans will also spot her sister Dannii, mum Carol, dad Ronald in the segment.

So who exactly is the mysterious Minogue sibling?

Who is Kylie Minogue’s little-known brother?

Kylie’s younger brother is 55-year-old camera operator Brendan Minogue.

He prefers to stay out of the spotlight but has been spotted in his sister’s other projects, including the 2001 special An Audience with Kylie Minogue.

While little is known about the Minogue brother, it seems the three siblings shared a positive childhood.

In her Netflix show, Kylie reflects on their upbringing fondly. “I was raised without any putdowns, without ever hearing ‘You can’t do this, you can’t do that,'” she explains. “We were just encouraged to do what we loved.”

The singer has also cited Brendan as part of her solid support system. In an interview with the BBC, she confessed: “When it’s not going well, that’s who I turn to – Mum, Dad, my brother and my sister.”

She revealed in the same interview that Brendan taught her a stress-relief technique that was crucial during the start of her career.

It’s called the foofer valve, she said, adding: “When the emotion has got to come out, or you’ve got to have a big cry or a moan, you let out a noise, tsssssh, like a kettle letting off steam, and you’re like, ‘Oh, I feel so much better’.”

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

This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows like Stranger Things and The Last of Us.

As well as a glimpse into her family life, the three-part Netflix doc offers insight into the pop icon’s decorated career.

A synopsis teases: “Featuring footage from home movies, personal photographs, and new interviews with Kylie herself, the documentary shows the woman behind the hits. It examines how she’s faced public scrutiny, personal loss, and illness with grit and grace, earning respect far beyond her own fandom.”

Kylie is streaming now on Netflix

ITV viewers were quick to issue the same complaint about Danny Dyer and Emily Atack’s new gameshow Nobody’s Fool

ITV viewers have ‘switched off’ new gameshow Nobody’s Fool after voicing identical complaints.

Fronted by actors Danny Dyer and Emily Atack, the quiz-based series features ten strangers battling it out for a whopping £100,000 prize fund. Unlike the majority of gameshows, this programme isn’t about how intelligent contestants are, but rather how intelligent others perceive them to be.

Each participant tackles a general knowledge quiz in private, with their correct answers contributing money to the prize. Having completed the quiz, players can opt to lie or tell the truth about their performance.

The genuine tension of the game emerges during the eviction task, where contestants must pinpoint the person who contributed the least to the prize fund based purely on their impressions of their fellow players.

Victory hinges on persuading the other contestants that you’re clever enough to remain in the game, even if that means double-crossing them, reports the Daily Star.

Despite its fascinating premise, viewers were swift to condemn the new programme for allegedly “ripping off” BBC’s The Traitors.

Taking to X, formerly Twitter, one viewer wrote: “So this #nobodysfool is 100% a rip off of #Thetraitors.”

As devotees of the BBC gameshow will recognise, The Traitors is similarly a game of deception, which relies on players’ perceptions of one another. The Traitors is also set in a castle, while Nobody’s Fool takes place in a manor.

Someone else drew the same parallel, writing: “Budget version of The Traitors #NobodysFool,” while a third contributed: “#NobodysFool so this is another traitors/ fortune hotel rip off.”

Others were swift to switch off the programme. “Nope 2 minutes in and off #nobodysfool,” remarked one, while someone else noted: “Nodding off already. Surely not another itv flop.”

Despite the harsh judgements, however, some ITV audiences are prepared to give the gameshow an opportunity. One commended: “I’m liking #NobodysFool so far not a bad opening.”

While a second concurred: “#NobodysFool seems okay at the moment.”

And yet another viewer offered a measured assessment, declaring: “Too many shows these days are trying too hard to replicate The Traitors – and failing miserably. #NobodysFool however is decent so far and already a lot better than #TheNeighbourhood.”

Nobody’s Fool is streaming now on ITVX

The first-ever winner of Britain’s Got Talent has spoken out about the ITV show’s format and says it needs to change to survive.

Britain’s Got Talent winner Paul Potts has spoken out about the iconic talent show and its current format.

The 55-year-old, who claimed the inaugural title on the ITV programme back in 2007, has voiced his concerns about international acts who have already reached the semi-final stages on other Got Talent franchises subsequently competing in the British version.

While making clear he has “no problem” with overseas performers appearing on the show, Paul insisted the programme must “adapt” to remain relevant.

Speaking exclusively to Sky Vegas, he said: “I’ve got no problem with international acts because British people have won America’s Got Talent before. Paul Zerdin won America’s Got Talent, so it works both ways. Some of the international acts this year have been fantastic and they bring real quality to the competition.”

He continued: “But I don’t think people who’ve already made a Got Talent final anywhere in the world should then be allowed to compete in another regular Got Talent series. Otherwise, it just becomes the same people endlessly auditioning across the franchise.”

“For me, if somebody has already reached a live semi-final, they should maybe get one more shot and that’s it. It’s not just meant for amateurs and complete novices. Professionals can absolutely compete, but it can’t just become a revolving door of career talent show contestants.”

Paul also suggested that the programme needs to venture across the UK in search of potential performers. He went on: “The format of Britain’s Got Talent needs to adapt.

“I think they need to start going around the country again like they used to instead of concentrating everything into one or two locations. Go out to seven or eight cities and really search for more homegrown talent. That would encourage more people from around the UK to audition.

“They also need to focus purely on quality once it gets to the semi-finals and finals. Bring novelty acts back to perform in the live shows for entertainment, but don’t have them there as actual semi-finalists because it feels a little disrespectful to the contestants who genuinely have a realistic chance of winning.”

Paul further noted that he believes the Golden Buzzer is ineffective in the semi-finals and that Piers Morgan ought to make a comeback to the programme, reports the Daily Star.

He continued: “I think it’s good to have diversity on the panel. KSI brings energy, and I don’t think there’s really anything wrong with the judging panel itself. The issue for me is more about the structure – you either need one more judge or one fewer judge, so you don’t keep ending up in deadlock situations.

“If they were going to add another judge, I’d say bring Piers Morgan back. I’m sure he’d shake things up a bit. I’m not sure he’d do it again, but it would certainly make things interesting.”

Britain’s Got Talent continues Saturday, 23rd May at 7pm on ITV1.

Major rule changes have come into force

Millions of holidaymakers head to Spain each year, with the nation being a firm favourite with those from the UK. Prior to Brexit, British travellers could enter Spain fairly easily.

However, since the UK left the European Union, new rules have come into force. For instance, your passport must display a ‘date of issue’ that falls within 10 years of your arrival date, and if you renewed your passport prior to October 1, 2018, it could carry a date of issue exceeding 10 years, rendering it invalid for entering the Schengen zone (which includes Spain).

