Eight years after going off the air, “Sofia the First” is getting another opportunity to find out what being royal is all about.
Disney’s first preschool princess returns for a new set of adventures in “Sofia the First: Royal Magic” premiering Monday on Disney Jr. The following day, eight episodes will stream on Disney+.
The sequel series finds Sofia — once again voiced by Ariel Winter — leaving home to attend the Charmswell School for Royal Magic. Rapunzel makes a guest appearance in the premiere episode and Moana, Jasmine, Cinderella, Aurora and Elena of Avalor will all stop by over the course of the first season.
According to Disney, “Sofia the First” still holds the record for the top three cable TV telecasts for girls ages 2 to 5 with more than 3 billion hours watched since the series premiered. The trailer for “Sofia the First: Royal Magic” was viewed 7.54 million times on social media in the first 24 hours after it was released. The show’s theme song, which has been updated for the new series, remains popular on TikTok among teens who first watched the show as preschoolers.
Series creator and executive producer Craig Gerber says the show’s tone is one of the reasons for its enduring popularity. “The charm, the humor and the storytelling was simple enough for [children] to understand, but sophisticated enough to stick with them as they were growing out of the key demographic,” he says. “They remember [the show] very fondly and it becomes a source of comfort for them.”
Rapunzel makes an appearance in the premiere episode of “Sofia the First: Royal Magic.”
(Disney)
Originally there were discussions to have a spin-off series with a whole new set of characters going to Royal Prep, the school Sofia graduated from in the first series. But soon Gerber realized that a sequel series was the way to go because of the love for the character. “It became clear that the real exciting part of coming back to this world would be to follow the further adventures of Sofia and bring her to a new audience,” he says.
Sending Sofia to a new school was the obvious choice. “We thought it would be very exciting and fresh for her to go to a school where she could focus on learning magic and mastering the powers inside her,” Gerber says. “In the first series, she learned what being royal is all about. In this series, she’s going to learn what being the most magical princess is all about.”
Winter was 12 years old when she auditioned for the role 15 years ago. At the time, she said Sofia’s voice was close to her own — what she thought she would sound like if she were a princess. But even all these years later, it was easy for her to find the voice again because she never really stopped doing it.
“If people told me that they had a child who loved Sofia, I would be like, ‘Oh, do you want me to make a voice recording for them?’ I’d make at least one of these a week, maybe more,” she says. “The show meant so much to me and I know it meant so much to so many people. To know that I am going to get to help influence another generation of kids in a positive way is just so exciting.”
In addition to Winter, all of the original cast is returning, including Sara Ramirez as Sofia’s mother Queen Miranda, Darcy Rose Byrnes as Sofia’s stepsister Amber, Wayne Brady as her beloved rabbit Clover, Eric Stonestreet as her flying horse Minimus and Tim Gunn as the castle steward Baileywick.
But a whole new series and location also means new characters. Here’s a look at three of the new characters who will be entering Sofia’s world.
Eden Espinosa as Zandrya
Eden Espinosa voices Zandrya, the new villain in “Royal Magic.”
(Disney)
Broadway star Eden Espinosa, perhaps best known for playing Elphaba in “Wicked,” will be voicing the new villain Zandrya. “She is loud, bratty, confident and powerful,” Espinosa says.
“We wanted Zandrya to have that entitled air,” Gerber says. “As if all of the magic should just be given to her and she shouldn’t even really have to work for it. She is a sorceress that is after magical items to give her more power. And because Sofia is becoming more and more confident in her magical abilities, Zandrya has a hard time getting what she wants.”
As master of disguise, Zandrya takes a different form each time she appears in an episode — the better to fool Sofia and get her hands on the magic amulet. That means Espinosa, who also voiced the Queen of Hearts in Disney’s “Alice in Wonderland Bakery” and Cassandra on “Tangled,” gets to take on a new voice with each new episode.
“She’s the most fun character to play,” she says. “Voiceover has always been a dream of mine ever since I saw ‘Little Mermaid’ when I was I think 10.”
Espinosa says Zandrya is “the most fun character to play.” The actor has to take on a new voice whenever her villain takes on a different form.
(Disney)
As in the original series, music will play a big part in “Sofia the First: Royal Magic.” In fact, there will be twice as many songs, with each 11-minute episode getting its own number. “What I love about the songs I’ve gotten the privilege to sing is that they feel current,” Espinosa says. “They feel like it’s on the pulse of what’s happening now. They are bops. The challenge is I have to sing the songs in the voice that I’m in for that episode.”
“We’re very lucky to work with folks like Eden, who can take any personality, any voice and still manage to hit all the notes and convey the acting and and really give a fun, rollicking performance,” Gerber says.
And, like Elphaba, Zandrya might be a little misunderstood. “I think as humans we have all sorts of things going on underneath the surface,” Espinosa says. “While she has a very clear mission and intention, I do know that she has moments in interacting with Sofia that she has reflections that make her think.”
Yvette Nicole Brown as Lady Saddlespur
Yvette Nicole Brown voices Lady Saddlespur, Sofia’s new teacher.
(Disney)
Yvette Nicole Brown is one of Gerber’s go-to performers. She’s been the voice of Chief Faye Fireson on “Firebuds” and Luna on “Elena of Avalor.” So it was an easy yes for Brown when Gerber asked her to be the voice of Sofia’s new magical creature teacher and flying derby coach Lady Saddlespur.
“If I’m doing a show, I’m gonna find room for her,” Gerber says of Brown. “Lady Saddlespur is a fun foil for the kids as she pushes them to be better students.”
“She is a Southern belle,” Brown says of her onscreen alter-ego.“She’s very proper. She believes that everything at Charmswell should be done just so.”
Brown says her favorite part of animation is that it encourages her to tap into her child-like side. “When we were kids, we lived in this place of wonder,” she says. “I remember the first shows I watched. I remember ‘Captain Kangaroo,’ ‘Mr. Rogers’ Neighborhood’ and ‘Sesame Street.’ Those performers have stayed with me my entire life. The honor of getting to be one of the first voices that these babies hear is everything.”
Brown is also delighted by the life lessons the show imparts. “Lessons about accountability, sharing, kindness, regulating your emotions and following directions. The importance of school and learning and being careful and gentle with animals and other people and their feelings. I think it’s a great stepping stone for the babies to learn how to be productive, caring members of society, which is what we’re all supposed to be trying to be.”
Pepper is Sofia’s pet puppy-unicorn. Nate Torrence, who is also the voice of Clawhauser in the “Zootopia” movies, says nothing sounds more adorable than “the collab of a puppy and unicorn.”
Gerber has wanted to create such a character since the original series. “He’s there for comic relief to a large degree,” Gerber says. “And also to give us that little bit of daily magic because Sofia can talk to animals.”
“He’s a pretty lovable guy,” Torrence says. “Even though he plays a little air-headed, he actually is really witty. It’s that old-school Abbott and Costello kind of timing or Charlie Chaplin because there’s so much physical comedy going on with Pepper.”
Because he’s getting to voice a character for so many episodes, Torrence says he’s felt more growth with Pepper than many of the other characters he’s played. “I do think they’ve allowed my voice to be a new kind of voice in the world,” he says. “I get to have a bit more attitude and sass. To be a part of a franchise like this is a nice little dream come true for me.”
What do we have here? Some of my very favorite actors — Alfred Molina, Alfre Woodard, Clarke Peters and Geena Davis — starring in an eight-episode, B-grade sci-fi comedy-drama, “The Boroughs,” now streaming on Netflix.
Molina plays Sam Cooper, a retired engineer — that will be important — being brought grumbling to the Boroughs, a posh, city-sized retirement community plopped down in the middle of the Southwestern desert. Sam’s late wife, Lily (Jane Kaczmarek, in flashbacks and dreams), had planned the move, but she died suddenly, while they were dancing to Bruce Springsteen’s “Thunder Road,” which will become a kind of trigger and motif going forth. Still, fate — in the form of daughter Claire (Jena Malone) and son-in-law Neil (Rafael Casal) — has pushed him solo to the Boroughs and a house on a cul-de-sac. (Seen from above, the town is laid out in a series of concentric circles, as EPCOT was meant to be when Walt Disney was alive and it stood for Experimental Prototype Community of Tomorrow. That has no relation to this show; I’m just throwing it out to the fans.)
Before this happens, however, we get a preamble. Is that Dee Wallace, the mother from “E.T.: The Extraterrestrial,” as Grace, a former occupant of Sam’s new home? (Why, yes it is.) Grabbed one night by something clearly not human, she’ll leave the show before the first credit rolls; but we’ll know from the start that there’s a monster on the loose. And even before Sam has settled in, he’ll be attacked by her now-widowed husband, Edward (Ed Begley Jr.), who has escaped to his old house from the Manor — a memory care unit more reminiscent of something out of “Squid Game” than anywhere you’d want to park a beloved fading parent — muttering “The key is in the light, the owl is in the wall,” and thereby turning Sam detective.
