show

ED Sheeran has made a major show change as he admitted he was “afraid” of being pelted by projectiles after the Macklemore controversy.

The singer yesterday broke his silence on the huge Palestine row, which saw Macklemore be pulled from his gigs over comments about the conflict – and his own band quit in protest.

As masked protesters waving Palestinian flags gathered outside the Lincoln Financial Field venue in Philadelphia, Ed took to the stage.

Near the end of the gig, Ed confessed he was forced to pivot from his original show plan over fears he didn’t know what the “audience would be like.”

Speaking at his stadium show, Ed said: “The show itself, at this point in the show, to be honest like I usually go out to B stage and I’m gonna be totally honest with you I didn’t know what the audience would be like tonight.

“I didn’t know if I was going to have things thrown at me. I didn’t know if people would be angry at me.”

‘SO, SO SORRY’

Ed Sheeran breaks down in tears onstage as he apologises over Palestine row

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The audience cheered as Ed continued: “I apologise that today is not the usual Loop show where I stand on the B stage but I was afraid of standing in the middle.

“I will admit that.”

Elsewhere in the show, Ed broke down in tears as he bowed to pressure threatening the future of his US tour, Loop, and apologised.

He said he had tried not to be a “political commentator” because he wanted his music to be about “unity”.

But then admitted on stage: “I cannot hide how I feel about it anymore.”

“What happened in Israel and at the Nova music festival on October 7 was horrific and compounded centuries of Jewish pain.

“What is happening in Gaza is catastrophic and unjustifiable and disproportionate.

“My heart has been broken by the scale of devastation and loss of civilians’ lives, children’s lives.

“And the systemic injustice we are seeing unfold in the West Bank cannot be overlooked.”

The controversy started when US rapper Macklemore was banned by Gillette Stadium owner Robert Kraft from performing at the venue at a gig planned for later this month.

Kraft said he would not “provide a platform for hate speech” after the rapper spoke out about Palestine onstage.

But when Macklemore was pulled from the tour, several other support acts quit in solidarity – including Ed’s own band.

Other acts who dropped out included Grammy award-winning musician Finneas, Irish singer Aaron Rowe and Danish singer Lukas Graham.

Thousands then cancelled tickets and the musician was unsure if he’d be able to carry on with performances at all.

Emotional Ed said he had questioned whether he “wanted to be an artist at all” after the toxic fallout.

The devastated star thanked his fans for still coming out to his gig, saying: “This concert is still a place where everyone is welcome and everyone here can stand beside people that have opposing views, and everyone can stand beside people that they don’t agree with on everything, but they can all agree on singing these songs.”

STRICTLY Come Dancing fans raged at bosses over an “unfair pairing” after the celebrities and pro partners were revealed during the launch show’s twist.

The BBC show kicked off last night in spectacular style with the pairings being announced live on the dance floor.

In a complete overhaul, the 15 celebs were split into three groups of five and danced alongside multiple pros as their partners were revealed live in the studio.

While the celebs beamed as they finally found out who they’d be vying for the Glitterball Trophy with, some fans were not happy about one particular match.

Lauren Oakley, who has appeared on the show for four seasons, was paired with telly dog trainer Graeme Hall.

And fans are furious, slamming bosses for “doing Lauren dirty.”

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One fan wrote on X: “Oh Lauren. Dear dear Lauren has her work cut out with Graham. Unfair pairing in my opinion. Graham was exhausted after 3 minutes. Poor thing.”

“Lauren putting on a brave face knowing she’s the best dancer and she’s been set up again,” penned another fan.

A third fan said: “Awww I was so hoping Lauren would get a decent partner this year (sorry canine expert) she’s such an underrated pro.”

Meanwhile, a fourth fan added: “Think they may have done Lauren bad this year.”

In 2023, Lauren was paired with Krishnan Guru-Murthy and they came 8th place.

The following year Lauren and her partner JB Gill were runners-up.

Just last year she took to the dance floor with former footballer Jimmy Floyd Hasselbaink – they came 11th place.

Graeme, 59, Lauren’s partner this year, is best known for being the host of the hit Channel 5 programme Dogs Behaving (Very) Badly.

PHILADELPHIA — Ed Sheeran opened a solo concert in Philadelphia on Saturday with comments about Gaza, saying what’s happening is “catastrophic and unjustifiable.”

“My heart has been broken by the scale of devastation and loss of civilians’ lives, of children’s lives,” Sheeran said at his nighttime performance at Lincoln Financial Field.

Sheeran also said he wants his music and shows to be about unity and humanity, not politics.

He then addressed the controversy that unfolded since his supporting acts withdrew in solidarity with opener Macklemore, who was dropped from the tour after making pro-Palestinian comments onstage.

Sheeran has performed much of his Loop Tour concerts solo, but he had been joined for several songs at each stop by the Irish folk band Beoga. Macklemore, Sheeran’s original U.S. opener, had been replaced by Danish band Lukas Graham and Irish singer Aaron Rowe before they backed out.

Finneas, Billie Eilish’s brother and musical collaborator, was due to tour with Sheeran in South America later this year before he too dropped out earlier this week.

As of Saturday afternoon, tickets were still available for the show, and Sheeran’s website did not list any replacement acts.

Earlier a group of about 50 pro-Palestinian demonstrators congregated outside the stadium before the show. Hillary Steinberg, 34, of Philadelphia, said she got tickets a year ago but wound up getting a refund and attending the demonstration instead, disappointed that Sheeran had not taken a stand.

“I was, until this week, a big Ed Sheeran fan,” Steinberg said. “I think all art is political, and all music is political, and so this choice — even though he was saying that he wasn’t complicit — is a political choice.”

The show comes after a tumultuous week that opened with Macklemore being dropped in response to exclaiming “Free Palestine!” during a Sept. 5 show in New Jersey. Sheeran has said he was not responsible for the decision, which came at the urging of New England Patriots owner Robert Kraft. His company owns a stadium where Sheeran’s tour was scheduled to play Friday.

Within hours of Sheeran’s statement Tuesday, his supporting acts withdrew.

Diane Savitz, a 53-year-old concertgoer from Stroudsburg, Pa., got her tickets to the show months ago and is a big Sheeran fan. She said she does not think that he did anything wrong or that a concert is the place for politics.

“A concert should be for people enjoying the music. Music should bring people together,” Savitz said. “Everyone has their right to freedom of speech, but not every platform is the place for it.”

Macklemore said Wednesday he is donating $1 million to support Palestinian relief efforts and called on Kraft to match the gift; a spokesperson for Kraft has said the billionaire and Sheeran have each agreed to donate $2 million but have not specified where the money will be directed. Sheeran’s representatives have not responded to multiple requests for comment.

Sheeran’s Loop Tour was the highest-grossing in the world, with an average box office gross of over $7 million per city, Pollstar said in May. Through the end of 2025, Sheeran was the No. 3 top-earning concert act since 2021.

Sheeran has said the tour promoter was ultimately responsible for the decision to drop Macklemore.

The Grammy winner was adamant in his Tuesday statement that he wouldn’t be drawn into discussion of the war in Gaza, arguing that his fans don’t come to his shows to hear about these issues.

He also said he “spoke with the venues at length all week to try to build a bridge” before Macklemore was dropped. He insisted he would never willingly let down his fans or abandon the touring crew and others who rely on him to make a living.

While promoters and venues wield great power over concert tours, experts say an artist of Sheeran’s magnitude generally has the final say about what happens concerning the shows.

Sheeran told the crowd in Philadelphia that everyone is welcome at his concerts, and they can have opposing points of view while still singing his songs, which are about “love, hope, and unity.”

Vejpongsa writes for the Associated Press. AP journalist Jessica Hill in Las Vegas contributed to this report.

Sir Tom Jones proved he’s “still got it” on The Voice UK tonight with an impromptu rendition of It’s Not Unusual.

The Voice UK fans slam ITV’s “huge mistake” in getting rid of Sir Tom Jones as he shares heartwarming story about his career.

ITV’s hit singing contest The Voice UK returned tonight, Saturday, September 19, as the judges continued to blindly listen to singers hoping one of stars would give them a chance.

As always was veteran The Voice UK icon Sir Tom Jones who recalled when he first realised the moment he “made it” in his music career, after he was asked by Will.i.am.

“It’s Not Unusual I did in 1964 so that was 61 years ago”, Tom said.

“My band and myself were driving back to London and It’s Not Unusual came out on the Friday but I didn’t know until I picked up the Sunday paper in a transport cafe, and there it was, It’s Not Unusual, number 10.

“There were truck drivers there right and I was like ‘You see this!’ And they were like ‘yeah, yeah, yeah yeah!’

“And just seeing my name at number 10 I thought ‘This is it. It was a tremendous feeling.’

This story then prompted the audience to ask for him to sing It’s Not Unusual which Sir Tom happily obliged with many fans impressed by his performance.

However, it also angered viewers as they were reminded that the 86-year-old will not be returning for The Voice UK next year as he will be replaced by former Girls Aloud star Cheryl.

“To the powers that be at The Voice UK this is the legend you dropped!”, someone angrily wrote.

A second agreed: “ITV making a very big mistake getting rid of Sir Tom Jones, idiots.”

Another agreed: “It was such a huge mistake axing Tom Jones”, with another writing: “Still can’t believe they fired THE Tom Jones. He’s amazing.”

While a fellow viewer added: “Don’t care what anyone says Sir Tom Jones has still got it!” Silliest move to let this frigging legend go..shame on you producers who make stupid decisions on The Voice UK.”

Sir Tom has also shared that it wasn’t his decision to go, explaining on social media: “The reason given is because of a financial difficulty with insurance.

They now say in the press they wanted to ‘refresh’ the show, and with a new coaching line-up there wouldn’t be a chair for me.”

He has instead been offered a reduced role in the series, something that Sir Tom isn’t “thrilled” about.

The Voice UK continues every Saturday on ITV and ITVX

CARROT Top has been hospitalised in Las Vegas after an emergency.

His Friday night show at the Luxor was scrapped as a result.

