stage

Kiki Shepard, the actor and entertainer best known for co-hosting the syndicated variety show “Showtime at the Apollo,” has died. She was 74.

LaShirl Smith, a representative for Shepard, confirmed her client’s death, writing in an Instagram post Tuesday that the loss “hurts an awful lot.” Shepard died Monday in Los Angeles after a heart attack, Smith confirmed to TMZ. On Tuesday, Smith honored Shepard with a video collage of their shared moments over the years, lamenting she will no longer be able to speak with her friend “three/four times a day everyday at least for an hour or two.”

“Rest easy cousin, heaven got a good one,” Smith said in her post.

The Texas native, born in July 1951, co-hosted “Showtime at the Apollo” from 1987 to 2002. During her tenure, she shared the stage with a variety of co-hosts including Steve Harvey, Sinbad and Mo’Nique, introducing a range of musical acts at the historic theater in Harlem. The Apollo honored Shepard on its marquee Tuesday, remembering her as a “true Apollo legend.”

“Together, [the hosts] carried the electrifying spirit of our legendary stage into living rooms across the nation, introducing rising stars, celebrating icons, and making millions feel Harlem from wherever they were,” the theater said on Instagram, “reminding the world that we have always been a place where Black excellence takes center stage.”

More than a host, Shepard had an entertainment career that included TV appearances — among them “Baywatch,” “A Different World,” “NYPD Blue” and “Grey’s Anatomy” — and a handful of stints as a choreographer. An alumna of what was then called North Texas State University and Howard University, Shepard also had a minor role in “The Wiz.”

Her television credits include “Thunder in Paradise,” “Baywatch Nights,” “Family Law,” “Everybody Hates Chris” and the 2025 series “Highly Favored.” Shepard also pursued a career on stage, appearing in Broadway productions of “Bubbling Brown Sugar,” “Reggae” and “Porgy and Bess.”

Beyond entertainment, Shepard devoted herself to raising awareness for sickle cell anemia after a friend died of the affliction. In 2006, she founded the Kis Foundation, an organization that seeks to support sickle cell disease patients and their families, following years of other advocacy efforts.

“KiKi believed that compassion, community, and education could change lives. Her voice uplifted countless individuals who often felt unseen, and her work created lasting pathways for hope, resources, and understanding for those living with this disease,” Shepard’s family said in a statement to ABC7.

To daytime talk show host Sherri Shepherd, the beloved “Showtime at the Apollo” personality “was the life of every party” who had a welcoming and warm presence.

“Kiki I am devastated that you are gone, but I am rejoicing because you LIVED and you lived boldly and joyfully,” the “Sherri” host wrote in an Instagram tribute.

“Your love of God was evident and I know you are having a ball up there,” she added.

Mo’Nique and Jackée Harry also honored Shepard’s life and legacy on Instagram. “Rest easy, my dear sweet friend,” comedian Harry said, “I’ll carry you with me always.”

Caracas, March 14, 2026 (venezuelanalysis.com) – Venezuelan workers, activists, and trade union organizers held marches in several cities on Thursday to demand wage increases and respect for labor rights.

A coalition of labor organizations staged protests in Caracas and over 25 other cities across the country. In the Venezuelan capital, around 1,000 demonstrators marched from Plaza Morelos and broke through a police cordon to reach the National Assembly in the city center.

“Mobilizations like the one we had today will continue and grow until the government changes its salary policies,” José Gregorio Afonso, president of the Central University of Venezuela (UCV) professors’ association, stated. “We believe the economic conditions allow for the establishment of a minimum wage as determined by the Constitution and the Labor Law.”

Afonso added that the Constitution mandates the government adjust the minimum wage at least once a year to keep up with inflation, but the last increase was in 2022. He likewise pointed to recent official figures of economic growth and prospects of increased oil revenues.

Thursday’s rally consisted largely of education sector trade unions, as well as public sector retirees. A commission met with a group of legislators at the end of the march to deliver a list of 17 demands signed by over 200 trade unions. 

