ITV’s The 1% Club host Lee Mack was left mortified after his joke confused a contestant during a Coronation Street question
ITV’s The 1% Club host Lee Mack kicked off the programme with a string of gags, but it soon caused confusion(Image: ITV)
ITV’s The 1% Club host Lee Mack kicked off the programme with a string of gags, but it soon caused confusion.
While the comedian is no stranger to cracking jokes, one quip proved poorly timed and left a player utterly baffled. The show’s format presents questions to contestants beginning with simpler ones, gradually ramping up in difficulty with each round.
Within the opening minutes, one of the more straightforward questions displayed on screen was a “spot the difference” featuring the Coronation Street set.
Two images were placed side by side, with one reading Rovers Return Pub while the other read Ravers Return Pub. As the 30-second countdown began, he reminded contestants they needed to identify the difference between the two pictures, before quipping: “One’s on the left and one’s on the right.”
Regrettably, one contestant took the remark at face value, convinced he might be dropping a hint and that it was a “trick question”, so she wrote that down.
Lee was utterly gobsmacked when he called out to her in the audience to find out what had gone wrong, only to discover his throwaway joke was the culprit.
The host confessed to feeling rather guilty as he noted: “In the history of the show, no one has taken the joke as the actual clue.” The contestant laughed it off good-naturedly, before Lee asked her, as he does with every player, what she would have spent her winnings on, to which she revealed it would be her house plants.
An embarrassed Lee then told her: “I’m glad you haven’t won. What a waste of money!” before laughing it off and pressing on with the remainder of the programme.
At the close of the show, contestants are given the choice to either pocket £10,000 or take a gamble on the 1% question, which would award them the full prize fund, standing at £94,000, reports the Express.
The 10% question eliminated eight of the nine contestants, leaving just one participant, Tessa, aged only 19, to be offered the opportunity to tackle her 1% question. In a surprising turn of events, she revealed to Lee that she was a hobby opera singer and even treated her fellow contestants to a brief glimpse of her vocal talents.
She ultimately opted to take the safe route and pocket £10,000 rather than risk it all for the £94,000. Had she chosen to proceed, her question would have been: “Using only two letters to fill in the blanks, what is the world below?” With P—E–I-N spelled out. Fortunately for her, she didn’t know the answer and walked away with the £10,000.
Los Angeles — Lisa Rinna said she would return to the “Real Housewives” franchise, but to get her husband Harry Hamlin on board, it would have to involve some big numbers.
“You guys are gonna laugh and think I’m ridiculous, but I was like, ‘I might do it for $5 million,’” Rinna explained. “He’s like, ‘No, 10. $10 million, you can go back.’”
The “Real Housewives of Beverly Hills” alum wasn’t afraid to throw shade on a sunny Saturday morning during her panel at The Times’ Festival of Books.
The “You Better Believe I’m Gonna Talk About It” author sat down with Times senior television writer Yvonne Villarreal to talk about Rinna’s journey from soap star to her rise on the “Real Housewives of Beverly Hills” and her recent “The Traitors” fame.
As a “Real Housewife,” Rinna was known for her snappy comebacks and for sharing her candid emotions. Her memoir explores Rinna’s experience during Season 12, which was filmed shortly after the death of her mother, Lois Rinna. Rinna explained that her grief manifested into feelings of “rage.”
“Rage was the first emotion that came. I didn’t expect that. You know, you think you’re going to be in shock, and then you think you’re going to be really sad? Well, I went immediately into rage, and that’s not really very cute,” Rinna said. “But I think my being in grief triggered the housewives, and it triggered the audience.”
After Rinna’s time on “RHOBH,” she joined the cast of Season 4 of “The Traitors.” The show — loosely based on the game Mafia — selects celebrities to be faithfuls and traitors, and the faithful must attempt to discover the traitors. Wearing outfits like her viral cheetah-print ensemble, Rinna skyrocketed to fan-favorite status during her tenure as a traitor.
“So when I decided to do ‘Traitors,’ I was like, ‘Self, listen. You’re gonna go in there and just be you. No Housewives s—, no, none of that reactionary stuff, no, you’re gonna just be you,’” Rinna said.
She also joked that being a traitor was the “highlight” of her year: “I could kill people, I could lie, I could deceive, I could backstab. Heaven.”
Rinna compared the objectives of “RHOBH” to “The Traitors” and the different strategies she had to employ on the franchises.
“‘Housewives’ is not a game. ‘Traitors’ is a game,” Rinna explained. “‘Housewives,’ you just tried to literally protect yourself from the drama and the toxicity. And it’s even though it’s a television show, it’s real. I mean, no one is writing a script for you. You’re dealing with interpersonal relationships and conflict.”
Britain’s Got Talent viewers were left fuming after KSI used his golden buzzer on a strange act
Britain’s Got Talent viewers were left unimpressed (Image: ITV)
Britain’s Got Talent viewers were left disappointed as they threatened to ‘turn off’.
During Saturday’s (April 18) episode of the ITV talent programme, YouTuber KSI used his golden buzzer to send one act through to the live shows, but his choice has sparked criticism from viewers, who described it as the “worst golden buzzer”.
Audiences tuned in for the final auditions in the 19th series of the popular talent competition as hopefuls from across the nation demonstrated their abilities in an attempt to wow judges Simon Cowell, Amanda Holden, Alesha Dixon and KSI.
It’s hardly surprising that they pulled out all the stops in their efforts to impress the panel and secure the £250,000 cash prize along with a coveted slot at the Royal Variety Performance. And as expected, they’re all hoping to earn the golden buzzer – which propels them directly through to the live shows.
However, one performer sparked considerable controversy. Mr Cherry – a Guinness World Record holder and former contestant on America’s Got Talent in 2021 – appeared on stage and left everyone stunned with his peculiar performance, reports Wales Online.
The comedian ‘strongman’, 44, began his bizarre routine by opening a stubborn jar of pickles, which neither judge KSI nor Simon Cowell managed to accomplish.
He proceeded to crush cans by sitting on them. But matters then escalated, leaving everyone astounded after he stripped down and opened wine bottles with his buttocks.
Despite squirming throughout the entire performance, audiences were stunned when KSI opted to slam his golden buzzer. KSI dashed onto the stage, only to slip and slide across the floor on the falling confetti, taking Mr Cherry down with him.
Making his way back to his seat, KSI declared: “Ladies and Gentlemen, I don’t know about you but that was the greatest thing I have ever seen.”
However, viewers at home appeared far from convinced, branding his choice the ‘worst’ golden buzzer in the show’s history.
Taking to social media, one furious fan wrote: “I’m sorry this show is finished #bgt.” Another commented: “A Golden Buzzer? How bloody ridiculous #KSI #BGT #BritainsGotTalent.”
A third posted: “WTF?! Why the hell did KSI give that act the golden buzzer, when he spent the entirety of it squirming uncomfortably? It’s beyond a joke.”
Yet another chimed in with: “Worst Golden Buzzer #BGT.” While one more questioned: “KSI HOW IS THAT GOLDEN BUZZER WORTHY???”
Britain’s Got Talent airs Saturday nights from 7pm on ITV and ITVX.
Bombs are in and art is out as the Trump administration’s proposed 2027 budget requests $1.5 trillion in defense spending (up 44% from last year), while again attempting to snuff out the National Endowment for the Arts and the National Endowment for the Humanities, as well as the Institute of Museum and Library Services.
The budget proposal released earlier this month calls for just enough money to permanently wind down the operations of each agency: $29 million for the NEA (down from $207 million); $38 million for the NEH (down from $207 million); and $6 million for the IMLS (down from $291.8 million).
Congress has the final say about whether or not these cuts actually get made, and Sept. 30 is the deadline to pass next year’s budget. (Failure to do so could result in yet another government shutdown.) It’s worth remembering that Trump tried to defund these organizations last year and was thwarted by Congress. But the administration did successfully choke off funding for the Corporation for Public Broadcasting, which ceased operations in January.
It’s hard to know how this renewed threat to agencies that collectively support thousands of arts programs and initiatives across all 50 states, Puerto Rico and Washington, D.C., will play out, especially because the only constant in this administration is its mercurial temperament. Plus, Congress doesn’t have a great track record of keeping Trump in check (see Venezuela, Iran, the White House East Wing, the Kennedy Center, etc.). The ongoing war in Iran, which pundits warn could last until the midterms, may also impact how Congress decides to vote.
In times of conflict and chaos, we need the arts — a sentiment so obvious it normally goes without saying. But this moment somehow feels different. There were many alarming moves that Trump wanted to make during his first term that the so-called adults in the room allegedly kept him from achieving. Those adults are gone and he is now surrounded with enablers. This means the unthinkable is now possible — as we have seen time and again over the past 15 months.
In a country without the NEA, NEH and IMLS, hundreds of small local arts groups would likely cease to exist entirely — and with them, the community, education and enlightenment that underpin our increasingly fragile, fractured society. We can close our eyes until it happens, or we can start urgently ringing the alarm bells. I vote for the latter. Here’s a link to get you started.
I’m Arts editor Jessica Gelt banging a gong. This is your arts and culture news for the week.
Dispatch: mots take on AI at Flux Festival
A participant experiences “The Pledge,” part of artist duo mots’ acclaimed “AI & Me” series, on view April 25 at Blum Gallery, Culver City, as part of Flux Festival.
(mots / Daniela Nedovescu and Octavian Mot)
Artist duo mots is staging one of its exploratory AI-centered exhibits — “The Pledge” — at the upcoming Flux Festival at Bloom Gallery in Culver City (April 24 and 25). Last year, mots received quite a bit of attention for its U.S. premiere of “AI & Me,” part of Tribeca Festival’s Immersive Program. That piece, according to mots website, “dives into the weird dynamics between humans and artificial intelligence,” by placing people in a confessional style booth while AI tells them exactly what it thinks of them.
“The Pledge” takes that concept further by inviting participants to stand on a stage while AI-generates a statement about them— one that is solely based on appearance. The person then must decide whether to read the AI feedback aloud into a microphone or leave. If you decide to share, you become part of the permanent video installation.
In this moment of deep AI anxiety, the mots’ work is tapping into more than just a playful back and forth between man and machine.
“On one hand, we’re thrilled to see people lining up to interact with the pieces we build; on the other, we’re trying to gather the courage to destroy them and stop this madness before it’s too late,” the mots write on their website.
— Jessica Gelt
Dispatch: Monster Party
The adult-centric interactive melodrama “Monster Party,” at Rita House through April 25.
