show

MEGAN Thee Stallion has stripped down to a tiny black thong and bra top while announcing she’s performing at the Victoria’s Secret Fashion Show.

The racy rapper, 31, will soon show her recent ex-boyfriend Klay Thompson, 36, what he’s missing when she performs at the very sexy fashion show.

“Hotties, my dream has finally come true,” Megan told fans Tuesday when announcing the news on social media.

She added: “I’m in thee Victoria’s Secret Fashion Show.

“Tune in October 18 to see me get my wings.”

Fans can tune into the live fashion show on October 18 via YouTube, TikTok, and Instagram.

MEG-A SEXY

Megan Thee Stallion suffers wardrobe malfunction in completely see-through dress

In the video accompanying her announcement, Megan could be seen rocking black thong panties and white bra top as she danced around.

Reacting to Megan’s news of her VS Fashion Show performance, one person said: “REAL LIFE ANGEL IS GETTING HER WINGS.”

Another added: “Sexy & sensual moment.”

While a third wrote: “GO MEG.”

And a fourth said: “ITS BEEN OVER DUE QUEEN!!!! You’ve been on a run! Cultural ICON.”

Megan previously said she was keen to become a Victoria’s Secret angel.

Back in 2011, the rapper took to X, formerly Twitter, and penned: “I swear ima b a victoria secret model when I grow up.”

Megan is keen to show ex-boyfriend Klay what he is missing, following their recent break-up, which was plagued by cheating rumours on his part.

In June, the star took to Instagram and appeared to call out her unfaithful ex.

Megan wrote: “Cheating, had me around your whole family playing house… got ‘cold feet’.

“Holding you down through all your HORRIBLE mood swings and treatment towards me during your basketball season now you don’t know if you can be ‘monogamos’ ????

“B**** I need a real break after this one.. bye yall.”

Jeremy Clarkson has teased a new show in the future after the success of Clarkson’s Farm as he confirms the sixth series has already been filmed

Jeremy Clarkson is teasing a new TV show beyond Clarkson’s farm, that could rival Celebrity Traitors.

The former Top Gear host, 66, started the Amazon Prime Series Clarkson’s Farm in 2021, showcasing the behind the scenes of running his farm Diddly Squat.

The show has been awarded two National Television Awards [NTAs] and become one of the most-watched series on the streaming programme.

The sixth series of the show has been filmed, as confirmed by Clarkson, with the star revealing he is looking forward to what is next outside of the famous series.

At the RTS Convention in London Clarkson said he is already thinking about what comes after Clarkson’s Farm in the changing TV landscape.

He said: “We’re currently thinking about what we’re going to do after Clarkson’s Farm, and it’s going to have to be something bigger – to stand out, to protect us from the onslaught from underneath.”

He told The Sun: “It has to be unbelievably ambitious, like, where people go, ‘What the f**k are you doing? That’s an incredible show!'”

He added that The Traitors is “a very good example”, as the second celebrity version is set to air on October 1.

“They get proper celebrities on that, and it’s a great show.”

He spoke with his daughter, Emily, and Loose Women’s Jane Moore about the changing dynamic of the TV world in the digital age.

He said: “Television has to get bigger, lose scheduling and get better.

Clarkson suggested that the “only” way television can “survive” would be to merge “the whole lot”.

He named the BBC, ITV, Sky, Channel 4, and Channel 5, and proposed a united platform called “Britfix”.

He added: “People are draining away from the industry, and it’s a huge pool of talent, and I think if we had one great big thing – Britflix, let’s call it – we could all club together and make good programmes.

“But bigger, better and fewer programmes.”

Speaking on Celebrity Traitors, the presenter said he loved the show but we wouldn’t see him sat at the round table in the future.

He said in an interview last year when asked if he would take part: “I wouldn’t in a million years. I’ve got 10 jobs already. Why would I want 11?”

He went on to discuss his former co-stars, saying: “I couldn’t see James May going on it. I could see Richard Hammond going on it, though.”

The sixth series of Clarkson’s Farm is set to land on Prime next summer, following the emotional series that focused on his recovery from a heart procedure and cancer diagnosis.

A GALAXY of stars flocked to the L’Oréal show at Paris Fashion Week — and proved they were definitely “worth it”.

Models, actresses and singers with a combined net worth of well over £2billion descended on the French capital for a string of shows.

L’Oréal Paris — whose slogan is “because you’re worth it” — kicked things off on Monday with a multi-billion-pound runway.

Guests striding the catwalk included British model and actress Cara Delevingne, US reality star and entrepreneur Kendall Jenner, Desperate Housewives’ beauty Eva Longoria and German supermodel Heidi Klum.

There was also a surprise performance from Canadian singer Celine Dion, who belted out her 2002 hit I’m Alive in the show underneath the Eiffel Tower.

Dion, worth an estimated £500million, is currently in a run of sell-out shows in Paris after suffering from a devastating neurological disorder.

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The annual L’Oréal display was followed by an equally lavish spectacle yesterday afternoon for the Dior show.

Barbadian singer and businesswomen Rihanna — worth an estimated £1.2billion — topped the bill, wearing a slashed black dress and shawl combo as she sat in the front row.

She was joined by Hunger Games star Jennifer Lawrence, The Queen’s Gambit actress Anya Taylor-Joy and Australian model Miranda Kerr — worth around a combined £200million.

British fashion legend Kate Moss was also in attendance, snapped in a pale green dress and large sunglasses as she left The Ritz for the VIP event.

The star has £55million to her name thanks to deals with countless global brands over the years including TopShop and Rimmel.

Taking place at Le Bassin Octogonal in the Jardin des Tuileries, the show saw British designer Jonathan Anderson display his spring/summer womenswear collection.

In a quirky twist, guests received a pair of polished walnuts as their invitation.

The move was a nod to Chinese culture, where rotating them in the palm is meant to bring good health, calmness, and high social status.

Bosses were no doubt relieved that nine-time Grammy winner Rihanna made it on time for the bash.

She was said to have left guests waiting more than an hour on Monday night before she arrived at the Matières Fécales SS27 show.

Other stars at the Dior event included Wicked actress and singer Cynthia Erivo, South Korean rapper and singer Hyunjin, and American-Chinese Olympic skier Eileen Gu.

Fresh from Milan Fashion Week, actress and singer Jennifer Lopez, worth around £300million, was also snapped out and about shopping in the French capital.

BROOKLYN Beckham and his wife Nicola Peltz have risked running in to his parents David and Victoria.

The young couple have flown into Paris for fashion week ahead of his mum’s fashion show.

Brooklyn, 27, and Nicola, 31, have been seen walking hand-in-hand around the city of love.

Looking smitten as they wandered around, the pair narrowly avoided bumping into David and Victoria.

Brooklyn’s parents are currently in Paris, with Victoria seen taking on the most fashionable week of the year earlier this week.

Despite being in the city at the same time, Brooklyn is not expected to attend his mum’s show due to them being locked in a bitter family feud.

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BECK-SOTTED

Brooklyn Beckham plays the doting husband to wife Nicola on Venice red carpet

Nicola and Brooklyn continue to be embroiled in the ongoing row which has now rumbled on for almost a year.

The feud heated up when Brooklyn let loose on his family in a scathing social media post in January.

Brooklyn said at the start of the year that he did “not want to reconcile” with his family, and accused his parents of “controlling” the narrative.

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

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

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

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

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

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

Things then led to Brooklyn snubbing his father’s Hollywood star unveiling in June.

James Trafford: Made a good save in the second half. Trafford was very calm with the ball at his feet and showed his passing range which pleased Tuchel throughout. 6

Trent Alexander-Arnold: Started his first England game for nearly two years. Not much to do defensively but put in a great ball for the England opener. 7

Trevoh Chalobah: A shaky start from the centre back who lost possession a couple of times and lost out in challenges which frustrated manager Thomas Tuchel. But Chalobah settled and ensured England kept a clean sheet against 10-man Czech Republic. 6

Marc Guehi: The usual reliable performance from Guehi. England didn’t have much defending to do but he put in a couple of important blocks. 6

Lewis Hall: The left-back combined well with Anthony Gordon and offered a good outlet for England. Hall was a threat going forward and should have scored in the second half. 7

Elliot Anderson: Dominated the midfield, kept the ball ticking for England and won possession back the few times that the Czech Republic ventured forward. A mature performance. 7

Myles Lewis-Skelly: Started the game well and was given a lot of responsibility in England’s build up play. However, Lewis-Skelly was booked for a mis-timed tackle and then taken off at half time. 6

Morgan Rogers: Played Bukayo Saka through with a nice pass early on and hit the post twice. Not given much room by a Czech side who defended very deep. 6

Bukayo Saka: Not much of note to mark for Saka in what was a cagey match as England laboured when breaking down the Czech defence before Gordon’s goal. 6

Anthony Gordon: A constant threat in behind and put in a dangerous cross in the first half that deserved to end up with a goal. Scored the opener and continues to show why he is becoming so important for the Three Lions. 8

Harry Kane: A quieter night for Kane who dropped deep and went looking for the ball but the England captain still got on the score sheet with a good finish inside the area in the second half. 7

Subs:

Eberechi Eze (on 46, Lewis-Skelly): Added a spark to midfield. 6

Jude Bellingham (on 70, Kane): Took the captains armband and led the line. 6

Alex Scott (on 70, Anderson): Made his England debut. 6

Rio Ngumoha (on 71, Saka): His first thought was to go forward. 6

Morgan Gibbs-White (on 81, Gordon):

Subs not used: Pickford, Steele, Konsa, Branthwaite, Garner, Calvert-Lewin, Quansah

SLIPKNOT have announced their biggest ever UK show in 2027 – but fans are absolutely fuming.