A similar document was delivered to the Labor Ministry following prior nationwide rallies on February 26. The labor organizations’ demands include raising the minimum wage in accordance with the Constitution and labor legislation, the release of workers and trade unionists allegedly arrested for defending labor rights, and the repeal of statutes such as the 2792 Memorandum that suspended several collective bargaining rights.

Activists have also voiced opposition to plans to implement a pro-business reform of the country’s Organic Law of Labor and Workers (LOTTT) that would cut benefits, social security contributions, and other employer responsibilities. 

The historic 2012 law, approved by former President Hugo Chávez, prohibits unfair dismissal and outsourcing, enshrines the world’s third-longest maternity leave, guarantees the right to work for both women and people with disabilities, and extends retirement pensions to all workers, including full-time mothers and the self-employed.

Later on Thursday, the ruling Socialist Party (PSUV) held its own march in Caracas along the same route, with spokespeople urging the defense of the country’s peace and sovereignty, as well as calling for the release of kidnapped President Nicolás Maduro and First Lady Cilia Flores.

Labor Minister Eduardo Piñate told reporters that the rally was in “firm backing” of the Maduro and Rodríguez government’s labor policies.

Gov’t increases bonus amid salary debates

On Friday, unofficial channels reported that the acting Rodríguez administration had raised the monthly “economic war bonus” by 25 percent, from US $120 to $150. Coupled with a $40 food bonus, the move brings the monthly income floor for public sector workers to $190. The amount is paid in bolívars at the official exchange rate.

Venezuelan government officials have not commented on the increase. It is not presently known whether public sector retirees and pensioners, who receive $70 and $50 economic war bonuses, respectively, will benefit from similar hikes.

Venezuela’s monthly minimum wage was set at 130 bolívars (BsD) in March 2022 and has not been adjusted since. At the time, 130 BsD amounted to around US $30, but with the Venezuelan currency’s devaluation, it is now equivalent to $0.29. With the Venezuelan economy heavily battered by US sanctions, the Nicolás Maduro government prioritized non-wage bonuses as the main income source for workers and pensioners.

Trade unions and leftist organizations have criticized the policy for violating the country’s labor laws and favoring business sector interests by reducing labor costs and making dismissals more flexible.

In recent weeks, trade union coalitions have put forward proposals for a minimum wage adjustment. Center-right and right-wing alliances such as the Independent Union Alliance (ASI) and the Confederation of Venezuelan Workers (CTV) have urged authorities to set the monthly minimum salary at $200 before pegging it to a cost-of-living index.

For its part, the government-aligned Bolivarian Socialist Union of Workers (CBST) proposed that the minimum wage be raised by $50 each quarter, though it did not specify a time frame. The CBST added that, should the government deem the salary increase unfeasible, it should implement a similar increase in non-wage bonuses.

Liberal economists, including Asdrúbal Oliveros and José Guerra, have argued that minimum wage increases beyond $100 and $150 a month, respectively, might place too high a burden on the state’s budget. At the same time, business sector representatives have called for a flexibilization of labor protections and benefits.

Leftist economists, including former PSUV congressman Tony Boza, Pasqualina Curcio, and Juan Carlos Valdez, have proposed raising wages and pegging them to inflation as is currently done by private banks with interest rates.

Edited by Lucas Koerner in Fusagasugá, Colombia.

It is the second time in three years organisers have been forced to abandon plans for a summit finish in the so-called ‘queen stage’ of the race, which concludes in Nice on Sunday.

Vingegaard goes into the final stage with a commanding lead of three minutes 22 seconds over Colombia’s Dani Martinez in the general classification.

“I think it is very important that we race. This is one of the biggest races in the world, but it was pretty slippery towards the end,” Vingegaard said.

“We were, and still are, very much in favour of racing. You have to understand that Paris-Nice is one of the biggest races in the world, there are many sponsors involved, and they want to stage their finish – so we were keen to race.

