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Satellite images taken on April 16 reveal the massive scale of damage to the towns of al-Qozah and Beit Lif in south Lebanon, following the Israeli military’s ground invasion and sustained attacks on the south.

Videos and other imagery bearing witness to the awesome destructive power of nuclear detonations remain some of the most enduring legacies of the Cold War. But of the more than 2,000 nuclear weapons tests that have been carried out since 1945, only very, very few have involved a live weapon dropped from a fighter-bomber.

A nuclear strike performed by the Su-7

At least one such test took place in the Soviet Union, however. On his X account, Sam Wise, an aviation analyst at Janes, brought our attention to footage that purportedly shows that test, or at least portions of it.

The test in question was especially notable in that it involved a free-fall tactical nuclear bomb that was delivered by a crewed fighter-bomber, specifically a Su-7 Fitter attack jet, in an end-to-end test.

Of those 2,000-plus nuclear tests, only a small fraction involved bombs dropped from aircraft of any kind — roughly 200 to 250 according to records compiled by the Comprehensive Nuclear-Test-Ban Treaty Organization. Those tests almost always involved bombers, aircraft with multiple engines, several crew members, and, often, dedicated to delivering nuclear weapons.

The vast majority of nuclear tests were conducted underground, at sea, or on land. In the latter case, the devices were typically detonated from an elevated position, either atop a tower or suspended from a balloon. This better replicated the conditions of a typical nuclear detonation, with the weapon engineered to explode in an air burst above the ground, for maximum effect.

One reason for the relative scarcity of air-dropped nuclear bomb tests was the Partial Test Ban Treaty of 1963, which pushed testing underground.

At the same time, dropping a live nuclear weapon from a crewed aircraft brings additional risks for relatively little benefit.

At the beginning of the nuclear age, air-dropped tests were useful to prove that bombs could be delivered, but they were inefficient in terms of scientific measurement and riskier to conduct from a safety point of view. Dropping a nuclear device from an aircraft adds variables (altitude, speed, trajectory) that complicate measurements. If something goes wrong, you risk losing a plane, or worse, an accidental detonation or contamination spread.

Based on the available information, it appears that the U.S. military never tested a live tactical nuclear bomb dropped by a tactical combat jet, despite the very many platforms, both Air Force and Navy, that were cleared to carry them operationally.

It should be noted that the U.S. Air Force did detonate one tactical nuclear weapon after launch from a fighter. However, this involved an air-to-air rocket, the nuclear-tipped Genie, which was fired on this occasion from an F-89 interceptor, in 1957’s Operation Plumbbob John.

Project Genie : Air-to-air rocket nuclear testing

France does appear to have conducted a live test of an air-dropped tactical nuclear bomb, with an AN52 dropped from a Jaguar attack jet in August 1972, to help prove that weapon for service.

Returning to the Soviet Union, on August 27, 1962, pilot Lt. Col. A. I. Shein took off in a single-seat Su-7B, with a live 244N nuclear bomb carried on the centerline station below the fuselage. He then headed for the Semipalatinsk test site on the Soviet steppe. Also known as “The Polygon,” the Semipalatinsk range was the main test site for Soviet nuclear weapons. It is in the Abai region, in what is now Kazakhstan.

Shein put the jet into a climb at an angle of around 45 degrees. This was an ‘over-the-shoulder’ toss maneuver, typical for fighter-bombers of this era. This involved the attacking aircraft pulling upward before releasing its bomb to compensate for the weapon’s gravity drop in flight. The result would put the weapon on the target, without the aircraft having to pass over it. Instead, the jet would complete a half roll and (hopefully) avoid the blast effects so it could escape. The launch maneuver sequence, as shown in the video, is apparently simulated, or at the least, heavily edited.

Shein later recalled:

“I take off, the excitement subsides, I enter the combat course, and make an approach. Everything is normal, I make an approach for a combat release, bring the aircraft into a nose-up attitude, and monitor the G-forces. After four seconds, I hear a signal, then a second, a short third, and I press the ‘release’ trigger. The green light goes out, indicating the release has been completed. The bomb’s release is felt by the shaking of the aircraft. I continue the nose-up attitude. For control, I note the release angle; it is almost constant and equal to 44–50 degrees. After passing the top point, I then descend at a 50-60 degree angle, perform a half-roll, increase engine speed and, consequently, aircraft speed, descend to the lowest possible altitude, and try to get as far and as quickly as possible from the target.”

This method required a bomb computer to calculate the release point. For the U.S. Air Force, this was the Low Altitude Bombing System, or LABS, while the Su-7 was fitted with the equivalent PBK-1 device, a separate box that was added to the left side of the instrument panel. In this context, PBK denoted Pritsel dliya Bombometaniya s Kabrirovaniya, or toss-bombing sight.

A video shows a U.S. Air Force B-47 bomber flying the LABS maneuver:

Boeing B-47 Stratojet (Low Altitude Bombing System) LABS Maneuver

After release from the Su-7, the bomb exploded at an altitude of around 800 feet, at the coordinates of 50.4°N and 77.8°E. The detonation had a yield of 11 kilotons.

As for the Su-7, this was the Soviet Union’s first-generation supersonic attack jet. It was rapidly equipping fighter-bomber regiments, and nuclear strike would become one of its most important duties.

The streamlined 244N was the first mass-produced Soviet tactical nuclear bomb specifically intended for carriage by supersonic jets.

A photo showing the earlier, non-streamlined RDS-4 tactical free-fall bomb:

RDS-4 “Tatyana” was a Soviet atomic bomb that was first tested with a yield of 27 kilotons at Semipalatinsk Test Site, on August 23, 1953. The Soviet Union’s first mass-produced tactical nuclear weapon. pic.twitter.com/c7xdODw0tZ

— NUKES (@atomicarchive) August 24, 2023

At this point, it should be noted that there is a possibility that the video shows not the 244N, but an IAB-500, a so-called ‘imitation bomb’ that replicated the shape, dimensions, weight and flight characteristics of the nuclear device. Filled with a mixture of liquid petroleum and white phosphorus, it also produced a large fireball that subsequently turned into a mushroom cloud.

With that in mind, the video could at least show portions of an IAB-500 test, although the location and the original voiceover point squarely to the 1962 Semipalatinsk test. The apparent installation of a camera pod below the Su-7’s wing, to record the detonation, also suggests a nuclear test rather than training.

Regardless, the 244N was successfully tested and was put into operational service in several variants, including with different yields up to a maximum of 30 kilotons. Most of these bombs were deployed by Soviet units stationed close to what would have been the front line in the event of a confrontation with NATO: in East Germany, Hungary, and Poland.

Starting in 1967, Western intelligence began to note training activities involving nuclear weapons at Soviet airbases in East Germany, including Su-7s taking part in LABS-type maneuvers.

In one of its reports from 1967, the U.S. Military Liaison Mission (USMLM) noted that its staff identified Su-7s from Grossenhain Air Base performing at least four LABS practice delivery runs on October 7 of that year.

“The aircraft passed over the airfield at approximately 2,000 feet, pulled up into vertical climb to 3,500 feet, pitched over, flew inverted for several seconds, then rolled over again departing to the west.”

Two days later, the USMLM reported “A very active program of local navigational, touch-and-go landings, LABS maneuvers, and possible range activity flown by Grossenhain-based Fitter and [two-seat Su-7] Moujik” aircraft.

Air-dropped tactical nuclear weapons still play a significant role in Russia’s military strategy, as evidenced by recent moves to station tactical devices in Belarus. Many Russian combat aircraft have variants capable of carrying nuclear bombs, and most Russian air-launched missiles weighing over around 1,000 pounds have the option of a nuclear warhead.

Russia really wants West to see they’re doing a tac nuke exercise. After several exercise videos they put the head of the 12 GUMO in front of a Belarusian Su-25 (possibly at Lida air base) loaded with what is said to be “training nuclear ammunition.” https://t.co/h9rHp2qvGv pic.twitter.com/sTzAqSNd9f

— Hans Kristensen (also on Bluesky) (@nukestrat) June 13, 2024

Starting in the 1960s, the 244N was superseded by a modernized development of the same weapon, the 10-kiloton RN-24, as well as the one-kiloton RN-28. These were carried, among others, by the MiG-21 and Su-7.