As well as this, those travelling on a British passport can only visit the Schengen area for 90 days in any 180-day period. And if you’re entering Spain you’ll need to scan your passport, have a photo taken of your face, and scan four of your fingerprints, under the new Entry/Exit System (EES).

Once you have registered for travel under the EES, your digital EES record is valid for three years or until your passport expires if this is within the three year window. According to the Foreign, Commonwealth and Development Office (FCDO), alongside a valid passport, UK visitors may also be required to produce a return or onward ticket and/or proof of valid travel insurance at border control.

You may also need to prove you have enough money for your stay, and show proof of accommodation. This could be a hotel booking, or the address of a property you own. Alternatively, this could be an invitation if staying with friends, family, or a third party, such as a ‘carta de invitation’ completed by your hosts.

A Loose Women panellist spoke about her health problems after rushing for help before the live show.

Loose Women panellist Jane Moore has revealed she rushed to medics for help before a live show.

The panellist joined Christine Lampard, Judi Love and GK Barry on Friday’s programme, where the presenters were discussing dentist appointments.

At one point after a break, Christine teased: “Do you fear losing your teeth as dentists warn they’re overwhelmed?” before jokingly adding: “Jane is here to tell us all about nearly having to rush a dentist onto the studio floor, that was only a couple of weeks ago… it was touch and go, wasn’t it?”

Laughing it off, Jane explained that she had turned up to the studio one morning, and as she was eating, a tooth “fell” into her mouth.

“I thought, ‘What the hell’s that?'” she went on, saying the others had been laughing at her during their morning meeting.

Jane continued: “So I then had to get on a bike and go to the dentist in the middle of the meeting, he was on holiday!

“Anyway, it was a whole thing, so I came back with the tooth, got some gummy stuff and literally put it in.

“People might have noticed – I’m normally quite gobby – [but] I barely said a word. I thought, if I say anything slightly emphatic, my tooth is going to go!”

She added that her loose tooth resulted from receding gums, and she’s now waiting to get it properly fixed after a temporary solution.

This comes after fellow ITV star Kate Garraway made an emergency dash to a dentist after her teeth fell out moments before Good Morning Britain.

She later took to Instagram to explain she’d had an “unfortunate collision” resulting in two front teeth getting cracked.

She said: “Letting you in on the horror behind the scenes on Monday’s show…

“After an unfortunate collision with a taxi window at the weekend I cracked my two front teeth caps.. of course. They then fell out just before going on air.

“All I can say is it’s hard to appear young and cool in front of a whole new team of trendy producers when you are reduced to gluing your teeth on with denture fixative at three in the morning!!!”

Kate continued: “An emergency trip to the dentist means now I have a temporary set of fake teeth … but they are soooo massive.

“Just hoping they hold for @gmb tmrw from 6am with @richardmadeleyofficial – glue at the ready!”

Loose Women airs weekdays from 12.30pm on ITV1 and ITVX.

Eight years after going off the air, “Sofia the First” is getting another opportunity to find out what being royal is all about.

Disney’s first preschool princess returns for a new set of adventures in “Sofia the First: Royal Magic” premiering Monday on Disney Jr. The following day, eight episodes will stream on Disney+.

The sequel series finds Sofia — once again voiced by Ariel Winter — leaving home to attend the Charmswell School for Royal Magic. Rapunzel makes a guest appearance in the premiere episode and Moana, Jasmine, Cinderella, Aurora and Elena of Avalor will all stop by over the course of the first season.

According to Disney, “Sofia the First” still holds the record for the top three cable TV telecasts for girls ages 2 to 5 with more than 3 billion hours watched since the series premiered. The trailer for “Sofia the First: Royal Magic” was viewed 7.54 million times on social media in the first 24 hours after it was released. The show’s theme song, which has been updated for the new series, remains popular on TikTok among teens who first watched the show as preschoolers.

Series creator and executive producer Craig Gerber says the show’s tone is one of the reasons for its enduring popularity. “The charm, the humor and the storytelling was simple enough for [children] to understand, but sophisticated enough to stick with them as they were growing out of the key demographic,” he says. “They remember [the show] very fondly and it becomes a source of comfort for them.”

Rapunzel makes an appearance in the premiere episode of “Sofia the First: Royal Magic.”

(Disney)

Originally there were discussions to have a spin-off series with a whole new set of characters going to Royal Prep, the school Sofia graduated from in the first series. But soon Gerber realized that a sequel series was the way to go because of the love for the character. “It became clear that the real exciting part of coming back to this world would be to follow the further adventures of Sofia and bring her to a new audience,” he says.

Sending Sofia to a new school was the obvious choice. “We thought it would be very exciting and fresh for her to go to a school where she could focus on learning magic and mastering the powers inside her,” Gerber says. “In the first series, she learned what being royal is all about. In this series, she’s going to learn what being the most magical princess is all about.”

Winter was 12 years old when she auditioned for the role 15 years ago. At the time, she said Sofia’s voice was close to her own — what she thought she would sound like if she were a princess. But even all these years later, it was easy for her to find the voice again because she never really stopped doing it.

“If people told me that they had a child who loved Sofia, I would be like, ‘Oh, do you want me to make a voice recording for them?’ I’d make at least one of these a week, maybe more,” she says. “The show meant so much to me and I know it meant so much to so many people. To know that I am going to get to help influence another generation of kids in a positive way is just so exciting.”

In addition to Winter, all of the original cast is returning, including Sara Ramirez as Sofia’s mother Queen Miranda, Darcy Rose Byrnes as Sofia’s stepsister Amber, Wayne Brady as her beloved rabbit Clover, Eric Stonestreet as her flying horse Minimus and Tim Gunn as the castle steward Baileywick.

But a whole new series and location also means new characters. Here’s a look at three of the new characters who will be entering Sofia’s world.

Eden Espinosa as Zandrya

Eden Espinosa voices Zandrya, the new villain in “Royal Magic.”

(Disney)

Broadway star Eden Espinosa, perhaps best known for playing Elphaba in “Wicked,” will be voicing the new villain Zandrya. “She is loud, bratty, confident and powerful,” Espinosa says.

“We wanted Zandrya to have that entitled air,” Gerber says. “As if all of the magic should just be given to her and she shouldn’t even really have to work for it. She is a sorceress that is after magical items to give her more power. And because Sofia is becoming more and more confident in her magical abilities, Zandrya has a hard time getting what she wants.”