“But when the finish line is here, maybe it is no longer possible. It would have been better to place the finish line 10 kilometres earlier. For us as riders, rain is part of the job, but when there is snow it is different.

“There were a few crashes at the end, probably because it was very slippery. In that situation it would have been better to say, ‘Let’s move the finish line a little earlier’. That was what we actually wanted.”

If David Nihill was a philosopher, his credo might be “I digress, therefore I am.”

Instead, Nihill is a comedian. Kind of. “I don’t know if I think of myself in those terms,” says Nihill, whose “Cultural Appreciation” special has 2.5 million views on YouTube. “I wouldn’t even call mine comedy specials.”

Nihill is a conversational storyteller who rarely even moves on stage. “I don’t know how to do performance,” he says, “but I do know how to talk.”

His current show, “Taking Tangents,” which takes him to Irvine, Pasadena and Los Angeles from March 13 to 17, is a wide-ranging collection of tales, with some material shifting from show to show. We’ll come back to it, but first, a few tangents.

Growing up in Ireland, Nihill, 47, struggled to learn, hampered by dyslexia — “I came in the lowest five percentile in the whole country of Ireland for spelling, and I didn’t even spell my name right on the test” — and an aversion to math. He was made to feel inferior because of his difficulties. “I was 100% in the ‘I am a moron’ category,” he says.

Nihill was shoved into a vocational program and most of his friends dropped out of school. He stayed in, but even when his father offered to buy him a Super Nintendo for certain math scores, Nihill fell short. His father bought it for him anyway, he says, “but I sold it and bought myself a motorcycle even though I was 15 and not legally old enough to drive.”

He finished high school and became a poorly paid, overworked apprentice electrician. That was enough to motivate him to go to college; there, he figured out how his brain worked and how to learn. He even developed a passion for reading: His last show, “Shelf Life,” wove in dozens of book recommendations.

During our conversation via video after a New York show, I’d ask one question, then follow Nihill as he ambled through his personal history. He started with a story about jumping off a cliff in Greece and shattering his leg — a part of “Tangents” — then going to Australia, before he stumbled into a master’s degree studying business back in Ireland (despite botching his application). A new friend there took him to his first-ever comedy show in Glasgow — there are even tangents within his digressions — before getting him a job with Enterprise Ireland, the government’s investment fund to boost Irish business overseas. That landed him in San Francisco, part of the “Cultural Appreciation” special. He left to pursue business opportunities in Mexico but, due to a hurricane, somehow ended up in Chile, spent a year wandering north toward America, and then scored an internship in Colombia.

Nihill is a conversational storyteller who rarely even moves on stage. “I don’t know how to do performance,” he says, “but I do know how to talk.”

(Jim McCambridge)

Eventually, Nihill’s story works its way to his current career, which began by accident. “It was never a dream or a goal,” he says. A friend in San Francisco had suffered a spinal cord injury and Nihill wanted to run a fundraiser, but dreaded public speaking.

That leads to a minor diversion, back to a college public speaking course in which Nihill was so terrified that he got drunk before his presentation and introduced himself “as an exchange student from Southern Yemen.”

In San Francisco, he started doing live comedy to overcome that fear. Meanwhile, his business background led him to see an opportunity and he created FunnyBizz, a company and conference where comedians help teach business leaders, like Kevin Harrington of “As Seen on TV,” how to use humor to communicate. The business bankrolled Nihill’s early days in comedy.

While Nihill has lived in America for years, most recently in Los Angeles, he remains passionately Irish, which shapes his shows in several ways.

In Ireland, “your nature is to just default to funny stories.”

He says American stand-up is about taking a topic and making it funny, aspiring for a five-minute joke-filled late night TV spot. Irish comedians say, “This thing happened to me and I think that’s funny. Let me just repeat it.”

The new show is named after “tangents” so that Nihill can go down different rabbit holes each night if he wants. “My head is always doing 60 different things,” he says, and he loves keeping his storytelling “free form and unfiltered,” whether he’s in a pub or on stage (or, apparently, in an interview).