These bombs were followed in the 1980s followed by the RN-40 and RN-41, carried by the MiG-23, MiG-27, MiG-29, Su-17, Su-24, and Su-27.

To this day, the IAB-500 also remains in use to train combat jet pilots in nuclear bomb delivery. Alongside it, although much less known, and barely ever seen, are tactical nuclear bombs, the descendants of the 244N that was proven in a unique test back in 1962.

Contact the author: thomas@thewarzone.com

An audience member was arrested at the Britain’s Got Talent semi-final on Saturday night, just hours after all the drama unfolded during the I’m A Celebrity final

Britain’s Got Talent was left in chaos as an audience member was arrested on Saturday night. ITV’s weekend schedule had already got off to a dramatic start with the I’m A Celebrity…South Africa final, which saw contestants like Gemma Collins and Sinitta walk off stage as the row between Adam Thomas, Jimmy Bullard and David Haye reached breaking point.

During Saturday’s semi-final of the long-running competition series, which was broadcast live from The Hammersmith Apollo in West London, ITV security teams had to get involved and remove a woman from the building.

The Sun claims that the ‘screaming’ audience member was held outside the building by the crew and after cops arrived was handcuffed and taken away in a police van.

Singer Alexandra Burke, who won The X Factor in 2008 and enjoyed major success with hits like Hallelujah and Broken Heels before going onto a career in musicals, was also outside the theatre where she was having a photoshoot done prior to taking to the stage herself.

The outlet claims that the star, who has also previously appeared on Strictly Come Dancing and served as a guest judge on The X Factor and RuPaul’s Drag Race, was rushed inside for her own safety.

The Mirror has contacted Met Police and Britain’s Got Talent representatives for comment.

The evening was not without its drama elsewhere, either, as Ant and Dec were back in full force to carry out their hosting duties following the events of the night before. As the first semi-final got underway, head judge Simon Cowell took aim at Dec. Dec tried to wrap up the judges’ feedback for magician Fraser Penman after the act and the commentary went on a bit long.

Dec was heard shouting out: “Thank you judges, thank you very much”, calling for an end to the speaking, wanting to move on with the live show. But fans noticed Simon “rudely” hit back at this.

He told Dec: “I’m still talking!” Dec appeared taken aback by this. While Simon was pointing out he hadn’t finished what he had to say, fans didn’t think it was very fair, especially after the chaos the hosts had faced the night before.

Taking to social media one fan said: “I’m still talking? F**k off Simon.” A second fan said: “‘I’m still talking’ Simon I think Ant and Dec have had enough attitude for this weekend.”

A third fan posted: “Wow @SimonCowell is a little rude I’m still talking!” Another viewer said: “‘I’m still talking’ God he’s such a d**k. Pack it up Dec, you don’t need the money.”

Another viewer said: “I’m still talking lol,” as a final post read: “Omg I couldn’t tell if he’d said that or ‘I’ll stop talking’, poor Dec, hasn’t he been through enough?”

Britain’s Got Talent 2026’s live shows air Saturdays at 7PM on ITV1 and ITVX. *

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Writing obituaries is a sacred, tricky task. Major news organizations compose advance obits on major figures, a just-in-case endeavor that feels both hugely important and somewhat macabre.

Several years ago, it fell to me to compose an advance death notice for the legendary conductor Michael Tilson Thomas, who was confronting a terminal brain cancer diagnosis by doubling down on his performance schedule and delivering — by all accounts — spectacular performances.

The piece lay blessedly dormant for longer than anyone thought possible as Tilson Thomas persevered in the face of his illness — an inspiration to all who knew and loved him. And then, yesterday morning, it became necessary to publish. There was a rush to update the writing, to fact-check the timeline, to be sure that all salient points were included. Here was the final story of a remarkable human’s life. The sense of responsibility cannot be overstated.

I was surprised to learn that a former colleague at the paper had also written an advance obit on Tilson Thomas, so my editor worked to meld the two together. The other writer included information that I had missed and vice versa, so in many ways it turned out to be a good thing that we had mistakenly doubled up on the weighty task.

One detail that the other writer included that was formerly unknown to me: A Times story from 1985 reported Tilson Thomas walking off the stage at the Hollywood Bowl nearly 15 minutes into the hourlong second movement of Part II of Gustav Mahler’s Symphony No. 8. Tilson Thomas did this, according to the archived news clip, because a noisy police helicopter simply would not go away.

A reader wrote in after the obituary went live to say that he had been there when it happened, and offered up this fresh insight:

“I was at the concert. The helicopter was hovering long, low and loud(!) with a bright searchlight scanning the trees behind the shell. It was an impossible situation which [Tilson Thomas] handled with quiet dignity. And when he returned to the stage he opted to re-start the Second Movement of Mahler VIII from the top! It was a long and memorable night at the Bowl.”

Our obituary described Tilson Thomas as storming off the stage. Not so, said the reader.

“More determination than storm,” he wrote.

And suddenly I could picture it, that moment from more than 40 years ago, with Tilson Thomas displaying the singular determination and love for his craft that would sustain him much later in life when he faced down death with the same quiet grace, the same unwavering resolve. And the music … I can hear it over the chop-chop-chop of the helicopter, until Tilson Thomas is all that remains.

I’m Arts editor Jessica Gelt feeling grateful for stories past. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Craft Contemporary hosts CLAY LA this weekend.

(Allen J. Schaben/Los Angeles Times)

CLAY LA
Emerging and established ceramic artists gather their wares for Craft Contemporary’s ninth annual fundraiser, a vibrant marketplace with complimentary refreshments, music and hands-on air-dry clay activities. Fun fact: The museum was founded by Edith R. Wyle, grandmother of “The Pitt’s” Noah Wyle.
Market Preview Night, 6-9 p.m. Friday, $20 general admission, $15 members; weekend market, 11 a.m.-5 p.m. Saturday (free with $9 museum admission) and Sunday (pay-what-you-wish admission); regular museum hours, 11 a.m.-5 p.m. Wednesday-Sunday; noon-8 p.m., the first Thursday of the month. Craft Contemporary, 5814 Wilshire Blvd. craftcontemporary.org

Music director James Conlon of at L.A. Opera will conduct his farewell concert Friday at the Dorothy Chandler Pavilion.

(Ariana Drehsler/For The Times)

James Conlon Farewell Concert
The maestro, who is stepping down after 20 years as LA Opera’s music director, leads the organization’s full orchestra and chorus for an evening of Mozart, Verdi and Wagner as his grand finale. The event is followed by a celebratory gala on the stage of the Dorothy Chandler Pavilion.
7 p.m. Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. laopera.org

SATURDAY
John Adams & Conrad Tao
The LA Phil’s John and Samantha Williams Creative Chair conducts the orchestra in a program that includes Piazzolla’s “Two Tangos,” Stravinsky’s “Song of the Nightingale” and Prokofiev’s “Lieutenant Kijé Suite,” plus pianist Conrad Tao performing Adams’ composition “Century Rolls,” inspired by 1920s self-playing pianos.
8 p.m. Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Brewery Artwalk & Open Studios
This free semi-annual event at the former Pabst Blue Ribbon Brewery north of downtown features more than 100 artists sharing, discussing and (ideally) selling their work in the very spaces that much of it is created.
11 a.m.-6 p.m Saturday and Sunday. Brewery Arts Complex, 2100 N. Main St., L.A. breweryartwalk.com

Jerrika Hinton and Bradley Gibson in “Fremont Ave.” runs April 25-May 23 at South Coast Repertory.