(Clint Keller)
“Monster Party” starts with a moment of ecstasy. Then the adult-centric interactive play gets demented — a bit demonic, even. We meet characters shrouded in mystery. Guests at a cocktail party, there’s a writer working on a book about supernatural creatures, a vacuum salesman with a closely guarded secret, a repressed religious fanatic and more. None of them can remember how or why they ended up at this soiree, hosted by the confidently cryptic Baroness, a character who clearly delights in creating sin and madness. We’ll soon find out this isn’t an event for the lucky.
But that’s not just what makes “Monster Party” special. Remounted after a short theatrical run in 2024, the work from immersive creator Matt Dorado intermixes the personal and political. Lurid, humorous and sexy, “Monster Party” is also a scathing critique of how political systems can drive one mad.
Set during the Lavender Scare, the anti-communist purge of LGBTQ+ people from the U.S. government in the 1950s, “Monster Party” opens with camp and then descends into very real horrors of life in the United States. You’ll drink, play parlor games and gradually uncover one dark skeleton after another.
The intimate production is limited to 50 guests per showing, and cocktails are included in the $159.45 ticket. Come ready to socialize.
8 p.m. Thursdays and Friday; 3 and 8 p.m. Saturdays, through April 26. Rita House, 5971 W. 3rd Street monsterpartyshow.com
— Todd Martens
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The week ahead: A curated calendar
FRIDAY Chaya Czernowin Monday Evening Concerts presents the U.S. premiere of the Harvard-based Israeli composer’s “Poetica,” which she describes as “a journey of one into themselves,” performed by percussionist Steven Schick and the percussion ensemble Red Fish Blue Fish. 8 p.m. Zipper Hall at the Colburn School, 200 S. Grand Ave., downtown L.A. mondayeveningconcerts.org
The Last Days of Judas Iscariot O.C. theater companies the Wayward Artist and Larking House team up for Stephen Adly Guirgis’ bold, darkly comedic courtroom drama set in Purgatory. Directed by Lizzy McCabe. 7:30 p.m. Friday and Saturday and April 23-35. Irvine United Congregational Church, 4915 Alton Pkwy., Irvine. thewaywardartist.org
Harry Fonseca “Portrait of the Artist as a Young Coyote,” an exhibition of more than 30 paintings, prints and works on paper, follows the path of the late Native artist’s alter-ego, the Trickster Coyote, an exploration of his own identity and a means of challenging existing narratives. Also being exhibited is “Sedej Tuulémisé (Blood Relations),” featuring paintings by emerging artist Deerstine Suehead. Noon-5 p.m. Tuesday-Saturday, through July 3. PDC Design Galleries, 750 N San Vicente, West Hollywood. pacificdesigncenter.com
Ryan Bancroft will conduct the L.A. Phil this weekend at Walt Disney Concert Hall.
(Carlin Stiehl/For The Times)
Shostakovich & Sibelius Ryan Bancroft conducts the Los Angeles Philharmonic with cellist Alisa Weilerstein playing one of her specialties, Shostakovich’s “Second Cello Concerto.” 8 p.m. Friday; 2 p.m. Saturday and Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Liu Xiaodong For the work presented in the exhibition “Host,” the figurative painter trained his eye on a Detroit tattoo artist with a penchant for medieval battle recreations. 10 a.m.-6 p.m. Tuesdays-Saturday, through June 13. Lisson, 1037 N. Sycamore Ave., L.A. lissongallery.com
SATURDAY Back to Oz MUSE/IQUE salutes a truly American fairy tale through music with pieces from “The Wonderful Wizard,” “The Wiz,” and “Wicked,” performed by Carmen Cusack, LaVance Colley, Nathan Granner, DC6 Singers Collective and the MUSE/IQUE Orchestra. 5 p.m. Saturday and Sunday; 7:30 p.m. Thursday and April 24; 2:30 and 7:30 p.m. April 25; and 2:30 p.m. April 26. Mark Taper Forum, 135 N. Grand Ave., downtown L.A. muse-ique.com
Colored People’s Time: A History Play From Civil War to civil rights, Leslie Lee’s drama, directed by Ben Guillory, examines the lives of Black Americans through a century of struggle. 8 p.m. Thursday-Saturdays; 3 p.m. Sundays, through May 17. Los Angeles Theatre Center, Theatre Four, 514 S. Spring St., downtown L.A. therobeytheatrecompany.org
The Expanding Field: MOCA’s Collection from the 1940s to 1970s Works by Mark Rothko, Luchita Hurtado, Piet Mondrian, On Kawara, Robert Rauschenberg, Betye Saar, Anne Truitt and others illustrate the breadth of the museum’s holdings. Saturday through Sept. 20. Museum of Contemporary Art, 250 S. Grand Ave., downtown L.A. moca.org
Falstaff Craig Colclough stars in LA Opera’s production of the energetic Verdi comedy about two wives turning the tables on an unwanted suitor in merry olde England. 7:30 p.m. Saturday; 2 p.m. April 26; 7:30 p.m. April 30, May 2 and 6; 2 p.m. May 10. Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. laopera.org
Steven Culp and Joey Stromberg in “For Want of a Horse” at the Echo Theater Company.
(Cooper Bates)
For Want of a Horse Olivia Dufault’s comedy about an unusual love triangle involving a horse opens Echo Theater Company’s 2026 season. Directed by Elana Luo. Opening night, 8 p.m. Saturday; 8 p.m. Fridays and Saturdays; 4 p.m. Sundays; 8 p.m. Mondays, through May 25. Echo Theater Company, Atwater Village Theatre, 3269 Casitas Ave. echotheatercompany.com
Hear Now Music Festival A chamber concert doubleheader (separate admissions): The matinee features Lyris Quartet, Brightwork Ensemble and HEX performing Hugh Levick’s “No Pasaran” for brass quintet; Ania Vu’s “Small Tenderness” for vocal ensemble and string quartet; Liviu Marinescu’s “String Quartet No. 1”; Bryan Chiu’s “Anthology” for piano and horn; and Tom Flaherty’s, “Recess” for string quartet. Lyris Quartet and Brightwork Ensemble return for the evening show with mezzo-soprano Peabody Southwell, and the music of Peter Knell, “Canciones de Agua” for mezzo-soprano and violin; Sean Heim, “there is no such thing as time” for mixed ensemble; Vera Ivanova’s “The Firebird’s Feather,” for flute solo; and Jordan Nelson’s “Join” for string quartet. Chamber Concert 1, 3 p.m. (2 p.m. preview); Chamber Concert 2, 8 p.m. (7 p.m. preview). First Lutheran Church of Venice, 815 Venice Blvd. hearnowmusicfestival.com
Claudia Keep In the exhibition “Water, Water, Everywhere,” the painter finds fascinating details in the life-giving liquid and all its forms, including rivers, ocean waves, clouds and afternoon coffee. Opening reception, 4-6 p.m. Saturday; the exhibition runs through May 30. Parker Gallery, 6700 Melrose Ave., L.A. parkergallery.com
Kinship & Community: Selections from the Texas African American Photography Archive The exhibition, a collaboration between Art + Practice and the California African American Museum, shares the work of Black photographers who documented life in the urban neighborhoods and rural villages of eastern Texas from 1944 to 1984. Saturday evening, exhibition curator and NYU professor Nicole R. Fleetwood and Getty Research Institute curator LeRonn P. Brooks will discuss the exhibition and the volatile time of great change that it captures. The exhibition opening is 11 a.m.-5 p.m. Saturday and runs through Sept. 5. Art + Practice exhibitions space, 3401 W. 43rd Pl. L.A. Conversation, 6-7:30 p.m. Saturday. Art + Practice programs space, 4334 Degnan Blvd., L.A. artandpractice.org
Majestic Tango Directed and produced by Miriam Larici and Leonardo Barrionuevo, this program features 13 dancers and six musicians using music, movement and storytelling to convey the passionate energy of Buenos Aires. 8 p.m. Irvine Barclay Theatre, 4242 Campus Dr. thebarclay.org
Richard Mayhew, “West Bay,” 2004 Oil on canvas 36” x 48’.
Richard Mayhew “Understory” surveys the artist’s work created between 1960 and 2023, when he saw his expressive landscapes as “an artistic reclamation of the land stolen from his Black, Shinnecock, and Cherokee-Lumbee ancestors.” Opening reception, 6-8 p.m. Saturday; exhibition runs through May 30. Karma, 7351 Santa Monica Blvd., L.A. karmakarma.org
Natural HERstory Drag performance meets real science in this 30-minute STEAM musical, developed by Drag Arts Lab and the Natural History Museum of Los Angeles County, and designed to engage elementary-aged learners. 11 a.m. Annenberg Community Beachhouse, 415 Pacific Coast Hwy., Santa Monica. eventbrite.com
Parsons Dance David Parsons’ New York City-based troupe marks its 40th anniversary with a program set to the music of Milton Nascimento; Giancarlo De Trizio; Champion, Four Set & Skrillex (featuring Naisha); Miles Davis; Sheila Chandra; and Yusuf/Cat Stevens 7:30 p.m. Saturday; 2 p.m. Sunday. BroadStage, Santa Monica College Performing Arts Center, 1310 11th St. broadstage.org
The Storyteller of East LA The Latino Theater Co. has the world premiere of Evelina Fernández’s magical realist drama about a 90-year-old woman with dementia and the challenges faced by her family and caregivers. Directed by Jose Luis Valenzuela. 8 p.m. Thursdays-Saturdays; 2 p.m. Sundays, through May 17. Los Angeles Theatre Center, 514 S Spring St., downtown L.A. latinotheaterco.org
Verdi in España The Verdi Chorus performs sequences from the composer’s operas “Don Carlo,” “Il Trovatore,” “La Traviata” and “Ernani,” alongside Bizet’s “Carmen” and selections from Spanish composers Catán, Granados, Giménez, Torroba and De Falla. 7:30 p.m. Saturday; 4 p.m. Sunday. First Presbyterian Church, 1220 2nd St., Santa Monica. verdichorus.org
SUNDAY Mozart’s Requiem Grant Gershon conducts the Los Angeles Master Chorale in Mozart’s final masterpiece, plus the West Coast premiere of Fanny Mendelssohn’s “Oratorio on Scenes from the Bible.” 7 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. lamasterchorale.org
TUESDAY Yuja Wang and Mahler Chamber Orchestra The celebrated pianist continues her long-standing collaboration with MCO for a program featuring works by Segei Prokofiev and Alexander Tzfasman. 8 p.m. Tuesday. McCallum Theatre, 73000 Fred Waring Dr., Palm Desert; 8 p.m. Wednesday. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa; 7 p.m. Thursday. Granada Theatre, 1214 State St, Santa Barbara; 8 p.m. April 25. The Saroya, 18111 Nordhoff Street, Northridge. mahlerchamber.com
WEDNESDAY Khorus Harmonia Katey Sagal and Kurt Sutter are producing ten performances of this choral concert to benefit the Coalition for Humane Immigrant Rights and The Wounded Warrior Project. 8 p.m. Wednesdays-Saturdays; 4 p.m. Sundays, through May 2. Hudson Backstage Theatre, 6539 Santa Monica Blvd. onstage411.com
This Ends Badly The theater collective Frank’s presents an evening of short plays by Frank Demma, Marlane Meyer, John Pellech, John Pollono, Benjamin Weissman and Sharon Yablon. 8 p.m. Wednesdays, through May 13. Echo Theater Company, Atwater Village Theatre, 3269 Casitas Ave. echotheatercompany.ludus.com
Arts anywhere
New and recent releases of arts-related media.