The joint is run by young Blaine Shaw (Seth Numrich), who supposedly took it over from his father, who took it over from his father before him, with Hollywood-blond wife Anneliese (Alice Kremelberg) by his side. (It is perhaps no accident that we’re also served a background clip from “Double Indemnity,” featuring a blond Barbara Stanwyck.) They radiate a kind of vampiric smoothness, and it will take you no longer to realize that something’s up with these two than it takes to say “Something’s up with these two.”
Mired in grief, Sam is initially reluctant to interact with his new neighbors, until former weatherman Jack (Bill Pullman) breaks down his defenses. Judy Daniels (Woodard) used to be a reporter, her husband Art (Peters) is a pot-smoking old hippie who pretends to go golfing but heads off to a ghost town where he grows mushrooms, “searching for proof that there’s more to life than just knockin’ about and hangin’ out.” Wally Baker (Denis O’Hare) used to be a doctor, but now needs one. (It’s cancer, and terminal, though it doesn’t show.) They have complicated relationships, but there’s nothing better for ironing things out than creeping together through dark tunnels by flashlight, hoping that nothing jumps out at you, engaging in weightless banter as you go.
Davis plays Renee Joyce, a former music manager who came to the Boroughs to stay with her mother after Renee’s husband stole her money, and stuck around; I think she’s meant to be younger than the rest, but if you want to look up Davis’ age, I will wait here while you gasp in astonishment. She’ll hook up with friendly young security guard Paz Navarro (Carlos Miranda); he played drums in a band once, and they were both at Glastonbury in 2010 and love Barbra Streisand. (What are the odds?) He’ll have a lot to do when a Scooby Gang — that old, invaluable, incredibly satisfying trope — finally comes together.
The series was created by Jeffrey Addiss and Will Matthews, who were co-writers on the 2018 Henson Co. puppet epic “The Dark Crystal: Age of Resistance,” from which they have imported a central plot device regarding vital essences and a magical matriarchal figure. (Called “Mother” there and here.) Their 2020 dying girlfriend film “Life in a Year,” directed by Mitja Okorn, has some thematic mirroring here, as well — death hovers over the story — and it seems probable that somewhere in the series’ gestation, they discussed Ron Howard’s 1985 science-fiction flick “Cocoon,” with its retirement home setting and senior-citizen heroes.
Sewn together from these and other scraps of previous paranormal adventure stories, “The Boroughs” is almost entirely predictable — not a criticism, in this context, since surprises in such a story are liable to bring bad news, and our affection for its heroes ought not to be sacrificed in the name of dramatic effect. That is not the kind of sacrifice the age needs, and this is not that kind of series. Nor is B-grade a pejorative, but rather an honorable tradition, especially when it comes to sci-fi and horror. (We’ll get a glimpse of Roger Corman’s original “Little Shop of Horrors” playing on a TV — cathode ray, of course.) Once you get on its wavering wavelength — sentimental, sincere, sweet, a little silly, not overly concerned with making perfect sense — and realize the show is not out to hurt you, it’s a very enjoyable watch.
The roar erupting from the capacity audience inside the Ed Sullivan Theater when Stephen Colbert stepped on the stage of his “Late Show” for the last time made it clear that they did not want him to say goodbye.
Colbert took his final bow as his beloved late-night show came to an end Thursday. The episode was so crammed with top celebrities who showed up to share a last moment with the comedian that it extended several minutes beyond its usual one-hour run time.
Before the official start, Colbert addressed the audience as he thanked the staff, calling the show “The Joy Machine”: “We call it the Joy Machine because to do this many shows, it has to be a machine. But the thing is, if you choose to do it with joy, it doesn’t hurt as much when your fingers get caught in the gears, and I cannot adequately explain to you what the people who work here have done for each other, and how much we mean to each other.”
In his opening monologue, Colbert downplayed the event‘s status, rolling a series of jokes about news stories in New York and New Jersey. But he was repeatedly interrupted by audience members Bryan Cranston, Paul Rudd and Tim Meadows who all became irritated when Colbert informed each of them that they would not be his last guest.
When the show’s supposed scheduled last guest, Pope Leo XIV, refused to leave his dressing room, Paul McCartney popped on stage to a rapturous ovation. The legendary musician presented Colbert with a framed photo of The Beatles when they appeared on Sullivan’s show in 1964.
The only subtle reference to President Trump came when McCartney relayed a story how the Beatles, before their Sullivan appearance, got their faces covered with bright orange makeup. “That’s pretty popular in certain circles these days,” Colbert quipped.
The episode marked the finale of Colbert’s 11-year run on CBS’ late-night show, which he has been counting down since July of last year, when CBS said it was canceling the show because of financial difficulties. “The Late Show” franchise, which Colbert inherited in 2015 from David Letterman, was the top-ranked late-night show, but it faced challenges due to dramatic declines in viewership and a drop in advertising revenue.
However, industry observers also contended the move was tied to Colbert’s relentless criticism of Trump. The decision was announced after Paramount, the parent company of CBS, had settled a lawsuit filed by Trump over a “60 Minutes” interview with then-Vice President Kamala Harris. The company agreed to pay $16 million to settle the suit, which came as Paramount was attempting to get regulatory approval for its merger with Skydance Media, which Colbert called “a big fat bribe.” Trump made no secret of his disdain for Colbert and other late-night hosts who have skewered him and his administration over the years.
Colbert, his guests and others continued to blast Trump in this final week. In his introduction Wednesday of his performance of “Streets of Minneapolis,” Bruce Springsteen said: “I’m here in support tonight for Stephen, because you’re the first guy in America who has lost his show because we got a president who can’t take a joke.”
And Jimmy Kimmel on his ABC late-night series said Wednesday, “I will be watching tomorrow night. I hope that those of you who watch will also tune in to CBS for the last time. Don’t ever watch it again.”
In a tribute to Colbert, Kimmel, another target of Trump, and NBC‘s “Tonight Show” host Jimmy Fallon said their respective shows would not air new episodes during Colbert’s finale.
But the overall vibe on “The Late Show” this week has centered on celebration and spotlighting the show’s comedic formula. Several celebrities who have a special connection with the show made appearances, including Jon Stewart from “The Daily Show” and filmmaker Steven Spielberg.
In one of the more arguably iconic sequences, David Byrne and his band — all attired in bright blue uniforms — appeared Tuesday to perform the Talking Heads anthem “Burning Down the House.” Colbert joined in at the end, dancing in his matching blue outfit.
The late-night host will appear behind his CBS desk for the final time after the network announced last summer that the show would end after 11 seasons.
Netflix subscribers will wake up to a video livestream of “The Breakfast Club” starting next month, marking the platform’s first daily live podcast.
The deal is part of the streaming platform’s ongoing focus on live programming, and the latest video podcast offering through its partnership with iHeartRadio, the company said on Thursday. The nearly three-hour show will include a live video feed exclusive to Netflix and will air every weekday morning.
“Taking this show live every day to a global audience on Netflix is a powerful example of how we’re expanding the reach of our biggest brands while giving audiences entirely new ways to experience them,” Bob Pittman, iHeartMedia’s chairman and chief executive, said in a statement. “Whether it’s morning in NYC or the afternoon in London, the conversation is live and reaching the world in real time.”
“The Breakfast Club” will air simultaneously on Netflix, the iHeartRadio app and it will continue to be syndicated by Premiere Networks on more than 100 broadcast radio stations nationwide. Netflix’s video feed is meant to provide more behind-the-scenes content, as radio formats will still need to include commercial breaks. Instead of pausing the program, Netflix watchers will get an uninterrupted stream, where those traditional breaks will be filled with exclusive segments and extended discussions.
“The media landscape will always evolve, but one thing consistently cuts through: live programming,” Charlamagne tha God said in a statement. “That’s a big reason ‘The Breakfast Club’ has sustained its reign for so long. We’re building something powerful — real‑time conversation, real community, on a global scale. The future belongs to those who can see what’s possible — and trust me, the vision for ‘The Breakfast Club’ and Netflix is crystal clear.”
The radio program first got its start in 2010 on WWPR-FM in New York. Over the years, it has become one of the most popular morning shows, rooted in Hip-Hop and R&B culture and known for its lively interviews and entertaining commentary from hosts Charlamagne Tha God, DJ Envy and Jess Hilarious. The show has welcomed guests like former President Barack Obama, and artists like Kendrick Lamar and Cardi B. In 2020, the talk show was inducted into the Radio Hall of Fame.