(Marc J. Franklin)

Fremont Ave.
The world premiere of Reggie D. White’s multi-generational drama about three Black men in L.A. and the woman who is the glue in their lives. Directed by Lili-Anne Brown. Part of the Pacific Playwrights Festival.
Previews, 8 p.m. Saturday; 7 p.m. Sunday and Tuesday-Thursday; opening night, May 1; regular performances, May 2-23. South Coast Repertory, Segerstrom Stage, 655 Town Center Drive, Costa Mesa. scr.org

The Liminary
It’s 2042 in Last Call Theatre’s latest immersive experience and the U.S. is run by a nationalistic, isolationist government. Do you dare join the resistance? With interactive exhibits on immigration, community and hope, plus multiple endings and narratives inspired by the saga of immigrants.
8 p.m Saturday; 8 p.m. May 1-2, May 7-9 and May 14-16. 1919 3rd Ave. L.A. lastcalltheatre.com

Liz Larner, “smile (abiding),” 1996-2005; Rachel Harrison, “The Prepper,” 2024; and Rebecca Morris, “Untitled (#15-25), 2025” from the exhibition “planchette” at Regen Projects.

(Regen Projects)

planchette
A group exhibition featuring contemporary abstract sculptures and paintings by influential artists Rachel Harrison, Liz Larner and Rebecca Morris.
Opening reception, 6-8 p.m.; exhibit runs through May 23. Regen Projects, 6750 Santa Monica Blvd. L.A. regenprojects.com

SUNDAY
Gabriel Kahane & Roomful of Teeth
The eclectic singer-songwriter-composer teams up with the multi-Grammy-winning vocal group to perform music from their recently-released collaborative album, “Elevator Songs.”
7 p.m. Sid The Cat Auditorium, 1022 El Centro St., South Pasadena. sidthecat.com

WEDNESDAY

The Australian Chamber Orchestra comes to the Segerstrom Center for the Arts on Wednesday, April 29.

(Nic Walker)

Australian Chamber Orchestra
The ensemble from down under performs Purcell’s “Fantasia on One Note,” Handel’s “Concerto Grosso in A Major, Op. 6 No. 11,” a new work by John Luther Adams titled “Horizon,” Vaughan Williams’ “The Lark Ascending” (arranged by Adam Johnson), and Schubert’s ”Death and the Maiden” in the candlelit intimacy of the Samueli Theater.
7 p.m. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. scfta.org

Jason Delane, left. and Chuma Gault in “Hymn” at the Odyssey Theatre.

(Cooper Bates)

Hymn
In this drama by British playwright Lolita Chakrabarti, best known for her stage adaptations of the novels “Life of Pi” and “Hamnet,” two Black men meet at a funeral and discover a life-changing connection. Gregg T. Daniel directs this co-production between the Odyssey Theatre and the Lower Depth Theatre.
Previews 8, p.m. Wednesday, Thursday and May 1; 8 p.m. Fridays and Saturdays (an Wednesday, May 27); 3 p.m. Sundays (except May 31), through June 14. Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com

THURSDAY

Los Angeles Ballet presents “Giselle” with Kate Inoue at the Ahmanson Theatre, April 30-May 3.

(Alex Lopez)

‘Giselle’
The Los Angeles Ballet’s staging of this classic supernatural romance features the original 1841 choreography by Jean Coralli and Jules Perrot (updated by Marius Petipa) and score by composer Adolphe Adam.
7:30 p.m. Thursday-May 2 and 2 p.m. May 3. Ahmanson Theatre, 135 N. Grand Ave., downtown L.A. losangelesballet.org

The 1967 romantic comedy “Barefoot in the Park,” starring Jane Fonda and Robert Redford, opens the TCM Classic Film Festival on Thursday.

(Paramount Pictures)

TCM Classic Film Festival
Hollywood Boulevard comes alive with four days of movie magic beginning with the opening night presentation of the 1967 romantic comedy “Barefoot in the Park,” starring Robert Redford and Jane Fonda. Other screenings include “Alice In Wonderland” (1951), “A Place In The Sun” (1951), “Gaslight” (1944), “Out Of The Past (1947) , “Modern Times” (1936), “The Day The Earth Stood Still (1951) and “The Magnificent Seven” (1960), with appearances by Fonda, Barbara Hershey, Carol Burnett, John Turturro and many more.
Thursday-May 3. TCL Chinese Theatre IMAX, 6925 Hollywood Blvd.; Hollywood Roosevelt Hotel; TCL Chinese 6 Theatres multiplex, 6801 Hollywood Blvd.; El Capitan Theatre, 6838 Hollywood Blvd.; Egyptian Theatre, 6712 Hollywood Blvd. filmfestival.tcm.com

Arts anywhere

New and recent releases of arts-related media.

French Violinist Renaud Capucon, seen performing during the 2024 Paris Olympics, has a new live album featuring the works of composer Ernest Chausson.

(Kristy Sparow / Getty Images)

Chausson
This concert album pairs two pieces by French Romantic composer Ernest Chausson: “Concerto for Violin, Piano and String Quartet, Op. 21.,” performed by violinist Renaud Capuçon, the late pianist Nicholas Angelich and the Ébène Quartet, and “Poème” for violin and orchestra, featuring Capuçon and the Brussels Philharmonic led by conductor Stéphane Denève. The show was recorded live in 2020. Warner Classics/Erato: Digital ($10) and CD ($17).

The City Unseen
Emmy-winning producer-director Daniel Sackheim, whose credits include “Law & Order,” “The X-Files” and “The Americans,” is also a serious photographer. His new book of black-and-white images casts Los Angeles as the protagonist in a noir landscape of nocturnal beauty where its darkest secrets lurk in the deepest shadows. Hat & Beard Press: 108 pages, $60.

International Jazz Day
The 15th annual event is Thursday in Chicago, but you can celebrate early with PBS’ broadcast of last year’s International Jazz Day All-Star Concert from Abu Dabai. Hosted by Jeremy Irons, the lineup includes Herbie Hancock, Dee Dee Bridgewater, Kurt Elling, Jose James, John McLaughlin, Helene Mercier, Danilo Perez, Arturo Sandoval and more.
10 p.m. Friday. PBS SoCal and streaming at pbssocal.org

— Kevin Crust

Culture news and the SoCal scene

Attendees walk around the Los Angeles County Museum of Art’s new David Geffen Galleries in Los Angeles on Sunday, April 19, 2025.

(Ariana Drehsler/For The Times)

The Los Angeles County Museum of Art news did not stop last week as it threw a glitzy opening gala for the new David Geffen Galleries, and — a few days later — welcomed members for previews prior to opening its doors to the general public on May 4. I attended the gala and checked in with a number of wonderful artists, including Mark Bradford, Ed Ruscha and Jeff Koons, about their thoughts on the new building. Then, on Sunday, we sent a team to get member reactions to the new space. Later in the week we published critic Leah Ollman’s review of the inaugural installation. Spoiler alert: Nope, not gonna give you one. You’ll have to read it.

We also ran a lovely profile by contributor Tara Anne Dalbow about Eileen Harris Norton whose jaw-dropping art collection is currently on display at Hauser & Wirth in downtown L.A. “Few people have done more to shape Los Angeles’ art scene than Eileen Harris Norton,” writes Dalbow. “The third-generation Californian, born and raised near Watts Towers in South Los Angeles, bought her first artwork at the Baldwin Hills Crenshaw Plaza, co-founded Art + Practice in Leimert Park, and has spent 50 years collecting artists who were, in many cases, her friends and neighbors.”

Joey Stromberg and Jenny Soo in “For Want of a Horse” at the Echo Theater Company.

(Cooper Bates)

Times theater critic Charles McNulty was — as always — incredibly busy, publishing two reviews and a feature in the past week. First up, his take on “For Want of a Horse” by Olivia Dufault, currently receiving its world premiere in an Echo Theater Company production at Atwater Village Theatre. “The subject is zoophilia, not to be confused with bestiality, though for many of us it will be a distinction without much of a difference,” McNulty writes. Curious? Read on.

McNulty also delivered a thoughtful profile Nicholas Christopher, who he dined with on a recent trip to New York. “A new Broadway star emerges each season, and this year the spotlight has alighted on Nicholas Christopher, who has been dazzling audiences and insiders alike as part of the awe-inspiring triumvirate powering the thrilling new revival of the musical ‘Chess,’” McNulty writes.

Finally, McNulty reviewed “Eat Me,” by Talene Monahon, having its world premiere at South Coast Repertory. A fan of Monahon‘s previous work, McNulty was not as impressed at he would have liked. The play, he writes, “is a relentlessly quirky work that gorges on its own dark whimsy.”