The new show’s subjects will be familiar to Nihill’s fans: his parents, his foolish behavior (there are drunken college-age antics in a story that somehow eventually weaves in White House press secretary Karoline Leavitt) and Irish culture. “There are few countries that punch above their weight in social justice and social impact,” he says, and he always looks to draw connections with other cultures around the world. But the observations and connections he draws are new.

In New York, he added a bit about how 35% of Jamaicans have some Irish roots, quipping “imagine how fast they’d be without that” (in a nod to legendary sprinters like Usain Bolt). But for Nihill, that joke only works if it’s couched within the larger context of the cross-cultural connections, including the fact that Jamaican-born political activist Marcus Garvey drew upon the Irish independence movement for inspiration.

“There has to be some social value to doing it,” he says, although he’s quick to add his comedy isn’t overtly political. “My dad’s a teacher and that lives inside of me. Humor can be the ultimate tool for social activism. I am deliberately getting people to expand their minds in understanding these connections. I want comedy that makes everyone feel good and maybe learn something.”

Nihill on stage at Hollywood Improv.

(Jim McCambridge)

That “feel good” part is central: While he discusses his mother’s death from cancer last year, he leaves out a beautiful but poignant part of their final days together. “I’m deliberately avoiding that,” he says, because he wants to maintain an upbeat mood.

He digresses to tell me the story, however, and it’s literally longer than this entire article’s word count. “A very long answer to a very short question,” he admits, before swerving into a tale about back when his father had overstayed his visa in New York — it involves his dad being interviewed on CNN, getting into a bar fight and avoiding deportation because the immigration officer hailed from County Cork and Nihill’s dad burst into a song from there, earning him a six-month visa extension. The humanity of that scene “in contrast to a 5-year-old being dragged off to a detention center” may end up in a future Nihill show.

Nihill loves sharing the stories that come from observing and listening to people but says he doesn’t love the spotlight, which, he admits, makes comedy an odd career choice. He says he prefers telling stories to just a few people.

“With comedy, the best part for me is that before a show I eat half a chocolate bar and I leave the other half in the hotel room,” he says. “After the show, I get to finish it. That’s true happiness.”

Caracas, February 28, 2026 (venezuelanalysis.com) – A group of trade unions and political organizations protested outside Venezuela’s Labor Ministry headquarters in Caracas on Thursday to urge salary increases and respect for labor rights.

A crowd of around 100 people held banners expressing multiple demands, including pegging wages to a cost-of-living index.

Eduardo Sánchez, president of the Central University of Venezuela (UCV) workers’ union, told reporters that it is urgent to adjust wages and protect working-class rights ahead of announced plans to reform the country’s labor law.

“The workers here today demand an increase in their wages, not through bonuses,” he said. “We are also calling for the repeal of the Onapre and 2792 memoranda,” he added, in reference to policies implemented in 2022 and 2018, respectively, which flattened wage scales and froze a number of collective bargaining rights.

Sánchez also denounced a social media campaign “paid for by the business sector” with the purpose of “demonizing” workers’ benefits and social security.

The groups present at the rally delivered a 17-point petition addressed to Labor Minister Eduardo Piñate.

Venezuela’s monthly minimum wage was set at 130 bolívars (BsD) in March 2022 and has not been adjusted since. At the time, 130 BsD amounted to around US $30 at the time, but with the Venezuelan currency’s devaluation, it is now equivalent to $0.31.

In recent years, with the Venezuelan economy heavily battered by US sanctions, the Nicolás Maduro government has prioritized non-wage bonuses as the main income source for workers and pensioners. Public sector employees have a monthly income floor of $160 from a combined $120 economic war bonus and a $40 food bonus. They are paid in bolívars at the official exchange rate.

Public sector retirees and pensioners receive $70 and $50 economic war bonuses, respectively.

Trade unions have denounced the bonus-over-salary policies for being tailored to private sector interests, since they drastically reduce employer obligations, including social security contributions, vacation pay, severance, and other benefits. 