Susanna Reid was joined by Richard Madeley during the latest edition of Good Morning Britain
10:12, 21 May 2026Updated 10:20, 21 May 2026
Susanna Reid announced a break from GMB(Image: ITV)
Good Morning Britain star Susanna Reid will be taking a short break from the programme.
Susanna returned to the ITV studio on Thursday (May 21), alongside Richard Madeley, to deliver the day’s biggest headlines from across the UK and around the world.
At the end of the show, Susanna and Richard interviewed a woman who had saved up to £800 a month as part of a new ITV programme called Rising Bills: How Can You Save Money?.
Wrapping up the interview, Susanna said: “I love it. Thank you both for coming in. You can catch Rising Bills: How Can You Save Money? tonight [at] 7.30pm on ITV1 and ITVX.”
The 55-year-old presenter then confirmed that she wouldn’t be on screen next week, which happens to be the May half term.
“Now, I am off next week, but Good Morning Britain is back tomorrow from 6am. Now, it’s time to join Lorraine. Have a great day,” she said.
It’s not yet known which presenter will stand in for Susanna while she’s away, but it usually tends to be either Kate Garraway, Ranvir Singh, or Charlotte Hawkins. Susanna’s announcement comes over a month after her last break from the show, which took place during the Easter holidays.
Elsewhere during today’s GMB, Susanna and Richard discussed the topical headlines with regular commentators Kwasi Kwarteng and Nels Abbey.
Ranvir also announced breaking news after EasyJet confirmed that summer flight bookings are lower than this time last year due to uncertainty linked to the Middle East conflict.
“However, last minute bookings made in the month that you want to travel have increased compared with a year ago,” Ranvir said.
“The airline also reported a pretax loss of £552 million for the six months ending in March.”
Susanna and Richard also interviewed Race Across the World stars Mark Blythen and Margo Oakley, who are competing in tonight’s grand final.
After racing over 11,000km, the final four teams will face one final test of endurance as they embark on the last leg of their journey. To finish the race, the teams must head north from Kharkhorin to reach the shores of the “Blue Pearl of Mongolia”, Lake Khövsgöl.
As they leave the checkpoint, they will face a crucial decision. They could head directly north, a shorter route but one which requires them to go off-road, or add 500km to their journey with a detour via the capital, Ulaanbaatar. Who will reach the finish line first? We’ll have to wait and see.
Good Morning Britain airs weekdays on ITV1 and ITVX at 6am
At Jimmy Kimmel’s annual monologue to advertisers at Disney’s recent upfront presentation, the ABC late-night host offered sympathy to his ousted CBS cohort Stephen Colbert.
“First, it’s bad enough to lose your job,” Kimmel said. “Imagine getting replaced by the owner of the Weather Channel.”
Byron Allen, the media mogul whose holdings do include the Weather Channel, laughed when the gag was repeated to him during a recent phone conversation. “I like Jimmy Kimmel a lot,” he said.
While it’s a triumph for Allen, 65, it’s also a sign of how the traditional late-night talk show — one of television’s most culturally influential formats — may no longer be sustainable in the era of streaming TV.
CBS said last year it canceled Colbert because it lost $40 million a year as the late-night viewing habit among audiences has eroded in the streaming era. Many in the TV industry are skeptical of the claim, believing Skydance Media wanted to silence the relentless Trump-bashing host in order to clear the government regulatory path for its acquisition of network parent Paramount. (The FCC’s approval of the deal came days after the cancellation was announced.)
Cedric the Entertainer, left, with Byron Allen on the set of “Comics Unleashed.”
(Allen Media Group)
But no one who has worked in late-night television in recent years can dispute how financial challenges are clouding the format’s future. Polished after-hours programs with a live audience, large teams of writers and producers and high-priced hosts are fighting off obsolescence as traditional TV audiences get smaller and ad revenues shrink. While CBS is the first to act, other networks have thought about getting out of the business altogether.
Since 2022, “The Late Show” lost 20% of its audience in the advertiser-coveted 18-to-49 age group, according to Nielsen data. Ad spending on all late-night television shows hit $209 million in 2025, down from $519.7 million in 2017, according to data from Guideline.
“Nothing is forever, especially in television,” said former network executive Ted Harbert, who oversaw the launches of “The Tonight Show Starring Jimmy Fallon,” and “Late Night with Seth Meyers” at NBC. “Digital tech is killing late night.”
The hosts of the programs and their funniest bits are arguably seen by more people than ever before thanks to clips replayed on social media platforms. But the revenue generated by digital viewing doesn’t approach what the networks get for audiences watching live on TV.
Over the last 10 years, late-night shows flocked to YouTube as a way to be a part of the national conversation and bring attention to the shows. Harbert believes the notion that the clips alone — which may feature a funny bit or a snapshot of a conversation with a guest — would help lure viewers to traditional TV was folly.
“The shows cannibalized themselves by making their show available in snack-size clips after the network airing,” he said. “And viewers obviously would rather watch a couple of five-minute clips than a whole show.”
Late-night shows were once among the most profitable programs on TV because of their ability to reach viewers in the 18-to-34 age group that attract premium prices for commercial time. But the same demographic was the first to gravitate to streaming platforms and abandon traditional TV which thrives on appointment viewing.
Daniel Kellison, a former producer for “Jimmy Kimmel Live” and “The Late Show with David Letterman,” noted that Kimmel — who has also been targeted by the Trump administration for his harsh barbs — has seen his TV ratings increase this year.
But the overall trend for the time period is still down. While Kellison believes Colbert’s cancellation is an effort by CBS to appease Trump, he agrees that the genre needs to evolve and adapt to the changing media landscape.
“There’s always going to be an audience for conversation around politics and life and these sort of shows will exist in different formats and I think it’s incumbent upon people to figure out how to present them,” he said.
CBS executives have said they want to develop a new network show in the late-night time period. But for the next year it will lease the slot to Allen. His company Allen Media Group pays CBS for the time, covers the cost of production and sells the advertising. He is also the host. The deal will erase whatever losses the network experienced in that TV block.
“Comics Unleashed” has been running in the 12:35 a.m. hour since CBS canceled “After Midnight” last year. When that show moves to the earlier time slot, it will be replaced by another Allen program, “Funny You Should Ask,” a comic quiz show hosted by John Kelley.
Allen said he has great respect for the late-night TV tradition. His mother was a tour guide at NBC in Burbank and he was able to hang out on the studio lot to watch Johnny Carson tape “Tonight.” Allen would get advice from Carson, whom he calls his hero and mentor, and eventually got a shot at doing stand-up on “Tonight” when he was 18 years old.
Allen even asked CBS to move the start date of “Comics Unleashed” to May 22 because it is the anniversary of Carson’s final show in 1992. But his sentimentality ends when it comes to the economics of programming in that time slot.
“We will be in profit,” Allen said of “Comics Unleashed,” which according to Nielsen has seen its audience grow in the 12:35 a.m. time slot by 26% since October.
Kimmel has accused CBS of dumping Colbert for “Comics Unleashed” because Allen’s show doesn’t partake in political humor that could alienate the White House as Skydance moves to close its next acquisition: Warner Bros. Discovery.
“I feel like CBS is turning 11:35 p.m. into a ‘least’ time slot,” Kimmel said at the Disney presentation. “Least as in least likely to offend the president with the rerun of ‘Comics Unleashed’ from 2007 featuring Paula Poundstone and Andy Dick.”
Poundstone and Dick are not among the 1,000 comedians who have appeared on “Comics Unleashed” over the years, many of whom went on to become stars. But not having the program dabble in political humor is a business decision.
The guests stick to storytelling and slice-of-life material that doesn’t date, which is why the episodes can attract an audience years after being taped. They don’t plug books, movies, concerts or any other elements that would be dated by future airings.
“Twenty years ago when we shot our first episode I said ‘we’re making it ‘I Love Lucy,’” Allen said. “I want these shows to be funny today and 20 years from today.”
Allen said his company will produce 130 new episodes of “Comics Unleashed” for the 2026-27 TV season.
But the reason the current set of late-night hosts leaned into politics so heavily in recent years is because it works.
When Colbert took over “The Late Show” from Letterman in 2015, the program’s ratings sputtered as the audience did not really know Colbert outside of the satirical figure he played on Comedy Central with his show “The Colbert Report.”
The night Trump scored his surprising win in the 2016 presidential race against Hillary Clinton, Kelly Kahl, then an executive vice president of CBS Entertainment, sent a text to Chris Licht, then executive producer of “The Late Show,” telling him it was “the best thing to happen to the show.”
Colbert found his voice on the program, which rose to No. 1 in the ratings and has been there ever since.
The Netflix show has found itself in the top 10 in multiple countries, bringing in over 13 million views this week
The Netflix show has smashed records last week as the most watched on the streaming platform(Image: NurPhoto via Getty Images)
A controversial Netflix show dubbed “super dark” continues to break records in over a dozen countries worldwide.