In other news, I got the scoop that new media artist Refik Anadol’s museum of AI arts, Dataland has set its opening date for June 20.

Elinor Gunn in “Joan” at South Coast Repertory. SCR has announced its 2026-27 season.

(Scott Smeltzer)

South Coast Repertory announced an expanded 2026-27 season, featuring nine productions, including “Hamlet,” starring Raymond Lee; Stephen Sondheim and James Lapine’s “Into the Woods;” Lauren Yee’s “Mother Russia;” and Oscar Wilde’s classic, “The Importance of Being Earnest.” “The 2026-27 season reflects programming changes established in SCR’s recently adopted strategic plan, which includes more classics, modern masterpieces and the continuation of an annual musical on the Segerstrom Stage,” a news release notes.

“GUAC,” the heartbreaking one-man show by a father who lost his son in the 2018 Parkland school shooting, returns Tuesday to Center Theatre Group’s Kirk Douglas Theatre after playing to a packed house last September. Manuel Oliver’s devastating plea for gun control runs for three weeks only, through May 17.

— Jessica Gelt

And last but not least

If you’re sad that you missed Coachella, this story about how much people paid to attend will make you feel all better.

Ciara Miller and Maura Higgins will be among the stars competing for the Mirrorball Trophy.

“Summer House’s” Miller and “The Traitors” contestant Higgins — both publicly betrayed by men they trusted on their shows — are the first celebrities joining Season 35 of “Dancing With the Stars.” Disney announced the new season Wednesday during Hulu’s Get Real House event in Los Angeles.

Miller joins the cast less than a month after it was revealed that her “Summer House” castmate and ex-boyfriend, West Wilson, was dating her friend on the show, Amanda Batula. She teased her “DWTS” news with an Instagram video in which she wrote out her “Next Chapter 2026” to-do list, which included “prioritizing” herself, “taking risks” and “Dancing With the Stars.”

Higgins, who lost Season 4 of “The Traitors” in the finale after being blindsided by her friend and co-star Rob Rausch, rose to prominence on “Love Island” in 2019. Higgins shared her excitement in a video on Instagram, saying, “Please pray for me.”

“Get me on that dance floor. I want to win the trophy,” Higgins said. “I’ve manifested this.”

Higgins told reporters at the Get Real House event that Mark Ballas is her dream partner.

The announcement comes after a landmark season of “DWTS,” which saw a record-breaking number of fan votes. In November, The Times spoke with “DWTS” showrunner Conrad Green, who attributed the ratings spike to reviving “communal viewing experiences.”

“It’s been largely a question of keeping our existing audience and then finding a new audience of 18- to 30-year-olds. That’s partly fed by social media. It’s partly fed by a desire to have communal TV viewing experiences,” Green said. “That was something everyone had with ‘American Idol’ and ‘Dancing With the Stars’ 20 years ago, but TV doesn’t lend itself to that so much anymore.”

During the event, Disney also announced a new spinoff series, “Dancing With the Stars: The Next Pro.” “DWTS” Season 34 winner Robert Irwin will host the show. According to the synopsis, it “features 12 exceptional up-and-coming dancers who move into one house and compete in a grueling audition process, all vying for a coveted spot as a pro dancer on Season 35 of ‘Dancing with the Stars.’”

“DWTS” pro and three-time Mirrorball champion Ballas will host the show alongside his mother, former ballroom dancer Shirley Ballas. The series will premiere July 13 on ABC.

MasterChef was back with the first quarter-final of series 22 on Thursday night

MasterChef fans were left scratching their heads over Thursday night’s quarter-final challenge.

Series 22 sees celebrated chef Anna Haugh and restaurant critic Grace Dent take over from Gregg Wallace and John Torode as judges. The pair will test 48 of the country’s best amateur cooks with an array of spectacular challenges.

On Thursday’s first quarter-final of series 22, the first challenge saw the amateur home cooks tasked with creating pancakes, making the most of the fresh produce on offer.

However, it was the second challenge that left viewers baffled. During the episode, legendary food critic Jay Rayner joined the show as a special guest as he set a task for the cooks.

Jay, 59, said: “The challenge I’ve set you sounds very simple. I’ve asked you to make a salad. But we do not want a limp bowl of lettuce, we want structure, texture, we want a killer dressing… something that will rock us back on our feet.” The chefs were then given 90 minutes to create their salads.

However, viewers were left baffled over the salad challenge taking to Twitter, now X, to share their thoughts. One person said: “#masterchef A salad …, a salad, are you for real” to which another account put: “Salad? Or a mix of things #MasterChef.”

Elsewhere, another fan referenced The Simpsons as they joked: “#Masterchef You don’t win friends with salad, you don’t win friends with salad…”

Another baffled viewer simply commented: “A salad?! #MasterChef” while a different fan quipped: “No good story ever started with ‘I was having a salad and then'”.

Following the challenge, Jhané and Sabina left Anna, Grace and Jay blown away with their incredible salads. Jhané opted for a Thai-inspired salad with grilled pork, pork skin, sugar snap peas, lettuce, mint, fennel and thai basil. Jhané served it with deep fried rice paper and a lime sesame dressing, which was praised for being a ‘clever’ presentation.

Guest Jay was left delighted as he gushed: “This is exactly what I was hoping for when I set the salad challenge!”

Meanwhile, Sabina also impressed with her ‘harmony salad’, which was spiced black pea falafel, gem lettuce, carrot, pomegranate, salted chicken skin, beetroot quail eggs, puffed rice and curry leaves. It was served with a confit garlic and mustard oil dressing. Jay praised the salad for being “amazing”.

After all the contestants had shown off their creations, Jay admitted: “It was a tough challenge asking them to make a salad, some of them embraced it brilliantly!”

At the end of the show, it was revealed that Jhané and Sabina had sailed through to the next round, they were joined by fellow contestant Jim.

MasterChef season 22 is available to stream on BBC iPlayer

WHAT’S the story in Balamory, wouldn’t you like to know?

The much-loved BBC children’s TV series Balamory has returned to our screens after more than 20 years – and you can visit the real like town in the UK.

Follow The Sun’s award-winning travel team on Instagram and Tiktok for top holiday tips and inspiration @thesuntravel.

The multicoloured houses from the town actually exist in Tobermory on the Isle of Mull.

While the row of colourful houses are privately owned, many reports mention how the locals are happy for visitors to take pictures of their kids in front of the houses.

For example, in the BBC TV series, Suzie Sweets lives in the pink house and Edie McCredie lives in the yellow house.

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But there’s so much more to do in Tobermory, if you are visiting.

Around the harbour you can explore a number of shops including a locally-made soap shop and The Isle of Mull museum which is free to enter and explores the history of the island.

Near to the harbour you can also head to the Tobermory Distillery for a tour, costing £19.50 per person.

It lasts around an hour and during that time you’ll learn about the whisky that has been made on site since 1798 as well as trying two whiskies.

Children can attend too, but need to be over 12 years old and accompanied by an adult.

Perhaps a more family-friendly option though is to head to the chocolate shop Tobermory Chocolate, which has been run by the same family since 1991.

Inside, visitors can peruse milk, white and dark chocolates that are all handmade on site.

There’s also a cafe and children’s chocolate workshops that you can take part in.

According to the chocolate shop , you can often see otters, porpoises and dolphins in the harbour too.

From the harbour, walk along the pier, where about 270metres from the end, there is a Spanish Armada ship that sank after an explosion in 1588 and now sits under about 10 metres of mud.

The ship is even rumoured to still have a loaf of golden treasure on it…

Make sure to also pick up a locally-made ice cream from the shop on the pier too.

If you want to spot more of the local wildlife, then you can hop on a boat trip with Sea Life Mull, where you could see minke whales, basking sharks, dolphins and seals.

The tour costs £80 per person and lasts up to four hours, during which time you’ll see Mull, Ardnamurch and the Isle of Coll.

Though, if you prefer to stay on dry land then head off on an Otter Watching walk with Magic Mull, which is a three mile walk, where you’ll learn about the island’s otter population.