The heavy metal band, who are known for performing in grotesque masks, are heading back out on the road next year for a huge world tour.

Announcing the news, the band shared a tour poster and wrote: “WEMBLEY STADIUM 2027 – Saturday 3 July with special guests @marilynmanson, @lornashore, and @hatebreedofficial. The only European show of 2027.”

But fans have been left fuming that Marilyn Manson is Slipknot’s support act.

The controversial singer, whose real name is Brian Warner, had previously faced allegations of sexual abuse.

However, after a long investigation prosecutors in the US said they would not file charges against him as the allegations were too old under the law.

THE MASK IS OFF

Kelly Osbourne’s ex-fiance Sid Wilson ‘permanently kicked out of Slipknot’

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Mansion has vehemently denied all the allegations of sexual abuse.

But today fans have made their feelings known about Manson, and commenting on the gig one said: “As the biggest ex Manson fan in the world, what the HELL. This is so disappointing.”

While this one fumed: “Ewww guess I’ll never be seeing you guys live again or showing any more support, which is such a shame as I was a lifelong fan!”

Another angry fan wrote: “Ah lads, Manson? Really?”

The same thing happened last year when Manson was due to play in Brighton – the gig was eventually cancelled by organisers, following a backlash.

It comes after it was revealed that Sid Wilson, 49, had been “kicked out” of the heavy metal band – just four months after his split from Kelly Osbourne, 41.

When the news broke last month, a source close to the heavy metal band told TMZ: “Sid was notified late Friday afternoon that he’s been permanently kicked out of the band.”

The outlet then revealed more details about his exit, with an insider saying: “Sid’s firing was a long time coming — not some abrupt decision made in the heat of the moment.”

Sid shot to fame in 1999 as one of Slipknot’s nine original members.

Over the years, the band has been plagued by tragedy, with Joey Jordison passing away in his sleep in 2021, while Paul Gray died from a drug overdose in 2010.

Sid’s exit comes after other OGs from the group who have also left the band in recent years including Craig Jones, 54, and Chris Fehn, 53.

“Crunch, crunch.”

If the above sounds familiar, then you might already be a Wholigan — someone who routinely listens to the long-running celebrity podcast “Who? Weekly.” Part of the fun of listening to the thrice-weekly show (one being for Patreon members), aside from its hosts contextualizing a dizzying array of tabloid headlines, is learning its lexicon. For example, “Crunch, Crunch” spoofs a bit of sponsored content the pop singer Bebe Rexha did for Lay’s Potato Chips in 2019. Other popular phrases unique to the Who-verse: “Good form, Bella Thorne.” “Scar-Jo Yummy Pop.”

Launched in 2016 by pop culture journalists Bobby Finger and Lindsey Weber, “Who? Weekly” eagerly mines the growing world of lower-tier celebrity, with the two hosts categorizing trending names under two main umbrellas: the fame-hungry “Whos” (influencers, reality stars, a pre-royal Meghan Markle) and the instantly recognizable, likely critically acclaimed “Thems” (Tom Cruise, Taylor Swift, Beyoncé). Rounding out the paradigm are the “Nahs,” or folks who aren’t well known enough to claim “Who” status.

“We came of age reading all the [gossip] bloggers, from Perez Hilton to Liz Smith,” Weber tells The Times of why she and Finger originally started “Who? Weekly,” which technically began as a newsletter before it morphed into a podcast.

Lindsey Weber and Bobby Finger have co-written the newly released book, “I Want to Be Famous: When Everybody and Nobody Is a Celebrity.”

(Justin Jun Lee / For The Times)

Finger also cites influence from “Oh No They Didn’t,” a 2000s-era LiveJournal page that aggregated celebrity headlines and invited users to comment (kind of like a proto-Subreddit). “You read the story just as you read the comments, which were integral to the story,” Finger says. “All of the inside jokes, the additional commentary. That’s what ‘Who? Weekly’ has become, especially in our Patreon Discord. [Listeners] are always chiming in and creating their own language and extensions of the ‘Who? Weekly’ universe.”

That universe is about to expand again: In conjunction with the pod turning 10 this year, Weber and Finger are releasing a new book, “I Want to Be Famous: When Everybody and Nobody Is a Celebrity,” which looks at fame and celebrity through a historical lens while also exploring how the line between Whos and Thems got that much blurrier in the social media age. “I feel like we were always barreling towards a book,” Weber says. “Both of us are trained journalists. We were always kind of like, ‘When are we going to put our money where our mouth is?’”

To demonstrate how the binary is evolving into a spectrum, Weber and Finger revisit juicy pop cultural anecdotes (remember when Courtney Love threw her compact at Madonna at the VMAs? Or when Ariana Grande dated Pete Davidson? Or when Katy Perry flew into space on the Blue Origin?) while blanketing every chapter with an elucidation of why, no matter what decade we’re in, society just can never get enough gossip.

Meanwhile, unlike the podcast, “I Want to Be Famous” gives the hosts ample room to go deeper into the cultural framework of modern celebrity than they normally have time for. Each week, Weber and Finger dedicate one episode to unpacking a prepared list of Who-y headlines, and a follow-up episode, titled “Who’s There?,” is dedicated to listener calls. Which is to say, Weber and Finger usually spend more time explaining and trading jokes about what each micro-celeb is known for rather than how celebrity itself has evolved.

Lindsey Weber and Bobby Finger are celebrating the 10th year of their podcast “Who? Weekly.”

(Justin Jun Lee / For The Times)

“The pod is on the surface funny, [but] if you are a real fan, you’re like, ‘Oh, there’s actually some interesting stuff beneath the funny,’” Finger says. “We wanted this book to be the opposite, where it’s actually outwardly interesting and smart, and then inwardly funny when it can be.”

The writers’ tone might lean more academic within “I Want To Be Famous,” but longtime fans of the pod will recognize dozens of niche names, stories and extremely online subjects that were at one point or another discussed on the show. The authors present their grand theory of Whos and Thems by opening with the story of how former Who Meghan Markle shot to Them-dom after marrying Prince Harry. Other chapters observe what happens when Thems date or marry Whos. There’s a history of how celebrities say sorry (where there were once press releases there are now Notes app apologies) and a conversation about how nepo babies fit into the framework. As the book moves across history and demonstrates how the internet has completely upended the binary, they also show what hasn’t changed about the way fans relate to their favorites. “What we want most in a celebrity is authenticity,” Weber theorizes.

For Weber and Finger, the chance to tie the disparate threads they discuss on “Who? Weekly” was a major incentive to work on their book. “I kept being like, ‘Is this the first time anyone’s ever written about this in a book?’” Weber says with a laugh. “Because some of it was so stupid — these references to fandoms and Club Chalamet and niche things that are newer … I’m like, ‘Oh my God, are we doing this thing where now people have to read about Club Chalamet in 100 years?’ Obviously that would be incredible.”

“There’s a temporality to our show that is not the case with this book, which is very exciting,” Finger adds. “Because our show kind of exists to go in one ear and out the other. And I say that because it goes in one of our ears and out the other too, as the creators.”

Woven into the conversations around Whos, Thems, Thems behaving like Whos (see: brand deals), and Whos aspiring to be Thems is the authors’ palpable anxiety about the decaying role of entertainment journalism in an age in which celebrities can simply promote themselves via social media — or host their own podcasts. The authors are also painfully aware that most audiences have less of an appetite for reading, period. A chapter titled “The 2010s Killed the Cover Star” looks back what is thought to be the greatest piece of celebrity journalism ever written (Gay Talese’s 1966 Esquire classic, “Frank Sinatra Has a Cold”) and contrasts it with today’s style of uncritical, PR-friendly celebrity Q&As that boast nothingburger headlines that don’t tell us much of anything.