The British Museum in London.
(Kin Cheung / Associated Press)
British Museum As excitement builds for the opening of the new Geffen Galleries at LACMA on Sunday (for priority members; May 4 for the general public), one’s appetite may be whetted to visit other museums. Why not start in London with the British Museum? The sprightly 273-year-old institution boasts a collection of eight million works and draws more than six million visitors each year. But there’s no need for a plane ticket or a Tardis to see it. Google Arts & Culture offers virtual tours that allow you to wander the halls and grounds for free (and it won’t rain!). artsandculture.google.com
Philip Glass
Two opportunities to see the work of one of the finest American composers will soon be available with the click of a button or a tap of a screen. First up is “The Complete Philip Glass Piano Etudes featuring 10 Pianists” (which was performed at Walt Disney Concert Hall in 2024) streaming live from the 3,500-seat Hill Auditorium on the campus of the University of Michigan in Ann Arbor. 4:30 p.m. Saturday and on demand through April 28. youtube.com
Six days later, the Paris Opera offers its current, sold-out production of “Satyagraha,” Glass’ revelatory, triptych portrait of Gandhi. Directed by choreographers Bobbi Jean Smith and Or Schraiber, with a cast including Anthony Roth Costanzo and Davóne Tines — all four members of AMOC*, American Modern Opera Company — the show will be presented live on the Paris Opera Play streaming platform (for $14) at 10:30 a.m. April 24. POP’s live broadcasts are typically available on demand for 30 days following transmission. play.operadeparis.fr
— Kevin Crust
Culture news and the SoCal scene
Pooya Mohseni, from left, Ava Lalezarzadeh, Tala Ashe and Marjan Neshat in “English” by Sanaz Toossi at the Wallis Annenberg Center for the Performing Arts.
(Joan Marcus)
With the U.S. at war with Iran, “This is an important moment to experience ‘English,’ Sanaz Toossi’s Pulitzer Prize-winning drama, set in an English-language classroom outside of Tehran in 2008,” writes Times theater critic Charles McNulty. “The play, now having its L.A. premiere at the Wallis Annenberg Center for the Performing Arts, reminds us of the lives — the hopes, the dreams, the sorrows — on the other side of the headlines.”
It’s been an anxious journey for Bob Baker Marionette Theater since 2019 when it was forced out of its downtown home of 55 years. After a lengthy search, the nonprofit signed a 10-year lease for a former cinema-turned-Korean Church in Highland Park. With that, however, came the accompanying stress of being renters in L.A. But good news has arrived: the beloved theater “has entered into an agreement to purchase its [current] home at the corner of York Boulevard and North Avenue 50,” reports Times features columnist Todd Martens.
The Samuel Oschin Air and Space Center is a major expansion of the California Science Center.
(Myung J. Chun/Los Angeles Times)
California Science Center has completed construction on its new $450-million Samuel Oschin Air & Space Center, which houses the Endeavor shuttle. Staff writer Malia Mendez headed onsite to get the scoop on the, “sleek 20-story, 200,000-square-foot new building rising over Exposition Park,” nearly doubling the museum’s exhibition space.
Architecture writer Sam Lubell put together a fascinating Q&A with Peter Zumthor in which the Geffen Galleries’ architect addresses a number of ongoing criticisms about his creation, including its loss of square-footage.
In case you missed it: Pop singer Pink has will host the 79th Tony Awards. “The award ceremony returns to New York City’s Radio City Music Hall on June 7, with nominations announced May 5,” writes Times reporting fellow Iris Kwok.
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It’s been a decade since the Mike Kelley Foundation for the Arts began awarding Infinite Expansion Grants to local contemporary arts organizations. The money has always mattered, but means even more during a time of great uncertainly about federal support for the arts (as I wrote in my newsletter intro). This year’s round of grantees was just announced, with nine L.A. contemporary arts groups sharing $400,000 in support. These groups, a news release says, “exemplify risk-taking, critical inquiry, and community engagement,” and include Art in the Park Community Cultural Programs; Color Compton; Cal State University, Northridge Foundation on behalf of CSUN Art Galleries; Barnsdall Art Park Foundation on behalf of Los Angeles Municipal Art Gallery (LAMAG); Los Angeles Performance Practice; Monday Evening Concerts; Clockshop; Institute of Contemporary Art, Los Angeles (ICA LA); and the Vincent Price Art Museum Foundation.
Big change is coming to the Soraya and California State University, Northridge. Artistic and Executive Director Thor Steingraber, is leaving his position after 12 years to become president and chief executive at Vivo Performing Arts in Boston. The Soraya has also announced Steingraber‘s replacement: Chad Hilligus. Hilligus arrives at CSUN from the Gallo Center for the Arts in Modesto where he served as chief executive and curated more than 100 multidisciplinary live performances.
And another leadership shakeup has come to the Los Angeles Master Chorale, which announced that its current president and chief executive, Scott Altman, will step down on June 5 to become executive director of Miami City Ballet. Master Chorale board member William Tully will serve as interim president while the group launches a national search for a replacement.
Hi, and welcome to another edition of Dodgers Dugout. My name is Houston Mitchell, and the Dodgers keep rolling. When will the first bad stretch of games begin?
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Last week, I asked you to show some support for Dodgers broadcaster Charley Steiner, who battled cancer and has been heard infrequently on broadcasts since 2024.
And boy did you respond. We received over 1,000 emails from people who wanted to pass along best wishes. Obviously, we can’t run all 1,000 emails, but here are a selected few.
John Peterson of Pleasant Hill: I had the great fortune of meeting Charley Steiner in Las Vegas in the early ‘90s. At the time, I was an assistant athletic director at UNLV, and our men’s basketball team had played in three Final Fours (1987, 1990, 1991), so tickets to home games were super scarce in those days. Charley was in town to call a boxing match for ESPN, so he and Rich Rose, former president of Caesars World Sports, were desperate enough to sit in my staff seats (at least they weren’t in the balcony!). I was in total awe of those two giants of the sports entertainment landscape. We even took a photo together. I was already a huge Charley Steiner fan, but after meeting him in person, I became a fanboy for life, so when he became a Dodger announcer, I was over the moon. I will always remember how gracious he was — like any other fan who wanted to see for himself what all the fuss was about the Runnin’ Rebels. Have cherished the memory ever since.
Tara Elkinton: My husband and I are huge Dodger fans and it’s been said I Bleed Blue. We always enjoyed listening to Charley and Rick. Charley’s commentary was always honest, interesting, personal and made you feel like you were at the game. We love and miss him.
Steven Booth: Charley, thank you for bringing peace, love and happiness into our lives. Hearing you call games is like having a coffee or beer with your friend at the ballpark. We love you and are praying for you.
Darin Axel-Adams of Pendleton, Ind.: I was a teenager when he started at ESPN and always enjoyed watching him on SportsCenter. I was a budding high school radio broadcaster and Charley was one of the ESPN anchors I attempted (not very successfully!) to mimic. I also thought he had some of the funniest “This is SportsCenter” promos … it was pretty obvious that he didn’t take himself or his profession too seriously. Living in the Midwest, I haven’t been able to enjoy much of Charley’s time with the Dodgers, but when I do, I am reminded again of what a truly gifted broadcaster he is!
Kim Haack: My father was a Dodger fan for more than 50 years. He is the reason I’m a Dodger fan today. He died three weeks before the Dodgers won the World Series in 2020. We often listened to the radio in the car and enjoyed listening to Charley and Mo. The radio call from Charley at Game 6 of the 2020 World Series when the Dodgers won was absolutely amazing. Of course, I was sobbing when they won, thinking of my father. It was a balm to hear Charley’s familiar voice and I think he spoke for all of us when he said, “In a year like no other, when joy has been so hard to come by, tonight tears of joy, let ‘em flow …” Charley’s call of that game is something I will never forget for the rest of my life. Whenever I see that clip and hear Charley’s voice, I tear up remembering how much I appreciated his familiar voice when facing a bittersweet time in my life.
Kirk Stitt: Charley, I’m a 76-year-old Dodger fan since 1958. I know you value your privacy, I get that. You need to know that thousands of Dodgers fans everywhere are thinking of you and wishing you the best and hoping to hear you.
Donald Golightly of Russell, Ky.: Being an old Brooklyn Dodger fan myself, I can relate to Charley. While I don’t feel the connection to the new Dodgers, in recent years I really enjoyed listening to Charley and Rick on the internet. So here’s wishing Charley the best now and always! Keep your head up and keep smiling!
Philip Nelson: The absolute best ESPN SportsCenter commercial is the Y2K commercial. Near the end Steiner is wearing his tie around his head like a bandana. War paint as if he is in The Lord of the Flies and says, “Follow me. Follow me to freedom!” (Note: You can watch that commercial here.)
Jim Carlisle: I have “followed you to freedom” for years and have greatly appreciated your integrity, personality, accuracy and humor on the air. It was so great to hear you on the air on opening day with Rick Monday. It was like having a reunion with an old friend. I’m hoping you’ll be able to return to the booth whenever you feel up to it. You have many fans who are hoping the same thing.
Stephen Knight: I’ve enjoyed your calls since, like, forever. As a cancer survivor myself with what I like to call unremission, the choice of how you deal with it is a personal one and is yours, and your family’s. And I just want to thank you for putting me inside the park for all of those Dodger games. You made me feel so alive, so connected with each call of every strike, ball, hit or miss.
Jimie Murray of Redondo Beach: One of my favorite memories was a totally random call about 10 years ago. A Dodgers runner slid into second base head first and got up after time was called to shake his belt and pants. Charley said, (Runner) is getting the dirt out of all the places dirt shouldn’t be.” It just made me laugh and now any time a player slides head first, I repeat it for my wife.