The Roast of Kevin Hart livestream was finally released on Netflix earlier this month (May 10), having been hosted by Shane Gillis during Netflix is a Joke Fest. Featuring savage punchlines from the likes of Dwayne Johnson, Pete Davidson and Katt Williams, the show continues to divide fans.
Running for just under three hours, a Netflix synopsis reads: “Kevin Hart is in the hot seat and ready for all the smoke as roastmaster Shane Gillis and a dais of A-listers unleash a raw and ruthless night of laughs.”
Despite its controversy, the show has found its way onto Netflix’s Top 10 list, breaking records to sit in top place in 15 countries this week. According to Netflix’s Tudum, from May 11 to May 17, The Roast of Kevin Hart sits in first place in the Top 10 Shows with 13.5 million views.
But views continue to be divided as one person wrote on Rotten Tomatoes: “It’s no different than any other roast.. it’s light but super dark gut wrenching comedy. It’s an enjoyable watch.”
Another said: “This is the edgiest, funniest roast I’ve seen. It was not afraid to push the boundaries of comedy, something we need more of. I applaud the boldness and vision. I’d love to see more like this.”
A third added: “Omg!!! This was a proper roast, crying laughing, whilst walking around the room saying No! No! No! He didnt just say that.”
However, some viewers were unimpressed as one person wrote: “Easily the worst roast ever done. I love Shane, but he was so bad and unfunny. The Rock was the only one that did okay, everyone else was pretty poor. Just awful.”
Another said: “The cringe was high with this one. The few funny moments still didn’t make the 3 hrs worth it.”
A third penned: “Total waste of time. 3-4 funny jokes in 3hrs. Skip!”
Over on Reddit, one viewer stated: “Overall I enjoyed lots of the jokes but many felt like they were simply seeking to push the discomfort to extremes for the sake of edginess rather than for the sake of smart humour. It felt desperate to shock.
“I understand roast culture but this event had an edge I haven’t seen before and there seemed to be an air of discomfort amongst some people.”
The Roast of Kevin Hart can be streamed on Netflix.
The Bob Baker Marionette Theater was about to debut its first new production in 45 years, and it was uncertain whether one of the show’s signature new puppets would even work. A pelican, with an oversized bucket-like beak, was in need of last-minute maintenance.
This gangly bird, designed to hop, skip, soar and sing to Clarence Henry’s mid-’50s rhythm and blues hit “Ain’t Got No Home,” was supposed to surprise the audience, as its elongated bill is actually hiding a frog. Getting the pelican-frog duo to perform in unison was a feat of mechanical artistry for the team, not to mention the choreography needed by the puppeteer.
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And in the minutes before showtime, director Alex Evans was trying to stay calm. In such moments, he would say later, he only need remind himself of an old adage in the puppet arts.
“Puppets,” he says, “break all the time.”
With that, he was ready to embrace the unknown.
“I always say I love the chaos of live theater,” Evans says. “We got to believe in this thing.”
“Choo Choo Revue,” the latest in a long line of song-and-dance productions, is arriving at a momentous time for the Bob Baker Marionette Theater. Just last month the troupe announced its intent to purchase its venue on Highland Park’s York Boulevard for $5 million, doing so as it was gearing up for performances at the Coachella Valley Music and Arts Festival. The latter went viral, a fact Evans attributes to many of the first week shows of “Choo Choo Revue” selling out.
An organist plays while people file into the premiere of “Choo Choo Revue” at the Bob Baker Marionette Theater.
In many ways, “Choo Choo Revue” is a statement piece. Evans, who also serves as co-executive director with Mary Fagot, wants to place the spotlight on the theater’s current crop of artists, fabricators and collaborators. While the show pays tribute in many ways to the theater’s legendary namesake founder, perhaps most notably in its use of his vintage record collection, it’s time, Evans says, for the Bob Baker Marionette Theater’s next generation to shine.
Evans was instrumental in the decision to shift the team away from the previously announced production of “Arabian Nights,” a project once spearheaded by Baker, who died in 2014. Just ahead of the arrival of the 2020 COVID-19 pandemic, the theater had gone so far as to print an “Arabian Nights” program, and had finished sets and puppets ready to go.
“Choo Choo Revue” is the first new Bob Baker Marionette show since 1981’s “Hooray LA!”
During the forced closure, however, the team began to rethink its future. “It was a deep-breath time to do some internal thinking about who we are and what we want to prioritize,” says Evans, who joined the company in 2007 as a volunteer and became a staffer in 2009.
“The first new show in 40 years — us finishing one of Bob’s shows would have been deeply personal and meaningful, but it would have kept the narrative, internally and externally, that this was one person’s vision,” Evans says. “‘Choo Choo’ is the culmination of so many different ideas and people. It was purposefully about opening the floodgates, that Bob Baker could be more than just the person of Bob Baker.”
It wasn’t a sure thing the Bob Baker Marionette Theater would even reach this milestone. For much of the past decade — since about the death of the theater’s patriarch — the narrative surrounding the theater was one of survival.
In 2019, the Bob Baker Marionette Theater needed a lifeline. Forced out of its edge-of-downtown home of more than 55 years, the beloved troupe with its thousands of handcrafted puppets — a saucy black cat in heels, a fish out of water that can’t help but wiggle — ultimately found a new location in a Highland Park theater, where it signed a 10-year lease.
Then came the pandemic, when the theater relied heavily on community fundraising to cover its rent. California, and Hollywood in particular, has a rich puppetry tradition. Bob Baker Marionette Theater likes to refer to itself as the largest ongoing puppet theater in the U.S. The oldest puppet space in the country resides up north in Oakland at amusement park Children’s Fairyland. And in 2020, Bob Baker found it had many fans, asking at one point to raise $365,000 over the course of a year. It did so in four weeks.
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1.L Castro twirls a marionette.2.The audience gives a round of applause after the premiere of “Choo Choo Revue.”3.People stand in line for the premiere of “Choo Choo Revue” at the Bob Baker Marionette Theatre.(Carlin Stiehl/For The Times)
Old favorites, including the theater’s famed black cat marionette, make appearances in “Choo Choo Revue.”
But it was the long process of buying its home, namely the belief that it would be in Highland Park to stay, that gave the company the confidence that it could go forward with a new show. The obvious question, of course, is why it took 40 years for a completely fresh Bob Baker experience. Evans gives a long answer, pointing to numerous hurdles, be it the shift in locations, the cost of preserving its historic puppets and collection, as well as just managing priorities.
“It’s not necessarily a financial hurdle,” Evans says, noting “Choo Choo Revue” cost $300,000, with about half of that sum dedicated to the creation of new puppets and scenery.
“I think it was more about priorities,” Evans says. “Like, do we get the staff healthcare first, or do we do a new show first? So we got the staff healthcare. Or do we give the stage better lighting.”
As for how and why the team settled on “Choo Choo Revue” as its first production since 1981’s “Hooray LA!,” Evans says not to overthink it.
“It made me giggle,” he says. “It was a jumping off point to imagination. ‘Choo Choo Revue,’ by name itself, I thought to giggle.”
The show is a fantastical representation of a cross-country train trip, filled with adorable puppet trains.
A meticulously detailed log with windows, for instance, or a car that seems to balance natural, mountainous wonders on its back. They’re colorful playthings, at least until the background scenery starts depicting various locomotive styles. Puppeteers will whisk train cars out into the open, each often housing a fantastical creature — a moose, for instance, who takes a break from knitting to prance around to a rendition of the on-theme traditional blues ditty “Midnight Special.”
Behind it all are tens of thousands of hours of handcrafted proficiency. Each new puppet is a work of art. Take, for instance, a swarm of bats that seemed to glow in the dark (the creatures, created for “Choo Choo Revue,” made their debut during last year’s Halloween season).
The Bob Baker Marionette Theater created more than 100 new puppets for “Choo Choo Revue,” including a pelican hiding a frog in its beak.
Or an intricately detailed cicada band. They’re each playing tiny instruments — one a half-open sardine can, another a stringed matchbook. Their wings deserve a close inspection, as the translucent curved fixtures are inspired by stained glass windows. There are trees that ski, and train whistles with big lips and high heels, modeled after harmony group the Andrews Sisters. Wait till the latter toot off their tops, as each of the 100 new puppets is full of surprises.
“We get a bunch of different artists together, and we all brainstorm,” Evans says of the creation process. “Like, ‘Let’s all think for a second about anthropomorphizing trains.’ We did a series of sketches and showed them to each other. I honestly probably have a thousand different fascinating ideas for train movement.”
On opening night, the crowd claps along to the numbers, cheering with delight at each new piece of whimsy that rolls or soars onto the floor-level stage. And as for the showstopping pelican, the frog erupts out of its beak right on cue, a moment that indeed inspires a round of laughter and childlike awe.