Conversations about media and journalism itself run through the podcast too, and that’s by design. “Sometimes we go so niche that it’s like, ‘Are we just making a podcast for our friends that work in media?’ And sometimes the answer is yes,” Weber says. “We can only speak from our experience. … But the most shocking thing about ‘Who? Weekly’ is that [media discourse] is actually quite interesting for lots of people.”

Finger adds, “Our past in media and our abundance of friendships with people who are still in media is like a crucial part of our show. It’s an industry we respect so much, you know, and we’re obsessed with the way it evolves. If we didn’t have that background, I don’t think the show would exist the way it does at this current moment.”

Even with a massive archive of episodes and no plans to stop, Weber and Finger are thrilled to have cemented their legacy with a book that could (and really should) be taught in media and communications classes. “Bobby and I both obviously love celebrities,” Weber says. “But we love media more.”

Brodsky is an L.A. culture and music writer. Her biography of Stevie Nicks, “Lessons & Lace,” published by Penguin Random House, is out now.

Appearing at an RHS event, Monty Don admitted he will have to find a new way to finance the maintenance of his two-acre garden at Longmeadow following his Gardeners’ World exit

Television legend Monty Don has admitted he may be forced into making a major change at Longmeadow following his departure from Gardeners’ World. Monty, 71, is leaving the show after over 20 years of leading the programme.

However, during a talk at the RHS Malvern autumn show, Monty revealed his soon-to-be former employer, the BBC, had been contributing to the salaries of two gardeners who have worked at Longmeadow since 2011.

Speaking at the RHS event, Monty said the reason for having the team was so the garden could always look “camera ready” if he was away filming in another country, or working on another project.

With his Gardeners’ World exit in mind, Monty, who has lived at Longmeadow in Herefordshire with his wife Sarah since 1991, has said there will come a moment where he will need an alternative plan to keep Longmeadow in shape.

He said: “The BBC pays a contribution towards their wages. Not enough, but they do pay something, which is great. Obviously that contribution is going to go.

“I will have to think of ways – I can’t afford it unless we earn money from it – so I am going to think of ways of earning something from the garden, but I can’t do that until the middle of next year at the earliest.”

Monty, who announced his intention to leave Gardeners’ World in an Instagram video, said he had decided to step away from the renowned show as he felt it was “the right time for a change”.

As well as paying tribute to the “superlative BBC team”, he added: “I look forward to continuing to work with and for the BBC on other projects, as well as following new avenues. And of course, I will still be gardening, dog by side, here at Longmeadow.”

Monty’s exit has subsequently led to speculation about who would replace him, with plenty of candidates from the existing Gardeners’ World team.

Months prior to Monty’s announcement, as questions continued to be asked about how long he would stay on the show, Frances Tophill, 36, was asked how she would feel about potentially replacing him.

Although she has been part of the team for over a decade, Frances ruled herself out of following in Monty’s footsteps, with the latter taking over from Alan Titchmarsh in 2003.

Speaking to the Sunday Times, Frances admitted to having little interest as she saw her main job as being a gardener rather than a presenter.

She said: “I have a huge respect for Monty – it is such a generous thing to give your garden space to the nation and he does it so well. I hope he never leaves….Broadcasting is not my day job, my day job is being a gardener.”

Frances’ comments came after she got a taste of what life as the main presenter would be like when she found herself surrounded by people in a garden centre after deputising for Monty during one episode in 2023. She added: “That’s when I got a glimpse of what being Monty must be like… I don’t want that.”

“Heartwarming” is a cliche of theater reviewing that I have studiously tried to avoid, but I’m tempted to use the word in my review of “Begin Again,” the new musical based on the 2013 John Carney romantic comedy about two dreamers trying to rekindle the love of making music that the industry nearly destroyed.

The show, which is having its world premiere at the Old Globe’s Donald and Darlene Shiley Stage, is just so damn heartwarming that I can’t help but resort to the language of blurbs. But let the ticket buyer beware: Heartwarming is a feeling, not a complete verdict.

Featuring a book by Jenna Clark Embrey and Molly Beach Murphy and a score by Pat Monahan and his bandmates from Train (Jerry Becker and Matt Musty), “Begin Again” does a pretty good job of distilling and updating the movie. Carney’s film, notable mostly for the vibrantly gritty New York setting, the Oscar-nominated song “Lost Stars” and the lived-in performance of Mark Ruffalo, couldn’t help languishing in the shadow of the filmmaker’s breakout hit “Once,” which later became a Tony-winning musical.

“Begin Again” the musical is likely to suffer a similar fate. It lacks the quirky originality that made “Once” an unexpected Broadway juggernaut. But the new show, directed by Lorin Latarro and choreographed by David Neumann, has heart — there I go with that overused word again!

I succumbed to the show’s charms despite being aware that the comedy isn’t as freshly articulated as it should be and the music, while exuberant, doesn’t seem to emanate from the soul of Gretta, a reworked American version of the singer-songwriter character indifferently played by Keira Knightley in the movie.

Emma Busse as Gretta, center left, and Kevin William Paul as Max with the cast of “Begin Again.”

(Jeff Lorch)

Gretta relates to her songs as though she were the next Joni Mitchell, but the new material she’s composing on the fly with her new friends doesn’t seem particularly intimate or revealing. I liked the indie rock sound, but mostly for the collaborative liftoff. Lyrically, I wasn’t drawn in. But who could resist the ecstatic momentum of her ad hoc band members buying into her grassroots dream?

Gretta, played with folksy innocence by Emma Busse, has traveled to New York from Pennsylvania with her boyfriend Max (Kevin William Paul). A musician with frontman good looks, he’s about to be packaged into a rock star. Gretta’s songwriting has paved the way for this opportunity, but Max is told that he’s being signed as a singer-songwriter and sharing credit is a deal-breaker.

Selfless, naive Gretta gives Max her blessing and her rights, and almost immediately he betrays her with another woman. Perhaps even more disloyally, he allows his producers to run her song “Don’t Let Go” through a pop blender that drains it of all its personal meaning and artistic integrity.

Alone in the big city, she takes refuge at the Queens apartment of college friend Stevie (Casey Whyland), formerly Steve in the movie, the comic sidekick role played by James Corden. Stevie, conveniently, is a sound engineer with an analog heart. She’s not only how Dan (an electric Patrick Heusinger), a washed-up music executive with a broken marriage and a drinking problem, discovers Gretta. But without Stevie’s technical ingeniousness, the prospect of recording an album in outdoor New York locations would never have been possible.

The professional meet-cute between Gretta and Dan happens at an open-mic night at a dive. Stevie calls a heartbroken Gretta to the stage to perform, and she reluctantly complies before giving up in embarrassment. She thinks she’s bombed, but Dan, who has “magic ears,” hears what the song could be.

Patrick Heusinger as Dan, left, and Adrienne Walker as Miriam with the cast of “Begin Again.”

(Jeff Lorch)

Just as Dan glimpses Gretta’s raw potential, she sees his lost purpose, and the two launch a mutual rescue mission. He brings Gretta to meet Saul (Nik Walker), who co-founded Distressed Records with him and just fired him for his erratic behavior. Saul doesn’t have Dan’s ability to spot future talent, but he agrees to give the singer a listen if they cut a demo. And so off Dan and Gretta go, with no budget, to make memorable music together.

Friends are their main resource — and that proves an inexhaustible boon. “Begin Again” really comes alive as Gretta, Dan and their expanding, can-do music network starts pooling its expertise.

You can hear the songs germinating from lonely inspiration to group transformation — and the sound is exhilarating. The process of songwriting, rather than being a solitary slog, is a collective joy, rapturously captured in the number “Write a Way.” And “Twilight Summer Sky,” the number performed on the rooftop of Stevie’s apartment building in Queens, represents perhaps the fruit of all the group’s effort.

“Begin Again” is a musical fantasy, not a work of realism. Gretta and Dan are seemingly brought together by fate to heal one another. As they separately go about their business in New York before they’re introduced, they continually pass like ships in the night in a New York that scenic designer Derek McLane summons in a shifting comic-strip landscape of high-rises that gives the city an industrial quaintness.

The action rewinds from Gretta and Dan’s initial meeting at the bar, and later fast–forwards to speed up some of the more boring bits of the album-writing process. The ensemble moves backward and forward with these narrative jump-cuts.

This literalness can seem overly cute. (I prefer the idiosyncratic yet fully integrated movement direction Steven Hoggett brought to John Tiffany’s Broadway production of “Once.”) But Latarro’s staging and Neumann’s choreography keep the storytelling moving at a pleasantly brisk clip. And Skylar Fox’s illusion design adds an element of visual sorcery.

The cast of “Begin Again.”