As master of disguise, Zandrya takes a different form each time she appears in an episode — the better to fool Sofia and get her hands on the magic amulet. That means Espinosa, who also voiced the Queen of Hearts in Disney’s “Alice in Wonderland Bakery” and Cassandra on “Tangled,” gets to take on a new voice with each new episode.

“She’s the most fun character to play,” she says. “Voiceover has always been a dream of mine ever since I saw ‘Little Mermaid’ when I was I think 10.”

Espinosa says Zandrya is “the most fun character to play.” The actor has to take on a new voice whenever her villain takes on a different form.

(Disney)

As in the original series, music will play a big part in “Sofia the First: Royal Magic.” In fact, there will be twice as many songs, with each 11-minute episode getting its own number. “What I love about the songs I’ve gotten the privilege to sing is that they feel current,” Espinosa says. “They feel like it’s on the pulse of what’s happening now. They are bops. The challenge is I have to sing the songs in the voice that I’m in for that episode.”

“We’re very lucky to work with folks like Eden, who can take any personality, any voice and still manage to hit all the notes and convey the acting and and really give a fun, rollicking performance,” Gerber says.

And, like Elphaba, Zandrya might be a little misunderstood. “I think as humans we have all sorts of things going on underneath the surface,” Espinosa says. “While she has a very clear mission and intention, I do know that she has moments in interacting with Sofia that she has reflections that make her think.”

Yvette Nicole Brown as Lady Saddlespur

Yvette Nicole Brown voices Lady Saddlespur, Sofia’s new teacher.

(Disney)

Yvette Nicole Brown is one of Gerber’s go-to performers. She’s been the voice of Chief Faye Fireson on “Firebuds” and Luna on “Elena of Avalor.” So it was an easy yes for Brown when Gerber asked her to be the voice of Sofia’s new magical creature teacher and flying derby coach Lady Saddlespur.

“If I’m doing a show, I’m gonna find room for her,” Gerber says of Brown. “Lady Saddlespur is a fun foil for the kids as she pushes them to be better students.”

“She is a Southern belle,” Brown says of her onscreen alter-ego.“She’s very proper. She believes that everything at Charmswell should be done just so.”

Brown says her favorite part of animation is that it encourages her to tap into her child-like side. “When we were kids, we lived in this place of wonder,” she says. “I remember the first shows I watched. I remember ‘Captain Kangaroo,’ ‘Mr. Rogers’ Neighborhood’ and ‘Sesame Street.’ Those performers have stayed with me my entire life. The honor of getting to be one of the first voices that these babies hear is everything.”

Brown is also delighted by the life lessons the show imparts. “Lessons about accountability, sharing, kindness, regulating your emotions and following directions. The importance of school and learning and being careful and gentle with animals and other people and their feelings. I think it’s a great stepping stone for the babies to learn how to be productive, caring members of society, which is what we’re all supposed to be trying to be.”

Nate Torrence as Pepper

Nate Torrence voices Pepper, Sofia’s puppy-unicorn.

(Disney)

Pepper is Sofia’s pet puppy-unicorn. Nate Torrence, who is also the voice of Clawhauser in the “Zootopia” movies, says nothing sounds more adorable than “the collab of a puppy and unicorn.”

Gerber has wanted to create such a character since the original series. “He’s there for comic relief to a large degree,” Gerber says. “And also to give us that little bit of daily magic because Sofia can talk to animals.”

“He’s a pretty lovable guy,” Torrence says. “Even though he plays a little air-headed, he actually is really witty. It’s that old-school Abbott and Costello kind of timing or Charlie Chaplin because there’s so much physical comedy going on with Pepper.”

Because he’s getting to voice a character for so many episodes, Torrence says he’s felt more growth with Pepper than many of the other characters he’s played. “I do think they’ve allowed my voice to be a new kind of voice in the world,” he says. “I get to have a bit more attitude and sass. To be a part of a franchise like this is a nice little dream come true for me.”

What do we have here? Some of my very favorite actors — Alfred Molina, Alfre Woodard, Clarke Peters and Geena Davis — starring in an eight-episode, B-grade sci-fi comedy-drama, “The Boroughs,” now streaming on Netflix.

Molina plays Sam Cooper, a retired engineer — that will be important — being brought grumbling to the Boroughs, a posh, city-sized retirement community plopped down in the middle of the Southwestern desert. Sam’s late wife, Lily (Jane Kaczmarek, in flashbacks and dreams), had planned the move, but she died suddenly, while they were dancing to Bruce Springsteen’s “Thunder Road,” which will become a kind of trigger and motif going forth. Still, fate — in the form of daughter Claire (Jena Malone) and son-in-law Neil (Rafael Casal) — has pushed him solo to the Boroughs and a house on a cul-de-sac. (Seen from above, the town is laid out in a series of concentric circles, as EPCOT was meant to be when Walt Disney was alive and it stood for Experimental Prototype Community of Tomorrow. That has no relation to this show; I’m just throwing it out to the fans.)

Before this happens, however, we get a preamble. Is that Dee Wallace, the mother from “E.T.: The Extraterrestrial,” as Grace, a former occupant of Sam’s new home? (Why, yes it is.) Grabbed one night by something clearly not human, she’ll leave the show before the first credit rolls; but we’ll know from the start that there’s a monster on the loose. And even before Sam has settled in, he’ll be attacked by her now-widowed husband, Edward (Ed Begley Jr.), who has escaped to his old house from the Manor — a memory care unit more reminiscent of something out of “Squid Game” than anywhere you’d want to park a beloved fading parent — muttering “The key is in the light, the owl is in the wall,” and thereby turning Sam detective.

The joint is run by young Blaine Shaw (Seth Numrich), who supposedly took it over from his father, who took it over from his father before him, with Hollywood-blond wife Anneliese (Alice Kremelberg) by his side. (It is perhaps no accident that we’re also served a background clip from “Double Indemnity,” featuring a blond Barbara Stanwyck.) They radiate a kind of vampiric smoothness, and it will take you no longer to realize that something’s up with these two than it takes to say “Something’s up with these two.”

Mired in grief, Sam is initially reluctant to interact with his new neighbors, until former weatherman Jack (Bill Pullman) breaks down his defenses. Judy Daniels (Woodard) used to be a reporter, her husband Art (Peters) is a pot-smoking old hippie who pretends to go golfing but heads off to a ghost town where he grows mushrooms, “searching for proof that there’s more to life than just knockin’ about and hangin’ out.” Wally Baker (Denis O’Hare) used to be a doctor, but now needs one. (It’s cancer, and terminal, though it doesn’t show.) They have complicated relationships, but there’s nothing better for ironing things out than creeping together through dark tunnels by flashlight, hoping that nothing jumps out at you, engaging in weightless banter as you go.