In 2023, a group of Chavista organizations delivered a constitutional appeal before the Venezuelan Supreme Court, arguing that under Venezuelan labor law bonuses must be considered as salaries with all their implications. However, the petition received no answer from the country’s highest judicial body.

Thursday also saw activists and trade unionists hold demonstrations outside regional Labor Ministry offices in 14 Venezuelan states.

Arvilio Hidalgo, secretary general of the CUTEC trade union in Carabobo state, called on the government to “restore the infringed-upon rights of the working class.”

“Our struggle right now is to restore the minimum wage and social security,” he stated. “We are also calling for the release of workers and trade unionists who were arrested for defending labor rights.”

In recent years, trade unions and human rights groups have denounced dozens of arrests of labor leaders, claiming that they were targeted for upholding collective bargaining rights or opposing corruption in the public sector and state-owned companies. Several trade union representatives have been released in past days following the approval of the Amnesty Law.

The labor organizations that rallied on Thursday announced a new protest on March 12.

In recent months, Venezuelan authorities have announced plans to develop a “new labor model” and engaged in consultation processes with pro-government trade unions.

The country’s main business lobby, FEDECÁMARAS, has openly voiced support for an overhaul of labor legislation reform that cuts down on benefits and other employer responsibilities.

One of the core legacies of the Hugo Chávez administration, Venezuela’s Organic Law of Labor and Workers (LOTTT) was hailed as the “most advanced labour law in the world.” The historic 2012 law prohibits unfair dismissal and outsourcing, enshrines the world’s third longest maternity leave, guarantees the right to work for both women and people with disabilities, and extends retirement pensions to all workers, including full-time mothers and the self-employed.

A one-size-fits-all sartorial approach is out of the question for the showmen of “Sinners,” “Hamnet,” “Frankenstein” and “Marty Supreme.” But whether the arena is theater, music, science or sports, all wear garments that accentuate their emotional states and prodigious talents — and leave an enduring mark. Here, Oscar-nominated costume designers Ruth E. Carter (“Sinners”), Malgosia Turzanska (“Hamnet”), Kate Hawley (“Frankenstein”) and Miyako Bellizzi (“Marty Supreme”) discuss defining menswear statements with The Envelope.

In Carter’s third collaboration with Ryan Coogler, Michael B. Jordan’s sharply dressed twins Smoke and Stack return to the Mississippi Delta in 1932 to open a juke joint, tapping their gifted blues musician cousin, Sammie (Miles Caton), to perform. “You see this style that [old blues players] embodied, whether it’s two-tone shoes, the hat, vest, shirts; all of that was laced into the storytelling,” says Carter. He might be a preacher’s son, but Sammie wears his passion on his blues-infused clothing in the record-breaking “Sinners.” “The vest is patched to show the wear from the guitar strap.”

Before the night goes to vampire hell, all eyes are on Sammie in earthy and gold tones as he sings “I Lied to You.” Artists spanning centuries and continents (including an electric-guitar-playing rocker and a Zaouli dancer) add to the mesmerizing sequence before returning to Sammie. “When we come back to him, we’re coming back to his own force and look,” Carter says.

A sketch of Sammie’s bluesman-inspired costume in “Sinners.”

(Ruth E. Carter)

A final scene set in 1992 shows Sammie (played by musician Buddy Guy) still beguiling audiences. Carter incorporates Guy’s real-life signature polka dots to highlight “this is a real story of the blues, and this is a real bluesman.” Stack’s authentic Coogi sweater (a nod to Biggie Smalls) contrasts with Sammie’s classic tailoring, which doubles as a memorial to his other cousin: “The color blue was an homage to Smoke and the flat cap.”

Clothing is also for remembrance in Chloé Zhao’s “Hamnet,” in which a grieving William Shakespeare (Paul Mescal) turns to a meaningful shade in paying tribute to his son during the inaugural run of “Hamlet” at the Globe Theatre in London. “Will, in my head, was imagining, remembering and holding on to the memory of Hamnet,” Turzanska says. “And in a super crude, simplified way, putting the paint and the colors that he remembered onto Hamlet’s character with those brushstrokes.”