As the imaginary train whisks the puppets around the country, the show manages to build anticipation just by making the crowd wonder what comes next. Say, for instance, a fluffy Sasquatch, or a crooner of a moon in pajamas singing an old-timey lullaby to all the little ones seated cross-legged on the floor.
Puppeteer Ginger Duncan twirls a marionette named Comedy.
Much of “Choo Choo Revue,” like the yawning, serenading moon, is rooted in the music of the past. That was a decision made to ensure the show feels in line with earlier Bob Baker works. Yet Evans says the team is emboldend after Coachella to start tackling more contemporary songs at its Highland Park headquarters. The crowd at the Indio festival, for instance, went wild for the puppets swooning to Ben Platt’s cover of Addison Rae’s hit tune “Diet Pepsi.”
“Honestly, if we had done Coachella last year, it would have pushed ‘Choo Choo’ further,” he says, noting he initially feared pop music could distract. “I didn’t think it could work in a way that wouldn’t throw you out of the show.”
And yet Evans doesn’t want to get ahead of himself. He nearly teared up at the end of the “Choo Choo Revue” premiere, saying the following afternoon that seeing this show come together after multiple years was second only to his 2025 wedding in terms of creating an “overwhelming feeling of pride, love and care.”
“Choo Choo Revue” culminates in a look toward the future. That’s when a sleek, silver, oversized high-speed bullet train arrives on the scene.
It can be read as a metaphor.
While the nonprofit is still seeking donor help — at the premiere, Fagot said the company now has secured $4.7 million toward its $5 million goal of buying the theater and it also hopes to raise an additional $2 million for building upgrades — its future is more secure than it has been at any time over the past decade.
At long last, the Bob Baker Marionette Theater can relax and look toward new horizons.
Evans, for instance, can’t help himself excitedly tease a potential next Bob Baker show. He says twice in the interview that the Olympics are on the troupe’s mind.
“We’ve got two years,” he says. And now the permanent home to house it.
Gracie Cochrane won’t be enrolling in Hogwarts this fall.
HBO announced that Cochrane will depart the upcoming “Harry Potter” series ahead of Season 2. Cochrane played Ron Weasley’s (Alastair Stout) younger sister, Ginny, in “Harry Potter and the Philosopher’s Stone.” Cochrane and her family attributed the “challenging decision” to “unforeseen circumstances.”
“Her time as part of the ‘Harry Potter’ world has been truly wonderful, and she is deeply grateful to [casting director] Lucy Bevan and the entire production team for creating such an unforgettable experience,” the Cochrane family said in a statement. “Gracie is very excited about the opportunities her future holds.”
HBO said they “wish Gracie and her family the best.”
“We support Gracie Cochrane and her family’s decision not to return for the next season of HBO’s ‘Harry Potter’ series, and we are grateful for her work on season one of the show,” HBO wrote in a statement.
Tristan Harland, Gabriel Harland, Ruari Spooner, Gracie Cochrane and Alastair Stout.
(HBO)
The HBO series was greenlit for a second season in early May, months ahead of its Christmas Day premiere later this year. If the sophomore season follows J.K. Rowling’s second book, “Harry Potter and the Chamber of Secrets” (the first season is adapted from the first novel), Ginny will begin her first year at Hogwarts in Season 2.
Cochrane was cast following a massive undertaking by HBO to find young actors for the show. HBO reviewed more than 32,000 auditions before selecting Dominic McLaughlin to play the boy who lived. The cast was filled out with West End performers, like Arabella Stanton (Hermione Granger), first-time actors like Amos Kitson (Dudley Dursley) and longtime stars including John Lithgow, who will play Albus Dumbledore.
HBO Chairman Casey Bloys explained that they expected a lot of “interest” in the cast because of the cultural prominence of the “Harry Potter” franchise.
“Interest can tip over into more unpleasant and aggressive behavior,” Bloys told Deadline, alluding to racist backlash over the casting of Paapa Essiedu as Professor Snape. “We talked to them about what to expect … but any kind of security that’s needed is an unfortunate aspect of doing IP shows. We just try to be mindful and monitor it.”
In March, HBO released its first trailer for the show, which included a peek at the redheaded Weasley family saying goodbye to Ron at Platform 9¾ before he boarded the Hogwarts Express. The trailer also teased Harry’s acceptance letter from Hogwarts and his wand and Nimbus broom.
Emma Willis dropped several hints on Instagram before the official BBC Strictly Come Dancing presenter announcement – and these five telling clues show she was always destined for the role
16:19, 19 May 2026Updated 16:27, 19 May 2026
Emma Willis’ Instagram has been dropping hints for quite some time(Image: Dave Benett, Dave Benett/Getty Images)
Following months of wild speculation after Tess and Claudia’s emotional exit, the BBC has at last announced that Emma Willis is entering the nation’s most dazzling ballroom. Yet for devoted followers monitoring @emmawillisofficial, the reveal may not have been entirely unexpected, as online detectives have been doing their thing! Scrolling through her stylish Instagram profile, it appears Emma has been leaving clues about her Strictly Come Dancing fate for months.
From perfecting the quintessential presenter look to demonstrating her live broadcasting prowess, here are the subtle signals that suggested she was always destined for the ballroom.
1. The trademark ‘Claudia’ power suits
If there’s one commandment of Strictly presenting, it’s that you need an impeccable wardrobe of tailored suits—and Emma’s Instagram essentially serves as a tutorial in power dressing.
Well before the BBC’s official word, her profile has been brimming with sharp tailoring, pristine blazers, and sophisticated monochrome ensembles. Whether she’s sporting a velvet suit that channels “Movie Week” or a polished black tuxedo radiating serious Claudia Winkleman vibes, Emma has been visually campaigning for the Saturday night style icon position for years.
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2. Mastering the co-host dynamic
Tess and Claudia were the ultimate television double act, meaning any successor needed to know how to share the spotlight. Fortunately, Emma’s recent social media activity has been largely centred on her effortless chemistry with her favourite co-host: her husband, Matt Willis.
Through their promotional content for Love Is Blind UK, Emma has demonstrated she is the undisputed queen of the sideways glance, the encouraging nod, and the sharp-witted ad-lib.
If she can manage emotionally volatile reality stars while bouncing off her husband, keeping Josh Widdicombe and Johannes Radebe in check on a live Saturday night will be an absolute doddle.
3.Live TV glamour prep
You can’t simply waltz onto the Strictly set without a genuine appreciation for serious glamour, and Emma’s behind-the-scenes posts have been quietly radiating “high production value.” Her feed is scattered with backstage selfies in the makeup chair, highlighting her flawless, camera-ready look and her famously stylish, cropped hair being expertly perfected by her team of stylists.
She has a profound appreciation for the effort required to get television-ready, regularly tagging her glam squad. She’s already well-versed in spending hours in the makeup chair — now they simply need to double the hairspray and throw in a few rhinestones.
4. Ballroom-ready fitness
While she may be clutching the microphone instead of performing the Argentine Tango, presenting Strictly demands hours of standing in stilettos, racing up and down those iconic stairs, and maintaining relentless energy.
Throughout the past year, Emma’s followers will have spotted subtle hints about her remarkable fitness regimen. From Pilates classes to core-focused training, she’s been steadily developing the endurance needed to endure the demanding autumn timetable. Those stairs won’t stand a chance.
5. A secret penchant for sequins
Emma is typically recognised for her low-key, effortlessly chic style, but occasionally, her feed unveils a glimpse of pure theatricality.
A surprise appearance of a shimmering party frock here, a glittering statement piece there—these were the key subliminal hints. She’s been gradually preparing us for a universe where she can confidently stand alongside a rhumba performer draped entirely in Swarovski crystals without appearing remotely uncomfortable.
The Verdict
The BBC couldn’t have selected a superior candidate. Emma Willis’s Instagram demonstrates she holds the precise combination needed to embrace the Strictly role: she’s exceptionally stylish, genuinely compassionate, and completely unruffled by live broadcasting mayhem.
People have been leaving comments on her social media saying that she’ll be “perfect” for the role, and they can’t wait to watch the three of them in action.
As she teams up with Josh and Johannes to introduce a brand-new chapter of Saturday evening entertainment, one thing is guaranteed, and that’s that her feed is about to become considerably more dazzling.
One of the former stars of Death in Paradise has issued an update about another of his crime shows
20:22, 18 May 2026Updated 20:22, 18 May 2026
Ben Miller appeared on The One Show(Image: BBC screengrab)
Ben Miller has shared a major update about one of his crime dramas.
The actor, previously known for his detective role in the BBC’s Death in Paradise, now leads the ITV crime show Professor T, playing a brilliant criminology professor living with Obsessive Compulsive Disorder (OCD) who assists police in cracking cases.