Davis plays Renee Joyce, a former music manager who came to the Boroughs to stay with her mother after Renee’s husband stole her money, and stuck around; I think she’s meant to be younger than the rest, but if you want to look up Davis’ age, I will wait here while you gasp in astonishment. She’ll hook up with friendly young security guard Paz Navarro (Carlos Miranda); he played drums in a band once, and they were both at Glastonbury in 2010 and love Barbra Streisand. (What are the odds?) He’ll have a lot to do when a Scooby Gang — that old, invaluable, incredibly satisfying trope — finally comes together.

The series was created by Jeffrey Addiss and Will Matthews, who were co-writers on the 2018 Henson Co. puppet epic “The Dark Crystal: Age of Resistance,” from which they have imported a central plot device regarding vital essences and a magical matriarchal figure. (Called “Mother” there and here.) Their 2020 dying girlfriend film “Life in a Year,” directed by Mitja Okorn, has some thematic mirroring here, as well — death hovers over the story — and it seems probable that somewhere in the series’ gestation, they discussed Ron Howard’s 1985 science-fiction flick “Cocoon,” with its retirement home setting and senior-citizen heroes.

Sewn together from these and other scraps of previous paranormal adventure stories, “The Boroughs” is almost entirely predictable — not a criticism, in this context, since surprises in such a story are liable to bring bad news, and our affection for its heroes ought not to be sacrificed in the name of dramatic effect. That is not the kind of sacrifice the age needs, and this is not that kind of series. Nor is B-grade a pejorative, but rather an honorable tradition, especially when it comes to sci-fi and horror. (We’ll get a glimpse of Roger Corman’s original “Little Shop of Horrors” playing on a TV — cathode ray, of course.) Once you get on its wavering wavelength — sentimental, sincere, sweet, a little silly, not overly concerned with making perfect sense — and realize the show is not out to hurt you, it’s a very enjoyable watch.

The roar erupting from the capacity audience inside the Ed Sullivan Theater when Stephen Colbert stepped on the stage of his “Late Show” for the last time made it clear that they did not want him to say goodbye.

Colbert took his final bow as his beloved late-night show came to an end Thursday. The episode was so crammed with top celebrities who showed up to share a last moment with the comedian that it extended several minutes beyond its usual one-hour run time.

Before the official start, Colbert addressed the audience as he thanked the staff, calling the show “The Joy Machine”: “We call it the Joy Machine because to do this many shows, it has to be a machine. But the thing is, if you choose to do it with joy, it doesn’t hurt as much when your fingers get caught in the gears, and I cannot adequately explain to you what the people who work here have done for each other, and how much we mean to each other.”

In his opening monologue, Colbert downplayed the event‘s status, rolling a series of jokes about news stories in New York and New Jersey. But he was repeatedly interrupted by audience members Bryan Cranston, Paul Rudd and Tim Meadows who all became irritated when Colbert informed each of them that they would not be his last guest.

When the show’s supposed scheduled last guest, Pope Leo XIV, refused to leave his dressing room, Paul McCartney popped on stage to a rapturous ovation. The legendary musician presented Colbert with a framed photo of The Beatles when they appeared on Sullivan’s show in 1964.

The only subtle reference to President Trump came when McCartney relayed a story how the Beatles, before their Sullivan appearance, got their faces covered with bright orange makeup. “That’s pretty popular in certain circles these days,” Colbert quipped.

The episode marked the finale of Colbert’s 11-year run on CBS’ late-night show, which he has been counting down since July of last year, when CBS said it was canceling the show because of financial difficulties. “The Late Show” franchise, which Colbert inherited in 2015 from David Letterman, was the top-ranked late-night show, but it faced challenges due to dramatic declines in viewership and a drop in advertising revenue.

However, industry observers also contended the move was tied to Colbert’s relentless criticism of Trump. The decision was announced after Paramount, the parent company of CBS, had settled a lawsuit filed by Trump over a “60 Minutes” interview with then-Vice President Kamala Harris. The company agreed to pay $16 million to settle the suit, which came as Paramount was attempting to get regulatory approval for its merger with Skydance Media, which Colbert called “a big fat bribe.” Trump made no secret of his disdain for Colbert and other late-night hosts who have skewered him and his administration over the years.

Colbert, his guests and others continued to blast Trump in this final week. In his introduction Wednesday of his performance of “Streets of Minneapolis,” Bruce Springsteen said: “I’m here in support tonight for Stephen, because you’re the first guy in America who has lost his show because we got a president who can’t take a joke.”

And Jimmy Kimmel on his ABC late-night series said Wednesday, “I will be watching tomorrow night. I hope that those of you who watch will also tune in to CBS for the last time. Don’t ever watch it again.”

In a tribute to Colbert, Kimmel, another target of Trump, and NBC‘s “Tonight Show” host Jimmy Fallon said their respective shows would not air new episodes during Colbert’s finale.

But the overall vibe on “The Late Show” this week has centered on celebration and spotlighting the show’s comedic formula. Several celebrities who have a special connection with the show made appearances, including Jon Stewart from “The Daily Show” and filmmaker Steven Spielberg.

In one of the more arguably iconic sequences, David Byrne and his band — all attired in bright blue uniforms — appeared Tuesday to perform the Talking Heads anthem “Burning Down the House.” Colbert joined in at the end, dancing in his matching blue outfit.

The “Late Show” time slot will be occupied starting Friday by Byron Allen and his “Comics Unleashed” syndicated show. CBS executives have said they hope to develop a new original late-night series in the future.

Netflix subscribers will wake up to a video livestream of “The Breakfast Club” starting next month, marking the platform’s first daily live podcast.

The deal is part of the streaming platform’s ongoing focus on live programming, and the latest video podcast offering through its partnership with iHeartRadio, the company said on Thursday. The nearly three-hour show will include a live video feed exclusive to Netflix and will air every weekday morning.

“Taking this show live every day to a global audience on Netflix is a powerful example of how we’re expanding the reach of our biggest brands while giving audiences entirely new ways to experience them,” Bob Pittman, iHeartMedia’s chairman and chief executive, said in a statement. “Whether it’s morning in NYC or the afternoon in London, the conversation is live and reaching the world in real time.”

“The Breakfast Club” will air simultaneously on Netflix, the iHeartRadio app and it will continue to be syndicated by Premiere Networks on more than 100 broadcast radio stations nationwide. Netflix’s video feed is meant to provide more behind-the-scenes content, as radio formats will still need to include commercial breaks. Instead of pausing the program, Netflix watchers will get an uninterrupted stream, where those traditional breaks will be filled with exclusive segments and extended discussions.