A source told TMZ Carrot Top, 61, had been rushed to hospital after a suicide attempt.

His rep said the comedian was recovering in hospital with “the care and support he needs”.

The performer’s real name is Scott Thompson.

He got his nickname from a high school swimming coach.

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Known for his high-energy shows, Carrot Top had a long-running residency at the Luxor, Las Vegas.

The fast-paced performance has been running since 2005 at the ritzy hotel.

It regularly includes dozens of props and witty one-liners, with the star closing the show with a lip-synced musical montage.

Carrot Top booked his first stand-up comedy gig as a freshman at Florida Atlantic University.

The comedian from Rocklegde, Florida, got his big break in 1991 on Comic Strip live.

From 1995 to 1999, Carrot Top worked as a continuity announcer for Cartoon Network.

In the early 2000s, he landed TV roles in Larry the Cable Guy’s Christmas Spectacular, George Lopez, and Scrubs.

The comedian also snagged roles on the big screen, including in Chairman of the Board, Dennis the Menace Strikes Again and Tugger: The 4×4 Jeep Who Wanted to Fly.

He has appeared on many talk shows, including a 2010 episode of The Jay Leno Show, when he had pies chucked at him by Leno and guest Emma Roberts.

His agent Jami Schlicher said: “Mr. Thompson is recovering in the hospital and is receiving the care and support he needs.

“His family and those closest to him are deeply grateful for the concern, prayers and respectfully ask for privacy.”

The Sun contacted Scott Thompson’s agent for comment.

Hundreds of thousands of Iranians have marched in a government-organised show of defiance in Tehran, pledging their readiness to take up arms.

The Iranian government showcased a newly formed volunteer force at the rally on Friday. It will receive limited military and emergency response training to serve as an additional layer of security for Iran’s Islamic Revolutionary Guard Corps (IRGC) and the Basij militia.

Volunteers rallied through downtown Tehran in combat uniforms, some carrying flags and weapons, while the government displayed drones, anti-aircraft batteries and other weaponry.

Iranian authorities said 313,000 people joined the event in the capital. Attendance figures could not be independently verified.

Tehran’s IRGC chief, Hassan Hassanzadeh, told the state broadcaster IRIB that over 600,000 people had registered to participate in the voluntary Janfada-ye-Iran campaign. That roughly translates to “Those who sacrifice their lives for Iran”, with over one million expected to take part in the training.

Senior Iranian leaders at the rally included President Masoud Pezeshkian and Basij head, Hossein Taeb.

Taeb told participants that the volunteers would be ready for “full-fledged defence” and would be a “nightmare” for Iran’s enemies.

A broader strategy

Iranian authorities say mobilising the new volunteer force is part of a broader defence strategy.

“The Islamic Republic has mobilised these people to show that they are united, that they have solidarity and that their people are ready to give anything for the country,” said Al Jazeera’s Sinem Koseoglu, reporting from the rally.

Women and teenagers have also registered with the volunteer units, she added.

“I want to show the world that Iran is strong and united. We don’t want war, but we’re ready to defend our country to the very end,” one of the volunteers, Bahera, told our reporter.

Another volunteer, wearing a combat uniform and carrying a rifle, said: “This is our homeland and we won’t let others decide its future”.

President Pezeshkian said in a speech that the rally was a show of solidarity, Koseoglu noted.

“This is not only a message to countries like the US and Israel, which are attacking Iran, but also to the Islamic Republic that we are ready for any crisis.”

Economy and mobilisation

Friday’s rally happened as the Iranian economy struggles under the US naval blockade of Iranian ports and new US sanctions.

Esmaeil Baghaei, Iran’s Foreign Ministry spokesman, condemned the “brutal economic war, deliberately designed to inflict maximum pain and suffering on every Iranian citizen”.

As the latest addition to its economic pressure campaign, the US administration on Thursday went after digital currency networks that it says are illegally providing sanctioned Iranian entities with access to the international financial system.

The struggling economy was a key driver for protests last December that quickly turned into a challenge to the political system in place since the Islamic Revolution in 1979. Iran said about 3,000 people were killed in the protests, but activists say the state crackdown killed over 7,000.

However, the war launched in late February by US-Israeli strikes has since allowed the authorities to regain the initiative by presenting themselves as a bulwark against the country’s enemies.

The volunteer mobilisation campaign started in early April, at the height of US-Israeli attacks.

According to the authorities, more than 30 million people registered for a potential call-up, about a third of the population of 86 million.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What’s a Kaoss Pad?

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

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

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

(Brian Feinzimer / For The Times)

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

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

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

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

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

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

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

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

Does Harrison?

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

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

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

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

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

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

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

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

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

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

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

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

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

(Jason Armond/Los Angeles Times)

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

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

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

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

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

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

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

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

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

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

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

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

(Jason Armond / Los Angeles Times)

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

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

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

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

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

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

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

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

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

(Steven Ackerman / MGM+/Sony Pictures Television)

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

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

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

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

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

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

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

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

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

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

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

“The Pineapple” promised to be intense, but even hours before the show had begun, it had me startled.

I was warned, via a waiver attendees must sign to experience the production, to expect “intimate, and/or aggressive physical contact,” “confined spaces and passageways,” and that I may be asked to crawl, kneel or lie down. All of it would happen in a show that I was cautioned would present simulated violence or “disturbing imagery.”

As much as I love participatory, immersive theater — productions that often rely on some form of audience participation — “The Pineapple” was providing me with a checklist of things I generally avoid. It was a feeling that only grew when I reached the waiver’s end, and signed off that I was OK with claustrophobia (I am not).

What had I done?

None of it, though, had fully prepared me for what Candle House’s “The Pineapple” actually was. By the time the hourlong experience in North Hollywood had reached its conclusion, I had been straddled by a woman who forced a gloved finger down my throat, outfitted with hooded, vision-impairing face masks, grabbed by the wrists as they were taped together, ordered to crawl toward a blood-stained room, and spooned or kissed by multiple male performers.

“The Pineapple” is a secretive hourlong show that seeks to disorient attendees.

(Sona Earnest)

“The Pineapple” is a buzzed-about show among the tight-knit immersive community, one that fits into the medium’s long tradition of productions designed for a sole audience member. A short run last year in New Jersey sold out. Candle House has such a devoted following that its L.A. shows have been selling out almost as instantly as they are announced. While it’s thus far been shrouded in secrecy — “The Pineapple” will not even release a program or cast list until its run has concluded — it comes highly recommended from acquaintances who saw it on the East Coast. I was alternately excited and apprehensive to take part, and my editor would like me to note that I pitched this story on my own accord.

“The Pineapple” in its limited online description promises an alien encounter. Sign up, and an email will tell you that it will “change your life.”

For the passionate crowd of immersive enthusiasts who may want to experience “The Pineapple” and are worried I just spoiled the show, I call nonsense. For one, I believe audiences should know exactly what they are paying for, and two, I do not think “The Pineapple” can be properly spoiled. It was at times otherworldly, in moments psychedelic, and while there were scenes in which I felt fear, there were also others in which I laughed. While “The Pineapple” flirts with horror, torture and conspiracy nuts, it also provides space for Jimmy Buffett’s “Margaritaville.”

And in “The Pineapple’s” best instances, it created a sense of personal intimacy with its performers. These were actors who may have earlier been needling at or attempting to push my boundaries. “The Pineapple” wants to toy with our trust, to create a safe space where it can intermix themes of abuse and empathy until their lines are blurred. Consider its waiver, then, not just a warning but an attempt to weed out those who may be offended or triggered.

“The Pineapple” tries to break us. And it charges nearly $250 for the privilege.

“How do I put this,” says the show’s core creator/director Evan Neiden when asked his intentions behind “The Pineapple.” “I think the show is designed to boil you. Like the lobster in the pot. It gets warmer and warmer and warmer and it’s slowly acclimating you to this new set of rules that keep changing to this new environment of degeneracy and conspiracy.”

“The Pineapple” teases an alien encounter. It is theatrical production designed for one guest.

(Sona Earnest)

Neiden, the 27 year-old founder of Candle House, has long specialized in one-on-one phone productions designed to be done from the caller’s home. While drastically different in narrative content, his horror show “Claws,” in which its solo guest acts as an emergency line operator, is good prep for “The Pineapple” as it also seeks to push people to the brink of comfort.

If there is an artistic thesis behind the work of the New York-based Candle House, it is to cast its audience as performers, but then poke, prod and disorient until they stop performing and start reacting on instinct — or, in theory, become unguarded. It’s an idea that simply to get through the day we are playing a role of sorts, tuning our conversations to please others, or presenting exaggerated, false or tidied-up versions of ourselves on social media.

“In an experience like this, you’re alone with the inhabitants of the world, and they’re all there as part of your hallucination, your dream and your journey,” Neiden says. “You don’t need to worry about presenting a certain way or being perceived in a certain way. All the characters in ‘The Pineapple’ are degenerates, and this show invites you to become one as well. That’s very hard to do if someone from the respectable, outside world is watching.”

The setup for “The Pineapple” is simple. I was playing a respondent to an ad for a meeting with an alien. But things quickly spiral beyond clear narrative recognition, as piecing together the story becomes a puzzle unto itself. And it will shift depending on how one reacts, as there are multiple endings. But know only that in its opening minutes we learn that we have been swindled and are now part of a ritual of sorts to summon said alien.

“The Pineapple” offers intimate actor interactions designed to push boundaries.

(Sona Earnest)

You may find yourself, as I did, raising your voice, as “The Pineapple” did light research on me. My career was insulted, and I was mocked for fumbling around while attempting to juice a pineapple with a woefully inadequate kitchen utensil. Neiden says many attendees try to break the show itself, to push back and see how far its narrative can bend. This is typically not how I play, wanting to experience a production as its designers have intended and thus I let “The Pineapple” take the lead rather than trying to force my will upon it.

I am not easily offended and never used the safe word provided, although there were instances where I came close, namely when my feet were being aggressively, unwelcomely massaged. And yet there were scenes in which I thought about deeply personal relationships I have had, specifically when a character asked me to think of a time when forgiveness or an apology was craved from someone I am no longer closely connected with.