Turzanska constructed the players’ costumes from raw linen, using slightly enlarged, period-accurate shapes combined with contemporary latex paint. Using this stage language, Hamlet’s (Noah Jupe) jerkin is “quilted and painted flat,” to conjure Hamnet (Jacobi Jupe): “It was a memory of the vertical stripes.”

There are echoes among the costumes for William Shakespeare, Hamlet and Hamnet in Malgosia Turzanska’s costumes for “Hamnet.”

(Malgosia Turzanska)

Offstage, growing slashes in Will’s leather doublets depict “emotional turmoil.” Still, his turn as Hamlet’s murdered father (the Ghost) is the most overt example. The off-white cloak caked in clay is deliberately drained of all color. Turzanska tested the symbolic shroud (“You put this little harness on”) to ensure Mescal could move freely. Catharsis comes after Will exits the play: “The clay is cracking and falling off. Finally, when he washes it off, we see him break down for the first time and actually cry.”

Not every stage has a paying audience. In Guillermo del Toro’s “Frankenstein,” Victor Frankenstein (Oscar Isaac) reanimates a corpse during a disciplinary hearing demonstration. Clad in red, white and black, the renegade scientist’s sartorial inspiration is not bound to a single era.

“That was the first note from Guillermo [about Victor]. He goes, ‘Dandy, rock star. Look at David Bowie. Look at Prince,” says Hawley. “When we started talking with Oscar, he came in with his Prince stuff. When you look at his performance, you see all those subtleties, the physicality, the swagger.” Piping on the waistcoat is “a kick” to stand out against judges in black.

Hawley embraces “wonderful peacock” 1850s menswear shapes: Victor’s puffed-out chest accentuates the “wasp waist” likening him to a matador. An exaggerated period heel adds flair. “Shoes are what root the actor to the ground and their character,” Hawley says. “It elevates every gesture from there.”

Victor Frankenstein’s costumes in “Frankenstein” were inspired by musicians like David Bowie.

(Kate Hawley)

“Marty Supreme’s” Bellizzi is equally mindful of footwear. Bellizzi “worked with Keds to find the shape” resembling a narrow 1950s sneaker for Timothée Chalamet to wear as ambitious table tennis player Marty Mauser. “When he was training, I would give him a few different sneakers to see what looked good but also what felt good,” says Bellizzi. “Because he had to wear them all day and play in them.”

Marty switches from a sedate black polo shirt and high-waisted wool pants while playing at Wembley in London to an eye-catching pink satin set on tour with the Harlem Globetrotters during a lighthearted interlude in Josh Safdie’s propulsive comedy-drama. “We overexaggerated the pants and the sleeves in the body so it is big and flowy,” says Bellizzi.

By the time Marty arrives in Japan, his everyday suit “has been through the wringer.” Luckily, a rigged ping-pong exhibition match allows Marty to embrace his theatrical talents. “It was an opportunity to show him as someone else. He’s undercover,” says Bellizzi. “He has the cap and the jumper.” Ever the showman, Marty relishes ditching the pretense and his wardrobe onstage, embracing his competitive streak. “He turns it into a bigger situation than it should have been, and maybe part of the surprise is that he’s derobing,” Bellizzi says. “It shows how much passion comes out.” Across venues and centuries, each man’s attire is ovation-worthy.

Jennifer Hudson raised more then a few eyebrows in 2022 when she was close to realizing her dream — becoming a daytime talk show host.

At the time, she had just become the youngest member of the small elite group of artists who are EGOT — Emmy, Grammy, Oscar and Tony award — winners. She was also aware that the highly competitive daytime talk show arena had been a notorious minefield for several top stars, leading to quick failure.

But she was unfazed. Just days before the premiere of the “Jennifer Hudson Show,” she called it the perfect birthday present.