“The media landscape will always evolve, but one thing consistently cuts through: live programming,” Charlamagne tha God said in a statement. “That’s a big reason ‘The Breakfast Club’ has sustained its reign for so long. We’re building something powerful — real‑time conversation, real community, on a global scale. The future belongs to those who can see what’s possible — and trust me, the vision for ‘The Breakfast Club’ and Netflix is crystal clear.”

The radio program first got its start in 2010 on WWPR-FM in New York. Over the years, it has become one of the most popular morning shows, rooted in Hip-Hop and R&B culture and known for its lively interviews and entertaining commentary from hosts Charlamagne Tha God, DJ Envy and Jess Hilarious. The show has welcomed guests like former President Barack Obama, and artists like Kendrick Lamar and Cardi B. In 2020, the talk show was inducted into the Radio Hall of Fame.

Netflix has heavily invested in its live programming in the worlds of sports, comedy and podcasting in recent years. In the past month, the Los Gatos-based company livestreamed “The Roast of Kevin Hart” and its latest fight between MMA fighters Ronda Rousey and Gina Carano. This weekend, the F1 Canadian Grand Prix is also set to air on Netflix. These tentpole events are in addition to some of the weekly live programming Netflix offers, including “The Bill Simmons Podcast,” which airs every Sunday.

Susanna Reid was joined by Richard Madeley during the latest edition of Good Morning Britain

Good Morning Britain star Susanna Reid will be taking a short break from the programme.

Susanna returned to the ITV studio on Thursday (May 21), alongside Richard Madeley, to deliver the day’s biggest headlines from across the UK and around the world.

At the end of the show, Susanna and Richard interviewed a woman who had saved up to £800 a month as part of a new ITV programme called Rising Bills: How Can You Save Money?.

Wrapping up the interview, Susanna said: “I love it. Thank you both for coming in. You can catch Rising Bills: How Can You Save Money? tonight [at] 7.30pm on ITV1 and ITVX.”

The 55-year-old presenter then confirmed that she wouldn’t be on screen next week, which happens to be the May half term.

“Now, I am off next week, but Good Morning Britain is back tomorrow from 6am. Now, it’s time to join Lorraine. Have a great day,” she said.

It’s not yet known which presenter will stand in for Susanna while she’s away, but it usually tends to be either Kate Garraway, Ranvir Singh, or Charlotte Hawkins. Susanna’s announcement comes over a month after her last break from the show, which took place during the Easter holidays.

Elsewhere during today’s GMB, Susanna and Richard discussed the topical headlines with regular commentators Kwasi Kwarteng and Nels Abbey.

Ranvir also announced breaking news after EasyJet confirmed that summer flight bookings are lower than this time last year due to uncertainty linked to the Middle East conflict.

“However, last minute bookings made in the month that you want to travel have increased compared with a year ago,” Ranvir said.

“The airline also reported a pretax loss of £552 million for the six months ending in March.”

Susanna and Richard also interviewed Race Across the World stars Mark Blythen and Margo Oakley, who are competing in tonight’s grand final.

After racing over 11,000km, the final four teams will face one final test of endurance as they embark on the last leg of their journey. To finish the race, the teams must head north from Kharkhorin to reach the shores of the “Blue Pearl of Mongolia”, Lake Khövsgöl.

As they leave the checkpoint, they will face a crucial decision. They could head directly north, a shorter route but one which requires them to go off-road, or add 500km to their journey with a detour via the capital, Ulaanbaatar. Who will reach the finish line first? We’ll have to wait and see.

Good Morning Britain airs weekdays on ITV1 and ITVX at 6am

At Jimmy Kimmel’s annual monologue to advertisers at Disney’s recent upfront presentation, the ABC late-night host offered sympathy to his ousted CBS cohort Stephen Colbert.

“First, it’s bad enough to lose your job,” Kimmel said. “Imagine getting replaced by the owner of the Weather Channel.”

Byron Allen, the media mogul whose holdings do include the Weather Channel, laughed when the gag was repeated to him during a recent phone conversation. “I like Jimmy Kimmel a lot,” he said.

Allen, never lacking in self-confidence, can afford to roll with the jokes. Episodes of his 20-year-old syndicated program “Comics Unleashed,” a half-hour show featuring mostly lesser-known stand-ups sharing routines and stories, are replacing “The Late Show with Stephen Colbert” on CBS in the 11:35 p.m. time period starting Friday.

While it’s a triumph for Allen, 65, it’s also a sign of how the traditional late-night talk show — one of television’s most culturally influential formats — may no longer be sustainable in the era of streaming TV.

CBS said last year it canceled Colbert because it lost $40 million a year as the late-night viewing habit among audiences has eroded in the streaming era. Many in the TV industry are skeptical of the claim, believing Skydance Media wanted to silence the relentless Trump-bashing host in order to clear the government regulatory path for its acquisition of network parent Paramount. (The FCC’s approval of the deal came days after the cancellation was announced.)

Cedric the Entertainer, left, with Byron Allen on the set of “Comics Unleashed.”

(Allen Media Group)

But no one who has worked in late-night television in recent years can dispute how financial challenges are clouding the format’s future. Polished after-hours programs with a live audience, large teams of writers and producers and high-priced hosts are fighting off obsolescence as traditional TV audiences get smaller and ad revenues shrink. While CBS is the first to act, other networks have thought about getting out of the business altogether.

Since 2022, “The Late Show” lost 20% of its audience in the advertiser-coveted 18-to-49 age group, according to Nielsen data. Ad spending on all late-night television shows hit $209 million in 2025, down from $519.7 million in 2017, according to data from Guideline.

“Nothing is forever, especially in television,” said former network executive Ted Harbert, who oversaw the launches of “The Tonight Show Starring Jimmy Fallon,” and “Late Night with Seth Meyers” at NBC. “Digital tech is killing late night.”

The hosts of the programs and their funniest bits are arguably seen by more people than ever before thanks to clips replayed on social media platforms. But the revenue generated by digital viewing doesn’t approach what the networks get for audiences watching live on TV.

Over the last 10 years, late-night shows flocked to YouTube as a way to be a part of the national conversation and bring attention to the shows. Harbert believes the notion that the clips alone — which may feature a funny bit or a snapshot of a conversation with a guest — would help lure viewers to traditional TV was folly.

“The shows cannibalized themselves by making their show available in snack-size clips after the network airing,” he said. “And viewers obviously would rather watch a couple of five-minute clips than a whole show.”