“The Pineapple” then began to feel like a metaphor. As I moved from darkened room to darkened room, ridiculed in one, flirted with in another, a thread of finding one’s own personal paradise in a hellscape began to emerge. Is it aliens we are seeking, “The Pineapple” begins to ask, or simply perhaps purpose? The act of forgiveness, Neiden tells me, was on his mind when crafting the show.

“I never really felt like I fully understand it,” Neiden says. “What is forgiveness? Some people say it’s letting someone off the hook. Others say it’s releasing yourself of the burden of a grudge. And it’s a word wrapped in religion and politics. There are so many definitions of it, and we hear it everywhere — forgiveness and its counterparts of guilt, shame and accountability. What does it mean? The show doesn’t answer that.”

Maybe. That’s up to the audience, not its creator.

Days after I’ve seen “The Pineapple,” friends and peers keep asking if I enjoyed it, and I don’t think it’s a simple answer. It’s not for everyone. I’m not sure it’s even for me. Simulated torture is not my idea of a good time. But “The Pineapple” did wear me down, and it’s beautiful in the way it highlights the lonely anguish at the heart of Buffett’s “Margaritaville.”

As its small cast obsesses over a fabled alien encounter and seems willing to stop at nothing to find release in a divine being, be careful, “The Pineapple” argues, of the personal Eden you seek.

At least that was my takeaway. You might walk away with an entirely different message.

“Maybe you just fell in with the wrong crowd and got abducted by aliens,” Neiden says.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

An unprecedented surge in border crossings over the last decade reshaped America: Millions of people from more than 150 countries arrived, bringing the U.S. immigrant population to its highest levels.

Now, data obtained exclusively by the Associated Press paint a picture of who these migrants are, where they went and what happened after the border.

Some went to cities that have long been magnets for immigrants — New York, Miami — but increasingly, others found their way to smaller cities with less developed immigrant footholds. Blocks, neighborhoods and entire cities were remade in places like Elkhart, Ind., Knoxville, Tenn.,and Dodge City, Kan.

And while the vast majority of migrants traditionally were from Mexico, this surge included people from an astonishing number and diversity of countries: India, Ecuador, Ghana.

Via a Freedom of Information Act request, AP obtained federal records on the self-reported destinations of 4.5 million migrants released in the United States after crossing the Mexican border — both legally and illegally — between October 2018 and July 2025.

Migrants must provide U.S. Customs and Border Protection with a street address. AP obtained their destination ZIP codes, citizenship by country, ages, genders and the dates and border regions where they encountered authorities.

Some probably never arrived at the addresses they gave. Authorities lacked resources to check, though migrants must report truthfully to pursue their cases in court and get work permits. Some have moved elsewhere in the United States or left the country, voluntarily or involuntarily. But many have stayed put.

Data on their initial destinations after the southern border provides both a sweeping and an unusually granular look at how the immigration surge — one that peaked during President Biden’s administration and was a major reason voters returned his predecessor, Donald Trump, to the White House — is playing out today.

Here are some key takeaways from the data.

Cities drew migrants from several continents

The Border Patrol encountered migrants from 174 countries in one year alone, a sharp departure from earlier periods when they were nearly all Mexican and Central American. The growth of social media and new migration routes were key in bringing people from around the world. Cincinnati, for example, experienced a large number of arrivals from West Africa, Uzbekistan and India.

Some cities — ones that for generations have had robust international communities — were further diversified by the range of countries from which people arrived.

New York City’s Queens borough registered at least 25 nationalities with significant arrivals, including five countries that each sent more than 7,000 people: Ecuador, China, Colombia, Venezuela and India.

Philadelphia had 11 nationalities with at least 1,000 new arrivals, led by Brazil, Haiti and the Dominican Republic but also including Russia and Venezuela. The city’s metro area also received more than 1,000 migrants from Georgia.

Florida remained No. 1, but many people looked elsewhere

While Florida was the most popular state, Latin American immigrants increasingly looked elsewhere for more promising job prospects and a better quality of life. Many turned to places with small but established communities of immigrants from their homelands.

For Cubans, nine of the top 10 destination ZIP codes were in Florida, but people of the Caribbean nation also flocked to Louisville, Ky., Grand Island, Neb., and Odessa, Texas. Colombians went to the Denver suburb of Aurora. Paterson, N.J., was the top pick among Peruvians. Some Venezuelans headed to the growing suburbs south of Salt Lake City; others to pockets of Atlanta, Chicago and Denver.

More women and children came than men

Nearly 6 of every 10 migrants released at the border were women and children, a dramatic shift from a few years earlier when migrants were predominantly men.

The change is visible in many places and across nationalities, but some stand out. Tulsa, Okla., attracted Mexican women and children. Ecuadorian women and children went to Spring Valley, N.Y. Guatemalan women were drawn to Chattanooga, Tenn.

Those who came from China headed to L.A. and New York

Chinese migrants, who trekked by hundreds nightly in California’s mountainous border with Mexico, largely gravitated to two places: New York City, especially the Queens and Brooklyn boroughs, and a cluster of neighborhoods in the Los Angeles area.

Trump’s deportation machine hit some migrant magnets and overlooked others

Immigration arrests have hit some areas that ranked among the most popular destinations for migrants in recent years, including Miami and New York. Others that experienced a large migrant influx have gotten less attention from authorities, including Silicon Valley, Madison, Wis, and Stamford, Conn.

Jarrett, Kessler, Lodhi and Spagat write for the Associated Press.

FANCY experiencing something totally sexy for an evening out? Well, you can, can, can at one London stage show.

Moulin Rouge! The Musical at Piccadilly Theatre on London’s West End is high-octane magic and what makes it even better is you can get cheaper tickets with Sun Club.

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 in our flash sale, which gives you three months of access (£1.99 per month thereafter), then head to the Sun Club Offers hub and London Theatre Direct page or click here.

And let’s be honest: a night out surrounded by leather, lace and a stage bursting with hit songs is pretty hard to top.

If you’ve been living under a rock, Moulin Rouge! follows Christian, an optimistic American songwriter who lands in bohemian Paris and gets swept up by a pair of flamboyant locals.

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They then introduce him to Satine, the Moulin Rouge’s sparkling star.

Mistaking him for the wealthy Duke, who is needed to bankroll the struggling venue, Satine seduces him.

But behind her vibrant facade lies a tragic secret, kicking off a tale of forbidden romance – think Romeo and Juliet, but injected with explosive choreography, killer pop hits and pure, unapologetic queer glamour.

The magic starts from the moment you step inside the theatre, where the stage glows with dazzling warm yellow lights framed by massive arches that transform the space into a giant heart.

Side podiums host alluring bohemians moving to the seductive and rhythmic music, before the curtain even lifts.

Beyond the podiums, there’s a giant elephant in one of the boxes looming over the audience and directly opposite, there’s the iconic red windmill setting the Parisian scene.

When it comes to the show, rather than an original score, the production of Baz Luhrmann’s iconic musical movie mashes up iconic hits spanning decades including A-ha’s Take on Me to Lady Gaga‘s Bad Romance.

The result? A gripping and energetic performance that leaves you singing along in your head.

Each stage set is cleverly laid out to bring the audience in, with scenes of Paris in the background including smoky night- time skies and sparkling lights.

The costumes are just as decadent as the set itself as well.

And the cast brings all of this excitement to boiling point with remarkably talented singing and acting.

Who doesn’t love a show with a villain? The Duke is suave and sexy and while I know I should have hated him, I found myself loving his characterisation.

Other standout performances include Santiago, “the finest tango dancer in Paris” played by Ivan De Freitas – his cheeky and endearing charm lightens the tragedy unfolding.

Alistair Brammer, who plays Christian and Karis Anders, on who plays Sat, ine deliver a stunningly alluring performance, too bringing the chemistry of the characters to life.

Everything oozes sexiness, but with sophistication.

November marks five years since the show launched in the West End and I simply cannot name a single fault with the show – it is a must-see that I hope stays around a lot longer as I will be back.

Tickets start from £25 per person.

18+ Subscription to Sun Club required. Online access required. Save an additional 10 per cent off tickets. Offer ends at 23:59pm on Thursday, December 31, 2026. Sun Club: 18+ UK only. Introductory offer: £1 for the first 3 months, then £1.99 thereafter unless you cancel at least 7 days before your next billing date. Offer ends 4pm Monday, September 21 2026. For full T&Cs, visit thesun.co.uk/club

In a matter of days, Ed Sheeran has gone from the most agreeable, defiantly middle-of-the-road singer-songwriter on the pop charts to music’s newest villain. The Times’ August Brown and Mikael Wood gathered to break down what happened — and to figure out what it all means.

August Brown: To recap, Sheeran dropped his tour opener, the rapper Macklemore, after the MC described Israel’s actions in Gaza as a genocide and said “Free Palestine” onstage this month at two New Jersey dates of Sheeran’s ongoing stadium tour. Macklemore, in a statement, cited his long friendship with Sheeran while criticizing the singer for allegedly acquiescing to a demand from Robert Kraft, the owner of the NFL’s New England Patriots, that the rapper not be allowed to perform at the Patriots’ Gillette Stadium outside Boston due to his comments.

Kraft, a Trump-supporting billionaire with his own colorful history, released a statement about the tour, saying he was “ensuring that events held at our venue do not provide a platform for hate speech.”

But Sheeran, who performed at Kraft’s wedding in 2022, arguably made things much worse with his own comments on the decision to drop Macklemore from the tour, which ranged from shifting accountability (“Macklemore coming off tour was the promoter’s decision, it was not mine”) to promising that he held compassionate beliefs on this volatile issue but wouldn’t articulate them publicly (“I am not complicit. I have my personal views on this devastating conflict. Just because I choose not to speak publicly, it doesn’t mean I don’t have them, and it doesn’t mean I don’t care.”)