(Jeff Lorch)

It’s the actors, however, who elevate the material, supplying a depth of feeling where the writing offers something more general. Heusinger makes it possible to leave Ruffalo’s fine portrayal behind. This is a different and more dynamic Dan, at least in terms of the musical demands placed on the character. Paul’s Max is every bit a rock star, but Dan is convincing as both a burned-out music mogul with a self-sabotaging streak and a gifted artist in his own right who just needs someone to believe in his producing instincts again.

Adrienne Walker, who plays Miriam, Dan’s estranged wife, and Charlotte MacLeod, who plays Violet, Dan’s disaffected daughter, endow their characters with more lineaments than the book provides. Walker’s Saul doesn’t do what Yasiin Bey managed in the movie — make Distressed Records seem like a real New York record company — but his singing compensates for some of the clumsier aspects of his reduced role.

Whyland’s Stevie, serving as emcee when the occasion calls for one, combines genuine camaraderie with comic relief. The gender switch makes sense, and Whyland embodies the spirit of artistic cooperation that makes “Begin Again” such an invigorating experience.

I wish that the musical didn’t amplify Gretta’s artistic insecurities and distress over the breakup with Max. The character seems less self-assured and more wounded than she did in the movie, making her fervently held idealistic beliefs about creative independence seem borrowed from another character. But Busse brings an American innocence to the role, and her ardor about music and community seems genuine.

“Begin Again” transcends its limitations through the kinetic connection of the cast. When all the elements of the music come together, a triumphant feeling — call it uplift — charges the air.

THE VMAs red carpet is known for daring fashion – and celebrities didn’t disappoint.

Stars like Taylor Swift, Teyana Taylor, Charli xcx, and Bebe Rexha lit the carpet on fire with skin-bearing outfits.

Taylor Swift, who is set to accept the inaugural Artist Director Honors award, wore a slinky Tamara Ralph gown.

The pop star paired a sparkly silver skirt with a form-fitting black bodice and mesh side cutouts.

She also showed off her new collarbone length haircut with long, cascading earrings.

Presenter Charli xcx stepped out in an all-black velvet ensemble from Saint Laurent with dramatic, billowing sleeves.

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The low-rise column skirt and tiny top showed off her toned stomach, an a mesh insert covered her chest.

Other stars kept up the black theme.

One Battle After Another actress Teyana Taylor wore a plunging feathered gown from Zuhair Murad, while Bebe Rexha wore an all-black lace look with over the knee boots.

Lisa from the K-pop group Blackpink turned heads in a form-fitting red gown and a dramatic furry red cape.

The star is up for four awards tonight and will perform her single SaWaDiKa during the ceremony.

Sombr also kept up the fur theme with an oversized striped jacket over his bare chest.

The pop star accessorized with layered necklaces, black sunglasses, and a bedazzled belt that reads “sex”.

PinkPantheress, who is up for five awards tonight, looked ethereal in tiered Nina Ricci gown.

She paired the burgundy and polka dot dress with light, blushing makeup and a fishtail braid.

Presenter Tyla brought the heat in a blue snakeskin two-piece bra and skirt set from Mowalola.

SNL alum Rachel Dratch wore a structured metallic dress, while sister duo Paris and Nicky Hilton twinned in silver, with presenter Paris rocking tall bedazzled boots and a sparkly mini dress with cut-outs.

Troye Sivan brought the drama in a high-necked Erdem suit with a draped black sash with white feathers.

Singer Normani also went for a metallic look with a large flower embellishment.

Singer Chloe Bailey wore a body-hugging silver dress with intricate beadwork and mirrored embellishments.

The tight bodice on the dress left little to the imagination – including her nipple peeking out the top.

Off Campus star Ella Bright stepped out in a black corseted gown that matched her new dark hair.

Real Housewives star Lisa Rinna debuted a wild new hair look coupled with a white gown with fake nipples.

Singer JoJo paired a black column skirt and bra top for her VMAs appearance.

Today marks the end of an era. Mark Swed — the last full-time classical music critic at a major American newspaper — has retired. On Thursday, members of The Times editorial staff gathered to celebrate Swed, but the mood was somewhat somber. Although we were glad for our beloved colleague, this was not a happy milestone for journalism — or classical music.

Swed is the rarest of writers: a critic with deep empathy and encyclopedic knowledge who can turn the sonic details of an orchestra playing Mahler’s Seventh Symphony into an epic journey for readers. At a time when orchestra leaders struggle to find new audiences for the art form, Swed’s writing did the job for them.

And in an era when everybody is an expert on TikTok, Swed’s informed criticism was a life raft in a sea of slop. He told us why the music mattered — in its historical context, as it related to the modern landscape, and what it meant to him personally. He made us better listeners, and most importantly, he made us curious. After reading his take, we wanted to run out to a concert, an opera or a new music festival.

That this particular kind of writing — and of seeing and explaining the world to readers — is going away with Swed, is truly a tragedy. Thankfully he is leaving of his own accord, and will hopefully continue to write a monthly column, but his loss still stings.

Like many, I watched with sorrow in February as the Washington Post slashed its staff, including its classical music critic, Michael Andor Brodeur. That blow came a little less than a year after the New York Times shook up its culture desk and reassigned its classical music critic, Zachary Woolfe, to serve as the obituaries editor. (The paper is now actively searching for a new classical music critic.)

A number of staffers spoke at Swed’s retirement lunch, and deputy A1 editor John Penner was among them. In his touching speech, Penner noted that Swed was the last of his kind, adding, “with no full-time critic writing anywhere in any newspaper about classical music, American journalism will be poorer, and its readers less informed, inspired and enlightened.”

Penner continued, saying what all of us gathered in that conference room knew to be true, “Mark’s 30 years at The Times coincided with this city’s Golden Age of classical music — the era of Salonen and Dudamel and Disney Hall. L.A. has been the most important and exciting music capital in the country, if not the world. (Why else would New York be stealing Gustavo from us now?) And central to that excitement and importance has been Mark’s writing and criticism. For my money, even when there were many music critics writing for many publications, Mark set the standard for classical music criticism, while opening our ears to new and under-appreciated music.”

Hear, hear.

I’m Arts editor Jessica Gelt wishing Swed a happy retirement and humbly asking him to come back to us now and again. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Demand To Be Heard Festival
The Sunflower Project presents a celebration centering the voices of survivors of abuse beginning with a screening of the film “Break The Silence: The Gabby Petito Story,” followed by a panel discussion with the Gabby Petito Foundation. Saturday and Sunday is the Resident Artist Showcase, featuring the work of six survivor/artists. Also Saturday are three three arts workshops focusing on music, candle making and body movement, respectively.
Film screening, 6 p.m. Friday; 6:30 p.m. Saturday-Sunday, Resident Artist Showcase. Wisteria Theater, 7061 Vineland Ave., North Hollywood. Arts workshops, 11:30 a.m., 1 and 2:30 p.m. Art Share L.A. 801 East 4th Place, downtown L.A. towardsthesun.org

Jonah Elijah: Ambiguously Free
The first U.S. museum solo exhibition by the L.A.-based contemporary painter and mixed-media artist features work that blends personal memories with broader mythologies, religion and history to explore Black culture.
On view through December 16. Xela Institute of Art, 2176 Pacific Avenue, Long Beach. xela.art

Joshua Redman Quartet: Words Fall Short
The saxophonist performs a new program of music with his ensemble — pianist Paul Cornish, bassist Philip Norris and drummer Nazir Ebo, plus special guest Skylar Tang, an up-and-coming Bay Area-born trumpeter and composer.
7:30 p.m. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org

Melrose Gallery Walk
Gallery spaces, including Hostler Burrows, Lawson-Fenning, Meg Turner, Object, Seventh House, The Window and 22RE, open their doors to celebrate the local design community. Free and open to the public.
5-8 p.m. Hostler Burrows, 6819 Melrose Ave. hostlerburrows.com

SATURDAY

Midterms: This Will Hurt Someone
Brightwork newmusic performs a program of contemporary works inspired by civic life and social change, including Ted Hearne’s “Bye Bye Huey,” Natalie Dietterich’s “Philosophy of Furniture,” Ian Dicke’s “Get Rich Quick” (with video), Matt Marks’ “This Will Hurt Someone,” Hesam Abedini’s “What Remains” and “Frederic Rzewsk’s “Coming Together” (with video).
8 p.m. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org

Aperghis Trilogy
Long Beach Opera performs three works by experimental composer Georges Aperghis: “Le corps à corps”,” Les Sept Crimes de l’amour,” “Récitations.” Directed by James Darrah Black. Christopher Rountree conducts.
7:30 p.m. The Queen Mary, 1126 Queen’s Way, Long Beach. longbeachopera.org

The Horror Show
An immersive deep dive into the movie genre presented in six themed galleries: Gothic, Psychological, Science, Slasher, Religion and Ghosts, with behind-the-scenes looks at a range of titles that includes everything from Oscar winners to drive-in classics. But first, you must pass through “The Hallway,” bwahahaha.
10 a.m.–6 p.m. Wednesday–Monday, on view through July 25, 2027. Academy Museum, 6067 Wilshire Blvd. academymuseum.org