The activity costs £90 per person but it does include lunch, as well as afternoon tea at the end of the walk.

There are a number of places to stay in and around the town as well such as Carnaburg Guest House or The Tobermory Hotel, which both sit at the edge of the harbour.

Or you could opt to stay at Tobermory Campsite, which costs just £14 per night to pitch a tent at or you could opt for a Shepherds Hut, costing from £50 per night.

Outside of the town, there are several places worth exploring across the island.

For example, Aros Park is ideal for families as it has play trail, waterfalls and a nine-hole Disc Golf course that is free to use.

To get your dose of pretty beaches there are plenty to choose from including Calgary Beach, which boasts white sand.

One recent visitor said: “Reminiscent of a tropical paradise with its sweeping white shell sands and clear, turquoise water, the beach offers a vast expanse for dogs to run, play, and explore.

“The bay is wonderfully isolated, backed by beautiful sand dunes and coastal grassland, which means plenty of variety for walks.”

And if you fancy staying near the beach, you can stay at the small campsite at the edge of the beach.

It is completely free to camp there, though donations are welcome and there are basic toilet facilities as well.

If you are a keen hiker, the island is full of walks too, where you can see local wildlife, historic stone rows and lochs such as Loch Frisa.

To get to the Isle of Mull, you can get the ferry from Oban, which takes between 45 minutes and an hour.

The ferry costs £4.90 per adult and £2.45 per child, per way.

For more places to go where TV shows have been filmed, here are six holiday homes from TV shows and films that you can stay at in the UK.

Plus, there’s an English coastal town that tourists are flocking to after popular UK TV show is filmed there.

Plucked from a previous life as a working actor, Richard Gadd experienced a disorienting whirlwind less than two years ago. “Baby Reindeer,” his painfully personal 2024 Netflix show, based on the sexual assault he survived, instantly opened the floodgates of fame for him.

“The show came out on Thursday, and by Sunday, I could barely walk anywhere without being recognized, without being stopped,” Gadd says while visiting The Times’ offices earlier this month. “That’s an adjustment because I always thought if anything like that ever happened, it would be a bit more of a gradual process. But it was overnight, so I didn’t have time to adjust.”

Now the winner of three Emmy Awards and a slew of other accolades for that series, which he starred in, wrote and served as showrunner, Gadd, 36, has already helmed a new emotionally ferocious show.

Probing the tropes of rigid masculinity, “Half Man,” premiering Thursday on HBO, chronicles the destructive bond between two men over several decades. Niall and Ruben — whose respective mothers are romantic partners — call themselves brothers but they couldn’t be more dissimilar.

Bullied at school, meek Niall (played by Mitchell Robertson in his youth and Jamie Bell in adulthood) lost his father as a young boy. He dreams of being a writer. Meanwhile, the insolent and hyper-confident Ruben (Stuart Campbell as a teen and Gadd as a grown-up) has been in trouble with the law from a tender age. Facing any conflict, he resorts to brutal violence. When Ruben takes Niall under his wing, the two become inseparable. But as the years and resentments pile on, their cancerous brotherhood threatens to obliterate them both.

“Half Man” follows the destructive bond between Ruben (Richard Gadd), left, and Niall (Jamie Bell) over several decades.

(Anne Binckebanck / HBO)

“Richard’s writing is really unique and really singular,” Bell says on a video call from England, where he’s currently shooting the “Peaky Blinders” sequel series and is sporting a shorter haircut. “He identifies that real gray area of humanity really well and he puts a voice to the most uncomfortable places that we go into or things that we think when we’re alone in the dark, when we think no one’s watching.”

Gadd wrote the first episode of what would become “Half Man” back in 2019, while he still was performing the live version of “Baby Reindeer,” which he turned into the series. At the time, he recalls, society at large was seriously engaging in conversations around toxic masculinity and sexual violence as the #MeToo movement gained strength.

“It wasn’t necessarily that I set out going, ‘Oh, I want to make a show about that,’” Gadd says. “It was more that something must have just drifted into my head thinking, ‘You take two men repressed in their current life, repressed in the modern world. And then you go all the way back to their childhood. You contextualize learned behavior; you contextualize trauma and things they learned that make them these repressed adults. And you bring a bit of context to, I suppose, difficult male behavior in the present.’”

As “Baby Reindeer” launched his career as a creator, Gadd put “Half Man” on ice for four years but couldn’t stop thinking about returning to it. “Even as I was coming to the end of ‘Baby Reindeer,’ I thought, ‘I’m really looking forward to getting back to that project,” he recalls. “The second ‘Baby Reindeer’ finished, I thought, ‘This is what I’m going to do now.’”

Sitting across from the mild-mannered Gadd, the magnitude of his transformation on screen for “Half Man” becomes even more impressive. Gadd comes off as thoughtful and emphatic, while Ruben, his physically imposing character, commands trepidation.

“The second ‘Baby Reindeer’ finished, I thought, ‘This is what I’m going to do now,’” Gadd says about working on “Half Man.”

(Ian Spanier / For The Times)

Watching Gadd as the rage-fueled Ruben, one might be surprised to learn he originally had no intention of acting in “Half Man.” After wearing multiple hats on “Baby Reindeer,” Gadd thought this time around he could get a purely external bird’s-eye view of a project as showrunner and writer of “Half Man.” But eventually people around him suggested he should be in front of the camera once again.

“My initial response was always, ‘That’s just so far away from anything I’ve done before. It’s so far away from me. Are people going to buy it?’” he recalls. “And behind every single fear-based thought was a worry of what people might think, which in my opinion, isn’t a good enough reason to not do something.”

Convinced audiences would struggle to see the guy from “Baby Reindeer” as this “hard man,” a U.K. term for tough and intimidating men, he had to physically morph. To inhabit a new body, Gadd underwent a strict exercise regimen, and most importantly, a new diet.

“I had a chef make these meals in England, fun enough, and send them up to Scotland where I was filming,” he recalls. “I’d eat them at specific times. You go through periods of fasting and through dehydration whenever you had your top off. There was a real science to it.”

And yet, though he at first worried he wouldn’t look big enough, Gadd refused to portray Ruben with a chiseled physique conceived for mere aesthetics.

“I didn’t want him to have a six pack, I wanted him to feel like a real person,” Gadd says. “Sometimes when you see someone on TV and they’re ripped, I almost don’t think that’s real strength. Someone like Ruben, they wear their life in their body, they’re heavy set. It’s not ripped. It’s bulky. It’s natural to him.”

Before he agreed to play the character, Gadd auditioned numerous actors for the part, but with all of them he felt they were too focused on his appearance as an imposing figure and not his inner turmoil. “Ruben is extremely sad as a person. He’s terribly broken and traumatized,” he says.

For the series, Gadd bulked up to become more physically imposing: “Someone like Ruben, they wear their life in their body, they’re heavy set. It’s not ripped. It’s bulky. It’s natural to him.” Richard Gadd in “Half Man.” (Anne Binckebanck / HBO)

When asked if he sees himself as Ruben, Gadd contemplates the question, debating whether it’s his “jetlagged brain” or ambivalence about finding some of Ruben within him.

“Do I see myself in Ruben?” After a pause, he concedes: “All of his behavior is a reaction to a deep traumatic happening in his life. I can relate to finding it extremely difficult to get past big traumatic events and coming to terms with them and coming to terms with yourself even as a result of them.”

With less hesitation, Bell, 40, acknowledges that he finds a certain kinship with his character. As a teenager, Bell flocked to people with a defiant edge. “I grew up without a father in an all-female household and I felt very naked as a child in terms of needing to be protected by someone who was dominant and aggressive,” he says. “I totally understand why Niall seeks solace in someone like him. No one will touch Ruben. There is a safety in that.”

Gadd says he doesn’t think about celebrities when searching for the actors. “I’m quite fame-averse when it comes to casting because I think sometimes it can get in the way,” he explains. “You can have a show, which starts up with all the best intentions, turn into a sort of acting vehicle for someone, or the discussion becomes about the actor doing this role.”