Tom Schulz: I’ve always been a Dodger fan, initially (and continuing so) because of Jackie Robinson. But I really became a fan in 2020 while living in Arkansas (now thankfully in California), and Charley and Rick helped me preserve my sanity during COVID. In the midst of that bizarre and unsettling year, Charley and Rick were voices of normalcy. Since then, I have caught at least part of every Dodgers radio broadcast. Charley and Rick became my friends.
Eliza Rubenstein: I’m a third-generation Cardinals fan living in SoCal, and it takes a LOT to get me to say nice things about the Dodgers. But I spent years listening to Dodger games on the radio in large part because I found Charley Steiner to be so completely and consistently delightful. His intelligence, his dry wit, his charming habit of saying “he’s been struck out” rather than “he struck out” … his rhythm and diction and humor have always spoken directly to my baseball-obsessed heart, and considering that I grew up with Jack Buck in my ear and high standards in my soul, that’s saying a lot.
Nancy Shattuck: Thank you for voicing joy and Dodger blue to this grateful fan.
Lydia Valenzuela: You’ve been missed. It was so nice to hear you on opening day. I’m sure I speak for all the fans when I say we can’t wait until you’re back again on the radio. I love to hear the banter between you and Rick. You both always bring a smile to my face. That warm soothing voice of yours is missed. Hope to hear from you again soon.
Howard Hancock: Thank you for being such a terrific part of my sports enjoyment for so many years. I greatly hope to hear you call many more innings in the future.
Scott Snyder: You have been the most underrated voice in my 55 years of loving baseball. Best of wishes to you.
Linda Seidman: We fans miss you and your calling the games so very much! Nobody calls a game like you, especially the home runs. The games just aren’t as good or as fun or as exciting without your calls, so please get back in the booth whenever you can!
Larry Oppenheim: What I love most about Charley Steiner is the sheer joy he brings to announcing the Dodgers. And his joy is contagious. A friend and I would text back and forth while listening to Dodgers games. I would say ‘did you hear what Charley just said’ and I would write it down in my text. Thankfully, I found these messages. Delving into my old text messages has brought back so many joyful memories. Charley, I miss you terribly.
Samuel Contreras of Chino Hills: Charley, we haven’t forgotten you at all. Dodger fans miss you and look forward to your return to the broadcast booth on a regular basis. My family’s life has been affected by multiple myeloma as my wife was diagnosed in October 2024. Thankfully, she’s doing well and I wish the same for you. Please know that Dodger broadcasts are not the same without you.
Keith Putirka: Charley Steiner is one of my all-time favorite baseball announcers and when I heard he was headed to L.A. to cover the Dodgers, I was thrilled. I grew up listening to Vin Scully and was clearly very spoiled. Until I moved to New York in the early 1990s, I had no idea how much of a gap there was between Vin and everyone else. But I still loved listening to baseball games, especially on ESPN, and I first heard Charley on the radio when he called the 1997 World Series on ESPN radio. He was terrific. He made the games come to life, conveying the environment, the stories and the excitement, in his own inimitable style. After that, I would always tune in to any ESPN-broadcast game so that I could hear Charley Steiner call the games. I’m 63 and I’ve been listening to and watching baseball for a very long time. Growing up in L.A. I heard a lot of great announcers, but my list for the top three announcers in baseball is an easy choice; it is in order, Vin Scully, Charley Steiner and Jon Miller. Thank you, Mr. Steiner, for making a great sport even greater to listen to.
Hoyt Adams: I used to work at the Genius Bar at the Apple Store in Santa Monica, and one day I helped Charley. He was so easygoing, funny and genuinely delighted to talk baseball with a stranger who was helping him with his computer.
When I told him the hard drive on his laptop was failing, he said in that wonderful radio voice, “So that’s your story and you’re sticking to it.” But he immediately lit up when we started talking baseball again. For one reason or another, I brought up how much I loved players like Jamey Carroll, who was getting a lot of time at shortstop that season. When I was driving home from work that night, I turned on the game, and Jamey Carroll just so happened to be having a killer night. Charley talked about him and even mentioned several beats from our conversation — it absolutely made my season.
Patrick Hennes of Corona: I have “worshipped” Vin Scully since I was one of millions of young fans that had my transistor radio under my pillow listening to my Dodgers, beginning in the early 1960s. No one could ever be better. But for this one night, I think Charley surpassed the GOAT. It’s always a good time to go back to this incredible game, when the Dodgers hit four straight home runs in the bottom of the ninth to tie San Diego. And to appreciate Charley Steiner as a fantastic announcer. (Note: You can watch and listen here.)
George Martin of Virginia: Listening to Charley Steiner call a game is like a warm blanket on a cold and rainy day. Whatever your troubles, hearing him brings security, relief and joy.
Jason Hashmi: The line, “we’ll find out together” is the classic Steiner phrase for me. Will Freeman’s ankle heal in time for the World Series and will he be a liability on the bases if he does return? “We’ll find out together.” I’ve adopted the phrase myself, and often for things unrelated to baseball. I always give a wink to Steiner in my mind when I do. I wish him health and peace.
Kathy Pratt: In 2014 my husband and I drove up from Tucson to see a spring training game. As we were walking into Camelback Ranch Stadium we looked up and there was Charley Steiner. My husband asked if he could take a picture of him and his wife. Charlie’s reply was, “I always love to have my picture taken with a beautiful woman!” Charley’s kindness was so appreciated and it made our day.
Candi Hersch: I miss hearing you on the radio. You are much younger than my father, but listening to the game with you is like hanging out with my dear departed dad. It’s comforting and you always have great insight.
Doug Weber of Carlsbad: For every note you receive, please know that there are thousands more who wish you all the best. Thank you for everything and we’ll look forward to hearing from you soon.
Bill Walsh of Oceanside: I miss Charley’s voice on the radio. While working I always had the Dodger radio broadcasts playing behind my desk. Charley and Rick became my daily companions. I miss you greatly Charley.
Andrew Mounts of Clovis: You’re part of this wonderful thing we call the Dodger family. Your enthusiasm and love for this crazy game and the Dodgers is greatly appreciated and very sorely missed. Never forget your voice paints a picture of this game that we love so much. You and Mo put us in the ballpark when we couldn’t be there. Thank you so very much. Get well Dodger friend and may God bless you and your family.
Geoff King of Bakersfield: The Dodgers have been blessed with the best radio and TV broadcast personalities ever, with Vin Scully at the top of the list. But Charley was a great addition to the Dodger broadcast crew years ago. His demeanor, stories and mannerisms calling the game were like Scully. We went several years without TV because of the Direct TV dispute so we would listen to the games on the radio. Charley was a lifesaver of Dodger baseball for us.
Rich Mortimer: My family and I have enjoyed your Dodger coverage for many years. I am 73 and have been a Dodger fan my whole life and Charley’s reporting has made our viewing and listening so much more enjoyable. Thank you Charley. Please know that there are thousands of Dodger fans, Charley Steiner fans, who are praying for your recovery.
John Sotos of Leesburg, Va.: I have always been a Charley Steiner fan, from his days at ESPN to his time broadcasting Dodgers games. That ESPN commercial — no, not “follow me to freedom!” — but the one in which he has to hide under his desk while an angry Evander Holyfield, having been told that Charley disparaged his boxing, prowls the ESPN spaces shouting “Charley Steiner! Come out and get your whoopin’!” Still one of my favorites. (Note: You can watch that ad here.)
Ohtani out of the batting lineup
Much concern was raised when Shohei Ohtani wasn’t in the hitting lineup Wednesday when he was the starting pitcher against the Mets. Nothing to worry about. Ohtani was hit in the right shoulder by a pitch Monday, and the Dodgers were just being cautious. As Maddie Lee reported:
“If it weren’t for the hit by pitch [Monday], he would’ve been DHing and pitching tonight,” Dave Roberts said before Wednesday’s game.
“Just feeling what gives him the best chance to stay loose during the outing, feel good,” Roberts said. “There’s still some soreness in there. When he’s hitting, there’s a component that he’s in the cage getting ready to hit, and if we can take that off his plate and just focus on one thing tonight, we felt — training staff, pitching coaches, myself — we just felt it was the best thing for him. So, once I told him, he completely understood.”
Charley Steiner on the 30th anniversary of his famous Carl Lewis call. Watch and listen here.
Until next time….
Have a comment or something you’d like to see in a future Dodgers newsletter? Email me at houston.mitchell@latimes.com. To get this newsletter in your inbox, click here.
Louis Tomlinson’s sisters have unfollowed Zayn Malik online after he punched Louis in the face during a vicious rowCredit: InstagramThe clash came as the former friends filmed a three-part road trip for NetflixCredit: Getty
Now, his sisters Phoebe and Lottie have unfollowed Zayn online – but still follow the other One Direction boys Harry Styles and Niall Horan.
In an interview with Livelaughlukepod hosted by@lukehamnett, Phoebe and her twin sister Daisy didn’t hold back on who their favourite One Direction member was.
They twins revealed: “Niall was always the loveliest. And even when we were little, he was just very nice and caring and always cute with us.
“Liam’s not with us anymore, but he was always that for me. Yeah, so calm. He was so sweet.
A source said: “Louis was stunned and in shock. Zayn was wearing rings so it cut his head. It happened outside in front of so many people.”
Sources told The Sun their astonishing on-set row was triggered by Zayn’s remark about Louis’ mum Johannah Deakin, who died of leukaemia in 2016.
A source revealed: “The lads were filming on location. Zayn started acting up and was mouthing off.
“It spiralled into a row then Zayn made a remark about Louis’ mum Johannah.
“Louis was stunned and in shock. As he went to move, Zayn then attacked him.
“Zayn punched him straight in the face.
“Because he was wearing rings it cut Louis’ head.
“He was pulled away and Louis was taken for medical treatment. He was left with a concussion. This happened outside in front of so many people. It was shocking.”
One Direction sold more than 70million records worldwide at the height of their fame.
Zayn Malik punched Louis in the face during a vicious rowCredit: Getty – ContributorPhoebe revealed her favourite One Direction member was NiallCredit: InstagramLouis and Zayn were spotted filming a “spontaneous adventure” road trip documentary for Netflix at a dive bar in TennesseeCredit: InstagramOne Direction sold more than 70million records worldwide at the height of their fameCredit: PANeither Louis nor Zayn have ever spoken about the documentary or why it endedCredit: Getty
Christopher Meloni has a message for Elliot Stabler fans: “Thank you … for sticking with him and welcoming him back.”