Late-night shows were once among the most profitable programs on TV because of their ability to reach viewers in the 18-to-34 age group that attract premium prices for commercial time. But the same demographic was the first to gravitate to streaming platforms and abandon traditional TV which thrives on appointment viewing.

Daniel Kellison, a former producer for “Jimmy Kimmel Live” and “The Late Show with David Letterman,” noted that Kimmel — who has also been targeted by the Trump administration for his harsh barbs — has seen his TV ratings increase this year.

But the overall trend for the time period is still down. While Kellison believes Colbert’s cancellation is an effort by CBS to appease Trump, he agrees that the genre needs to evolve and adapt to the changing media landscape.

“There’s always going to be an audience for conversation around politics and life and these sort of shows will exist in different formats and I think it’s incumbent upon people to figure out how to present them,” he said.

CBS executives have said they want to develop a new network show in the late-night time period. But for the next year it will lease the slot to Allen. His company Allen Media Group pays CBS for the time, covers the cost of production and sells the advertising. He is also the host. The deal will erase whatever losses the network experienced in that TV block.

“Comics Unleashed” has been running in the 12:35 a.m. hour since CBS canceled “After Midnight” last year. When that show moves to the earlier time slot, it will be replaced by another Allen program, “Funny You Should Ask,” a comic quiz show hosted by John Kelley.

Allen said he has great respect for the late-night TV tradition. His mother was a tour guide at NBC in Burbank and he was able to hang out on the studio lot to watch Johnny Carson tape “Tonight.” Allen would get advice from Carson, whom he calls his hero and mentor, and eventually got a shot at doing stand-up on “Tonight” when he was 18 years old.

Allen even asked CBS to move the start date of “Comics Unleashed” to May 22 because it is the anniversary of Carson’s final show in 1992. But his sentimentality ends when it comes to the economics of programming in that time slot.

“We will be in profit,” Allen said of “Comics Unleashed,” which according to Nielsen has seen its audience grow in the 12:35 a.m. time slot by 26% since October.

Kimmel has accused CBS of dumping Colbert for “Comics Unleashed” because Allen’s show doesn’t partake in political humor that could alienate the White House as Skydance moves to close its next acquisition: Warner Bros. Discovery.

“I feel like CBS is turning 11:35 p.m. into a ‘least’ time slot,” Kimmel said at the Disney presentation. “Least as in least likely to offend the president with the rerun of ‘Comics Unleashed’ from 2007 featuring Paula Poundstone and Andy Dick.”

Poundstone and Dick are not among the 1,000 comedians who have appeared on “Comics Unleashed” over the years, many of whom went on to become stars. But not having the program dabble in political humor is a business decision.

The guests stick to storytelling and slice-of-life material that doesn’t date, which is why the episodes can attract an audience years after being taped. They don’t plug books, movies, concerts or any other elements that would be dated by future airings.

“Twenty years ago when we shot our first episode I said ‘we’re making it ‘I Love Lucy,’” Allen said. “I want these shows to be funny today and 20 years from today.”

Allen said his company will produce 130 new episodes of “Comics Unleashed” for the 2026-27 TV season.

But the reason the current set of late-night hosts leaned into politics so heavily in recent years is because it works.

When Colbert took over “The Late Show” from Letterman in 2015, the program’s ratings sputtered as the audience did not really know Colbert outside of the satirical figure he played on Comedy Central with his show “The Colbert Report.”

The night Trump scored his surprising win in the 2016 presidential race against Hillary Clinton, Kelly Kahl, then an executive vice president of CBS Entertainment, sent a text to Chris Licht, then executive producer of “The Late Show,” telling him it was “the best thing to happen to the show.”

Colbert found his voice on the program, which rose to No. 1 in the ratings and has been there ever since.

The Netflix show has found itself in the top 10 in multiple countries, bringing in over 13 million views this week

A controversial Netflix show dubbed “super dark” continues to break records in over a dozen countries worldwide.

The Roast of Kevin Hart livestream was finally released on Netflix earlier this month (May 10), having been hosted by Shane Gillis during Netflix is a Joke Fest. Featuring savage punchlines from the likes of Dwayne Johnson, Pete Davidson and Katt Williams, the show continues to divide fans.

Running for just under three hours, a Netflix synopsis reads: “Kevin Hart is in the hot seat and ready for all the smoke as roastmaster Shane Gillis and a dais of A-listers unleash a raw and ruthless night of laughs.”

Despite its controversy, the show has found its way onto Netflix’s Top 10 list, breaking records to sit in top place in 15 countries this week. According to Netflix’s Tudum, from May 11 to May 17, The Roast of Kevin Hart sits in first place in the Top 10 Shows with 13.5 million views.

But views continue to be divided as one person wrote on Rotten Tomatoes: “It’s no different than any other roast.. it’s light but super dark gut wrenching comedy. It’s an enjoyable watch.”

Another said: “This is the edgiest, funniest roast I’ve seen. It was not afraid to push the boundaries of comedy, something we need more of. I applaud the boldness and vision. I’d love to see more like this.”

A third added: “Omg!!! This was a proper roast, crying laughing, whilst walking around the room saying No! No! No! He didnt just say that.”

However, some viewers were unimpressed as one person wrote: “Easily the worst roast ever done. I love Shane, but he was so bad and unfunny. The Rock was the only one that did okay, everyone else was pretty poor. Just awful.”

Another said: “The cringe was high with this one. The few funny moments still didn’t make the 3 hrs worth it.”

A third penned: “Total waste of time. 3-4 funny jokes in 3hrs. Skip!”

Over on Reddit, one viewer stated: “Overall I enjoyed lots of the jokes but many felt like they were simply seeking to push the discomfort to extremes for the sake of edginess rather than for the sake of smart humour. It felt desperate to shock.

“I understand roast culture but this event had an edge I haven’t seen before and there seemed to be an air of discomfort amongst some people.”

The Roast of Kevin Hart can be streamed on Netflix.

The Bob Baker Marionette Theater was about to debut its first new production in 45 years, and it was uncertain whether one of the show’s signature new puppets would even work. A pelican, with an oversized bucket-like beak, was in need of last-minute maintenance.

This gangly bird, designed to hop, skip, soar and sing to Clarence Henry’s mid-’50s rhythm and blues hit “Ain’t Got No Home,” was supposed to surprise the audience, as its elongated bill is actually hiding a frog. Getting the pelican-frog duo to perform in unison was a feat of mechanical artistry for the team, not to mention the choreography needed by the puppeteer.