Senon Williams: here now, now gone, gone here
A solo exhibition of the artist’s work, in which he collects materials such as nails, slips of paper, fragments of language and industrial remnants, then uses assemblage to rearrange them and discover deeper meaning.
Noon-6 p.m. Tuesday-Friday, on view through Nov. 15. The Philosophical Research Society, 3910 Los Feliz Blvd. prs.org

Promised Lands: California’s Unratified Treaties and Native Resilience
Archival materials, contemporary objects, images and voices from local tribal communities relate the complex history of the state with its indigenous people.
10 a.m.-4 p.m. Tuesday-Friday, 10 a.m.-5 p.m. Saturday-Sunday. Autry Museum of the American West, 4700 Western Heritage Way, Griffith Park. theautry.org

Rodgers & Hammerstein’s The Sound of Music Sing-A-Long
Actor and comedian Melissa Peterman hosts the annual screening of the 1965 Oscar winner for best picture complete with a costume contest and more than a few of your favorite songs.
7:30 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

Daymé Arocena’s Alkemi
The Grammy nominee and Juno Award–winner blends Afro-Cuban beats with neo-soul, jazz and contemporary Latin pop.
7:30 p.m. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org

San Pedro Festival of the Arts
The 20th annual event, presented by Los Angeles Choreographers & Dancers, features 20 dance companies demonstrating a variety of styles and cultural traditions.
1-4:30 p.m. Peck Park, Upper Green near the Community Center, 560 N. Western Ave. triartsp.com

Tokio Ueyama: The Hollows Between Mountains
The first museum exhibition in California of the Little Tokyo-based Japanese artist (1889–1954) features his drawings, prints, photographs and paintings as well as artists he was associated with, including Diego Rivera, Tōyō Miyatake, Edward Weston and Henrietta Shore.
11 a.m.-6 p.m. Wednesday–Sunday, on view through Feb. 28, 2027. UC Irvine Langson Orange County Museum of Art, 3333 Avenue of the Arts, Costa Mesa. langson.uci.edu

SUNDAY

Grant Gershon conducts the Los Angeles Master Chorale at Walt Disney Hall, Nov. 16, 2025.

(David Butow/For the Times)

Brahms’ Requiem
The Los Angeles Master Chorale, led by Grant Gershon, opens its silver anniversary season with a program that also includes Bruckner’s “Te Deum.”
7:30 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. lamasterchorale.org

WEDNESDAY

Rubén Blades & Roberto Delgado Big Band: Fotografías Tour
The Panamanian salsa greats perform classic Afro-Cuban music flavored with rock, jazz and Latin American influences. Silvana Estrada opens.
8 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

Menopause The Musical: 25th Anniversary Tour
Four women at a lingerie sale share their experiences with “the change” through parody songs of pop hits.
7:30 p.m. Bank of America Performing Arts Center, 2100 E. Thousand Oaks Blvd., Thousand Oaks. bapacthousandoaks.com

The Broadway production of “The Outsiders.”

(Matthew Murphy)

The Outsiders
The Tony Award-winning musical adaptation of S.E. Hinton’s coming-of age-novel set in 1960s Tulsa arrives with Ponyboy Curtis and his fellow greasers facing off against the upper-class Socs.
Through Oct. 18. Hollywood Pantages Theatre, 6233 Hollywood Blvd., Hollywood. Oct. 20-Nov. 1. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. tour.outsidersmusical.com

THURSDAY

Laura Benanti: Nobody Cares
The Broadway star sings original songs and shares stories with her trademark wit in this one-woman show. Directed by Annie Tippe.
7:30 p.m. Thursday-Saturday. 2 p.m. Saturday-Sunday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org

The Dance and the Railroad
Asian American theater collective Artists at Play and Latino Theater Company team up for a rare revival of an early David Henry Hwang play set during the 1867 Chinese railroad workers’ strike. Directed by Katherine Chou.
Previews, 8 p.m. Thursday and Oct. 2. 8 p.m. Thursday-Saturdays, 2 p.m. Sundays, through Nov. 1. Los Angeles Theatre Center, 514 S. Spring Street, downtown L.A. latinotheaterco.org

Mahler’s Symphony No. 2: Resurrection
Alexander Shelley conducts the Pacific Symphony with soprano Miah Persson, mezzo-soprano Dame Sarah Connolly and the Pacific Chorale.
8 p.m. Thursday-Oct. 2. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. pacificsymphony.org

The SoCal scene

Gov. Gavin Newsom mingles with guests at the Lucas Museum of Narrative Art opening party.

(Carlin Stiehl/For The Times)

I spent my Saturday night at the Lucas Museum opening party where I got to stand in the lobby by the nifty elevators watching Gov. Gavin Newsom talk to Kim Kardashian. Later, I went to Skywalker Grill and saw U.S. Rep. Nancy Pelosi sitting at a table next to Leonardo DiCaprio and his entourage. It would be an understatement to say that the night was both bizarre and memorable.

Times theater critic Charles McNulty (the paper’s only remaining arts critic) has kept exceptionally busy this fall season. Late last week he wrote a review of “The Ford/Hill Project” At REDCAT, which transforms Senate testimony from Anita Hill and Christine Blasey Ford into a docu-play that explores the details of two of history’s most consequential Supreme Court confirmation hearings. “The restraint imposed by the production adds to its power. There’s no need to editorialize. The proceedings skewer themselves,” McNulty writes.

Huguette Caland in Stone Doorway, France, 1970.

(Huguette Caland Estate)

McNulty also drove to San Diego to see the Old Globe’s world-premiere musical adaptation of John Carney’s “Begin Again,” which explores the stories of two music-industry vets who embark on a grassroots recording project. The show features a score by rocker Pat Monahan and Train. “‘Heartwarming’ is a cliche of theater reviewing that I have studiously tried to avoid, but I’m tempted to use the word in my review of ‘Begin Again’,” McNulty writes.

McNulty penned one of his harshest reviews since last year’s take down of “Hamlet” after he went to Atwater Village Theatre to see Echo Theater Company’s world premiere production of “The Peterson Show,” by Janine Nabers. “Unfortunately, the production is hamstrung by fundamental problems in the writing, directing and acting, all pointing to a failure of control. Control of the story, control of the tone and control of the cast,” McNulty wrote of the show, which is about the impact of disgraced Bill Cosby-like star on his TV family.

Meanwhile contributor Tara Anne Dalbow wrote a beautiful story about the late, great artist Huguette Caland in advance of the largest U.S. retrospective of her work, opening Sunday at the Hammer Museum.

Ernest “Ernie” Wolfe III, owner of an eponymous gallery on Sawtelle, is dying of a traumatic brain injury and his family is looking for homes for his 15,000 pieces of African Art. Contributor Jane Horowitz writes about Wolfe‘s legacy and the (sometimes controversial) origins of his collection.

I got the scoop that the Museum of Contemporary Art has appointed Jonathan Abbott as its new director and chief executive. Abbott replaces interim director Ann Goldstein, who stepped in last July after the unexpected departure of Johanna Burton. Abbott, who begins work immediately, joins the museum as its sixth director since 2008. He formerly served for 15 years as president and chief executive of the PBS-affiliated public broadcasting station GBH in Boston.

Mary Cassatt, “Summertime,” 1894-95

(Sotheby’s / Armand Hammer Collection)

As one chapter closes with Swed’s retirement, a new one begins as we welcome our new entertainment and arts reporter, Laura Zornosa, who hit the ground running by writing three great arts stories: The first is about the private art collection of Armand Hammer (including Mary Cassatt’s “Summertime,”) coming up for auction at Sotheby’s; the second, covering opening day at the Lucas Museum where Zornosa interviewed guests on their thoughts about the place; and the third is a fun news brief about how Los Angeles Chamber Orchestra commissioned fanfares from half a dozen film composers, including John Williams and Ludwig Göransson, curated by “none other than Seth MacFarlane (best known as the creator and star of “Family Guy”).”

Culture news

Coy Middlebrook has been named the new artistic director of the Wallis.

(Jeff Lorch / The Wallis)

The Wallis Annenberg Center for the Performing Arts announced the appointment of longtime creative staffer Coy Middlebrook as its new artistic director. “Coy brings an extraordinary depth of knowledge about The Wallis and its audiences, along with deep relationships throughout the performing arts nationally and internationally. He understands both the artistic possibilities of this
institution and the importance of its relationship to our community. I am excited to work with him as we build a future that is artistically ambitious, deeply connected and open to everyone,” said Wallis Executive Director and Chief Executive, Jean Davidson, in a news release.