That said, when the casting director on “Half Man” asked him about his “dream cast,” Gadd expressed Bell was the only one who would genuinely excite him. But could that happen? “In my head, I was still in pre-‘Baby Reindeer’ time where I thought, ‘Well, somebody like him is not going to be interested.’ And then I thought, ‘Well, he might be,’” Gadd says.

For his part, Bell found the “nihilism” in Niall, a man desperately running from his true self and living in Ruben’s shadow, an enticing and complex character to play. “[Niall] conceals himself in many different ways, and has a lot of self-loathing, but at the same time has all these ambitions and actually is incredibly egotistical and thinks that his way is the correct way, and that other people don’t understand that he is terminally unique,” Bell explains with a chuckle.

Bell, who plays Niall, says his character “conceals himself in many different ways, and has a lot of self-loathing, but at the same time has all these ambitions and actually is incredibly egotistical …”

(Anne Binckebanck / HBO)

Aside from a tight schedule to produce “Half Man,” the challenge for Bell was adjusting to the dramatic intensity that Gadd was after. “I wasn’t particularly prepared for that, therefore sometimes my reading of certain scenes I’d get wrong. We’d start scenes and Richard was like, ‘You are pitching it at like a six, and this is very much an 11,’” Bell recalls laughing. I was like, ‘Oh, OK.’ That took some modulating.”

In Gadd’s mind, Bell remains an “underrated” artist. A proud Scotsman, Gadd recalls loving Bell in the 2007 romantic dramedy “Hallam Foe,” where the British actor played Scottish. For “Half Man,” Gadd thought Bell could convey the pain that haunts Niall, even as his actions paint him less like Ruben’s victim and more like a vengeful participant in the chaos.

“There’s always something I find so vulnerable about Jamie and I knew that I was going to take Niall in some really big journeys where he was going to almost test the audience’s love for him,” Gadd says. That Niall finds Ruben so alluring is natural to Gadd, who believes the notion of a valiant male figure has been bred into everyone via fables and fairy tales.

Gadd adds that whether or not we like to admit it, we’re drawn to alpha male characters. “Because from an early age, we’ve been told they are always at the top of the social hierarchy. And as a result, we’ve always, as a society, answered to those kinds of people as some sort of leaders.”

And though he says he’s unfamiliar with the “manosphere,” the misogynistic and chauvinistic online community, Gadd doesn’t believe Ruben would fall for the gurus in those circles who claim to have the answers for young guys to become “real men.”

“Ruben carved his own masculinity. To give him credit, if that’s even something you can give him, those spaces wouldn’t hold any weight for him. He’s his own man,” Gad says. “He would never follow anyone on social media. He’s the person to be followed.”

Based on the tone of Gadd’s output thus far, it may come as a surprise that as a young person he dreamed of creating a show along the lines of the U.K.’s “The Office,” which he considers a “perfect piece of art.” The stories he is telling now better reflect his “neuroses” and the experiences he’s endured.

“My life just took a very dramatic turn, and my sensibilities weren’t workplace sitcoms anymore. When I grew up and I was doing comedy I thought, ‘I’ll write a sitcom one day and every character will be sort of funny in it,’” he says. “But my life just took a turn to the point where I needed my writing and my art darkened because what I went through was very dark.”

Humor is not entirely absent from “Half Man,” some of the characters’ reactions to their distressing realities earn a chuckle. Still, Gadd’s funny bone might also find an outlet in other people’s narratives. He was recently announced as part of the cast in Apple TV’s upcoming high-concept series “Husbands,” for which he already shot his scenes. Adapted from a bestselling novel of the same name, it stars Juno Temple as a woman who gets to experience life with a different partner every time she changes the light bulb in her attic.

“I’m very picky with stuff I take on. Because I love writing my own work so much, anything that takes me out on someone else’s show has to be very special. And this was very special,” Gadd says.

“Everything I do doesn’t have to be dark,” he adds with a soft smile.

“Storage Wars” star Darrell Sheets was found dead by police on Wednesday in Lake Havasu City, Ariz. He was 67.

According to Variety, which obtained a report from the Lake Havasu City Police Department, Sheets died from what appeared to be a self-inflicted gunshot wound. The statement said that on Wednesday around 2 a.m., officers were dispatched to Sheets’ home on Chandler Drive after reports of a deceased individual.

“Upon arrival, officers located a male subject who suffered from what appeared to be a self-inflicted gunshot wound to the head. The male was pronounced deceased on scene and the Lake Havasu City Police Department’s Criminal Investigations Unit was notified and responded to the scene to assume the investigation,” the statement read.

“The body was ultimately turned over to the Mohave County Medical Examiner’s office for further investigation,” the release continued.

Police said that they identified the man as Sheets and that his family had been notified. “This incident remains under active investigation, and additional information will be released as it becomes available.”

Sheets appeared across 15 seasons of the popular A&E reality show “Storage Wars” from 2010 to 2023. His son, Brandon Sheets, was also a cast member, and the father-son duo was often considered the heart of the show. Darrell would use his not-so-stealthy approach when bidding on storage lockers that he was willing to bet contained what he would describe as “wow factor” treasures.

“I’m a buyer by trade. I love buying storage sheds. It’s my addiction,” he said on the series. “I’m basically known for taking the good stuff and just getting the heck out of here.”

According to Sheets’ cast bio, the antiques enthusiast loved to brag about “four Picassos and the world’s most lucrative comic book collection” that he scored through storage auctions. He told The Times in 2015 that he once invested in a locker and discovered pieces of original artwork by Frank Gutierrez that he said appraised for about $300,000, making for the biggest take in the TV show’s then-five-year history.

Rene Nezhoda, another “Storage Wars” cast member who was often considered Sheets’ rival due to their onscreen antics, posted on Instagram after news of Sheets’ death broke and called out cyberbullies.

“Unfortunately, Darrell Sheets took his own life,” Nezhoda said. “I know a lot of you guys think we hated each other because we competed a lot on the show, and you know, we had our moments. We had our run-ins, but that’s because we were both competitors, right?

“Deep down, me and Darrell were friends. We talked every now and then. He is a very hard worker that cared more than anyone I’ve probably ever met about their family, about his son, about [his granddaughter] Zoie.”

Nezhoda said that Sheets had someone “really, really tormenting” him on social media.

The “Storage Wars” alum then addressed cyberbullies for their treatment of public figures, saying, “Just because you watch us on television doesn’t mean you know us. You never know what demons somebody faces.”

The sequel to The Handmaid’s Tale focuses on the young teens of Gilead

The Testaments couldn’t have come at a more depressingly relevant time given the state of the world.

From the reversal of the historic Roe vs Wade ruling in America, to the erosion of women’s bodily autonomy across the world, to Incel culture via Andrew Tate and the Manosphere, to the continuing unfolding horrors emerging from the Epstein Files, being a woman in 2026 has never been a more frightening prospect.

That’s why I believe Disney+ and Hulu drama The Testaments should be compulsory viewing in all schools and serves as a warning that if we don’t try to change things now, all hope could be lost forever.

The series is adapted from Canadian author Margaret Atwood’s Booker Prize-winning 2019 novel The Testaments, which itself was a sequel to her seminal 1985 classic The Handmaid’s Tale.

The follow-up novel came about thanks to the success of Hulu’s adaptation of The Handmaid’s Tale starring Mad Men’s Elisabeth Moss in the title role. The original series first hit screens in 2017 – not long after Brexit and newly elected President Trump’s first term in office – and instantly captured the zeitgeist thanks to its dystopian, Black Mirror take on the world.

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Atwood has previously said how The Handmaid’s Tale was originally based on things that had already happened across history and were still happening, however, since she published her novel over 40 years ago, it appears those times have become a disturbing and tangible new reality for us.

The Testaments TV show follows a group of teenage girls from the upper echelons of Gilead society preparing to become Wives to Commanders, many of whom are much older than them. Their destined husbands are determined by the Aunts in a series of arranged marriages to ensure there isn’t any accidental incest, given the use of Handmaids and babies getting handed over to Gilead’s finest families.