The “Law & Order: Organized Crime” star took to Instagram on Thursday to convey his appreciation for his character’s long run in the franchise after it was revealed that the NBC show had been canceled after five seasons.
“I just saw that they announced … ‘Organized Crime’ won’t be coming back,” Meloni said in his video post. “So I wanted to take this moment to say thank you to the fans who not only helped give the character of Elliot Stabler life and longevity, but for sticking with him and welcoming him back.”
Meloni’s run as the seasoned detective began in “Law & Order: Special Victims Unit,” which debuted in 1999. Stabler investigated New York’s “especially heinous” sex-based crimes with partner Olivia Benson (Mariska Hargitay) and other detectives in his unit for the show’s first 12 seasons. (The character was written off the show in advance of the Season 13 premiere because Meloni and NBC could not come to an agreement on a new contract.)
Stabler returned to “SVU” in 2021 for a crossover event that helped launch “Organized Crime,” a “Law & Order” spinoff focused on NYPD officers who track down “vicious and violent members of the underworld.” While the character has occasionally appeared in “SVU” episodes since his return, the end of “Organized Crime” likely means Meloni is done playing Stabler full time, at least for now. “Law & Order: SVU,” meanwhile, has been renewed for a 28th season.
“I had a great time playing him,” Meloni said in his Instagram message. “It was a great ride. Thank you. You helped give me a career that I never dreamed of. Nearly 17 odd years.”
There’s a couple somewhere in Los Angeles who unknowingly inspired the second season of “Beef.”
Lee Sung Jin, the creator of Netflix’s anthology drama that swirls in the consequences of class struggles, resentment and the absurdity of life’s curveballs, once again found himself inspired by a tense interaction playing out before him. A road rage incident at a stoplight in Hollywood a few years ago, triggered by Lee’s delayed response to a green light, became the catalyst for the first season. An early idea to write about a men’s doubles partnership gone awry lost its luster after “Challengers,” Luca Guadagnino’s drama about a love triangle between tennis pros, came out. But a heated argument coming from a house in Lee’s neighborhood became the next spark that lit a narrative fuse.
“I told the story to people — it caused a little stir in the neighborhood,” he says. “And what I found fascinating was the different reactions. When I told younger folks, I’d get, ‘Did you call the police? Should you go check on them again?’ Very concerned, having an ideological view on relationships. When I told the story to older friends and couples, they were just kind of like, ‘Who among us hasn’t?’ I thought the idea of juxtaposing these couples at different stages felt like ripe ground.”
The overheard in L.A. moment inspired the eight-episode season,
Carey Mulligan and Oscar Isaac square off with Charles Melton and Cailee Spaeny in Season 2 of “Beef.”
(Netflix)
The twist-filled, darkly comic thriller kicks off when a young couple, Ashley and Austin (Cailee Spaeny and Charles Melton), who work at a Montecito country club, witness the explosive altercation between their boss Josh (Oscar Isaac) and his wife, Lindsay (Carey Mulligan), an interior designer, the night before the club’s new Korean billionaire owner, Chairwoman Park (Youn Yuh-jung), takes over. She has her own mess to tend to involving her husband (Song Kang-ho), a doctor whose health is affecting his work on patients. The calamities each couple faces spin out into a web of favors and coercion in this tale of broken systems and characters going to great lengths to get what they want.
“The idea of cycles felt interesting,” he says. “A lot of shows and movies cover marriage through the lens of one couple, you don’t really see that multigenerational juxtaposition.”
Speaking from his office on the Raleigh Studios lot in Hollywood, Lee discussed the season’s Montecito setting, the financial anxiety that drives the story and the four-legged breakout star of the show. These are edited excerpts from the conversation, which includes many spoilers.
Why did you want to set this season in Montecito?
Just writing what I know. My goddaughters — their parents are my best friends. They live in Montecito. The dad is my oldest friend in LA. He has a membership to Montecito Club, which is where we shot the exterior of our show. I was house-sitting for him during the writing of all this. He let me use his membership. I remember when he told me about the membership, I was like, “You pay how much? That’s insane, dude.” But then you start using the membership. This idea of hedonic adaptation — how humans so quickly adapt to this new comfort, this new stimulus — it felt like an interesting thing. I was observing how all the members seemed to be mostly boomers and Silent Gen; then all the workers were Gen Z and millennial. I thought: What a perfect metaphor for society right now. No matter how hard the Gen Z and millennials work, they’re never going to get to be members of this club because, as Austin says, “everyone grabbed the bag before they could.” That’s what made me want to set it at a Montecito country club.
Oscar Isaac as Josh Martin and Carey Mulligan as Lindsay Crane-Martin. Cailee Spaeny as Ashley Miller and Charles Melton as Austin Davis. The second season of “Beef,” follows the two California couples from different socioeconomic backgrounds — though both are struggling — as they spiral into a high-stakes feud.(Netflix)
That feeling of survival and resentment and entitlement really looms over this season. There’s speeches about love, but also capitalism. The anxiety about finances is so prevalent right now.
We certainly didn’t set out to make a season about capitalism. But if you’re constantly trying to chase truth as writers, I don’t know how you say anything in the modern era, in 2026, and not have capitalism be a huge variable because it permeates every aspect of life. It’s like going to get gas. Gas is almost $7 right now. You have to fill your tank and there goes $140? That’s crazy. And relationships face so much stress — everyone is being hit by all these curveballs and trying to keep your head above water — how can you enjoy each other?
It became very obvious to us that if you’re going to write a season about marriage and love to these two couples, financial implications have to be a big factor. There’s a lot of talk about the disappearance of the American dream right now. Birth rates are declining. No one’s owning homes anymore. But then you also see headlines about everyone’s scamming. CVS has everything locked down. You’re like, “Yeah, no wonder.” Everything’s connected. We wanted to really show how that survival instinct, the desperation, is starting to come for everyone. I don’t think it’s going to get easier, especially with AI moving on the horizon, and with leaders who refuse to put checks and balances in place.
Part of Ashley’s story is using the video of the fight between Josh and Lindsay as blackmail to get health insurance so she can afford treatment for her endometriosis. And that moment where she’s waiting in the ER for hours and it’s not until she collapses that they realize she needs emergency surgery — her big concern is whether she has to pay the deductible.
I wrote that episode in a literal day because it was based on an experience I had in an ER with my daughter’s mother. She had this illness fall upon her. We spent 12 hours at the ER and, the whole time, I had my Notes app out and was just writing down everything I saw. Almost everything in that scene is stuff that happened in real life. Our healthcare system is absolutely insane. It’s, again, unhinged capitalism and … felt like it really unlocked so much of the season.
There’s a moment where Josh has to sell some of his prized possessions to pay a gambling debt. Have you been there, needing to sell things to cover your financial obligations?
I’ve been there multiple times. I obviously struggled to find my way for a long time, even after becoming a writer. If you’re in a writing partnership, in a staff job on a show — first of all, this is what the guild has been fighting, trying to get these longer-term employment windows because these jobs sometimes are only … maybe eight to 12 weeks. You’re splitting a staff salary in two [if you’re in a partnership], and you probably haven’t qualified for health insurance by the end of that run. Sure, you’re a working writer, but I remember [by the time I landed at] “Always Sunny in Philadelphia,” my first real writing job, I had amassed so much debt, half of which were from parking tickets. I just didn’t have the money to pay these tickets, and so I just let them run rampant. So, yeah, I’ve been there. There’s this one guitar that I loved; it was the first guitar I bought with my own money after college — it was a Fender Telecaster. I think I bought it for $1,200. I ended up selling it for $300. I’ve sold collectibles. I’ve sold anything that had gold in it. I’ve scrapped to just find anything because you’re desperate.
Song Kang-ho as Dr. Kim, Youn Yuh-jung as Chairwoman Park in “Beef.” Recalling the opportunity to direct the pair, Lee says: “It just makes me feel like a little kid again. It stops feeling like work and starts feeling like play.”
(Netflix)
You directed this season. Is there a moment that stands out with this cast?
A peak of my career that I think about daily is the moment in Korea where we were shooting at Amorepacific. It’s one of the most beautiful buildings in Seoul. I’m shooting the scene between the great Youn Yuh-jung and the great Song Kang-ho — two of not only my favorite Korean actors, but favorite actors period. They have never been in a scene together in any Korean film ever. They’ve been in a movie together, but never acted together. And here we are making Korean history by having them shoot that breakfast scene and, while I’m in the middle of shooting that scene, director Bong Joon Ho surprises us on set. He comes over laughing, pulls up to me, looks at my monitor, gives me stage fright, then elbows me and says, “You sure you want to frame it like that?” He was teasing. Then we started shooting the scene, it’s all in Korean, and I look back at video village and Bong’s just doubled over in laughter. He is just cracking up. Younger me, and present me, is looking around like: Here I am in Korea, in this building I’ve always wanted to shoot in, two of the greatest living actors and the greatest living director — what is happening? What a crazy sentence to say. It just makes me feel like a little kid again. It stops feeling like work and starts feeling like play.
How did you want race and identity to figure into this season, particularly through Austin?
Charles was the first piece of the whole thing. After Season 1, I got to go to Korea multiple times. I shot a music video for one of the members of BTS. I was experiencing Austin’s journey of being courted by this level of Korea that I’d never been exposed to before and feeling warm and allured by it — I’m having dinners with K-pop idols, like what is happening? So, I knew I wanted to have that element of elite Korea involved. The writers and I discussed a lot whether it should be a Korean American that’s being pulled. We had covered a lot of Korean American ground in Season 1, [but] one of the things we didn’t get to cover is the half-Korean experience. Several of the writers on staff are either half-Asian or half-Korean. We don’t want to repeat things, but let’s do explore a half-Korean character who is about to have a child suddenly get this pull toward Korea.
Carey Mulligan as Lindsay acting alongside Jones, the dog who plays Burberry, in “Beef.” “Jones is the best dog actor I’ve ever worked with,” Lee says. “A24 is making Burberry merch. There’s going to be a Burberry shirt.”
(Netflix)
There are some pretty gross, petty and violent acts of revenge. One is Ashley swirling her period blood in Josh and Lindsay’s pitcher of orange juice. The other takes place during a flight — Lindsay wiping gunk from the toilet seat and transferring it to the rim of the cup Ashley drinks from. Please explain how you arrived at these acts. Were there any left on the cutting room floor?