Meanwhile Theatre Commons LA (TCLA), the nonprofit organization created and launched a year ago as part of a concerted effort by some of the city’s most prominent theater leaders to unify the city’s sprawling theater scene, has announced its first Executive Director, David E. Shane. Shane previously served as director of program services at the Alliance of Resident Theatres/New York where, according to a news release, “he set the strategic vision and goals for a robust suite of programs serving over 450 of New York’s nonprofit theaters.” He is tasked with doing the same thing in L.A. and we wish him the best of luck.

— Jessica Gelt

And last but not least

The Getty Museum has acquired the recently rediscovered 17th-century painting “Portrait of the Count-Duke of Olivares” by Spanish artist Diego Velázquez (1599-1660). It will be displayed in the museum’s East Pavilion this fall. According to ArtNews, “The acquisition means a Velázquez painting will for the first time be represented in the collection of a West Coast museum.”

Turns out Ed Sheeran, whose Loop tour became embroiled in controversy this month, won’t perform at billionaire Robert Kraft’s Gillette Stadium this weekend, either.

The “Shape of You” pop star’s Friday and Saturday shows at the Foxborough, Mass., venue have been canceled “due to severe weather warnings” in the region, Messina Touring, the Loop tour’s promoter, announced Friday in a statement shared on Instagram. The touring group said it made the “difficult decision” to cancel the upcoming shows after consulting with local officials. A powerful nor’easter is expected to bring strong winds, coastal flooding and heavy rain to much of the East Coast over the weekend, with wind gusts potentially reaching 50 to 55 mph around Boston and 35 to 40 mph farther inland, the Associated Press reported.

“The decision was made with the safety of fans, staff and everyone involved in the show as the top priority,” the statement continued, adding that fans can now receive refunds for their tickets.

Sheeran’s Loop tour hits its latest snag after weeks of turmoil. Earlier this month Sheeran and his touring team faced pressure to remove former opening act Macklemore from future shows. The Grammy-winning “Thrift Shop” rapper drew criticism from a handful of Jewish advocacy groups over his pro-Palestinian messaging during his opening sets at MetLife Stadium in New Jersey. Within days of the concerts, Messina Touring dismissed Macklemore from the shows. While Sheeran denied having a role in Macklemore’s departure, he confirmed that he spoke with Kraft, who was among the stadium owners expressing concern about Macklemore’s continued involvement in the tour.

Shortly after Macklemore’s dismissal, the remaining supporting acts for Sheeran’s tour, including Grammy winner Finneas and folk band Beoga (Sheeran’s backing band), quit the Loop tour in solidarity. Sheeran proceeded with his tour over the weekend.

News of Sheeran’s canceled shows also comes on the heels of Macklemore’s announcement of his Free Palestine tour. The rapper, who has been a vocal advocate for the Palestinian cause, revealed three concerts set to take place in late October in Dublin, Paris and London. Though additional details have yet to be revealed, Macklemore said he will be joined by artists “who have shown up and used their stages to stand in solidarity with the Palestinian people.”

Macklemore also announced that dates for U.S. tour stops will come in a later announcement and that the entirety of proceeds from his tour will go to a handful of charities supporting the Palestinians amid Israel’s war in Gaza. Macklemore announced last week he would donate all $1 million of his earnings from his time on Sheeran’s tour to numerous pro-Palestinian charities.

Sheeran is next expected to perform Oct. 3 at Mercedes-Benz Stadium in Atlanta.

Just three hours to go, not that we’re counting or anything, ahem.

Someone who is especially excited is our TV Editor Nicola Methven who has bagged herself a seat in the audience for the live show tonight.

She’ll be witnessing the blood, sweat and tears up close – and that’s just from the new hosts Emma Willis, Josh Widdicombe and Johannes Radebe.

Nicola is heading to Elstree Studios in Borehamwood to ensure she meets the strict arrival time of between 4 and 4.50pm. It’s at this point she’ll have her phone taken away and she’ll be ushered into the bar. Tough gig.

But not before she gives us all the secret info she can from the Strictly front line.

We’re not sure if we can convince Nicola to go full hog with fake tan, a sequin dress et all (despite our best efforts) she’s more focused on sharing everything we’ll miss at home. What she’ll see when the cameras stop rolling.

Nicola has been reporting on Strictly for decades but thinks it’s time for a shake up. She says, “The nation is resistant to change but I feel as if we’ll get used to this presenting line up quickly. We’ll know instantly if the vibe is different, but lets face it, it’ll be the same studio, same music, same judges and we’re going to love it!”

When it comes to scary movies, the motion picture academy has historically been a bit squeamish. Horror has been a cornerstone of the industry since the beginning, but Oscar voters have rarely embraced it. Only one horror film has ever won best picture: 1991’s “The Silence of the Lambs.” Even “Sinners,” which made history this year with a record 16 nominations, couldn’t close the deal.

Now, though, horror has gotten inside the house.

Opening Saturday and running through July 25, 2027, the Academy Museum of Motion Pictures’ new exhibition, “The Horror Show,” explores more than a century of horror, from silent-era landmarks “The Cabinet of Dr. Caligari” (1920) and “Nosferatu” (1922) through “Psycho” (1960) and “The Exorcist” (1973) to “Midsommar” (2019) and “Weapons” (2025). Drawn from the academy’s collection and 62 private lenders around the world, it brings together costumes, props, prosthetics, creatures and production art.

An original facehugger from Ridley Scott’s “Alien” (1979), part of the exhibition’s collection of creatures and production materials from the sci-fi series.

(Kayla Bartkowski / Los Angeles Times)

Introducing the exhibition at Thursday’s press preview, Robert Englund, who played the razor-fingered Freddy Krueger in the “Nightmare on Elm Street” films, recalled how the genre was once regarded in Hollywood. “Back when I started, we would sort of get the lousy table in the commissary by the kitchen door,” he said. Now, with the academy mounting an exhibition devoted to horror and the genre continuing to thrive at the box office, Englund added, “I think we’re getting some respect.”

Rather than a simple chronological tour through the genre’s history, the exhibition is organized into six themed “chambers” devoted to Gothic horror, psychological horror, science, slashers, religion and ghosts, with settings ranging from a shadowy crypt to a killer’s house and a haunted living room.

Storyboards from 1973’s “The Exorcist,” a clapperboard from 1976’s “The Omen” and the original Necronomicon from 1987’s “Evil Dead II” are among the artifacts in the exhibition’s religion-themed chamber.

(Kayla Bartkowski / Los Angeles Times)

Senior exhibitions curator Jessica Niebel says the idea was to walk a line between a traditional museum exhibition and a haunted-house experience.

“Horror films are about evoking an emotional response and we’re hoping the exhibition will do the same,” she says. “These are all original objects and they tell a story. We wanted to place them in an environment that brings them to life and activates them.” (The museum advises parental guidance; a smaller, family-friendly “Zombies!” exhibition is next door.)

So what’s lurking inside? Here are 10 sights worth braving. Read on, if you dare.

See Bela Lugosi’s original Dracula cape

Bela Lugosi’s original cape from 1931’s “Dracula,” on public display for the first time after undergoing an extensive restoration.

(Kayla Bartkowski / Los Angeles Times)

Nearly a century after Bela Lugosi first swept it around his shoulders, Dracula’s cape doesn’t need much introduction. Worn by Lugosi in Universal’s 1931 “Dracula,” the simple black cape became as inseparable from the character as his hypnotic stare and Hungarian accent, establishing the visual language of the screen vampire for generations to come. Lugosi, who had first played the Count onstage in 1927, kept the cape after filming and continued wearing it for stage and public appearances until his death in 1956. Now part of the Academy Museum’s collection, the nearly century-old garment underwent an extensive restoration before “The Horror Show.” Remarkably, this is the first time it has ever been put on public display.

Come face-to-face with Hannibal Lecter

Anthony Hopkins’ Hannibal Lecter costume and restraints from 1991’s “The Silence of the Lambs” are on display, including the serial killer’s unmistakable mask.

(Kayla Bartkowski / Los Angeles Times)

Anthony Hopkins’ Hannibal Lecter, the brilliant psychiatrist and cannibalistic serial killer at the center of Jonathan Demme’s “The Silence of the Lambs,” is unsettling enough standing perfectly still. When he has to be moved, the precautions are extreme. Hopkins wore this orange prison uniform, straitjacket and muzzle when Lecter is transported under heavy security, strapped upright to a hand truck. Costume designer Colleen Atwood devised the ensemble, while Ed Cubberly created the famous fiberglass muzzle, deliberately leaving it uncoated to evoke the look of dried, taut skin. Seeing the outfit up close is a reminder of just how little Hopkins needed to work with: Even with virtually his entire body immobilized and much of his face obscured, Lecter somehow became more frightening.