Since launching in 2021, the programme has aired four series, with additional episodes already confirmed to be on the way. During an appearance on The One Show, Ben let slip a “spoiler alert”, revealing that a sixth series was in production too, reports the Express.
Presenter Roman Kemp asked about the show’s future, noting that numerous viewers had been asking when Professor T would return.
“It is coming back,” Ben replied. “I think the autumn is the season. Yeah, so we’ve got season five that will hopefully be coming out in the autumn. I mean, spoiler alert. We’re actually working on season six.”
Roman and co-host Alex Jones appeared delighted, with Roman exclaiming: “Wow! Double spoiler alert.”
Professor T sees Ben play Jasper, who assists police in solving complex cases and puzzles. The series also stars Frances de la Tour as Jasper’s domineering mother.
Last year it was confirmed that it would be back on ITV for a fifth instalment, with Ben saying at the time: “I’m beyond thrilled that we will soon be breaking ground on a fifth series of Professor T.
“Working with such a talented cast and crew is a joy that even a heavy woollen suit can’t stifle, and I can’t wait for audiences to see the treats we’ve got in store for them in series four later this year, when the Professor tackles his most baffling case yet: romance.”
The actor, well known for portraying cantankerous detective Richard Poole in Death in Paradise, added: “The fact that audiences worldwide have embraced the show so warmly is hugely rewarding, and we’re already brimming with ideas to make Series 5 even more quirky, heartfelt, and surprising.
“Here’s to another season of baffling crime, dreaming spires, and ironing that tweed…”
Sharing an update on Instagram after filming wrapped last summer, he said: “Last week we wrapped Season 5 of Professor T!
“Another few months spent filming with the most hard working crew and cast who give their all to this show. It’s always a pleasure.”
The One Show broadcasts on BBC One at 7pm on weekdays.
Two US Navy jets collided during an air show at Mountain Home Air Force Base in Idaho, sending both aircraft crashing to the ground in front of spectators. All four crew members ejected safely before impact.
Weekly insights and analysis on the latest developments in military technology, strategy, and foreign policy.
Two E/A-18G Growler electronic attack aircraft collided during the Gunfighter Skies Air Show in Mountain Home Idaho on Sunday, in a mishap captured in dramatic videos. The four crew members of the aircraft, from Electronic Attack Squadron (VAQ) 129‘s NAS Whidbey Island-based Growler Airshow Team, were able to eject right after the collision and are being evaluated by medical personnel, according to media reports. The incident took place two miles northwest of the base, according to the 366th Fighter Wing’s Facebook page. The Growler Airshow Team puts on two-jet displays.
Video of the incident showed the one of the Growlers close in on the other from behind and then collide, striking the lead aircraft’s rear with its nose from above. They then became entangled together, nose up, and then down, before tumbling to the ground. Four small explosions from ejection seats blasting out of the falling Growlers can be seen before the parachutes of the four crew members opened up. The Growlers hit the ground, exploding into a ball of flames, followed by the crew members floating down in their parachutes.
Footage of the mid air collision between a pair of Navy Super Hornets/Growlers during the Gunfighter Skies Air Show at Mountain Home Air Force Base moments ago. pic.twitter.com/yQqPavmSWk
These still images show another view of the collision.
The crash caused a fire that was since contained, according to the base.
2 E/A-18G Growlers from the VAQ-129 Growler Demo Team are reported to have collided during the Gunfighter Skies Airshow at Mountain Home AFB, Idaho today. Both crews are reported to have ejected safely. pic.twitter.com/k5SWJ9mz1u
Mid-air collision; Two EA-18G Growlers of the Growler Demo Team have been involved in a mid-air collision at the Mountain Home Airshow pic.twitter.com/9rwv2RGYID
While the exact cause of the mishap isn’t confirmed, the leading Growler may have been in the under-nose blind spot of the trailing one right before impact. This is a condition we have seen become catastrophic in other airshow disasters. We will have to wait and find out if this was indeed a contributing factor.
As the jets rolled vertical, they seemed stacked on top of each other, making ejection extremely dangerous. Remarkably, the ejection sequences cleared the crews of each other’s aircraft.
You can check out what the display is supposed to look like in the video below:
EA-18G Growler Demo – Nellis AFB Airshow 2022
We will provide updates when available.
UPDATE: 9:45 PM EDT –
Navy CDR Amelia Umayam released the following statement:
“On May 17, 2026, two U.S. Navy EA18-G assigned to Electronic Attack Squadron (VAQ) 129 from Whidbey Island, Washington collided in mid-air while performing an aerial demonstration involving four air crew for the Mountain Home Air Force Base Gunfighter Skies Air Show, near Mountain Home Air Force Base at about 12:10 p.m. MDT.
All four of the air crew successfully ejected and they are being evaluated by medical personnel. First responders are on the scene.
The incident is under investigation. More information will be released as it becomes available.”
Will Ferrell has done the Will Ferrell thing for so long — playing embarrassingly self-absorbed doofuses, both fictional and based on real people — that it’s easy to forget that when it counts, he can still serve as the glue on “Saturday Night Live.”
For his sixth time hosting the show since leaving the cast in 2002, Ferrell had plenty of those doofuses to portray, including a “Nudeman” dad whose underwear are exposed in the rear when he meets his daughter’s boyfriend. But in sketch after sketch on the show, he showed his usual 100% commitment to every character, even when he was playing himself in the monologue doing a bit about an identity mix-up with Red Hot Chili Peppers drummer Chad Smith. (Smith stuck around for the whole show, sitting in with the “SNL” band and playing drums for Paul McCartney.)
Ferrell was an ideal closer for Season 51, which has largely been about developing relatively new talent in the cast, including rising stars Ashley Padilla, Jeremy Culhane and Marcello Hernández. Ferrell gelled with each of them and everybody else, doing the Will Ferrell thing, which still works tremendously well after all these years.
Musical guest Paul McCartney appeared in Ferrell’s monologue and in the mechanic sketch, and performed a new song, “Days We Left Behind,” as well as “Band on the Run” and “Coming Up” at the end of the show while the credits were shown.
After an absence of a few weeks, President Trump (James Austin Johnson) returned, sleepy from his trip to China. After a non-apology for not bringing Vice President J.D. Vance (Culhane) with him, Trump fell asleep on a gold bar from Switzerland before being visited by Epstein (Ferrell), who makes a series of jokes and insinuations about his association with Trump. When Trump bemoans his low approval rating in the 30s, Epstein responds, “The 30s? Gross, call me when it hits 17.” But Epstein, who claims Hell is “really, really hot” and includes Joseph Stalin and John Wayne Gacy, is there to show Trump the future, one in which former Secretary of Homeland Security Kristi Noem (Padilla) is selling vacuum cleaners on the Home Shopping Network and Secretary of Defense Pete Hegseth (Colin Jost) and FBI Director Kash Patel (a returning Aziz Ansari) are co-hosting a bro podcast while sharing a giant beer bong. Trump believes the podcast is a signal that by then, the war in Iran will be over. “We came in second,” Epstein assures him. The two then launched into a version of “Just the Two of Us” before almost kissing ahead of launching into “Live from New York… It’s ‘Saturday Night!’”
Even eagle-eyed viewers might have needed a full minute or so to realize that the person on stage delivering the monologue was not actually Will Ferrell but Red Hot Chili Peppers drummer Chad Smith, who has been doing an extended gag for more than a decade about their uncanny resemblance. Ferrell followed, wearing the same gray suit, claiming, “He pushed me down backstage. And I fell hard. Lorne (Michaels) had to give me mouth to mouth.” Ferrell tried to do a hard reset of the monologue but couldn’t get the vibe back. He turned to the audience for questions, but only found McCartney there, who still couldn’t tell the difference between the host and the drummer. Ferrell listed many of the songs that McCartney has written (which weren’t performed on the show this time out), but pointed out that there are a few great songs he didn’t write, including “Timber” featuring Pitbull.
Best sketch of the night: Did you at least check the sprog box on your Rav4?
In a piece that calls itself, “What It Feels Like Talking to a Mechanic,” Ferrell plays an auto expert telling a clueless couple (Day and Padilla) that their vehicle needs a lot of work. But he uses completely foreign terms including “dong rod gasket” and a “camber” that’s out of whack and rotting to describe what’s wrong. Another specialist (Hernández) arrives, who describes the car’s ailments in funny noises and partly in Spanish. “You need a new trans person,” he declares. He also expects them to return every six days and come to his private party. A third mechanic (McCartney) found the steering wheel is on the wrong side and that their “tipsy wispy” is all “dangly goodly.” The absurdity level keeps rising, but it will feel familiar to anyone who’s ever felt like their mechanic is speaking in an entirely different language. The only false step in the sketch is the ending, which goes on on a cheap joke.