This prompted Sheeran’s remaining openers — including the musician and producer Finneas, the Danish rock combo Lukas Graham and singer-songwriter Aaron Rowe — to drop off the tour, each giving their plainspoken support for both Macklemore’s advocacy and the Palestinian people as their reasons for leaving. The traditional Irish group Beoga, which backs Sheeran for a portion of his nightly show, also quit the tour, saying it was responding to “the silencing of Macklemore by Zionist lobbies.”

It’s too soon to know how this will affect a CVS-core pop star like Sheeran, but it’s clear that for the first time in his career, he’s chosen the path of maximum conflict and controversy for little gain. What do you think he should he have done instead?

Macklemore

(Morgan Hancock / Getty Images)

Mikael Wood: Not let Macklemore be booted from his tour?

Look, I understand Sheeran’s position here: that he views himself as an artist whose audience comes to his show precisely because they’d like to avoid the messy realities of the world for two or three hours. We can choose a different day to discuss how tenable (or not) that position is here in the era of a reality-TV president who long ago blurred the line between politics and entertainment.

But setting aside one’s views on Israel and Palestine, it’s impossible for me to see how Sheeran ever thought his actions would be seen as anything other than allowing a fellow artist to be silenced — a clear loser in the eyes of both the left and the right.

It would be one thing if Macklemore’s comments in New Jersey truly resembled the hate speech that Kraft accused him of dispensing. (Many online have posted images of a costume the rapper wore onstage in 2014 that resembled an ugly Jewish caricature; Macklemore apologized at the time, saying he understood the criticism.)

And of course I get that the very idea of hate speech is slippery — one reason, perhaps, that the folks at AT&T Stadium near Dallas (where Sheeran is scheduled to perform next month) appear to have no problem hosting a concert in November by Ye, who not so long ago released a song called, uh, “Heil Hitler.”

But given how measured Macklemore’s comments were, Sheeran’s decision to go along with the demands for his removal feels less like a fulfillment of his desire to create a conflict-free zone and more like a capitulation to a rich and powerful friend.

August, what do you make of the various statements from the musicians who’ve opted to leave the tour in the wake of all this?

August Brown: The other openers had the most to lose here by bowing out of a huge tour. Yet they took unambiguous stances in favor of Macklemore’s Palestinian advocacy. (On Wednesday, the rapper said on Instagram that he planned to donate “the entire $1 million of my net earnings” from Sheeran’s tour to six organizations “working directly to support the Palestinian people.” He also invited Kraft to match his donation.)

“Artists must not be silenced when they speak up for the oppressed,” Finneas wrote. “I stand with Palestine and its people.”

Lukas Graham went even harder: “We should be able to speak about war, about civilians being killed, about children who deserve to grow up,” the group wrote. “Money doesn’t give you the right to own the conversation.”

Sheeran could have done what many fans regard as the right thing: Defy Kraft’s demands, cancel the Gillette Stadium dates with Macklemore and reroute the tour to somewhere that would support an opening act’s fairly anodyne support of a popular human rights cause. Sheeran is extremely wealthy, and he’d have been on the right side of history, if for no other reason than to say that billionaires shouldn’t have a veto over an artist’s human rights advocacy onstage.

I’m sympathetic to the idea that crews’ livelihoods and fans’ investment in the shows are meaningful things to toss out. But an artist as big as Sheeran can make up the difference. Even a hypothetical statement like “I stand for Macklemore’s freedom of speech and the rights of the Palestinian people. My team’s livelihoods depends on the shows happening, so I will play the Gillette dates as planned,” with a promise for a donation or a benefit show with Macklemore down the line — even that would have smoothed this over.

But his actions here — deflecting accountability, being vague yet defensive about his own politics — and his history with Kraft suggest his sympathies might not lie with the causes his opening acts stand for.

It’s interesting that Beoga and Aaron Rowe, both Irish acts, acknowledged their own country’s history of colonial occupation as reason to stand up for Palestinians (and free speech around it). “Ed has been a friend to me and has changed my life, I could never thank him enough for this,” Rowe wrote in his statement. “But as Irish people we know all too well about genocide, forced famine, and violent occupation.”

Even Lukas Graham cited the band’s roots in Christiania, a Danish enclave with a history as an anarchist commune, as an example they’re following by bailing on this tour. Sheeran likes to say that, through his father, he is culturally Irish though he was born and raised in England. In a country that rallied for Kneecap, the Irish rap group and advocates for Palestinians, his reputation is likely taking a real hit. Whether that extends to his ultra-mainstream U.S. fan base remains to be seen.

Not every artist is obliged to comment on contentious issues — though the success of Olivia Rodrigo’s Daisy Chain Fields festival, which raised money for an array of abortion-rights advocacy groups, showed that A-listers can speak out when they want to. But whatever he actually believes, Sheeran’s long-cultivated neutrality is in tatters. Taking a stand would have been the path of least resistance. Instead, he committed the most basic onstage error: a failure to read the room.

Kevin McCloud appeared on BBC’s The One Show to discuss the latest series of Grand Designs which will see the presenter revisit a project from the very first series

Grand Designs presenter Kevin McCloud has confessed there’s moments from the Channel 4 show which leaves him reaching for the remote control.

The 67-year-old designer and presenter returns to television screens on Wednesday (September 16) to front a brand new series of the beloved renovation programme.

He has hosted Grand Designs since it began 27 years ago back in 1999 and appeared on BBC’s The One Show tonight to chat to Alex Jones and JB Gill about the new episodes set to air which will see the presenter revisit a project from the very first series.

When discussing watching back old clips, Kevin joked: “Yeah that’s painful to watch for me! I have to skip through the fast forward button a lot through these early episodes but the house has not changed, everything is as it was, and when you make the stuff and you record a moment in time, you don’t know whether that idea, that style and approach, whether it will last and have value, and remarkably that house has remained the same and is almost a fantastic example of a mid-1990s building so sometimes it comes back to surprise you.”

Channel 4 announced earlier this month that Grand Designs and Grand Designs: House of the Year will be coming back this Autumn. The iconic and much-loved house building and design show returns with four extraordinary new builds and two long-awaited revisits, spanning across the United Kingdom.

According to bosses, the new series series embraces bold ideas and innovation, showcasing pioneering construction methods and ambitious architecture whilst never losing sight of the people behind them.

Kevin previously said: “It is always a joy to get a series of Grand Designs complete and ready for broadcast – especially when it can run alongside its sister series, House of the Year.

“Together they celebrate the very best in British architecture and remind me of the extraordinary imaginative and resilient potential of human beings. This year is no exception: there are some astonishing stories and homes to discover.”

When asked what he believes is the reason that Grand Designs keeps coming back, Kevin explained: “I think it is the unpredictability of it all. If we were restoring people’s homes for them, then we might have slipped into a predictable format but we haven’t.

“Some of the projects on this series are fascinatingly unpredictable. For example, we see Seb in North-West London, building a house which was completed in 13 months and I was so shocked because O am used to things taking forever.

“We also have a project in Edinburgh, which has been going for over 10 years, and when you look at the date stamps as we go through the programme, you sort of appreciate how some people dedicate a lot of their lives to a building.”

He added: “I thought in series one we might run out of projects. We thought that we had done an eco-project, a modern white block, a glass house, we did the eccentric thing. We thought, will people still tune in if we do another glass box? But the answer is yes, because from the beginning we set ourselves the challenge that in every episode there has to be something new – there has to be some story, some angles, something, a hook.

“Luckily, since architecture is so much about place and response to a place and so much about people and response to people and because places are so infinitely diverse, people are infinitely diverse, this is what makes every project and what keeps me on my toes every time.

“If you look at this coming series, every single project has something unique about it and i find that so fascinating, all of the individual narratives are so different. The houses are all so unique architecturally and in the way they are built.”

The One Show airs weekdays on BBC One and BBC iPlayer at 7pm and Grand Designs returns to Channel 4 at 9pm on Wednesday, September 16

When Judy Collins comes to Los Angeles, she likes to stay at the Beverly Hilton in part because “they serve a fabulous breakfast,” she says over coffee at the hotel on a recent morning. “That’s rare today,” she adds. “Too often a place will just send up a cardboard shopping bag with the things you ordered in it.”

Collins knows her amenities: At 87, the Grammy-winning singer and songwriter still plays about 120 shows a year, drawing audiences around the world with her high, clear voice and an expansive repertoire that blends the hits that made her famous in the 1960s and ’70s — Joni Mitchell’s “Both Sides Now,” Leonard Cohen’s “Suzanne,” Stephen Sondheim’s “Send in the Clowns” — with traditional folk tunes and material of her own.

Yet now she’s preparing to hang it up with a lengthy farewell tour she’s calling Sweet Judy Blue Eyes (after “Suite: Judy Blue Eyes,” the folk-rock classic her one-time lover Stephen Stills wrote about her for Crosby, Stills & Nash). The night before our interview, Collins played L.A.’s Ford Theatre; she’ll be back through Southern California for a Sept. 27 date at the Lobero Theatre in Santa Barbara and again next year for shows in Palm Springs and Aliso Viejo.

After we talk, she plans to do a bit of tai chi, for which she uses an app on her phone and which she wishes more people practiced. “Maybe that would alter civilization,” she says. “If we were all doing tai chi, we couldn’t be at war with Iran.” Then she’ll head to the airport for a flight home to New York, where she’s lived for decades — most of them with her husband, industrial designer Louis Nelson, who died in 2024.

At breakfast, Collins is wearing a patterned turquoise jacket over a matching dress and high-heeled black leather boots.

“You like these?” she asks of the boots. “These are Stuart Weitzman. I bought them 30 years ago, and I’ve never stopped wearing them.”

That’s a well-made boot.
They fit, they’re great and I reject all invitations to get rid of them.

Has your thinking about clothes changed over the decades?
I used to dress in jeans because I was a cowgirl — I hung out with rodeo riders in Colorado. As I came up, I liked what was simple. My mother made all our clothes on a Singer sewing machine for years. Now I love beaded things. I have full closets I need to go through.