Episode 4 was pouring out of me. And I remember I got to the point where Ashley snooping through the house [where Lindsay and Josh live]. Initially, I had her scratching up the trophy. She opened Josh’s pomade and blew a snot booger into it. I was thinking of juvenile things. But I had the thought of her going to the kitchen and having the thing that happened to her being the expression of her revenge. I remember I was so nervous to show the [writers’] room. The way I wrote it, I had her crouching over the pitcher and Anna Moench, as the main female writer on the show, was like, “Sonny, I don’t think you know this works.” So, we revised it. That’s how the OJ one happened. With Episode 7 [and the toilet seat], we wanted to have a bodily episode on a plane, and there’s just such limited ways to get revenge on a plane. But given the OJ drink — there’s so many mirrors between the two couples, we thought it’d be fun to mirror that with a drink from Lindsay to Ashley. The only place to do that on a plane is bathroom. We shot it on stage with a fake toilet and Carey was almost vomiting. She came to me after that scene, and she goes, “Sonny, in all my years in this business, that is the most vile, disgusting thing I’ve ever had to do.”
The final moments of the finale jumps eight years. Did you always know you wanted a time jump? And did you always know Ashley and Austin were going to repeat the cycle?
The Ashley and Austin side, I knew the inverse graph for both characters would be very satisfying — to me, at least. I didn’t know whether that happened in a time jump or not. That’s something we discovered later. There was great debate in the room. I had a couple writers plead with me, “Why aren’t you ending with the kiss? It’s so sweet. It’s so good. I feel so good at the kiss. Can we just end it at the kiss?” I took it very seriously, but then it felt very similar to Season 1’s ending. Taking two people who start apart and they finally discover that connection but too late. I didn’t want to leave with the same feeling. How we can make it different is the “what happens next?” Life comes at you fast. He’s [Josh] still in prison. She’s [Lindsay] got to move on. Once I started heading down that thought experiment, I’m like, “Whoa, you could do a whole coda showing the literal theme of the show, the cycles, that’s where we can show Ashley and Austin becoming Josh and Lindsay.” That’s where we show, even though they found a connection, it’s lost between Josh and Lindsay — even if they’re still hanging on to the past a little bit. You show Troy and Ava still together [laughs] — they have it all figured out. Then you show the billionaire who, even with all the money in the world, is crying at the graveside of her first love, filled with regret.
We didn’t see where Eunice (Seoyeon Jang)ends up.
I wanted to leave it open. I’m very curious what people think. She really put her neck out there. Austin burned her bad. I don’t know where Eunice is at but it’s probably not good.
Charles Melton as Austin Davis in “Beef.”
(Netflix)
We can’t talk about “Beef” without discussing the needle drops. When you have Austin listening to Billie Eilish’s “What Was I Made For?” it was over for me.
The needle drops are usually pre-picked even before we shoot. The source music that’s playing diegetically, usually we discover in the edit. Before, as scripted, it had him scrolling Instagram and it was [the song playing on] his Instagram feed — you know how those Reels have music overlayed on a POV? It just wasn’t that funny to me in the edit. He’s so down and out and I wanted to find different source music in there. One day, I told my editor, “Can you rip ‘What Was I Made For?’ And can you just temporarily do it where, as she opens the door, he’s like, pressing the volume up, being like ‘sh— … sh— …’ [intending to make the volume go down]?” Our AE [assistant editor] did the ADR temporarily of the “sh—, sh—,” filmed it on my phone and I texted it to Finneas [O’Connell, the show’s composer, who is Eilish’s brother and collaborator] being like, “Hey, is it cool if we do this?” And he was dying laughing. [O’Connell also makes a cameo in the season.]
Ahead of Season 1, you gifted the writers “The Sopranos Sessions” and also assembled a Letterboxd list of films that served as reference points. What guidance did you provide for Season 2?
I sent another Letterboxd playlist. For inspo, we got “Handmaiden,” “Phantom Thread,” “Force Majeure,” “Eyes Wide Shut,” “The Informant.” For some reason, I have “Margaret” on there, the [Kenneth] Lonergan film. I also had “Michael Clayton,” “Who’s Afraid of Virginia Woolf?” “Burn After Reading,” and lastly, it’s a deep cut, there’s this movie called “Like Crazy,” starring Felicity Jones and Anton Yelchin.
Also, can we take a moment for Burberry’s acting?
Oh my god, Jones! Jones is the best dog actor I’ve ever worked with. He would hit his mark. He would listen. He would look at people when he’s supposed to be looking. It was his first time acting. Crushed it. A24 is making Burberry merch. There’s going to be a Burberry shirt.
JACK Fincham was spotted leaving casting for a new reality TV show just days after opening up about his rebab and homelessness.
The former Love Island star, 34, flashed a big smile as he emerged from a studio in Soho wearing a retro tracksuit.
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Jack Fincham was spotted leaving casting for a new reality TV showCredit: w8mediaThe Love Island star opened up about being homeless and his stint in rehabCredit: w8mediaJack relapsed into drinking and drugs and had just £20 to his nameCredit: w8media
Jack looked pleased with himself after he met with producers for a big project for a Channel 5 show.
He sported a retro look in an 1980s Sergio Tacchini tracksuit which caught the attention of a few passer by who stopped to take selfies with Jack.
Jack added a pair of aviator sunglasses to his look and black trainers.
He looked in a high spirits after spending the afternoon with bosses for a secret new telly appearance, which is yet to be announced.
Jack opened up on life post rehab as he took to Instagram.
He admitted that he’s currently homeless and is not sure where to go moving forward as there’s nothing “much left” for him in England.
He said: “In case anyone is wondering where I am, I’m staying a hotel with the dog. I’m just gonna reset and work out what to do and where I wanna live.
“Got my beautiful dog Elvis, without him I probably wouldn’t even be here to be honest.”
Jack has owned his black Cane Corso dog, named Elvis, since at least September 2022, when the dog was involved in a biting incident.
Despite legal trouble regarding the dog being “dangerously out of control” in 2022 and June 2024, Jack has expressed his attachment to the pet.
He then spent two months receiving £32k of treatment at Rainford Hall, MerseysideCredit: Louis WoodJack credited his pet dog Elvis for helping him get through his darkest timesCredit: Louis Wood
The second incident that occurred in June 2024 led to a suspended sentence for Jack in 2025.
Meanwhile, Jack’s relationship with his family hasn’t been the same since he returned home.
Jack added: “One thing they told me in rehab and it’s true, you’re not gonna walk out of rehab to a red carpet rolled out for you because it’s stuff you should have been doing anyway.”
He also thanked the staff from his rehab, saying “that level of kindness I wasn’t used to for a while, I found it quite alien.”
Jack remains optimistic and hopes to get back into TV, saying: “I’m gonna do my acting and get back into TV work, I’m gonna do all the things I said I was gonna do.”
Jack previously did a stint in rehab back in 2021, but relapsed before Christmas last year.
He spoke of the spiral back in January, he explained: “Since then I have done drugs, I have done laughing gas.
“I have been so drunk that I’ve kissed a woman over Christmas and don’t even remember doing it. I’m embarrassed, mortified. I feel like an idiot.
“I am a 33-year-old man. I should be settled down, married. Instead I need help.”
Jack first shot to fame on Love Island, where he won over the nation with his charm and went on to win the series.
Back when late-night TV sets were still the primary route for a comedian to reach a mainstream audience, Ari Shaffir found a different way to make his mark. It started with creating a show where comics could tell completely uncensored, unhinged real-life stories. What started as a live show grew into “This Is Not Happening” on Comedy Central, and later, into “Ari Shaffir’s Renamed Storytelling Show,” building a loyal fan base along the way, with clips still making the rounds 15 years later.
Supporting shows leads to new opportunities, and while Shaffir’s latest chapter may close the book on his storytelling run, his final offering is certainly a strong one. Aptly titled “The End,” and taped live at the Box NYC, this seven-part series will be released and available for purchase through YMH Studios on Thursday , and it’s jam-packed with comedians that quite literally might kill you. Especially one.
The lineup is too stacked to leave anyone out, so buckle up for wild, unforgettable stories from Shaffir, Tom Segura, Ali Siddiq, Nate Bargatze, Tony Hinchcliffe, Ms. Pat, Shane Gillis, Sam Tallent, Steph Tolev, Jim Breuer, Robert Kelly, Chris Distefano, Big Jay Oakerson, Jordan Jensen, Joe List, Steve Simeone, Mark Normand, Duncan Trussell, Roy Wood Jr., Jessa Reed, Sarah Tollemache, Dan Soder and Colum Tyrrell.
Dan Soder, left, and Shane Gillis appear in Chapter 6.
(Troy Conrad)
Everyone’s stories are so next–level, and I almost choke-laughed and died during Ms. Pat’s. It also looks incredible, tell me everything about the room.
Ari Shaffir: The room is called the Box, and it’s this burlesque place. Or maybe you call it modern burlesque because it’s not just those feathers. I really don’t know, but I feel like burlesque has evolved and that’s what this place is. It’s kinda crazy, and it’s definitely a night out. Dave Chappelle used to have these “comedian balls,” which were so cool because he would just invite comics. Like, all of the comics. He’d invite everyone out and pretty much without saying it was like, talk to each other and trade ideas about the industry. It was just so cool in there, and we scouted a bunch of places, but the look of this place, it was just right.
It makes so much sense that the room is called the Box now, visually.
What you saw wasn’t even color-corrected, so I appreciate it. I went to test the sound because we put the stage in a different place. It moves around and we just thought it looked better with all the red, but I wanted to hear what the sound was like when they were not on the stage too. They were like, oh the emcee will have a cordless as they move around, and I watched it, and it was great. But man, I was so f— up on molly that I was grinding my teeth so hard that I cracked a molar, so yeah, that place rules!
Ali Siddiq appears in Chapter 7.
(Troy Conrad)
Well, the room took my breath away, kinda like the lord took your solid tooth away. It’ll make sense to fans of your podcast You Be Trippin’ that ‘The End’ is produced by YMH Studios, but how did this series even end up happening?
Tom [Segura] and I have a relationship, we were openers for Rogan together, and we were kinda broke together, so we just talk about things. He’s so funny and prolific and I like talking things out with him. I talked to him about doing my special “Jew” too, but they were busy with the show, and you know back then, people weren’t jumping on getting into YouTube specials. So I had a chance to think about doing this show over the pandemic and finally was like, alright, let’s start working on this, and they said, “Come talk to us about it because we can help you now.” They have a great infrastructure there, and a streaming service too, so it’s like they already have everything built in, and Tom was like, “Dude, this show meant a lot to me, and we should make it again.” It’s not going to be a huge moneymaker for Tom, you know, it’s like pro bono work for lawyers, so it’s really cool of them. Another cool thing about this is the way the staff kicked in too. They’re all super talented, and kind of wasting their time on podcasts because they’re more talented than that, but it’s cool to work with a family and I liked the way they really took ownership of the work they did.