The girls known as ‘Plums’ – thanks to the Cadbury shade of purple they wear – are forbidden from reading or writing at the risk of losing a finger; their sex education is non-existent; they witness Gilead’s harsh brand of Old Testament justice; and they are constantly warned not to tempt men, who apparently can’t control their urges.

Amid the Plums is Pearl Girl Daisy (played by Lucy Halliday), a Canadian teen from Toronto posing as a Gilead convert after she’s sent into Gilead by the resistance movement Mayday. Street-wise and sex-savvy, Daisy serves as the audience’s perspective in the show as she challenges the Plums in the face of the regime’s fallacies.

While the drama isn’t as dark as its predecessor, The Testaments delves into issues of consent and sexual abuse in a more age-appropriate way. The Testaments shows why we all need to be educated about sex and making informed choices about our bodies.

The Testaments is also one of the few shows to feature periods and menstruation so prominently. Gilead celebrates menstruation as a sign of fertility to the point that the Plums ring a bell heralding the news and then embark on a catwalk of sorts while their fellow pupils cheer them on. Not since reading Judy Blume have I seen so much discussed about periods, if only there were more positive depictions of period in media.

Sadly, it’s a double-edged sword for the girls as it means it’s now time for them to find a husband as they essentially become child brides. Again, this complexity is intriguing and one that feeds into grooming teens – the way the Commanders eye up Agnes MacKenzie (Chase Infiniti) as a potential bride-to-be when she greets her father during a meeting is chilling.

But amid all the bleak dystopian misogyny, hope springs: Daisy is trying to stoke a fire from within Gilead and give the Plums agency. It’s this message that’s so important: you may be a teenage girl but you still have the power to shape the world and make your voice heard.

I’ve always believed that TV has the power to change things for the better in this world. If you can see it, then you can be it. Whether it’s onscreen representation from the likes of Netflix’s Heartstopper depicting blossoming queer love, to soaps brilliantly covering a myriad of topics from domestic violence and stillbirth, to Adolescence, which led to discussions in Parliament about male radicalisation. Meanwhile, a whole generation of women pursued STEM careers thanks to Gillian Anderson’s iconic performance as medical doctor and scientist, FBI agent Dana Scully in The X-Files.

If The Handmaid’s Tale was sounding the alarm for my generation, then The Testaments is the wake-up call for this generation. The future of the world is in your hands, and you have the chance to change it right now.

The Testaments airs weekly on Hulu and Disney+ on Wednesdays

Inside the ornate Bovard Auditorium, Larry David kept a full audience in stitches as he discussed the creation and legacy of his improv hit, “Curb Your Enthusiasm,” which concluded in 2024 after 12 seasons.

In a conversation with Lorraine Ali — who wrote “No Lessons Learned: The Making of Curb Your Enthusiasm,” which retraces the show’s long run with cast interviews, episode guides and behind-the-scenes material — David reflected on the separation between himself and the abrasive on-screen persona he adopted for more than two decades.

“I wish I was that Larry David,” he said.

David spoke about the outrageous audition process for “Curb,” wherein actors tried to navigate a brief written scenario without any dialogue to guide them as David lambasted them in character. Out of this process came iconic one-liners and beloved characters, such as Leon, played by J.B. Smoove.

“People bring out certain things, and when I would act with them, some of them would make me seem funny,” David said. “I go, ‘Oh, that’s good — let’s give him a part.’”

David cited “Palestinian Chicken” as one of his favorite episodes of the show. In the episode, David is caught between a delicious new Palestinian chicken restaurant, a Palestinian girlfriend and an outraged inner circle of Jewish friends.

He also spoke briefly about his upcoming episodic HBO series, “Life, Larry and the Pursuit of Happiness,” a historical spoof that will retrace United States history for the country’s 250th founding anniversary. The series will premiere on Aug. 7.

“A lot of wigs, costumes, beards — fake beards,” David said. “Nothing worse than fake beards.”

The controversial ending of “Seinfeld,” which David co-wrote with comedian Jerry Seinfeld, was polarizing among fans when it was released, David said. After a recent rewatch, however, David said he thought it was “pretty good,” to a round of applause from the audience.

Near the end of the panel, an audience member asked a question some definitely had on their mind: Will “Seinfeld” ever get a reunion?

“No,” David replied without missing a beat.

One family on Rich House, Poor House decided to ‘break a rule’ halfway through the swap

*Warning: Contains spoilers for the latest episode of Rich House, Poor House*

A Rich House Poor House couple have broken one major show rule.

The hit Channel 5 series sees two families from opposite ends of the wealth divide swap homes, budgets, and lives for a week.

They both experience a dramatic shift in perspective as they step into each other’s worlds but one family appeared to break a rule as they left the property halfway through the swap.

During Sunday’s (April 19) episode, millionaire hotel owners Gez and Rosy Chetal swapped their luxury life with the Bloor family.

In Norfolk, John and wife Ann, live with their three children in a three-bedroom rented terrace house. After basic household bills they have just £79 a week to spend on everything else from food and travel to fun.

Mum Ann works as a cook in a mental health care home, meanwhile husband John works long hours as a bus driver, but they both have a passion for cooking.

Despite both grafting hard, the couple struggle to make ends meet and have previously gone bankrupt for £36k, but they dream of running a music café of their own one day.

Experiencing how the wealthiest 1% live, they exchanged homes for a week with hotel owners Gez and Rosy Chetal, who lived in their luxurious £1.7m 11-bedroom bespoke hotel with their 19-year-old daughter Saanchi.

Given his demanding lifestyle as an entrepreneur, the couple wanted to use the swap as a way for them to spend some quality time together and have a break from their business.

They swapped their hotel— complete with a wine cellar, a large dining room and private chef for a week-long stay in the Bloor family’s house.

While Gez and Rosy were forced to manage on a weekly budget of £79, John, wife Ann and their children got a taste of luxury living with £1,800 to spend.

However, not long into the swap it was clear that the Bloor family struggled to adjust to their new environment living in a hotel as Ann admitted: “My kids are not comfortable.”

After a restless night, Ann was visibly moved as she told husband John: “The children are really uncomfortable. They can’t be in their pyjamas because it’s a hotel, they can’t just go and get a drink, they can’t just go and get a sandwich.” John jumped in and added: “It’s not a home is it?”

Turning to John, Ann explained: “It’s nothing about the hotel. If it was just me and you.. I’d absolutely love it but actually to me we can’t really stay in the hotel.”

The couple then made a big decision and decided to abandon the hotel and use the remaining budget to book a luxury Airbnb, that cost a whopping £1,200.

When the two families finally reunited at the end of their swap, Ann went on to say: “We loved the hotel, unfortunately the children didn’t. They felt very separated from us.” Gez added: “It’s just a big house really, with 11 rooms.”

Rich House, Poor House airs Sunday night from 9pm on Channel 5

The third season of Apple TV’s “Shrinking” concludes with Jimmy (Jason Segel) being, well, “Jimmy-ed.”

For three seasons, Jimmy, a therapist grieving the loss of his wife, has used unconventional methods —think taking someone with aggression issues to a boxing ring — to get through to his patients. In the last moments of “And That’s Our Time,” Jimmy’s mentor and fellow therapist Paul (Harrison Ford) turns that approach on its namesake, flying across the country to give Jimmy a much needed push to move forward with his life. “Jimmy needed permission and encouragement from someone to say, ‘All right, it’s time,’” Segel says. “This is the end of this story and it’s time to start a new one.”

In the scene, Paul finally tells Jimmy he’s like a son to him. “I found ourselves writing a conversation that if we were lucky enough to have a conversation like that with our own fathers, we’d be grateful,” executive producer Bill Lawrence says. “A lot of my shows have an element of mentorship in them. To see Jimmy’s mentor come through for him in the way that I would always hope he would meant a lot to me.”

Lawrence had always envisioned the three-season arc for Jimmy ending this way. But when they found out the comedy would be returning for a fourth season, he and his fellow executive producers were faced with a dilemma: End the season the way they would have the series or push their original ending out for one more season. After much discussion, they decided to stick the landing.