Before you came onstage last night, an announcer told the audience not to take pictures or videos.
That’s my management’s doing — it’s important to them, so I go along with it. But the pictures are usually bad. Also, the phones take people’s minds off what’s going on onstage. People need the chance to focus. We’re in a period of insanity right now, so people need time to sit wherever they are. They could go to the ballet or to the theater, but they choose to come to me, and they get to sit there and they get to listen and they get to think about their own lives.

As a performer, that’s what you seek to provide.
I’m providing silence. It’s such a noisy world — so full of crappy music that plays outside all these hotels and places where we stay. It drives me nuts.

You have a line in the show where you say, “Something unexpected happened — I turned 87.” It got a good laugh.
People applaud too.

What are they saying by applauding?
They want to be acknowledged for their own ages, whether they’re 87 or 90 or 19. People are coming to see me, but they’re also coming to see their history. They’ll remember what happened 60, 70 years ago — they were probably marching at the same things I was marching at. And if they’re 19, they want to know why we’re not marching now.

Judy Collins performs on “The Smothers Brothers Comedy Hour” in 1969.

(CBS via Getty Images)

You said we’re in a period of insanity.
This country is losing so much of the depth of our origin. The fact that workers who’ve come to this country are being taken off to God knows where — it makes no sense. Number one, these people often have some sort of legality. And secondly, they do the work here. Nobody else wants to go up to the orchards in Oregon and pick the fruit. Do you?

I can’t say that I do.
I don’t want to do that.

This tour is billed as your grand farewell.
So long, you guys.

I’m always reluctant to trust that framing. Cher’s done like eight farewell tours.
I hadn’t counted them up — shame on me.

Should we really believe you?
I think we have to believe in the present tense. What you’re hearing is what’s happening.

You had a music stand onstage with you. What was on it?
All the lyrics to all the songs.

You can’t possibly need the lyrics anymore.
Oh, yes, I do.

You’ve been singing some of them for decades.
Doesn’t matter — it has to be there in case you have to look at it.

Would you say you do look? Or is it more of a security blanket?
It’s a security blanket. But my eyes wander — I like to see who’s in the audience and what’s going on. I like to look up and down the aisles, and I like to fantasize: How did this happen?

Your life and career?
I mean, I know how it happened. I was 16, and I started going to the Denver Folklore Society, which was run by a guy named Lingo the Drifter. And Lingo the Drifter had these wonderful evenings where we all played the guitar and sang and drank illegal whiskey and so on.

Judy Collins last month in Beverly Hills.

(Allen J. Schaben / Los Angeles Times)

Before Denver, you lived briefly as a kid in Los Angeles.
My father was a very eclectic and fabulous radio personality. He had a radio show for 30 years in Seattle then here in Hollywood, broadcasting out of CBS — a big deal. If we weren’t in school, we would drive up Santa Monica Boulevard into Hollywood and we’d stand around and watch them produce the radio mysteries. People would walk in a sandbox to get the sound of somebody walking up the gravel road to the door.

Are you familiar with the term “nepo baby”?
No.

It refers to the child of a famous artist who follows in their parent’s footsteps.
Oh, that’s interesting.

People use it derisively, as if to say that a kid has overly benefited from their advantages.
We certainly had advantages. For instance, the Library of Congress, which is the jewel in the crown — I don’t know what they’re doing now — but they sent us Braille books and they sent us all the shows from New York and they sent us the recordings of all the Shakespearean plays by the great Dame Judith Anderson and John Gielgud. I had all that growing up. In some ways, I wasn’t raised — I was trained. I got to see how a professional has to handle his life. My father was a professional in all ways. He drank — occasionally, not all the time — but he was absolutely organized about everything, including that.

You’ve been sober for something like half a century.
Forty-eight years. I’m in my 49th now.

You ever miss drinking?
Oh, my God, no. I was so sick — I was gone. Bye-bye.

Some people replace one addiction with another.
I had an eating disorder, which is still kind of … You know, last night, I asked for apple juice during the show — I was in trouble because I wasn’t eating. When my husband died, I stopped eating again. I’d stopped eating in the ’60s and ’70s and ’80s, but I got over that. But suddenly I didn’t want to eat again.

Would you consider that disordered eating?
I don’t know. Anyway, I have to really be careful. We had a talk about it last night. I have to eat these protein bars, and I have to eat them all the time.

Do you remember the first gig you played after your husband died?
Oh, yes — I had to go out. When my son took his life in 1992, I got a call from Joan Rivers — she and I knew each other pretty well. She was getting ready to go out and do her show in Las Vegas, and she called me in New York and she said, “I have to tell you this” — her husband had just killed himself — she said, “You cannot stay home. You have to go out.” I was canceling all my shows, and she said, “You can’t do that because you won’t ever get over this if you do.”

How did you take that advice?
I said, “Thank you,” and I called my staff and I said, “Put ’em back on.” My mother came out with me, Louis came out with me, my sister came out with me, and it was incredibly true: I had to be working or else I would die. So when it came to Louis, I was out three days later.

What did that feel like?
Well, it was wonderful because I was working. I can work and get through anything — that’s the psychological effect of what I’m doing on the stage. I’m interacting with people, I’m hearing the laughter, I’m hearing the music. What could be more healing?

This is why I’m wondering why you plan to stop touring.
But you see, I have all these other things to do — I have a life that’s not just touring. I’m working on the music for a Broadway show. And I’m doing a new book — it’s called “Singing Through the Storm,” and it’ll be out next year, I hope.

Judy Collins and Leonard Cohen attend the 41st annual Songwriters Hall of Fame ceremony in New York in 2010.

(Larry Busacca / Getty Images)

You’ve interpreted the music of so many great songwriters: Joni Mitchell, Bob Dylan, Leonard Cohen. Was there ever a writer whose work you admired but couldn’t find your way into?
No.

OK.
I’ll tell you my funniest Leonard story. In 2014, I think it was, I went to this little group in Norway called Democrats Abroad — lonely group of people. That night, this woman came up to me and said, “Hi, I’m Marianne.” I said, “Hi, Marianne.” And then she said, “I’m Leonard’s Marianne.” She said, “There’s something I’ve wanted to tell you for many years: We were living together in Spain, Leonard and I, and he was writing songs and we were swimming in the nude. And then one day he came to me and he said, ‘Marianne, I’m going to New York to sing my songs for Judy Collins,’ and he went to New York and he played you all his songs and you recorded them.” Marianne said, “I just wanted to tell you that you ruined my life.” Fortunately, we became friends on Facebook.

You opened last night’s set with “Both Sides Now.”
Oh, yes.

This might be the most famous song you do. Some artists would save it for later in the show.
I don’t want people to wonder for an hour and a half: Will she? Won’t she? What will I do if she doesn’t?

Do you still enjoy singing “Both Sides Now”?
I love it. It was Al Kooper who brought me to Joni — she sang it to me over the phone. Al is living a very sane, quiet life in the Northeast now. He’s married — never goes out anymore. It’s hard to think of Al Kooper just sitting there enjoying his marriage and his garden.

What will you do on the plane home today?
I’ll probably get out the computer and noodle around on the book and see what I can come up with.

The work never ends.
It never ends because it’s not done.

“American Idol” is packing up its stars after 25 years in Hollywood.

In the latest blow to Los Angeles film production, ABC’s long-running program will move its upcoming season to the Atlanta area, according to Fremantle, which produces the show with 19 Entertainment, owned by Sony Pictures Television.

Fremantle declined to comment further.

The move comes as Los Angeles’ production levels have tumbled, prompting concern from film workers, union leaders and elected officials who are scrambling to address the crisis. California, despite boosting its tax incentive program, has been struggling to compete against other states that offer more lucrative credits.

TV production activity in the L.A. region was down 27% in the second quarter compared with the same period a year ago, largely because of fewer reality TV shoots, according to the nonprofit FilmLA.

Earlier this year, another broadcast TV stalwart, Fox’s “The Masked Singer,” made plans to vacate its space on the Fox lot on West Pico Boulevard in Los Angeles and head to New Jersey, also in search of more lucrative tax credits. Another ABC hit, “Shark Tank,” also is relocating to Atlanta from its longtime home base on Sony’s Culver City lot.

“American Idol” has been a local economic engine since launching on Fox in 2002. For years, the show ranked as the No. 1 show on TV and employed hundreds of workers each season as aspiring singers hoped for their big break.

The most recent season originated from Red Studios in Hollywood.

Georgia offers generous tax incentives, including up to a 30% tax credit for reality television productions that spend at least $500,000 in the state. Unlike California, Georgia’s tax program allows compensation for actors and other so-called above-the-line workers to be included.

Like California, Georgia has been grappling with lower production levels. For more than a decade, its soundstages attracted colossal movie productions, but the region was dealt a blow when the Walt Disney Co. recently shifted production of its Marvel superhero films to facilities near London.

On Tuesday, a bipartisan coalition of lawmakers, the Motion Picture Assn., industry unions, Hollywood special ambassador Jon Voight and filmmaker Steven Paul made a pitch for a federal film and television tax credit to keep jobs in Hollywood and in the U.S. broadly.

Rep. Laura Friedman (D-Glendale) plans to introduce a bill into Congress as early as this month in collaboration with Rep. Brian Jack (R-Ga.), who represents a district southwest of Atlanta. The MPA released a study estimating a federal tax credit could add 143,000 film and TV jobs.

This year, in particular, has seen big swings as the California Film and TV Tax Credit Program expanded eligibility to include competition shows.

Large-scale competition shows are eligible under the state’s incentive program if they have a minimum budget of $1 million per episode. The credit, however, does not include traditional reality shows, game shows, talk shows or docu-follow television programs.

Changes in California’s formula resulted in a jump to 676 shoot days in the second quarter, compared with 463 shoot days during the first three months of the year. Nonetheless, this year’s April-June quarter still reflected an almost 40% decline when compared with the same time last year.

FilmLA said that over the last five years, reality productions have plummeted nearly 63%.

ABC in late July announced “American Idol” was returning, marking its 10th season on the Walt Disney Co. network. Producers are auditioning potential contestants this week during stops in Georgia, North Carolina and South Carolina.