They’re a well-oiled machine of fun over there! With so many wild stories in the mix, is there anyone you are especially excited for people to see?
I’m excited to show some people new people. Even with the live shows, it’s always like, let me show you two headliners you know, a mid-level guy you’ll know and let me show you two people that you just don’t know. That’s what stand-up is in New York, L.A. and even Austin. There are some killers no one has ever heard of, and they’re destroyers. So I’m excited to show people Colum Tyrrell because he rules, he’s so funny, and his story is great. Tony Hinchcliffe’s story was really good, he’s just a monster storyteller in every sense of the word now. I just rewatched all of these a few times in a row for sound, and Roy Wood Jr. is so smooth it makes me feel like I’m needy and insecure on the stage. He’s just so calm and so good you’re like, “Damn, I’ve never been this smooth.” Sam Tallent is going to be one people talk about, Jim Breuer is so great, Steph Tolev crushed it with something fun and interesting and wow, this is really tough. Every time I’m doing a promo for this show it’s like, but what about this person, and this one?
It was also nice to see past killers on, definitely love to see the classics doing something new.
Yeah, having Big Jay [Oakerson] back was a key because he’s on the Mount Rushmore of this show, and we have three of those on “The End.” Jay, Ms. Pat and Ali Siddiq. We couldn’t get Sean Patton out because he was shooting something, and Bert [Kreischer] had a movie or something with his daughter moving or maybe it was a graduation…
Ms. Pat, from left, Ari Shaffir, Dan Soder, Duncan Trussell, Shane Gillis and Colum Tyrrell.
(Troy Conrad)
What a funny world, though, if Bert Kreischer paid to have a graduation moved so he could do your show.
Yes! Just pay the school to move the graduation for a week! Don’t you make like $50 million a year? It’s so funny how it used to be crazy to think of someone making $100 million and now there are like 10 comics who make at least half of that. And without doing press! It is really cool, though, I haven’t paid for lunch in so long. And Ali Siddiq has become so huge, he’s like the success story of this storytelling show in its entirety. Everyone got helped a little bit, but Ali kind of broke off of these stories and to see him so successful and still so smooth, it’s really cool. You can’t be “niche” doing arenas, and there’s this independent boom that’s not going to wait for anybody. So it’s another big win for us, it’s our turn in the whole story of this.
So then is this really “The End” or could it be a new start?
There is a very, very small percentage of a chance that it comes back. The plan is that this is it, and that’s why we called it that. I’m just glad you liked the show. I’m glad you liked the look and the intimacy, and that you picked up on all of that. It feels so long ago that you forget, but that’s so awesome to hear because it was a lot of fun. I think comedy fans that knew about the show before will want to see more of it because it’s just this funny televised storytelling, and they missed it. And everything turns over every five years anyway, so new people can now be like, actual stories being told like this in front of an audience? What is this cool new thing?
Netflix fans have been raving about a lesser-known comedy crime show starring, as they beg for a second series of the ‘cosy’ White House murder mystery to be made
Alice Sjoberg Social News Reporter
14:41, 16 Apr 2026
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With an enormous number of TV programmes and films accessible on streaming platforms, it can be overwhelming to settle on what to watch. As a result, many people frequently turn to recommendations from friends, family, or even strangers online to determine their next viewing choice. This was precisely the situation for one Reddit user, who headed to the Netflix forum seeking a suggestion for their next watch, but stipulated it had to be a bingeable programme with only one series.
“Best Series on Netflix (Only One Season) Like a Must Watch Binging Series,” they wrote in the headline of the post.
They continued: “Please drop the best one season series down below. I mean like I’d want to watch it all in one sitting because of how good it is. Like suspenseful, action, cliff-hangers. Maybe a really sad part where I get very attached to the characters! Anything!!”
Fellow Netflix enthusiasts promptly descended on the comments section to share their top picks across a variety of genres. However, one programme stood out from the crowd, as fans lauded its characters and overall storyline.
Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan.
This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows like Stranger Things and The Last of Us.
“Really liked the comedy The Residence,” one person shared. To this, someone else added: “So pi**ed they aren’t doing more. It was gold!
“Such a fun show,” another person said, while another wrote: “I freaking LOVED this one. So much. Great rec.”
The Residence is an American mystery comedy drama TV series exclusive to Netflix. The debut and only series launched in 2025, and centres on an eccentric detective named Cordelia Cupp as she attempts to solve a murder that took place in the White House during a state dinner for the Australian Prime Minister.
As the investigation unfolds, interpersonal tensions amongst the residence’s staff come to light, with both personnel and dinner guests emerging as potential suspects.
The programme has earned an impressive 84% score on Rotten Tomatoes, alongside a rating of 7.7 out of 10 on IMDb. Viewers frequently rave about the endearing central character and the captivating storyline.
“A fantastic “cosy”-style mystery: light, wickedly clever, and keeps you guessing to the very hand,” one viewer wrote in their IMDb review.
They went on to say: “Uzo Aduba as Cordelia Cup is a great lead. The supporting cast has additional strong characters as well, though some of these portrayals are less even. As much as I enjoyed the first season and wish for more, I find it hard to imagine how a second season could live-up to the first: further developing the Cup character (so that she is not just a repetition of the Cup we already know) will be hard.”
Another viewer remarked: “For those who find this series too long consider this, the plot, the mystery and all the plot twists are not nearly as important as the comedy and the wonderful performances in this fun story. It was smart without being pedantic, funny without being crude or silly, and engaging without pandering.”
Over the years, there’s been tears, laughter and heartwarming stories as each family has a touching tale on why they need the team’s help.
This week (April 14), fans tuned in for the sixth episode of the BBC show with the Mann-Monro family.
However, the instalment marked the last episode in the series, with Dilly Carter issuing an update on Sort Your Life Out’s future. Taking to Instagram, she shared a photo of the team together, writing: “AND THAT’S A WRAP. Series 6 of @sortyourlifeout is over and out.
“A hugely emotional last episode going out with a bang. This series has been unbelievable and we are so grateful to every family who has taken part and opened up their homes to us and let us in.
“This show relies on YOU. And we are so beyond grateful we get to help transform such amazing families’ lives forever.”
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She then went on to praise the team on the show behind the scenes who work ‘tirelessly’ to ensure everything runs smoothly.
Wrapping up her caption, Dilly confirmed Sort Your Life Out will be back once again in the future. She continued: “But for now, it’s time to start getting ready for the next series. Will we be coming to your road? Keep an eye out.
“Thank you all from the bottom of our hearts, and to my gang, my TV family, I love you all and can’t wait to see you in 2 weeks.”
It wasn’t long before people commented on the post, with many praising the series so far. One person said: “Great show, can’t wait for the next series.”
Another added: “Miss you all until next time.” Someone else commented: “So sad it’s finished, best telly ever xxx”
One fan wrote: “Love the programme and love the team!! Please come back soon.” As another shared: “What an amazing series, absolutely loved it – emotional but so uplifting.”
Sort Your Life Out is available to watch on BBC iPlayer.
CBS hasn’t given up on producing an original late-night show — despite easing Stephen Colbert out the door.
“The Late Show With Stephen Colbert” ends next month after CBS canceled the popular program, citing financial pressures. The network’s top two executives told reporters during a press briefing in Hollywood on Wednesday that the network still wants to be a player in the 11:35 p.m. hour.
CBS struck a one-year deal with media mogul Byron Allen to bring his “Comics Unleashed” syndicated show to the prominent time slot once occupied by David Letterman until Colbert took the mantle a decade ago. President Trump, in social media posts, has taken credit for getting Colbert, whom he dislikes, tossed off the air.
Colbert’s final broadcast will be May 21.
Beyond the stop-gap arrangement with Allen, network executives acknowledged they don’t have a long-term plan for the late-night hours — but development executives are working on it.
“We are still going to develop other ideas, other concepts,” said George Cheeks, whose role as chair of TV Media at Paramount includes running CBS. He added that Allen’s programs, including “Funny You Should Ask” at 12:35 a.m., will allow the company to immediately turn a small profit — an increasingly critical mandate as CBS prepares to absorb the high cost of keeping NFL football on its schedule.
“If we are going to go back into that space, we have to go back into that space with a different financial model,” Cheeks said, in contrast to a show set in a theater with a band, live audience and large group of writers and support staff to stage a nightly show with numerous guests.
“I grew up in late night — I believe in late night,” Cheeks said. “The reality is that the reach is still there, but the reach is primarily on YouTube.”
It’s become increasingly difficult for CBS or other major networks to make money on a topical show when the majority of the audience, particularly younger viewers, watch snippets on YouTube.
CBS Entertainment President Amy Reisenbach acknowledged the network wasn’t actively developing a replacement late-night show; instead the effort was in the brainstorming stage. “They’re just conversations at this point,” she said.
CBS can make money on “Comics Unleashed” because Allen pays CBS for the hours and covers production costs. In return, Allen’s company receives most of the commercial spots in the programs, which his company can sell to advertisers to defray its costs.
Cheeks dismissed concerns that Allen’s programs, which have been in syndication for years, would not be viewed as “CBS-level quality.” He called Allen “a great partner.”
“Comics Unleashed” has run at 12:35 a.m., but CBS is moving it one hour earlier on the schedule, where it will have more exposure and benefit from running immediately after TV stations’ local late news. “Funny You Should Ask” will air in the 12:35 a.m. time slot.
“I actually think the shows are strong. … They have a point of view,” Cheeks said of Allen’s programs. “It’s a change in format … a change from what people are used to.”
It’s been a rough year for CBS.
The last 12 months have included a nasty spat with Trump over a “60 Minutes” segment with Kamala Harris, which Paramount ended by paying the president $16 million. Then came the tempest over Colbert’s cancellation just days after he called the Trump settlement “a big fat bribe.”
The network got new owners — David Ellison and Skydance Media — in August and Ellison promptly installed a new boss at CBS News, Bari Weiss, who has made talent moves to shake up the division.
Because of last year’s Paramount change in ownership, the NFL has the ability to reopen the network’s TV license deal, which is expected to increase the cost of retaining the NFL by as much as $1 billion a year, potentially cutting into CBS’ programming budget.