“It still felt right,” Lawrence says. “This particular story with these characters has been told and you should feel, in a good way, like it’s gonna be OK for Jimmy. Jason is so good at it, watching him play the agony of trying to get through it all and come out on the other side was my favorite kind of journey on the whole show.”

Segel spoke to The Envelope about filming this pivotal scene and bringing the third season to a close.

What did filming this final scene mean to you? To play this part of Jimmy’s journey coming to an end?

I’m always really interested in, “What is the dirty underneath? If we go one level deeper, what is the thing that the person is not saying?” This arc with Jimmy over the three seasons had been building up to Jimmy finally saying the actual thing, which is some version of, “Who’s gonna want me now?”

Paul answers that question by telling Jimmy that his scars are “evidence of a life well–lived.”

I had a therapist I was talking to about having to show up somewhere with people I knew from 25 years ago. I remember having a little bit of apprehension because I’ve had a twisty-turny life. I thought, “God, there’s so much to catch up on and I’m showing up covered in scars.” And this therapist said to me, just matter of fact, “What a shame it would be to show up anywhere at 45 years old not covered in scars.” And I went straight to Bill and [executive producer] Neil [Goldman], this is a year ago, and I said, “This is what Harrison says to Jimmy at the end of this arc.” And we worked it in.

What was the actual day of filming the scene like for you?

It was a difficult day. It was loud that day. There was a little bit of discombobulation on the street. There was construction and they couldn’t hold the cars right. It wasn’t the ideal environment for a scene like this where you would love to hear a pin drop. People were coming into the restaurant asking, “Are you guys open?” It almost felt like we were making a student film. And Harrison and I took a minute and we walked away from the set and we started running the scene, walking up and down the busy street to kind of acclimate ourselves. And I’m walking up and down the street with this man who I idolize and we are at that moment like equals and teammates. We have to go build this scene together. It is a real honor to have that dynamic with him.

Do you think it was important to have such a pivotal scene outdoors?

They’re a good reminder that the show takes place in the real world and that you’re like a representative of reality almost. I think that there’s something vulnerable about all that taking place outside. … There’s other patrons there. It’s surrounded by people, surrounded by life, and Paul is showing up and telling Jimmy, “It’s time to step into it. Look, it’s all around you.”

This season we met Jimmy’s father (played by Jeff Daniels), who never really connected with his son and, in a heartbreaking moment, chooses a fishing trip with his buddies over staying for Alice’s (Lukita Maxwell) high school graduation.

One of the things this show does really well is handle these situations honestly. Whether it’s Parkinson’s or loss or a complicated relationship with a family member. It’s not gonna magically change. None of it. And so the show is very much true to, “How do we get through it with each other?” That’s really the theme of the show. These issues are gonna be there. What are we gonna do with the realities of life? I think the reason they brought Jeff Daniels in is to highlight why Jimmy so desperately wants Paul’s affection. Where is this coming from? Bill is a genius in terms of setting something up in a previous episode so that there’s a payoff in the finale. I think that we understand suddenly how desperate Jimmy is to have somebody say, “You’re my son and I love you.” And he finally gets that at the end from Paul.

The other major event that happens in the finale is that Alice leaves for college.

To me, [Jimmy’s relationship with Alice] has been the heart of the show and the most important storyline. The show started out with Alice parenting a troubled child in her father. And that dynamic slowly, slowly, slowly shifted to being the right direction. Until finally he is able to see her off to college and she feels safe to leave him behind. He is the parent and she is the child and everything is the right size again. I think watching Lukita as an actor and a human being grow up over these past four years, it’s been really the joy of my career. When I met her, she called me Mr. Segel. I realized she grew up with my “Muppet” movie. I have the real honor of being more of a mentor than a contemporary to Lukita. To get to the point where I am being surprised and challenged and blown away and moved to tears in scenes with Lukita is like the coolest thing in the world.

Cobie Smulders and Jason Segel in “Shrinking.”

(Apple TV)

We see Jimmy sit down at the restaurant with his potential love interest Sofi (Cobie Smulders), but we don’t hear their conversation.

It originally ended with a hard cut to black. Then then they did this beautiful cinematic pullback. I think the most important line is, “Hello.”

As the scene ends, Paul tells Jimmy that he can either “stay stuck” or “go make new scars.” Paul advises Jimmy to “choose wisely” and then winks at Jimmy. It’s a subtle nod to the famous “choose wisely” scene from “Indiana Jones and the Last Crusade.”

Harrison is not so secretly one of the funnier people I know. He always knows exactly what he’s doing and we’ve had a few of those throughout the season, some little nods to Harrison’s body of work. It was a perfect way to end that scene. Paul slash Harrison is always just a little smarter than you. One of the great qualities that they have is they’re just a little bit ahead of you, which a great mentor should be, right?

Have you thought about how it will be to play Jimmy in the show’s fourth season now that this particular story arc has come to an end?

I think an equally interesting and complicated and fun area is someone deciding they’re ready to be happy. Because God knows it’s one thing in your house alone in front of the mirror [to say], “Now I’m gonna be happy.” And then you go out and in practice, it’s its own set of complications, right? And so, I’m actually really excited about that idea of someone saying, “OK, I’m ready to take it for a spin.” And then seeing that’s its own thing.

You know him by his imitators, the ones he hand-picked for the show he made. Arguably the greatest comedy impresario of the modern age, Lorne Michaels, the lip-pursing, imperiously droll Canadian who created “Saturday Night Live,” has curiously enough never seemed like documentary material — there’s always been a strange satisfaction in him remaining an aloof, besuited guru, getting older but seeming beyond mystery. A well-timed impression always felt like enough. We’re laughing about someone we don’t know and there’s an odd purity in that.

Oscar-winner Morgan Neville’s “Lorne” — made with the begrudging OK of its subject as part of the 50th season hoopla — is, therefore, a curious instance of not being all that successful at unraveling the man, yet remaining perfectly enjoyable as a conduit for bite-size chunks of insight from not-so-famous associates and ultra-famous friends. It’s a well-meaning impression of a soul-searching documentary (and only an impression), but impressions can still be plenty entertaining.

Neville hedges his bet by filling us in on Michaels’ spotlight apprehension, making his reticence a through line. Interviewees joke about how inscrutable he is, guess at aspects of his biography, and early on we hear Michaels’ belief that explaining humor is pointless.

But would we have wanted a Jedi of few words to suddenly dissect his many brilliant casting choices or rehash the impetus to conceive the show, when it’s been written about repeatedly and even turned into a feature? Thankfully “Lorne” grasps this and instead decides the best narrative is one of Michaels as a force of stability amid constant change: shielding “SNL” from irrelevance and invasive network overlords, turning his unknowability into a kind of totem-like, hard-earned confidence, taking mentorship of talent seriously and accepting his mockability as the release valve that reinforces his wise stewardship.

Better to have dozens of funny, perceptive interviewees (Tina Fey, Conan O’Brien, John Mulaney, Adam Sandler, Lily Tomlin) piece it together, than to expect much from the guy who doesn’t care to self-analyze anyway. Likewise, don’t expect anything noteworthy from a pal like Paul Simon, who would rather be facile about his friendship with Michaels than informative.

Being there for his weekly routine captures something of Michaels’ entrenched schedule, as well as the scary-fast prep swirling around him. Seeing everyone crammed into his office for a howdy-host confab looks like the coolest family get-together. Same with the table read for dozens of mostly-to-be-axed sketches — like a dinner at which everyone’s trying to get Grandpa to laugh. The night-of-broadcast scenes draw you into the tension of finalizing and problem-solving and Michaels’ engagement with all manner of details is captivating.

Neville is smart enough as a documentarian to leave out platitudes, but also to let access to Michaels’ Maine retreat be a vibe rather than some knockout reveal. The result is an ode of sorts to elusive bossdom, where the cryptic may remain cryptic, decoded just enough to let us appreciate the achievement.

You’ll probably go straight from “Lorne” to rewatching notorious moments like the controversial Season 3 “stunt baby” sketch — and this is no doubt Michaels’ preferred outcome. Because, all those impersonations of chilly indifference aside, he will be known by what he got on the air: a legacy of generation-defining comedy that’s more impressive than any dutiful biodoc could ever be.