ABC declined to comment on the move.

Ryan Seacrest has long hosted the show, which last season featured Lionel Richie, Luke Bryan and Carrie Underwood, a previous “American Idol” champion, as the celebrity judges.

Deadline first reported the planned move to Georgia.

Game shows are also leaving L.A.

A growing number of programs long based around Hollywood and New York have headed across the ocean to Ireland and Britain to take advantage of tax credits that bring down the cost of production as broadcast network executives contend with shrinking audiences and lower profit margins.

Fox currently has several prime-time game shows produced overseas, including “The Floor,” “Celebrity Name That Tune” and “Beat Shazam.

Staff writer Stephen Battaglio contributed to this report.

As the fall equinox approached from a week away, the Primetime Emmy Awards made its 78th visit, leaving trophies in some hands, the honor of just being nominated for others and bupkes for the rest of the thousands who make what we call television. Once again I have been called to witness (from afar) and report, so let’s get down to it.

It was the turn of NBC (and Peacock) in the round robin of major networks who broadcast the show, and to keep things literally in-house it was hosted by Mariska Hargitay, “America’s sweetheart sex cop Olivia Benson” from the network’s “Law & Order: Special Victims Unit” and broadcast from the Peacock Theater, formerly the Microsoft Theater, formerly the Nokia in #DTLA, formerly downtown Los Angeles.

When reviewing the Emmys, or any awards show, as television in its own right, the only real questions are what distinguishes it from its many previous appearances on the karmic wheel of life — how it tricks up the basic, immutable form, like different decorations on the same sugar cookie recipe you have been using forever. Anything unexpectedly or especially moving, rousing, funny or strange, things that go against the grain of a production that wants to keep things controlled in order to bring the ship in on time.

This year the critic has been given the gift of Hargitay, primarily a serious actor (and director and producer), following in a long line of comedians and comic actors. There have been other serious actors as host, for example, Raymond Burr in 1959, Tom Selleck in 1984 and Angela Lansbury in 1993. And certainly, if you’re looking for someone to represent the medium rather than merely to comment on, celebrate or joke about it, you could do no better than Hargitay, the longest-serving actor on the longest-running prime-time live-action series on American TV. She’s beautiful, glamorous, self-possessed. She was recently on Broadway in “Every Brilliant Thing,” which involved a degree of what comedians call “crowd work,” so standing up in front of a live audience of people no more famous than she wasn’t going to throw her. Professional comedian Nate Bargatze, who hosted last year, was much more of a dark horse.

Emmys host Mariska Hargitay with singer Taylor Swift and her cat Olivia Benson on screen during a skit the 78th Primetime Emmy Awards.

(Patrick T. Fallon / AFP via Getty Images)

Although I would have bet on a pre-filmed “Special Victims Unit” routine to open the show, which is why I’m not a gambler, it wasn’t until an hour in that it appeared. (It involved murder-style boards, concerning the Case of Whether Taylor Swift would be making an appearance; she did, in the bit.) The pre-filmed production number that did open the show began with Hargitay and her actual good friend New York Knick Jalen Brunson steaming their clothes when Hargitay suddenly realizes she is due across the country to host the show. This led to Joan Jett’s “I Love Rock ’N Roll” reconceptualized as “I Love TV Screens,” which included the “Widow’s Bay” sea hag revealed to be Jennifer Coolidge, bringing boba tea (rhymes with “TV”); other rhymes matched “eating beef” and “watching ‘Beef’” and “Ed Gein” and “mean.” It moved to the live stage, with Hargitay flanked by dancers with television heads. Both segments felt more effortful than funny, but not unfunny.

On her own, however, Hargitay was above all a woman having a good time, never less than likable and game and enthusiastic, managing the scripted patter as well as anyone might have. Her monologue included several jokes about age, one about “L&O” producer Dick Wolf’s real name (Richard Penis), and another about her inability to pronounce “finale” because she’d never been in one. As is practically an Emmys tradition, some of these were confusing (even to the people performing it), or went on too long (Nick Offerman, cornered at his table, describing his work as an erotic house painter), or just had the effect of having been put on their feet without much, if any, rehearsal. Presenting the final award, for outstanding comedy, Woody Harrelson and Matthew McConaughey, told to stretch — the show was actually running short — described the plot of their upcoming Apple series, “Brothers,” until they were allowed to move on.

As to what the Television Academy calls “creative elements,” everything that isn’t a presentation or a speech, they advertised tributes to the 30th anniversary of “Buffy the Vampire Slayer,” certainly a typo, and the 50th of “Charlie’s Angels,” a logical impossibility, but these were really just themed groupings of presenters — Sarah Michelle Gellar and David Boreanaz in the former, Kate Jackson, Cheryl Ladd and Jaclyn Smith in the latter. (The Angels managed a few words for Farrah Fawcett, but none for Shelley Hack, Tanya Roberts or David Doyle.) But there were full tributes to Dolly Parton (Sally Field enthused, Reba McEntire sang); to James Burrows, with Jamie Lee Curtis pivoting emotionally to talk about old friend Rob Reiner, who won a posthumous guest appearance Emmy this year for “The Bear”; and to Catherine O’Hara, with her “Home Alone” child Macaulay Culkin and “Schitt’s Creek” children Annie Murphy and Dan Levy, who spoke to “helping her build a TV character over the age of 60 that wears leather miniskirts and eight-inch heels and speaks in a strange, sometimes unintelligible transatlantic accent, and know that she will not scare an audience away.”

And there was Julianna Margulies presenting the Bob Hope Humanitarian Award to Michael J. Fox, who, in his usual way, was eloquent and funny, and let the people know about the goodness of Bob Hope, setting up a punchline in the bargain. Like a lot of you, I love Michael J. Fox, and I’m just going to leave that here, with a pile of soaked-through tissues.

John Mulaney stole the show as a presenter at the 78th Emmy Awards ceremony at the Peacock Theater in Los Angeles.

(Robert Gauthier / Los Angeles Times)

But what America will mostly remember from this night was John Mulaney, introducing the award for lead actor in a drama, and burning the house down with a routine that went wherever it wanted. “They can play anything, these nominees. Not just doctors. They can play a cop or an FBI agent or a secret agent. And then that’s it. No other examples.”

“Since the creation of television, men have been historically underrepresented,” Mulaney said, explaining that the medium was all “beauty contests and children talking to hand puppets until the early ’60s. Until a man walked out and said, ‘Enough. My name is Fonzie and the president’s been shot.’” Mulaney is a man who has convulsed crowds in arenas and stadiums, but, as a local, nothing made me laugh harder than the words, “You know, I was shooting down Barham last night at 90 miles an hour.”

Nothing against Hargitay, but it’s clear that Mulaney should host this show, and every awards show, from now on.

Monty Python star Eric Idle appeared on Monday’s The One Show to talk about his new book Idle in Provence: A Brief History of Thyme

Monty Python star Eric Idle was left confused over a The One Show detail.

The actor, comedian, musician and writer, 83, appeared on Monday’s episode of the BBC programme to talk about his new book Idle in Provence: A Brief History of Thyme. It comes as a Monty Python ‘row’ has erupted between John Cleese and Eric in recent days.

As Eric was introduced to The One Show, the comedy star grilled hosts Alex Jones and Roman Kemp, asking: “Can I ask you a question? I mean, this is called The One Show, right?”

To which the duo confirmed this fact, a confused Eric then pointed out: “There’s two of you!” with Alex, 49, responding: “I know!” and Roman, 33, replying: “Fair, that’s fair!”

Alex then quipped: “I know, they need us both!” with Eric joking: “A spare? Is that what you said?” Alex then continued: “If one of us passes out, you know, there’s somebody else there.” Roman then joked: “I’m just a passenger, Eric, that’s all!”

Also on Monday’s show were Jack Whitehall and Daisy Edgar-Jones. Jack, 38, said of being on the sofa alongside Eric: “He’s an absolute icon! One of my comedy heroes and this is a privilege to be here with the great Eric Idle!”

During his time on the show, Eric spoke about his new book and his property in the south of France, which he purchased in 1971 and has spent 50 years renovating.

Over the years, Eric has hosted some very famous guests at his French home, including the late Robin Williams and David Bowie, as he recalled stories that included the duo on Monday’s show.

Host Roman said: “You mentioned so many other famous friends in the book as well and it’s your way, you say, of keeping their memory alive.”

To which Eric replied: “Well you know people say: ‘Oh, you’re name dropping!’ and I say: ‘Well, you’re not name dropping when they’re dead, it’s history’ and actually very interesting people both of them.

“Extraordinarily interesting people and David an extraordinary man. I mean polymath, he knew everything about music, art, literature, the whole lot!”

The One Show airs on weeknights at 7pm on BBC One and BBC iPlayer.

GUY RITCHIE is casting the net wide for the third series of The Gentlemen – in the hope of Baggin’ two huge Hollywood superstars.

Insiders have told me the hotshot director is trying to sign up Lord Of The Rings actors Elijah Wood and Orlando Bloom for the hit Netflix show.

If he pulls off the move, it would reunite Orlando, who played Legolas, and Elijah, who starred as Frodo Baggins, two decades on from Peter Jackson’s hit film trilogy.

A source said: “The Gentlemen is the hottest TV show in town and Guy has big plans for the third series.

“Elijah is being courted to appear as a villain, while Orlando is also one of their key casting targets.

“For Lord Of The Rings fans working on the production, the idea of having Frodo and Legolas back together would be amazing. No deals are signed yet, but discussions are ongoing.”

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And those aren’t the only actors that Guy is lining up for a part.

Prince Harry’s wife Meghan’s name is being bandied about as a potential star of the third instalment.

And it seems Guy’s show needs a bit of a Hollywood rocket to give it a boost.

Streaming figures for The Gentlemen’s opening weekend of the second series were 50 per cent down on the initial run of shows, with 6.7million views in the first four days it was available to watch.

Season two saw Theo James reprising his role as aristocrat-turned-drug kingpin Eddie Horniman alongside Kaya Scodelario, who plays ice-cold crime boss Susie Glass.