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And in the minutes before showtime, director Alex Evans was trying to stay calm. In such moments, he would say later, he only need remind himself of an old adage in the puppet arts.

“Puppets,” he says, “break all the time.”

With that, he was ready to embrace the unknown.

“I always say I love the chaos of live theater,” Evans says. “We got to believe in this thing.”

“Choo Choo Revue,” the latest in a long line of song-and-dance productions, is arriving at a momentous time for the Bob Baker Marionette Theater. Just last month the troupe announced its intent to purchase its venue on Highland Park’s York Boulevard for $5 million, doing so as it was gearing up for performances at the Coachella Valley Music and Arts Festival. The latter went viral, a fact Evans attributes to many of the first week shows of “Choo Choo Revue” selling out.

An organist plays while people file into the premiere of “Choo Choo Revue” at the Bob Baker Marionette Theater.

In many ways, “Choo Choo Revue” is a statement piece. Evans, who also serves as co-executive director with Mary Fagot, wants to place the spotlight on the theater’s current crop of artists, fabricators and collaborators. While the show pays tribute in many ways to the theater’s legendary namesake founder, perhaps most notably in its use of his vintage record collection, it’s time, Evans says, for the Bob Baker Marionette Theater’s next generation to shine.

Evans was instrumental in the decision to shift the team away from the previously announced production of “Arabian Nights,” a project once spearheaded by Baker, who died in 2014. Just ahead of the arrival of the 2020 COVID-19 pandemic, the theater had gone so far as to print an “Arabian Nights” program, and had finished sets and puppets ready to go.

“Choo Choo Revue” is the first new Bob Baker Marionette show since 1981’s “Hooray LA!”

During the forced closure, however, the team began to rethink its future. “It was a deep-breath time to do some internal thinking about who we are and what we want to prioritize,” says Evans, who joined the company in 2007 as a volunteer and became a staffer in 2009.

“The first new show in 40 years — us finishing one of Bob’s shows would have been deeply personal and meaningful, but it would have kept the narrative, internally and externally, that this was one person’s vision,” Evans says. “‘Choo Choo’ is the culmination of so many different ideas and people. It was purposefully about opening the floodgates, that Bob Baker could be more than just the person of Bob Baker.”

It wasn’t a sure thing the Bob Baker Marionette Theater would even reach this milestone. For much of the past decade — since about the death of the theater’s patriarch — the narrative surrounding the theater was one of survival.

In 2019, the Bob Baker Marionette Theater needed a lifeline. Forced out of its edge-of-downtown home of more than 55 years, the beloved troupe with its thousands of handcrafted puppets — a saucy black cat in heels, a fish out of water that can’t help but wiggle — ultimately found a new location in a Highland Park theater, where it signed a 10-year lease.

Then came the pandemic, when the theater relied heavily on community fundraising to cover its rent. California, and Hollywood in particular, has a rich puppetry tradition. Bob Baker Marionette Theater likes to refer to itself as the largest ongoing puppet theater in the U.S. The oldest puppet space in the country resides up north in Oakland at amusement park Children’s Fairyland. And in 2020, Bob Baker found it had many fans, asking at one point to raise $365,000 over the course of a year. It did so in four weeks.

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1. L Castro twirls a marionette. 2. The audience gives a round of applause after the premiere of “Choo Choo Revue.” 3. People stand in line for the premiere of “Choo Choo Revue” at the Bob Baker Marionette Theatre. (Carlin Stiehl/For The Times)

Old favorites, including the theater’s famed black cat marionette, make appearances in “Choo Choo Revue.”

But it was the long process of buying its home, namely the belief that it would be in Highland Park to stay, that gave the company the confidence that it could go forward with a new show. The obvious question, of course, is why it took 40 years for a completely fresh Bob Baker experience. Evans gives a long answer, pointing to numerous hurdles, be it the shift in locations, the cost of preserving its historic puppets and collection, as well as just managing priorities.

“It’s not necessarily a financial hurdle,” Evans says, noting “Choo Choo Revue” cost $300,000, with about half of that sum dedicated to the creation of new puppets and scenery.

“I think it was more about priorities,” Evans says. “Like, do we get the staff healthcare first, or do we do a new show first? So we got the staff healthcare. Or do we give the stage better lighting.”

As for how and why the team settled on “Choo Choo Revue” as its first production since 1981’s “Hooray LA!,” Evans says not to overthink it.

“It made me giggle,” he says. “It was a jumping off point to imagination. ‘Choo Choo Revue,’ by name itself, I thought to giggle.”

The show is a fantastical representation of a cross-country train trip, filled with adorable puppet trains.

A meticulously detailed log with windows, for instance, or a car that seems to balance natural, mountainous wonders on its back. They’re colorful playthings, at least until the background scenery starts depicting various locomotive styles. Puppeteers will whisk train cars out into the open, each often housing a fantastical creature — a moose, for instance, who takes a break from knitting to prance around to a rendition of the on-theme traditional blues ditty “Midnight Special.”

Behind it all are tens of thousands of hours of handcrafted proficiency. Each new puppet is a work of art. Take, for instance, a swarm of bats that seemed to glow in the dark (the creatures, created for “Choo Choo Revue,” made their debut during last year’s Halloween season).

The Bob Baker Marionette Theater created more than 100 new puppets for “Choo Choo Revue,” including a pelican hiding a frog in its beak.

Or an intricately detailed cicada band. They’re each playing tiny instruments — one a half-open sardine can, another a stringed matchbook. Their wings deserve a close inspection, as the translucent curved fixtures are inspired by stained glass windows. There are trees that ski, and train whistles with big lips and high heels, modeled after harmony group the Andrews Sisters. Wait till the latter toot off their tops, as each of the 100 new puppets is full of surprises.

“We get a bunch of different artists together, and we all brainstorm,” Evans says of the creation process. “Like, ‘Let’s all think for a second about anthropomorphizing trains.’ We did a series of sketches and showed them to each other. I honestly probably have a thousand different fascinating ideas for train movement.”

On opening night, the crowd claps along to the numbers, cheering with delight at each new piece of whimsy that rolls or soars onto the floor-level stage. And as for the showstopping pelican, the frog erupts out of its beak right on cue, a moment that indeed inspires a round of laughter and childlike awe.

As the imaginary train whisks the puppets around the country, the show manages to build anticipation just by making the crowd wonder what comes next. Say, for instance, a fluffy Sasquatch, or a crooner of a moon in pajamas singing an old-timey lullaby to all the little ones seated cross-legged on the floor.

Puppeteer Ginger Duncan twirls a marionette named Comedy.