Trace the evolution of the Xenomorph

A towering Xenomorph created by Legacy Effects for 2024’s “Alien: Romulus” offers an up-close look at one of horror’s most enduring monsters.

(Kayla Bartkowski / Los Angeles Times)

Nearly half a century after Ridley Scott’s “Alien” introduced H.R. Giger’s nightmarish vision to moviegoers, the creature still looks like nothing else in science fiction. The exhibition brings together original Giger artwork depicting the alien egg and an original facehugger from the 1979 film, the spidery parasite whose method of reproduction helped make “Alien” a landmark of body horror. There’s also an original drawing by James Cameron, who took over the franchise with 1986’s “Aliens.” But the hardest thing to miss is a towering Xenomorph created by Legacy Effects for 2024’s “Alien: Romulus.” Up close, its elongated head, skeletal body and glistening double set of jaws reveal just how much unsettling detail goes into a creature often glimpsed onscreen in darkness.

See Dracula’s armor go from page to screen

Eiko Ishioka’s blood-red armor for Gary Oldman’s Count Dracula in Francis Ford Coppola’s 1992 “Bram Stoker’s Dracula.”

(Kayla Bartkowski / Los Angeles Times)

Before Gary Oldman’s Dracula became a pale, bewigged count, he was Vlad the Impaler, encased in one of the most striking costumes in Francis Ford Coppola’s 1992 “Bram Stoker’s Dracula.” Eiko Ishioka designed the blood-red battle armor with a ribbed surface evoking both exposed human musculature and an armadillo’s shell, while the pointed helmet foreshadows the wolf Dracula later becomes. Displayed alongside several of Ishioka’s original design drawings, the armor offers a fascinating look at how her ideas evolved from pencil on paper into something almost anatomical. Ishioka, a celebrated Japanese graphic designer making her first foray into Hollywood costume design, won an Oscar for her work on the film.

Log on to the original ‘Blair Witch’ website

Visitors can explore the groundbreaking viral promotional website for 1999’s “The Blair Witch Project,” which blurred the line between the film’s fictional story and reality.

(Kayla Bartkowski / Los Angeles Times)

Long before viral marketing had a name, 1999’s “The Blair Witch Project” was using the still-young internet to convince moviegoers that three student filmmakers might actually be missing in the woods. Directors Daniel Myrick and Eduardo Sánchez created the film’s promotional website in 1998, filling it with fake police reports, evidence photographs and an elaborate mythology while carefully avoiding any suggestion that their story was fictional. They posted on message boards and continually updated the site before the film’s release, helping turn a tiny found-footage horror movie into a grassroots phenomenon. Here, you can sit down at a chunky late-’90s computer and explore the original site yourself. Nearby is one of the movie’s crudely constructed stick figures — a reminder that sometimes a few twigs and some twine are all it takes to lodge an image permanently in the culture.

Meet the slashers

Costumes and props from some of horror’s most notorious killers fill the exhibition’s slasher chamber, including Candyman, Ghostface, Michael Myers, Freddy Krueger and Art the Clown.

(Kayla Bartkowski / Los Angeles Times)

Slasher movies have always depended on a memorable killer, and the genre has produced some of horror’s most instantly recognizable figures. Freddy Krueger, Michael Myers, Ghostface and Art the Clown are gathered here in full costume, looking less like museum pieces than a welcoming committee you’d rather not encounter. Nearby cases turn slasher movies’ grisly tools of the trade into artifacts, with masks and weapons from “Saw,” “Us,” “M3GAN,” “The Black Phone” and other films. It’s a reminder of how little a slasher movie really needs to get under your skin.

Open the Babadook’s book

The handmade “Mister Babadook” pop-up book created by illustrator Alex Juhasz for Jennifer Kent’s 2014 “The Babadook.”

(Kayla Bartkowski / Los Angeles Times)

Sometimes the scariest special effect is a pop-up book. In Jennifer Kent’s 2014 “The Babadook,” the sinister children’s book “Mister Babadook” heralds the arrival of the top-hatted creature that terrorizes a widowed mother and her young son, while giving physical form to the grief consuming them. Kent turned to illustrator Alex Juhasz to create the handmade book, drawing inspiration from the eerie silhouetted animation of German filmmaker Lotte Reiniger from the 1920s. Opened to one of its more elaborate spreads, the original prop is both beautifully crafted and deeply unsettling, its seemingly innocent children’s-book mechanics revealing a grinning black figure and the ominous command: “LET ME IN.”

Take a selfie with Norma Bates

A re-creation of the mummified Mrs. Bates from Alfred Hitchcock’s immortal “Psycho” gives visitors a chance to pose with Norman Bates’ dearly departed mother.

(Kayla Bartkowski / Los Angeles Times)

The Academy Museum wanted the original mummified Mrs. Bates head from Alfred Hitchcock’s “Psycho,” but there was one problem: She was too fragile to travel. The Cinémathèque Française, which owns the 1960 prop, declined the museum’s loan request. “I was really disappointed about that, but it’s totally understandable,” Niebel says. “We probably wouldn’t have lent her if she were in our collection.” So the museum commissioned Oscar-winning makeup artist and sculptor Mike Hill, fresh off his work on Guillermo del Toro’s “Frankenstein,” to research and create a full-body Mrs. Bates instead. Unlike the many delicate original artifacts elsewhere in the exhibition, this one was made to let visitors get close and take home their own slightly unsettling family portrait. Just don’t get too close. As a nearby sign warns, “Mother isn’t quite herself today — do not touch, she needs her space.”

Get grossed out by Monstro Elisasue

The spectacularly gross Monstro Elisasue bust, created by makeup and special-effects artist Pierre-Olivier Persin for Coralie Fargeat’s 2024 “The Substance.”

(Kayla Bartkowski / Los Angeles Times)

By the time Coralie Fargeat’s 2024 “The Substance” reaches its gloriously grotesque climax, Demi Moore’s Elisabeth Sparkle and Margaret Qualley’s Sue have effectively fused into the spectacularly deformed creature known as Monstro Elisasue. The exhibition puts designer Pierre-Olivier Persin’s bust of the creature alongside the syringes, vials and other medical paraphernalia from the mysterious Substance kit that sets the movie’s nightmare in motion. Fargeat has described body horror as a “weapon of expression” for confronting the pressures placed on women’s bodies, particularly as they age. As Fargeat puts it in the exhibition’s wall text, she wanted audiences to see that women’s “pearly smiles are made of so many horrendous things that we have to keep within ourselves.”

Make your escape through the Blood Room

The Blood Room, streaked and splattered with cinematic gore, provides the only way out of “The Horror Show.”

(Kayla Bartkowski / Los Angeles Times)

Fittingly, there is no clean getaway from “The Horror Show.” Every visitor must exit through the Blood Room, a gruesomely immersive space whose walls are streaked, smeared, splattered and practically dripping with the red stuff. To get the gore just right, Niebel turned to Oscar-winning special makeup effects artist Howard Berger, a veteran of such splatterific films as “Evil Dead II” and “Kill Bill.” Berger worked with the museum and its fabricators to create the room’s layers of fake blood, varying the colors and consistencies to suggest everything from dark, dried stains to fresh blood still running down the walls. Just when you think you’ve made it through, the exhibition has one last gruesome touch: To escape, you have to push your way through a set of bloody butcher curtains.

Big Brother housemate Chelsey has “become one of the shortest-priced contestants in history in eviction betting”

The second housemate to be evicted from the Big Brother house will be revealed tonight.

Hosts AJ Odudu and Will Best will share the name of the contestant who has received the most public votes during Friday’s (September 25) live eviction show.

Chelsey and Pauline are both at risk of being sent packing and according to the bookies, the odds “do not look good” for one of the housemates.

Bookmaker Coral makes Chelsey 1-20 to be evicted from the Big Brother house this evening. Those odds indicate there is a 95% chance she will lose the public vote. Pauline is 8-1 to depart.

Coral’s John Hill: “The odds do not look good for Chelsey. We think there is a 95% chance she will be evicted this evening, making her one of the shortest-priced contestants in history in our Big Brother eviction betting.”

Pauline had the most votes with six housemates nominating her; Chelsey, Charlotte, Omar, Frankie, Rochelle and Philip and Sam, Harry, Pauline, Johanne and Rob nominated Chelsey, leaving her with five votes.

Millie became the first housemate to be evicted from this year’s series last Friday (September 18) after facing a public vote alongside fellow housemates Pauline and Rochelle.

Speaking after her eviction, Millie admitted she was surprised by the result, telling presenters AJ and Will: “I am actually quite shocked, I’m not going to lie but do you know what, I had the best time and I love absolutely everyone in there.”

She added: “I could hear the reaction from out here, and Rochelle doesn’t want to be in there. It’s a mix of everything, but I’ve made friends for life in there. So I’m happy.”