Love Island host Maya Jama made her acting debut in the second series after being cast as mob wife Aisha.

And she is definitely back for the next run, admitting she loved working with Guy on set. Maya said: “He’s very personable and he would be like, ‘Yeah, you’re doing well’, and reassure me, which was really nice.

“He’s just really involved and kind of a genius to watch, because everyone’s practising their lines and then he says something that’s way better than the original.”

It’s never too late to run away and join the circus.

That’s a major theme of the Tony-nominated musical “Water for Elephants,” and living proof is on stage at the Hollywood Pantages Theatre an hour before the curtain rises on opening night. The show — about a traveling circus — boasts an ensemble with as many acrobats as actors, all of whom must warm up prior to performing. This nightly routine is a show in and of itself, with acrobats stretching, tumbling and throwing one another in the air. Another ensemble member is juggling nearby as someone spins in a giant hoop at an unnatural speed.

The night includes a special treat: The company is breaking in a new piece of equipment known as the Chinese pole, a nearly 20-foot-high cylinder the performers climb up, slide down and generally defy laws of gravity on. This pole won’t be used just yet — it arrives with a texture that can be slick or uneven, so the troupe must spend a couple weeks prepping it for better gripping and friction.

Adam Fullick, of the touring production of Broadway’s “Water for Elephants,” practices using a Cyr wheel on stage at the Hollywood Pantages Theatre.

(Ariana Drehsler / For The Times)

There’s an almost comically blasé way in which the performers — who are used to such spectacles — go about their work an hour before thousands of audience members will gasp and clap at the same tricks. That’s not to mention the gorgeous puppetry work done by another set of performers as the play reveals a series of detailed circus animals.

“It’s really fun to hear the audience react to this show,” says Serafina Walker, an actor and acrobat in the ensemble who also serves as circus captain. “There’s a lot of moments that come as a surprise, you can definitely hear the audience reaction, and that is what fuels us on stage as performers.”

Walker got into competitive gymnastics at the age of 3, and at 13 she began working with a Vermont-based traveling youth circus called Circus Smirkus. She graduated from École Nationale de Cirque in Montreal a year ago and is now on her first musical tour. She is one of several performers who play the roles known collectively as “Kinker & Roust,” slang terms for acrobats/aerialists and “roustabouts,” a.k.a. circus laborers. It’s a deceptively simple title for a role that will soon have her spinning from hoops and being thrown high into the air — not to mention singing, dancing and acting alongside the ensemble.

Actor and acrobat Serafina Walker backstage at the Pantages.

(Ariana Drehsler / For The Times)

Walker is one of many performers who has to blend specialty skills with traditional acting to form one flawless company. Co-choreographer Jesse Robb comes from a concert and theater background while his co-choreographer/circus designer Shana Carroll emerged from the circus world, having directed and choreographed for Cirque du Soleil. Carroll is also a co-founding artistic director of the acclaimed circus collective the 7 Fingers

“What makes the collaboration so special is that we don’t simply bring our separate perspectives to the table—we truly meld into each other in the work,” Robb says. “The boundaries between circus, Broadway, and concert language become fluid, and something new emerges from that intersection.”

Based on Sara Gruen’s 2006 novel, “Water for Elephants” tells the story of Jacob Jankowski, a 93-year-old man who reflects on his time in the 1930s with a traveling circus. As a young veterinarian student, Jacob loses his parents in a tragic accident and jumps a moving train that just happens to belong to the Benzini Bros. Circus. He is hired by the owner and ringmaster August Rosenbluth, but complications ensue when Jacob falls for August’s wife, Marlena, as they work together to train a stubborn elephant named Rosie for their star act.

Helen Krushinski and Zachary Keller perform in the touring production of “Water for Elephants” at the Pantages, which has as many acrobats as it does actors in its ensemble.

(Matthew Murphy)

The story was previously adapted into a 2011 film before being reworked as a musical with music and lyrics by PigPen Theatre Company, a book by Rick Elice and directed by Jessica Stone. After an Atlanta run in 2023, “Water for Elephants” hit Broadway in March 2024, where it earned seven Tony nominations, including best musical. The first national tour is in Los Angeles through Sept. 27 before playing the Segerstrom Center for the Arts in Costa Mesa Nov. 10-22.

Also displaying massive versatility is Summer Severin, who, in addition to being an ensemble swing member, serves as dance captain and understudies the role of Marlena. While Severin had an extensive background in acting, singing and dancing, she has found herself learning skills she never imagined, from standing on people’s shoulders to aerial work.

Dance captain and ensemble swing member Summer Severin in her Pantages dressing room.

(Ariana Drehsler / For The Times)

“I’ve never trained in acrobatics or circus or anything,” says Severin, who had to learn a trapeze act for her part as Marlena. Severin says she came in “completely raw” and took four weeks to learn the routine. And while one might think her background in movement helped, she says it actually provided a challenge. “That was the most difficult thing to learn because, as a dancer, you have such a relationship to the floor and you have to dance with an apparatus that doesn’t quite move with you.”

Fortunately, Severin says everyone has been more than generous with their time and knowledge. “Circus performers are not gatekeepers in any way,” she notes. “They want to share what they love with everyone else, and it’s completely mutual. All of the different worlds [this show] bridges, it’s infectious.”

Co-choreographer Robb gives much of the credit for cast synchronicity and camaraderie to the director. “Our fearless leader, Jessica Stone, always believed that ‘Water for Elephants’ should feel like one company,” he says. “Everyone needed to feel like they were part of the same circus troupe traveling across the country. There weren’t separate camps of actors, circus artists, dancers, musicians, puppeteers or singers. ”

Tyler West juggles on stage ahead of the production.

(Ariana Drehsler / For The Times)

This philosophy also extended to his collaboration with Carroll. Though they had both worked with Cirque du Soleil, the two had never met when they entered into what he jokingly calls “an arranged marriage.” Fortunately, it worked. “We were constantly looking for the place where our disciplines could overlap and strengthen one another. The whole production became an exercise in that same idea: Take what you know, learn what you don’t, and trust the people around you enough to try something new.”

It’s one of the reasons the performers say they always feel safe, despite some of the death-defying acts seen on stage. While Walker admits two-show days can be tiring and she spends a lot of time concentrating on “energy conservation,” the performance itself is a joy.

Severin agrees, “There’s never really scary moments,” she says. “You know somebody’s going to catch you. I trust all of these people with my life, every day. It’s built into the choreography. It’s built into the nature of the show.”

After appearing last year on a contentious political panel discussion in Washington, D.C., Jessica Tarlov, co-host of the the popular Fox News show “The Five,” was approached by a transgender woman from Alabama.

Tarlov had said that Democratic candidates in tough races might have to concede that transgender collegiate swimmer Lia Thomas should not be competing against women assigned female at birth. But the matter never came up. Instead, the Alabama woman thanked Tarlov for making the case for Democrats against four conservatives on “The Five,” the most watched program in cable news and a favorite of family members who no longer speak to her.

“If more people talked like you, I might get my family back,” the woman said. “I’m just happy my parents can hear someone like you.”

Tarlov describes the encounter in her new book “I Disagree: Winning Arguments Without Losing Friends,” out Sept. 15. The part how-to book and part personal memoir is aimed at helping readers navigate the harsh political divisiveness in the culture. Her role on “The Five” has made her an advocate of going into not-so-friendly territory to debate issues rather than staying in comfort zones where views are unchallenged.

“I’m trying to show that a Democratic voice like mine can exist there, without an apology,” she writes of her Fox News position. “And that a person with strong liberal beliefs can bring that same perspective to a host of outlets and places.”

During a recent conversation at Fox News headquarters in Manhattan, Tarlov said the kind words of the fan from Alabama align with what she’s heard from children and grandchildren of the network’s loyal viewers. They are grateful their Fox News-loving families are exposed to a voice from outside the conservative media ecosystem.

Fox News co-host Jessica Tarlov is the author of “I Disagree.”

(Penguin Random House)

Tarlov, 42, has been a sturdy liberal counterweight at “The Five,” which averages 3.5 million viewers daily, according to Nielsen. She comes to the panel’s table highly prepared with data-based talking points, forcing her often intractable co-hosts to engage and listen. She often does it while deflecting the mocking remarks of rambunctious colleagues Jesse Watters and Greg Gutfeld, who try to throw off her arguments.

“Interruptions are an indication that you’re winning,” said Tarlov, evoking the pithy chapter summaries in “I Disagree.”

Tarlov games out numerous scenarios with recommendations on how to deploy statistics and when to lighten up. She also explains the necessity of allowing the other side to blow off steam as she did when “The Five” co-hosts became emotional and overwrought over the shooting of right wing activist Charlie Kirk.

Tarlov believes the key to the success of “The Five” is the camaraderie the panel has off-camera. While the co-hosts will battle it out on set over President Trump’s policies or the excesses of the socialist wing of the Democratic Party, they are supportive of each other once the show is over (three of them are represented by the same CAA agent).

“We don’t talk politics outside of work,” Tarlov said.

Tarlov has been an accepted part of the Fox News family, recently signing a three-year contract despite Trump’s suggestion that “The Five” would be better off without her.

But it has taken time for Tarlov to gain credibility among like-minded pundits and thought leaders on the political left. Most are dismissive of the network as its most popular hosts are unwavering Trump loyalists. Tarlov also resists being in lockstep with every Democratic position and trend. (She voted for Andrew Cuomo over New York Mayor Zohran Mamdani, citing the former governor’s experience.)

“Even in the last year I’ve been at big liberal gatherings, very clearly hosts on other big podcasts or show were not interested in talking to me,” said Tarlov, who has had many conversations that start with the question “Why are you on that network?”

But with younger news consumers getting their news and information through social media platforms, Fox News clips of Tarlov scoring points for the Democrats are gaining attention. Tarlov said she has felt more welcome in left-leaning circles since the 2024 presidential campaign when the digital accounts of Joe Biden and then Kamala Harris put her commentary in heavy rotation. (Scott Galloway, the author and social critic, partnered with Tarlov on a podcast, “Raging Moderates,” after seeing her come up repeatedly in his feeds and then meeting her on the set of “Real Time With Bill Maher”).