Much of “Choo Choo Revue,” like the yawning, serenading moon, is rooted in the music of the past. That was a decision made to ensure the show feels in line with earlier Bob Baker works. Yet Evans says the team is emboldend after Coachella to start tackling more contemporary songs at its Highland Park headquarters. The crowd at the Indio festival, for instance, went wild for the puppets swooning to Ben Platt’s cover of Addison Rae’s hit tune “Diet Pepsi.”

“Honestly, if we had done Coachella last year, it would have pushed ‘Choo Choo’ further,” he says, noting he initially feared pop music could distract. “I didn’t think it could work in a way that wouldn’t throw you out of the show.”

And yet Evans doesn’t want to get ahead of himself. He nearly teared up at the end of the “Choo Choo Revue” premiere, saying the following afternoon that seeing this show come together after multiple years was second only to his 2025 wedding in terms of creating an “overwhelming feeling of pride, love and care.”

“Choo Choo Revue” culminates in a look toward the future. That’s when a sleek, silver, oversized high-speed bullet train arrives on the scene.

It can be read as a metaphor.

While the nonprofit is still seeking donor help — at the premiere, Fagot said the company now has secured $4.7 million toward its $5 million goal of buying the theater and it also hopes to raise an additional $2 million for building upgrades — its future is more secure than it has been at any time over the past decade.

At long last, the Bob Baker Marionette Theater can relax and look toward new horizons.

Evans, for instance, can’t help himself excitedly tease a potential next Bob Baker show. He says twice in the interview that the Olympics are on the troupe’s mind.

“We’ve got two years,” he says. And now the permanent home to house it.

Gracie Cochrane won’t be enrolling in Hogwarts this fall.

HBO announced that Cochrane will depart the upcoming “Harry Potter” series ahead of Season 2. Cochrane played Ron Weasley’s (Alastair Stout) younger sister, Ginny, in “Harry Potter and the Philosopher’s Stone.” Cochrane and her family attributed the “challenging decision” to “unforeseen circumstances.”

“Her time as part of the ‘Harry Potter’ world has been truly wonderful, and she is deeply grateful to [casting director] Lucy Bevan and the entire production team for creating such an unforgettable experience,” the Cochrane family said in a statement. “Gracie is very excited about the opportunities her future holds.”

HBO said they “wish Gracie and her family the best.”

“We support Gracie Cochrane and her family’s decision not to return for the next season of HBO’s ‘Harry Potter’ series, and we are grateful for her work on season one of the show,” HBO wrote in a statement.

Tristan Harland, Gabriel Harland, Ruari Spooner, Gracie Cochrane and Alastair Stout.

(HBO)

The HBO series was greenlit for a second season in early May, months ahead of its Christmas Day premiere later this year. If the sophomore season follows J.K. Rowling’s second book, “Harry Potter and the Chamber of Secrets” (the first season is adapted from the first novel), Ginny will begin her first year at Hogwarts in Season 2.

Cochrane was cast following a massive undertaking by HBO to find young actors for the show. HBO reviewed more than 32,000 auditions before selecting Dominic McLaughlin to play the boy who lived. The cast was filled out with West End performers, like Arabella Stanton (Hermione Granger), first-time actors like Amos Kitson (Dudley Dursley) and longtime stars including John Lithgow, who will play Albus Dumbledore.

HBO Chairman Casey Bloys explained that they expected a lot of “interest” in the cast because of the cultural prominence of the “Harry Potter” franchise.

“Interest can tip over into more unpleasant and aggressive behavior,” Bloys told Deadline, alluding to racist backlash over the casting of Paapa Essiedu as Professor Snape. “We talked to them about what to expect … but any kind of security that’s needed is an unfortunate aspect of doing IP shows. We just try to be mindful and monitor it.”

In March, HBO released its first trailer for the show, which included a peek at the redheaded Weasley family saying goodbye to Ron at Platform 9¾ before he boarded the Hogwarts Express. The trailer also teased Harry’s acceptance letter from Hogwarts and his wand and Nimbus broom.

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

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

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

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

1. The trademark ‘Claudia’ power suits

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

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

2. Mastering the co-host dynamic

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

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

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

3.Live TV glamour prep

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

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

4. Ballroom-ready fitness

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

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

5. A secret penchant for sequins

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

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

The Verdict

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

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

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

One of the former stars of Death in Paradise has issued an update about another of his crime shows

Ben Miller has shared a major update about one of his crime dramas.

The actor, previously known for his detective role in the BBC’s Death in Paradise, now leads the ITV crime show Professor T, playing a brilliant criminology professor living with Obsessive Compulsive Disorder (OCD) who assists police in cracking cases.

Since launching in 2021, the programme has aired four series, with additional episodes already confirmed to be on the way. During an appearance on The One Show, Ben let slip a “spoiler alert”, revealing that a sixth series was in production too, reports the Express.

Presenter Roman Kemp asked about the show’s future, noting that numerous viewers had been asking when Professor T would return.

“It is coming back,” Ben replied. “I think the autumn is the season. Yeah, so we’ve got season five that will hopefully be coming out in the autumn. I mean, spoiler alert. We’re actually working on season six.”

Roman and co-host Alex Jones appeared delighted, with Roman exclaiming: “Wow! Double spoiler alert.”

Professor T sees Ben play Jasper, who assists police in solving complex cases and puzzles. The series also stars Frances de la Tour as Jasper’s domineering mother.

Last year it was confirmed that it would be back on ITV for a fifth instalment, with Ben saying at the time: “I’m beyond thrilled that we will soon be breaking ground on a fifth series of Professor T.

“Working with such a talented cast and crew is a joy that even a heavy woollen suit can’t stifle, and I can’t wait for audiences to see the treats we’ve got in store for them in series four later this year, when the Professor tackles his most baffling case yet: romance.”

The actor, well known for portraying cantankerous detective Richard Poole in Death in Paradise, added: “The fact that audiences worldwide have embraced the show so warmly is hugely rewarding, and we’re already brimming with ideas to make Series 5 even more quirky, heartfelt, and surprising.

“Here’s to another season of baffling crime, dreaming spires, and ironing that tweed…”

Sharing an update on Instagram after filming wrapped last summer, he said: “Last week we wrapped Season 5 of Professor T!

“Another few months spent filming with the most hard working crew and cast who give their all to this show. It’s always a pleasure.”

The One Show broadcasts on BBC One at 7pm on weekdays.

Two US Navy jets collided during an air show at Mountain Home Air Force Base in Idaho, sending both aircraft crashing to the ground in front of spectators. All four crew members ejected safely before impact.