“Capital allocation is always a major consideration,” Cheeks said. “But I would harken back to something that David Ellison said recently, which was content investment was mission critical to the future of this company.”
CBS unveiled its new fall schedule Wednesday, announcing that fan-favorite LL Cool J was returning to star in a new show, “NCIS: New York,” with Scott Caan, and the introduction of a new legal drama, “Cupertino,” from hit-making executive producers Robert and Michelle King. CBS will serve up two other new shows, including a comedic drama, “Einstein,” and a half-hour vampire family comedy, “Eternally Yours.”
Cheeks also acknowledged that, for the first time in 18 years, CBS would not end the television season in first place in viewers. This year, that honor goes to NBC, which broadcast a blockbuster February with the Super Bowl and the Winter Olympics.
BBC bosses are poised to offer Sara Cox the Radio 2 Breakfast Show job after Scott Mills’s sacking, insiders told The Sun.
Sources said veteran broadcaster Sara, 51, was seen as the “heir apparent” for the role — which is widely regarded as the best job in radio.
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Sara Cox is being lined up by BBC bosses as the frontrunner to replace sacked Scott Mills on the Radio 2 Breakfast showCredit: GettyA downcast Scott, who hosted the show since January 2025, until being sacked last month, was seen out for the first time todayCredit: Darren FletcherInsiders said they expected Sara, who joined the BBC in 1999 as a Radio 1 DJ, to be offered the job this summerCredit: Getty
Mills, who had hosted the show since January 2025, was dismissed last month.
“Since Scott left, she has been the name which has been discussed as the best candidate and everyone at Radio 2 is saying she will be offered it.
“Sara has made a huge success of her drivetime slot and is hugely popular at the station, plus she’s hosted the Breakfast Show as a stand-in before.
“The BBC won’t be rushing this through as they want the dust to settle. But Sara is the one in line and, as far as her colleagues are concerned, she is the best person for the job.”
Sara, who began a TV career in the 90s, featured on Radio 2 as a cover host for various shows in 2012 while still working for Radio 1.
The mum-of-three landed her first permanent Radio 2 show, hosting Sounds of the 80s on Saturday nights, the following year.
She went on to replace Simon Mayo as the drivetime presenter in 2019 and stood in on the Breakfast Show in 2025.
Families, in their various flavors, have been essential to television since that light first flickered on. They may be ideal or nightmarish, or both, or in between, and we take to them — be they Waltons or Addamses or Simpsons — according to our own experience or desires, having known families of our own or wanted something other than what we had.
In “Schitt’s Creek,” Dan Levy co-created — with his father, Eugene, yet — one of the medium’s greatest family comedies. It was a show that grew over time from a basic premise about rich people who lose their money and are forced to live at close quarters in adjoining motel rooms to a paean to love, understanding and acceptance. It swept the comedy categories at the 2020 Emmys, including acting awards for both Levys, Catherine O’Hara and Annie Murphy and writing and directing trophies for Dan.
“To family” are in fact the last words spoken in the first season of “Bad Mistakes,” Levy’s noisy, funny new show, co-created with Rachel Sennott and now streaming on Netflix — though given what precedes it, it’s less a blessing than a curse. Levy plays Nicky, a pastor at a sparsely attended suburban New Jersey church of no evident denomination. He’s out as gay, but supposedly celibate; that he has a boyfriend, Tareq (Jacob Gutierrez), is known only to Tareq; this, of course, creates a secret, which will create pressure, which will create comedy.
Sister Morgan (Taylor Ortega) is an elementary school teacher, a job that doesn’t quite jibe with everything else we see about her — it’s barely represented, anyway, summer having come — and a very longtime boyfriend, Max (Jack Innanen), who has decided that now is the moment to propose. She had once tried acting in New York, which means that she lived a wilder life once and is something of an improviser. Their mother, Linda (Laurie Metcalf), who owns a hardware store, is running for mayor and the campaign is being managed by extra daughter Natalie (Abby Quinn).
The series begins as their grandmother is dying, and at Linda’s command, they rush out to buy her a present — Linda is trying to squeeze in an “early birthday” before her mother passes. And because she is that sort of person, Morgan shoplifts what she imagines is a cheap necklace from a convenience store. (Attendant Yusuf, played by Boran Kuzum, will have much to do.) The necklace isn’t cheap, it turns out, for no particularly good reason, and the convenience store isn’t just a convenience store, but a kind of waystation for stolen goods run by local Russian mobsters. As a result, Morgan and Nicky find themselves forced to run errands for them, under threat of death, or worse.
The show gets very complicated on its way to a circular semi-conclusion; there is a lot going on, with Linda’s mayoral ambitions and various relationship issues. (Elizabeth Perkins plays Max’s mother, bridging storylines.) But it’s a good ride, and classic in its way; searching the phrase “get mixed up with gangsters” brings forth a host of old comedies. Through the dodgiest situations, brother and sister do not hesitate to argue. Nicky would love to be anywhere else, while Morgan finds it invigorating. Though it is all improbable, the parts do mesh neatly; they make television sense.
Finally, the series rests on the shoulders of the three principal players, who are just a pleasure to watch; the camera obliges by moving in close. Levy brings a soft-spoken breathlessness you may recognize from his David Rose on “Schitt’s”; his softly muttered “OK,” which might just mean “stop talking,” is almost a trademark. Ortega brings a kind of poignance to her reborn wild child, while Metcalf plays Linda with a kind of small-town operatic intensity, eyes popped and pronunciation precise — she’s like a country cousin to O’Hara’s Moira Rose — as if she were onstage pitching to the back row of the theater.
Michelle Pfeiffer and Elle Fanning in “Margo’s Got Money Troubles,” premiering April 15, 2026 on Apple TV.
(Allyson Riggs/Courtesy of Apple)
In “Margo’s Got Money Problems, premiering Wednesday on Apple TV, Elle Fanning plays the title character, a college student flattered into bed by her married-with-children writing professor, Mark (Michael Angarano), despite my shouting at the screen for her not to do it. Soon she is pregnant, and soon after that the essentially single mother of baby Bodhi, unable to find work or the time to write. (As the heroine, we assume her talent.)
Presumably in search of some normalcy, Margo’s mother, Shyanne (Michelle Pfeiffer), a former good time girl — but still sparkly — has become engaged to Kenny (Greg Kinnear), Christian, square and sincere; the Ralph Bellamy of the piece, you are not asked to take him quite seriously (though Kinnear plays him straight). Shyanne’s ex-husband is Jinx, a former professional wrestler, played by Nick Offerman with the low-key affect of Ron Swanson, dialed down even further; depression and drug addiction will do that to you. Fresh out of rehab, he trades a championship belt for a motorcycle and joins the household; though he left Margo early, and unlike Shyanne, he proves to have a marvelous, easy way with Bodhi. (The baby himself, or babies — they use twins for this job — are themselves marvelous.)
Also in residence is roommate Susie (Thaddea Graham), a chirpy cosplayer — and coincidentally Jinx’s biggest fan — whose skills will become valuable as Margo, needing cash, sets off into the world of OnlyFans. First picking up tips describing followers’ penises in terms of Pokémon (no explanation has been thought necessary), she pivots to video, mounting increasingly elaborate sexy sci-fi productions alongside Susie (sets and costumes), Jinx (narrative advice, stunt coordinator) and OnlyFans veterans KC (Rico Nasty) and Rose (Lindsey Normington), a fabulous tag team to whom Margo turns for advice. (Margo does seem to take things over, but it’s her name in the title, so there you go.) This introduces an element of Mickey and Judy, my uncle’s got a barn, let’s put on a show comedy. More important, it creates a team, melding the family you make with the family you have.
It’s as sweet as can be. Apart from sleeping with one’s professor — students, do not do this! — the show is positive about just about everything: motherhood, daughterhood, professional wrestling, second chances, sex work, cosplaying and the way art shows up in strange places. Only Marcia Gay Harden, as Mark’s mother, Elizabeth, is an outright villain, and you will hate her.
The series was created by David E. Kelley (Mr. Michelle Pfeiffer), from Rufi Thorpe’s 2024 novel, once again under the umbrella of Nicole Kidman’s Blossom Films (following their collaborations on “Big Little Lies,” “Nine Perfect Strangers” and “Love & Death”), with its house style of well-upholstered capital-Q Quality (as distinct, in its pop-cult, way, from prestige). (Kidman has a small role as a wrestler-turned-lawyer and it’s been a while since I’ve seen her this well used.) “Margo’s Got Money Problems” can be terribly sentimental, almost corny — the climax is pure Hollywood — but undeniably effective. And if its mix of comedy and drama can be a little destabilizing, you won’t need to worry about where it ends up.
Last fall, “Dr. Pimple Popper” suddenly became a patient herself.
Dr. Sandra Lee, the reality TV dermatologist and surgeon known for tackling ick-inducing skin situations on camera, had a bad day a week before Thanksgiving 2025 while she was taping new episodes of her show at her Upland office.
“I had what I thought was a hot flash. I got super sweaty and didn’t feel like myself,” she told People in an interview published Tuesday. She said she finished the shoot and then headed to her parents’ nearby home, where that evening she experienced shooting pains in one leg and later had trouble navigating down a flight of stairs in the middle of the night.
When she awakened the next day, she said, her left side wasn’t working properly and she was having trouble speaking clearly. It was definitely more than a hot flash.
Her doctor dad — also a dermatologist — told her to get herself to an ER, where she had an MRI that showed evidence of an ischemic stroke, where a vessel supplying blood to the brain gets obstructed. The diagnosis was a shock.
“As a physician I couldn’t deny that I had slurred speech, that I was having weakness on one side,” she said, “but I was like, ‘Well, this is a dream, right?’”
Lee, 55, said unmanaged cholesterol levels and high blood pressure were likely contributors to the stroke, plus the stress of balancing her real-life practice with the demands of “Dr. Pimple Popper.” She returned to production in January, she said, though she was more than a little freaked out.
“I don’t like that I don’t have total control of my left hand or the grip wasn’t as strong. If I feel like I’m not at my best — it’s very scary,” Lee said.
Her neurologist told the outlet that Lee’s symptoms are pretty much gone. Lee said she still notices slight differences when she speaks.
The TV doc is on blood thinners now and is still doing some physical therapy after spending two months post-stroke working through PT and occupational therapy. Lee had to make sure her left hand, among other body parts, was functional and that her balance and movement bounced back.
She does, after all, do precise procedures on camera for the Lifetime audience.
“People watch the videos over and over again because it helps them go to sleep at night,” she told People. But, she added, “Others watch it like it’s a scary movie or a roller coaster.”