Tarlov didn’t start out seeking a career as a TV personality, although her family background likely helped her understand media and communication. Her parents were attorneys who met while working on the Warner Bros. lot in New York, and raised their two daughters in the hip lower Manhattan neighborhood of Tribeca.

Her father, Mark Tarlov, was a onetime speechwriter for Supreme Court Justice Warren Burger who went on to produce two of John Waters’ films and direct projects of his own. Tarlov and her sister Molly, an actor who co-starred in the MTV sitcom “Awkward,” traveled the world with their father to shooting locations. (Tarlov pays tribute to her father, who died in 2021 of 9/11-related cancer, by wearing his nerd-chic Oliver Peoples eyeglass frames made of buffalo horn).

A graduate of Bryn Mawr College and the London School of Economics, Tarlov worked as a strategist on the London mayoral campaign of Boris Johnson. She talked Democratic pollster Doug Schoen into giving her a job. Schoen hired her and brought her to the attention of Fox News, which started using her as a guest on Sean Hannity’s program in 2016.

The ability to effectively volley with conservatives led Democratic Party leaders to approach Tarlov about running for Congress in the district representing Staten Island. (She has no desire to seek political office.)

Tarlov was named co-host on “The Five” in 2022. She and husband Brian McKenna, who works in finance, welcomed their first daughter in 2021, the other in 2024. She remains awed that the show’s viewers — most of whom don’t agree with her politics — have acknowledged her personal milestones with warm greetings and homemade gifts.

She is aware that she’s had a rarefied career. But in “I Disagree,” she goes beyond her impressive resume to reveal her insecurities — unusual in the ego driven TV news business — and tells readers how she’s tried to resolve them.

“I have a good amount of shyness to me,” she said. “I have a lot of imposter syndrome. I’m constantly in wonder that I ended up getting to do this and that hopefully, am the right person to do it.”

Long self-conscious about her raspy voice, which Trump once described as “grating and irritating,” she shares how a 2016 meeting with former Chief Executive Roger Ailes made her relax about it. He told her viewer criticisms were more aimed at her positions, at not how she sounded. “No matter what room the television is in, you want to make sure the person listening in the next room knows you’re on it,” he told her. “Don’t try to smooth your voice out. They may hate what you stand for and what you’re saying, but you want them to know it’s you on TV.”

Tarlov met with Ailes just months before he was ousted over sexual harassment allegations. While Tarlov was grateful for his advice, her book praises current Fox News Chief Executive Suzanne Scott for creating a workplace culture that is much more hospitable to women. Scott promoted Tarlov to co-host right before she was due to give birth to her first child.

“The knowledge that I’m supported allows me to take big swings and not be intimidated,” Tarlov writes. She knows that’s not the situation for all women; in her signature style, she presents the data and the narrative to back it up.

As the scorching heat of the summer reaches its peak and the calendar brings hope of cooler temperatures, it’s time to fluff the pillows and settle in to enjoy the comfort of the new television season.

But before we turn the page, the Emmy Awards will honor the shows of the past year that had audiences crying, laughing and glued to their screens — some returning this fall, while others bid adieu last year.

The 78th Emmy Awards, honoring the standouts from the 2025-26 television season, will celebrate the shows that gave viewers plenty of reasons to stay in. Whether it was the nail-biting anxiety over the chaos in HBO Max’s drama “The Pitt,” the most nominated show with 25, or laughing at the silly situations of Apple TV’s “Widow’s Bay,” which earned 19 nominations, television gave viewers different reasons to watch.

Some of the top contenders are already coming into the ceremony as winners after the first round of awards were handed out earlier this month. “Widow’s Bay” currently leads with eight Emmys, following by six for “DTF St. Louis,” and “The Pitt” won four. Notably, Rob Reiner received a posthumous Emmy for his guest appearance in Season 4 of “The Bear.”

Here’s everything you need to know about the 2026 Emmy Awards:

Where are the Emmys?

The 78th Primetime Emmy Awards will take place on Monday beginning at 5 p.m. PT at the Peacock Theater at L.A. Live in downtown Los Angeles.

Earlier this month, a pair of ceremonies, formerly called the Creative Arts Emmys, honored artistic and technical achievements as well as some performance categories. Those ceremonies will be televised Saturday on FXX at 8 p.m. and stream next day on Hulu.

How can I watch the shows?

The live telecast will be broadcast on NBC and streamed simultaneously on Peacock.

Who is hosting?

Mariska Hargitay at the blue carpet rollout at L.A. Live in downtown Los Angeles on Thursday.

(Christina House/Los Angeles Times)

Mariska Hargitay, known for playing Olivia Benson on NBC’s “Law & Order: Special Victims Unit,” will make her hosting debut at this year’s award show.

In an interview with The Times, the multihyphenate said she was excited to televise some “razzle-dazzle” and to become the first woman to host in 15 years.

“Am I scared? Of course I am; I’ve never done this,” she recently told The Times. “But at a certain point, you have to go: Why not me? Bring it on.”

When does the red carpet start, and how can I watch that?

The countdown to the award ceremony will begin at 2 p.m., with several opportunities to see your favorite stars arrive on the red carpet — which is actually blue this year in celebration of NBC’s 100th anniversary — at the Peacock Theater.

E! will get the party started with a programming block from 2 to 5 p.m. with “Live From E!: Countdown to the Emmys,” hosted by Erin Lim Rhodes with Lance Bass and Ciara Miller, and “Live From E!: The Emmys,” hosted by Justin Sylvester, Keltie Knight and Will Marfuggi.

People and Entertainment Weekly will be conducting interviews as guests arrive on their websites and social platforms throughout the day, while NBC will be livestreaming pre-show arrivals on the network’s official TikTok account from 4 to 5 p.m.

KTLA will air “Live From the Emmys,” hosted by Jessica Holmes and Melvin Robert with Megan Henderson reporting, from the blue carpet beginning at 3 p.m. And CNN will air “Red Carpet Live: TV’s Biggest Night” beginning at 2 p.m. It will be hosted by CNN’s Elizabeth Wagmeister and Variety co-president and co-editor in chief Ramin Setoodeh.

What shows and actors are nominated?

“The Pitt” will defend its drama series title against “The Diplomat,” “The Gilded Age,” “A Knight of the Seven Kingdoms,” “Paradise,” “Pluribus,” “Slow Horses” and “Your Friends & Neighbors.”

Zendaya (“Euphoria”) is looking to become a three-time winner for lead actress in a drama. She is nominated alongside Carrie Coon (“The Gilded Age”), Chase Infiniti (“The Testaments”), Keri Russell (“The Diplomat”) and Rhea Seehorn (“Pluribus”).

Noah Wyle (“The Pitt”) is again nominated for lead actor in a drama, along with Sterling K. Brown (“Paradise”), Gary Oldman (“Slow Horses”), Mark Ruffalo (“Task”) and Rufus Sewell (“The Diplomat”).

“Hacks” earned the most nominations in a single year for a comedy, with 24. It’s nominated for comedy series, as is “Margo’s Got Money Troubles,” “Nobody Wants This,” “Only Murders in the Building,” “Abbott Elementary,” “The Bear,” “Shrinking” and “Widow’s Bay.”

Jean Smart looks to win her fifth award for lead actress in a comedy series for “Hacks.” She is nominated alongside Quinta Brunson (“Abbott Elementary”), Ayo Edebiri (“The Bear”), Elle Fanning (“Margo’s Got Money Troubles”) and Lisa Kudrow (“The Comeback”).

Yahya Abdul-Mateen II (“Wonder Man”), Steve Carell (“Rooster”), Matthew Rhys (“Widow’s Bay”), Jason Segel (“Shrinking”) and Martin Short (“Only Murders in the Building”) are nominated for lead actor in a comedy.

See the full list of nominees here.

Who’s going to win?

It’s looking like a year where the winners will be easy to decipher, according to awards prognosticators, which includes The Times’ award columnist Glenn Whipp. If you’re an actor attached to either the medical drama “The Pitt” or the horror-comedy “Widow’s Bay,” consider yourself the front runner. Noah Wyle and Matthew Rhys are both the leading contenders in their respective categories.

Jean Smart is predicted to complete her sweep of lead actress in a comedy for the fifth and final season of “Hacks.” In the leading actress in a drama, it’s a tight race between Rhea Seehorn for “Pluribus” and Keri Russell for “The Diplomat.”

The second season of “The Pitt” currently stands as the favorite for drama series, while the comedy series category is a battle between new series “Widow’s Bay” and departing series “Hacks.”

Harrison Ford could win his first major acting award, for supporting actor in a comedy for “Shrinking,” unless another veteran actor takes the spotlight — Stephen Root of “Widow’s Bay.”

Supporting actress in a comedy also comes down to the top shows, likely to be between Kate O’Flynn (“Widow’s Bay”) and Hannah Einbinder (“Hacks”).

Who’s going to present?

A number of nominees will present the awards throughout the night. Past and recent Emmy winners, including Linda Cardellini, Sally Field, David Harbour, Zendaya and Alan Cumming will take the stage.

The Television Academy will celebrate the 30th anniversary of “Buffy the Vampire Slayer” and bring together David Boreanaz and Sarah Michelle Gellar as presenters. They will also honor the 50th anniversary of “Charlie’s Angels,” and reunite Cheryl Ladd, Kate Jackson and Jaclyn Smith.

Other presenters include Odessa A’zion, Macaulay Culkin, Jon Hamm, Marcello Hernández, Peter Krause, Dan Levy, Julianna Margulies, Annie Murphy, Niecy Nash-Betts, Keke Palmer, Amanda Peet, Amy Poehler, Florence Pugh and Rachel Sennott, with more to be announced.

Singer-songwriter Noah Kahan will cover Simon and Garfunkel’s “Bridge Over Troubled Water” during the in-memoriam segment of the show.