Also good: That white flag he was carrying around should have been a tip-off
It’s been a bit shocking how good some of the pre-filmed pieces this season have looked, including this one, a “Lord of the Rings” Midnight Matinee sketch called “Bobbin’s Sacrifice.” It features, with quite good special effects and costumes, a full cast of orcs, elves and dwarves during a castle siege, as well as Ferrell as a little Hobbit-looking halfling named Bobbin who bravely volunteers to destroy a bridge that separates the heroes from the monsters. However, once outside the castle gates, Bobbin proudly declares in song that he’s switching sides. And not just switching, but offering the orcs blueprints of the castle and giving them magic items he stole from his friends. Things don’t end so well for Bobbin, but at least he goes out memorably and with a song in his heart.
‘Weekend Update’ winner: How does one apply to be a Blast Boy?
“Update” traditionally does a joke-off between co-hosts Jost and Michael Che in which each writes jokes the other has to read. This edition wasn’t too surprising: Jost was made to spew racist jokes about black vampires (in reference to “Sinners”) and using his Staten Island Ferry to ship Black people “back to the motherland.” Che was made to make light of molestation claims against Michael Jackson. The segment ended up being one of the weaker joke-offs, ending with the threat of Jost getting his hair cut off by a barber on live television (it didn’t happen). Surprisingly, the joke-off was not as funny as Culhane’s return as Mr. On Blast, a guy with takes that are far from hot. Example: “AI? More like P.U.” “Metaverse? Why don’t you go read a Bible verse?” Mr. On Blast punctuates his weak jokes with very entertaining dance moves punctuated with sound effects. This time out, the character deployed a new catch phrase, “Devout!” in reference to being both Christian and Jewish, and he brought out bearded backup dancers called Blast Boys. Culhane was on point and is a lock to return next season for more fun like this.
Frances Tophill, one of the leading presenters on Gardeners’ World, has been heavily tipped to replace Monty Don at the head of the BBC series when he steps down
The Gardeners’ World presenting team(Image: BBC Gardeners’ World Magazine/Ja)
One of the stars of Gardeners’ World has spoken about whether she would like to replace Monty Don when he eventually decides to leave the show.
Monty, still very much a feature of the BBC programme, has been a key part of it for decades. However, following his milestone 70th birthday, questions have recently turned to who might replace him should he decided to put down his televisual trowel.
One of the people often highlighted as a potential successor is Frances Tophill, currently designing a garden for the Chelsea Flower Show alongside Alan Titchmarsh, Sir David Beckham, and King Charles III.
Frances, 36, has been on Gardeners’ World for over a decade, but has now made clear she doesn’t see herself replacing Monty.
She told The Sunday Times: “I have a huge respect for Monty – it is such a generous thing to give your garden space to the nation and he does it so well. I hope he never leaves….Broadcasting is not my day job, my day job is being a gardener.”
This isn’t the first time Frances has pushed back against the suggestion she could replace Monty. In a previous interview with the Telegraph, she said that after covering for Monty in a 2023 episode of the show, she got a glimpse of what fame might be like for him.
After she covered for him, she went to help a friend sell plants, but was shocked to see people flood towards them, not because of the plants, but because they recognised her from the show. She said: “That’s when I got a glimpse of what being Monty must be like… I don’t want that.”
Frances’ comments on the future of Gardeners’ World come as the RHS Chelsea Flower Show gets underway.
Frances has been busy working with the King, Sir David Beckham, and Alan Titchmarsh. Given the high profile nature of her royal clientele, Frances was asked, also by the Telegraph, whether she had been told anything about the monarch before she started work.
She said: “Everyone keeps saying that he’s so detail focused that he’ll notice all the tiny things.” Frances added that she had been searching the internet for the right gnome, as she was adding it in tribute to the King’s Highgrove garden. She said: “He hides it in the stumpery for the gardeners to find.”
Meanwhile, in an official statement on the King’s Foundation website about the garden, Frances went into more detail about what the experience had been like.
She said: “I’m so excited to share my first garden for RHS Chelsea Flower Show. With input from His Majesty The King, Alan Titchmarsh and Sir David Beckham, I’ve had a lot of fun incorporating elements both celebrating their involvement and ideas they have contributed.
“With sustainability front and central for His Majesty, there are no man-made materials being used in the garden, and it will be a concrete free construction.”
Maura Higgins has asked a former Strictly Come Dancing pro for help trainingCredit: GettyShe asked former Strictly pro Karen Hauer to help her train for the US version of the showCredit: BBC
Maura is walking away from Love Island USACredit: GettyKaren was axed from Strictly this yearCredit: BBC
Earlier this year Maura, 35, lost out in the final of the US version of The Traitors.
We revealed this week how Maura is walking away from Love IslandUSA.
She revealed that she’s ready for a fresh start after three years.
Speaking to Vulture about whether fans would see her back on screens this summer, she said: “You won’t. I’ve done it for three years, and they’ll always be family to me, but I think it’s time to try something different.
“I’ve got amazing opportunities coming in the door.
“I think it’s time to say good-bye. But you know what? I won’t say forever.”
PARIS Fury has revealed why Tommy Fury wasn’t at Venezuela’s wedding after his pregnant fiancée Molly-Mae Hague flew to the venue by private jet.
The proud mother-of-the-bride showered Molly, 26, with praise for going above and beyond to make it to Venezuela’s big day, while Tommy was nowhere to be seen.
Paris Fury said she was very impressed by Molly, who travelled by private jet to the weddingCredit: SplashBambi was one of Venezuela’s bridesmaids for the big dayCredit: Splash
Molly, who is heavily pregnant with her second child, was seen stepping onto the runway with her daughter Bambi, 3, and sister Zoe Rae.
The extravagant soiree is taking place at The Comis Hotel and Resort on the outskirts of Douglas, Isle of Man.
In awe of Molly, Paris told The Sun: “She is incredible. She is being fully supportive, and she is bringing Bambi over, so that Bambi could be a bridesmaid with the kids.
“But I have got to throw her props. She is making that journey while heavily pregnant and I wouldn’t have been able to face that while I was at her term of pregnancy.
Venezuela said ‘I do’ to her husband Noah Price, on the Isle of ManCredit: PP.Molly-Mae’s fiancé, Tommy Fury wasn’t able to join the wedding celebrationsCredit: Splash
“It’s very good,” Paris added.
Molly’s fiancé, Tommy, 27, Tyson’s younger brother, wasn’t able to join in the festivities.
Tommy, who Molly met on the reality TV hit in 2019, had to stay in Manchester for his boxing training camp.
She says: “I’m very glad that they are coming. It means a lot. It’s a big journey for anyone to come from home to here.
Venezuela with husband Noah Price, in a custom-made bridal gownCredit: PP.Molly-Mae and Tommy are expecting their second babyCredit: mollymae/Instagram
“It’s lovely that they are making the effort. It’s lovely that Bambi and the other little girls all get to be bridesmaids. They are all cousins and it’s sweet that they‘ll make memories together.”
Bambi is one of 13 of the child bridesmaids, including Venezuela’s little sisters Valencia, eight, and Athena, including four of Noah’s cousins, and family members, as well as five grown up bridesmaids.
Venezuela revealed: “I chose powder blue cupcake dresses for the little ones, they’re really cute, and fitted gowns for my friends.”
Paris said: “Evangeline Designs in Liverpool made the bridesmaid dresses and every day there it was like, ‘There’s a new little dress, there’s a new dress there’s a new dress, because we ended up having a few extra little bridesmaids’.
“They’re wearing flowers in their hair.”
Paris revealed: “We found £120 shoes for the little ones, and the only shoes we found in the right shade of blue for the women were stunning shoes that were £13 from Shein.”
Paris stored all the wedding party outfits in a specially allocated wedding room in the basement of their home.
Paris and Venezuela thoughtfully put together goodie bags, which included diamante Primark flip flops, matching pyjamas, a hairbrush, sweets, Doll beauty make up and a “little dolly” for each of the younger bridesmaids.
And it wasn’t just the women who dazzled on Venezuela’s big day. The men were looking just as dapper.
“The men are in black tuxedos, Tyson too and Noah is in an ivory tuxedo. Noah picked it,” Paris said.
“Collecting everything wasn’t easy. I felt like I was doing circles on ferries with carloads.”
On a recent weekday morning inside a studio in the heart of Hollywood, Rachel Lindsay and Van Lathan, co-hosts of The Ringer’s “Higher Learning,” were getting ready to roll.
By the time the podcasters came into the Spotify Sycamore Studios for their show, which covers all things in Black culture and politics, the overhead lights were set, and the cameras were precisely angled. Decorative books were propped up between their seats and a big red “Higher Learning” logo stood behind them.