Since her exit, Millie has appeared on spin-off show Big Brother: The Group Chat, where she revealed her very honest opinion housemates Omar and Rhianna’s romance.

When hosts GK Barry and Kate Lawler asked Millie if she was a fan of the pair, she instantly replied: “No, I’m not.” She was then asked if she thought their romance was for convenience as there was no one else in the house.

She said: “100%. Number one, [Rhianna] she’s a very boring person herself. And I think the only way she knows she’ll get kept in is if she hooks up with someone. I genuinely think that’s what it is.”

Kate then asked if Rhianna was playing a game with Omar and Millie replied: “She is playing it 100% because she is not interested in Omar at all. When I was watching and I watched them kissing under the covers, I was like, ‘Sorry, what? Make it make sense’.”

Omar and Rhianna are not the only housemates sparking up a romance in the house. Nominated housemate Chelsey has also been getting to know Lynx leaving fans moaning “This is not Love Island“.

Big Brother continues tonight on ITV2 and ITVX at 9pm

I’m A Celebrity… Get Me Out Of Here! hosts Ant McPartlin and Declan Donnelly have been at the helm of the ITV reality show since it first launched in 2002, and over the years they have had their fair share of campmates who have caused them frustration

The next instalment of I’m A Celebrity… Get Me Out Of Here! (Series 26) is just around the corner, and although ITV is yet to officially announce the full line-up, a number of details about the schedule and strongly rumoured contestants have already emerged.

The series has reportedly been affected by a minor scheduling change this year. While the programme traditionally kicks off on a Sunday evening, ITV’s coverage of the UEFA Nations League clash between England and Spain on Sunday, 15 November has forced a reshuffle. Consequently, the new series is widely expected to launch on Monday, 16 November 2026.

As ever, Ant McPartlin and Declan Donnelly will be returning to the Australian jungle to front the main three-week reality show. With Dec celebrating his 51st birthday today (Friday, 25 September), we’ve decided to revisit some of the previous contestants who rubbed hosts Ant McPartlin and Declan Donnelly up the wrong way.

While Ant and Dec typically maintain a light-hearted and professional approach with contestants on I’m A Celebrity… Get Me Out Of Here! , they’ve occasionally revealed some candid opinions about those they deemed troublesome or underwhelming. Though the presenting duo seldom single out individuals as their “worst” on a personal level, certain campmates have left their mark for entirely the wrong reasons.

Katie Hopkins (2007)

Ant branded media personality Katie Hopkins as one of his ‘least favourite’ because she “didn’t really shine” and left minimal impact during her stint on the programme. Katie, 44, gained notoriety on The Apprentice in 2007 before featuring in that year’s series of I’m A Celebrity.

Ant, 43, went on to explain why audiences barely saw her on their screens. He told The Sun: “Katie Hopkins was in I’m A Celebrity but you wouldn’t really remember her doing it, as she didn’t really shine.”

Matt Hancock (2022)

From the second former Health Secretary Matt Hancock was announced, the presenters anticipated “uneasy tensions”. Fans also claimed they showed “favouritism” by being warmer towards other contestants while maintaining a conspicuous distance from Hancock during trials.

The hosting pair also wielded their signature humour to land subtle digs at Hancock throughout the series. During one task, Ant mocked Hancock for being a “typical politician who wouldn’t stop talking” as he provided running commentary on every element of the trial to his partner.

After Hancock performed a few lines of Ed Sheeran’s “Perfect,” Dec joked that the singer would be “gutted” to discover Hancock was a fan.

The duo also displayed genuine annoyance when Hancock allowed the camp’s rice to burn, with Ant noting it had been Hancock’s job to monitor it, stating it would make him “very angry” if he were in the camp. After the programme, Dec revealed to HuffPost UK it was “very, very difficult” to remain impartial, considering everyone nationwide, presenters included, had been affected by Hancock’s decisions throughout the pandemic.

He also acknowledged that critics who questioned whether a serving MP should feature on the show had an argument with “some validity”. Ant disclosed that while they tease everyone on the programme, they made every attempt to handle Hancock like any other contestant once he arrived in the jungle, allowing him the opportunity to share his own narrative.

Dean McCullough (2024)

The relationship between Ant and Dec and radio presenter Dean McCullough throughout the 2024 series of I’m A Celebrity was marked by apparent exasperation that steadily transformed into “tough love” and ultimate commendation.

During the early stages of the series, Ant was visibly annoyed by Dean’s efforts in the Bushtucker Trials, especially after Dean pulled out prematurely from both the “Sinister Sarcophagus” and “Drown in the Dumps” challenges.

The host subsequently confessed on companion show Unpacked that he felt “unprofessional” for letting his frustration become visible on screen, admitting he was “angry” because he thought the trials Dean quit were “doable”.

Ant and Dec eventually gazed straight into the camera to urge viewers to cease voting for Dean, noting it was “good to see other faces” and that witnessing the same contestant repeatedly struggle was becoming “boring”. Ant also playfully stated he would “never” follow Dean on Instagram.

Following Dean’s departure from the jungle, the hosts made it clear their no-nonsense strategy was intended to push him towards better performances.

During his post-exit interview, Ant told Dean: “I was so angry at you for calling ‘I’m A Celebrity’… then that tough love kind of got you through”.

Ant went on to commend Dean’s performance in the “flying challenge,” calling him “brilliant” and expressing pride in how Dean concluded his jungle journey.

Kelly Brook (2025)

Ant and Decare reported to have a long-running “feud” with Kelly Brook dating back to her brief appearance on Britain’s Got Talent. The tension stems from 2009, when Kelly Brook was drafted in as a fourth judge on Britain’s Got Talent (BGT) but was axed after just two days of filming.

In their autobiography Ooh! What a Lovely Pair, Dec recalled trying to reassure a nervous Kelly on her opening day. When he suggested the show would be fun, she allegedly replied, “And what do you do on the show?”

Ant and Dec were reportedly annoyed that Simon Cowell had brought in a fourth judge without consulting them. Dec wrote they couldn’t find a “good reason” why she was on the panel.

The presenters addressed their long-rumoured dispute with Kelly during the 2025 series of I’m A Celeb, chiefly by poking fun at it on the spin-off show Unpacked. While chatting about the campmates’ cooking prowess, Ant quipped that every dish they’d rustled up appeared “rancid”.

When it was pointed out that Kelly Brook and Martin Kemp were handling kitchen duties, Dec cheekily questioned Ant, “What’s your problem with Kelly Brook?”

Ant quickly fired back, “Don’t you start! I don’t have a problem with Kelly Brook, thank you!”

Despite their complicated past, the presenting duo remained thoroughly professional and polite throughout their on-air interactions, including Kelly’s post-elimination chat.

‘Worst’ season

Ant and Dec officially branded the 2022 contestants the “worst ever group” following their woeful performance in trials across the entire run.

The initial 10 famous faces who ventured into the jungle at the series start were singer Boy George, former Lioness Jill Scott MBE, ex-rugby player Mike Tindall MBE, Hollyoaks actor Owen Warner, ITV News’ Charlene White, radio DJ Chris Moyles, comedian Babatúndé Aléshé, Coronation Street actress Sue Cleaver, A Place in the Sun’s Scarlette Douglas and Love Island’s Olivia Attwood.

Former Health Secretary Matt Hancock MP and comedian Seann Walsh subsequently entered as latecomers.

During a live Instagram session called Jungle Club, Ant and Dec didn’t hold back after the stars consistently flopped at Kev’s Deals on Wheels trials.

Dec told followers: “I think they’re officially the worst at the challenges,” while Ant agreed, branding them the “worst ever!” Ant went further still, labelling the 2022 stars a “bunch of idiots” after they botched 7 out of 10 questions. One moment that particularly irked the presenters was when the campmates failed to correctly name how many studio albums Adele has put out.

Ant also criticised their survival abilities early on in the series, calling them “helpless”.

Strikingly, while the presenters grew frustrated with their challenge performances, they’d shown tremendous excitement when the lineup was first announced, with their reaction video showing them shouting “Yes!” and “Oh he’s going to cry!” upon initially seeing the cast list.

What celebs are rumoured to be taking part in I’m A Celebrity this year?

The most prominent celebrities rumoured to be entering the Australian jungle for I’m A Celebrity… Get Me Out of Here! 2026 include former footballer and pundit Wayne Rooney, singer Jesy Nelson, and Kaiser Chiefs star Ricky Wilson.

Other names who have been mentioned include Gavin & Stacey star Joanna Page and Love Island’s Chloe Burrows.

Rumours have also circulated that ITV bosses have put Jeremy Clarkson at the top of their dream casting list.

While ITV typically holds off on making official announcements until closer to the November launch date, several high-profile names are reportedly in advanced negotiations.