As soon as everyone silenced their phones, the hosts began to banter like two old friends. Lindsay complimented Lathan on his recent foray into stand-up comedy at the Netflix is Joke Fest at the Laugh Factory.
“I just have to say … basically a star is born,” said Lindsay, grinning. “I have to talk about it. Now I never doubted you.”
The pair helms one of the many shows on The Ringer podcast network, known for its roster of A-list celebrity hosts and sports and culture commentators that recently moved into Spotify’s newest podcasting studios.
The 11,000 square-foot space on Sycamore Avenue was designed as both a home base for The Ringer’s production and a video podcasting hub for select Spotify creators.
Since its opening earlier this year, the space has welcomed more than 25 podcasters and shows, on top of the dozens of shows that still record at Spotify’s Mateo studios in the Arts District.
The company estimates that over the last five years it has contributed more than $10 billion to the podcasting industry, including payouts to creators and investments in new content.
Podcasts are just one arm of Spotify’s business, as the audio giant has over 100 million songs and 700,000 audiobooks on its platform. But video podcasts have become an increasingly important way for the company to keep listeners tuned in — and paying for subscriptions amid growing competition from Apple Music and YouTube Music. Despite a surge in profits in the first quarter, Spotify’s share price has fallen 25% this year as investors worry about a slowdown in subscriber growth.
Van Lathan and Rachel Lindsay record their podcast, “Higher Learning with Van Lathan and Rachel Lindsay,” at Spotify’s Sycamore Studios in Hollywood on May 7. The podcast is distributed on Spotify through The Ringer.
(Allen J. Schaben/Los Angeles Times)
One of the main drivers behind opening the Sycamore studios was to create a central hub for The Ringer, a media company Spotify acquired for $250 million in 2020.
Geoff Chow, Spotify‘s head of podcast studios and The Ringer’s managing director, said the investment is already paying off “in terms of the productivity and the quality of the content we’re able to produce from here.”
The Ringer is one of the streamer’s most popular assets. Spotify includes nine Ringer shows in its list of the top U.S. podcasts.
“They’re pouring into this space and their creators,” Lathan said, before recording a new “Higher Learning” episode. “We really have the freedom to do so much.”
He and Lindsay said the studio has elevated their show by switching up their workflow and increasing in-person work.
Thanks in part to its centralized location, tucked between the offices of SiriusXM and music and sports entertainment company Roc Nation, they say guests are more eager to visit and record in person. Lathan joked that even while walking down the street, he’ll run into radio personalities like Sway Calloway, who hosts his own successful “Sway in the Morning” show on SiriusXM, and convince them to come up for a tour of the space.
Sycamore has already seen guest appearances from Snoop Dogg on “Game Over with Max Kellerman and Rich Paul,” Pennsylvania Gov. Josh Shapiro on “Higher Learning with Van Lathan and Rachel Lindsay” and “Project Hail Mary” author Andy Weir on “House of R.”
“This street is so cool,” Lindsay added. “It’s just a different energy here.”
The duo first started recording at Spotify’s Arts District campus, which is more focused on audio-driven programs. But as the podcasting landscape evolves and video becomes a more important element, “Higher Learning” is now able to maximize on the new studio’s video-first capabilities.
Chris Thomas, studio operator, works in the control room on the podcast, “Higher Learning with Van Lathan and Rachel Lindsay.”
(Allen J. Schaben/Los Angeles Times)
Spotify also employs a combination of full-time employees and freelancers that staff each show, including sound engineers, lighting specialists and set designers who help keep the place running.
The Ringer, founded by media mogul Bill Simmons, exists online as a website, a podcast network and video production house, anchored in sports, pop culture and politics coverage. Some of its most popular programs include “The Bill Simmons Podcast,” “The Rewatchables” and the inaugural Golden Globe winner “Good Hang with Amy Poehler.”
Many of the hosts overlap within The Ringer’s podcasting ecosystem. Just between Lathan and Lindsay, they host and appear as regular guests on as many as five shows, so they work from the studio three to five times a week. By being in close quarters together, a greater sense of collaboration has enveloped The Ringer’s team. Chow said there are some days when Simmons will walk onto four shows a day, just to share his thoughts on a topic.
“This is my dream of what The Ringer is. We’re all here talking, we’re all existing together,” Lathan said. “We’re all popping in and out of different rooms all the time.”
Exterior view of the building that houses Spotify’s new Sycamore Studios. The company takes up one floor of the facility.
(Allen J. Schaben/Los Angeles Times)
The Ringer was first founded in 2016. At the time, Simmons had recently been ousted from ESPN due to a strained relationship with higher-ups. Simmons had spearheaded the network’s Grantland sports blog, which focused on cultural commentary that is similar to what The Ringer does today. The Ringer soon established itself as one of the fastest-growing independent podcast networks.
The brand still keeps its roots in fandom — whether it’s through football or “Game of Thrones,” said Chow. So, to have a space that reflects the diversity of its programming often makes recording more fruitful, especially during key moments like the NFL draft or awards season.
As The Ringer continues to expand its roots in Hollywood, the network remains focused on maximizing its content.
In January, The Ringer started airing select podcasts on Netflix to reach a wider audience. Chow said the partnership is off to a promising start. Each of the five recording studios at the Sycamore site is fully equipped with live-streaming technology — making the weekly Netflix live shows possible.
“Podcasts have become like a cultural hub and curator of things that are happening in the world,” Chow said. “We always want to innovate and test. That’s something that was exciting to us to think about bringing our audience new content in different places.”
He introduced Gary Lamont, Lisa McGrillis and Emily Atack from the series and asked them all about their characters and what they get up to in the Jilly Cooper adaptation.
After speaking to the Rivals cast, Saturday Kitchen’s Matt Tebbutt addressed viewers, explaining one star’s absence from the line-up.
Helen McGinn, wine expert and presenter, had not been able to take part in the show as Matt said: “Now, Helen McGinn had to stay at home today because last night she had a binge-watch party with her neighbours in the leafy gated community of Hampshire.
“And seriously, she is too much of a fangirl to sit here today; her jaw would be on the floor. She can’t believe she’s missing out on our Rivals special.”
“So guys, please say hello to Helen.” The cast then waved and blew kisses, with Lamont saying, “Wish you were here.”
“Are you hungover, Helen?” McGrillis added cheekily as Matt joked, “Probably is. Helen, drop us a text, let us know what you are up to.”
Viewers took to X noticing her absence, with one sharing: “Rivals dropped last night, and Helen is not doing the wine this morning. Coincidence? #SaturdayKitchen”
Will Murray, Jake Croft and Kate Jenkins were on hand to serve up some culinary delights inspired by 80s classics in homage to Rivals.
Ollie Smith served up some classic cocktails, which were also in tribute to the Disney+ “bonkbuster” series.
Tebbutt and Smith spoke to the Rivals cast about the new season with the show’s host bingeing the first two episodes.
“It’s absolutely brilliant,” Tebbutt said. “And I have to say, none of you looks anything like you do.” Later in the episode, Tebbutt expressed his surprise at the stars’ transformations in the series.
Saturday Kitchen airs on BBC One on Saturdays at 10am
Season 19 aired in the US back in October 2025, which means its biggest bombshells have spread across social media. One standout storyline included bride Meghann Turner, who revealed she was pregnant in the ninth episode.
She married Derrek Wiedeman at the beginning of the show and they seemingly sparked a physical connection during their honeymoon.
Announcing the baby news on the show, Derrek said: “Where do we start? We found out some pretty crazy news today. Some miraculous news, unexpected news. I think we’re both nervous.”
Meghann then jumped in: “We’re pregnant! And we were not trying — to make that completely known.”
Although they were still early in their relationship, Derrek felt the pregnancy changed “pretty much everything,” while his wife added that they were both “shocked, scared and happy all at once.”
But Derrek was keen to keep the news a secret from the other couples because Meghann was still early in her term.
“It’s still really early in the whole pregnancy. It’s too early yet to have the first doctor’s appointment where they do the ultrasound. We haven’t gotten to that point yet,” he said.
“But that’s going to be in a few weeks, so we’re a little nervous to spend this close of, like, intimate time together around the other couples because we’re not ready to tell anyone.”
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We won’t spoil the couple’s current relationship status here, but they appeared compatible to MAFS experts Pastor Cal Roberson, Dr. Pepper Schwartz and Dr. Pia Holec.
Dr Schwartz is a sociologist, sexologist and relationship guru who has been on the show since its very first season. She works alongside marriage counsellor Pastor Cal and sex therapist and psychotherapist Dr Holec.
The new series of MAFS USA kicks off on Monday, 18th May
British artist Matthew Collings says his exhibition “Drawings Against Genocide”, depicting Israeli violence against Palestinians, has been falsely portrayed as anti-Semitic. After outrage and protests, the London show has been cancelled.