“This is going to be such a gift,” she said near the set of the show at Warner Bros., which produces the series. “If I were not working on my birthday, that is what I would be wishing for — performing on a stage or a platform … I love a challenge … It is a difficult arena. You will always see me try.”

The entertainer expressed even more excitement Thursday after her syndicated show was renewed for a fifth season, bringing some welcome sunlight to the afternoon landscape which has been shaken in the last several weeks by the upcoming departures of popular hosts Kelly Clarkson and Sherri Shepherd.

Hudson and Drew Barrymore, who has hosted her own eponymous show since 2020, are now the sole survivors in the celebrity-oriented afternoon talk genre. (The talk show hosted by Tamron Hall is more focused on topical issues and trends.)

Insiders say the continuing economic difficulties in Hollywood and the explosion of video podcasts hosted by stars such as Amy Poehler, Conan O’Brien, Dax Shepard and the “Smartless” trio consisting of actors Jason Bateman, Will Arnett and Sean Hayes has substantially crippled the traditional daytime talk format.

Shock waves have resonated through the daytime TV industry since early February when Clarkson said she would be ending her Emmy-winning talk show at the conclusion of its current seventh season for personal reasons. Just hours later, producers of “Sherri” announced they were pulling the plug on that series, attributing the cancellation to “the evolving daytime television landscape.” Shepherd in recent days has said she was fighting to save the show.

Rumors about the future of Hudson’s show have been circulating since those announcements. Although some insiders considered Hudson an unlikely entrant in daytime, she has established herself as an engaging and warm host, connecting with her enthusiastic studio audience and highlighting the show with musical performances and duets with her guests.

The show has also aggressively employed social media to promote its “Spirit Tunnel,” where staff members lining a corridor greet celebrities with chants on their way to the stage. Producers say the ritual has surpassed 6 billion views.

“The Jennifer Hudson Show” replaced Ellen DeGeneres’ talk show, which ended in 2022, had run for nearly 20 years and was produced by Warner Bros.

Experts say the current landscape is indicative of the cyclical nature of daytime talk, recalling the era of “trash talk” during the 1990s when afternoon talk shows such as “Sally,” “Jerry Springer” and others emphasized fierce confrontations and provocative, often sexually oriented topics.

“Daytime has always gone through these cycles, so this is nothing new,” said Rachel Schwartz, head of the Daytime Emmys and Children & Family Emmy. And video podcasts appear to be part of this latest cycle.

“Now audiences are proving that they are really hungry for podcasts, which is impacting the landscape of daytime TV,” she said. “The podcast can be narrowly focused on one celebrity. It’s like the listener is sitting down with a friend. And the guest can be more comfortable.”

Pamela Rutledge, director of the Media Psychology Research Center, which explores the psychology of human interaction with media and technology, said that while daytime talk shows offer familiarity with the same host, tone and daily presence, podcasts give celebrities more control, intimacy and influence without the constraints and pressures of broadcast TV.

“Podcast hosts tend to be partners in conversation, not ‘hosts’ or moderators,” she said. “Talk shows are in the middle of the voyeurism spectrum — too curated by time, pacing and commercial interruptions to feel really intimate and too restrained to be thrilling.”

Rutledge added that maintaining TV studios, crews and accommodating large audiences is becoming increasingly costly for producers, who are looking more to other types of digital and social platforms that are more attractive to advertisers.

IT was the long, hot summer of 1995, John Major was in No10 and Blackburn Rovers were Premier League champions.

The music charts had been dominated by acting duo Robson and Jerome, until one crazy week in August when Britpop’s heavyweights began slugging it out.

Oasis and Blur released their new singles Roll With It and Country House on the same day in a race for the No1 spot — and the nation was absolutely mad for it.

It was an era-defining, pop culture moment, billed as North v South, working-class v posh boys and sing-along anthems v lyrical sophistication.

Yet even their most ardent fans would have struggled to imagine that 30 years down the line the rivalry in all its boozy, sweary glory would be transformed into a theatrical production.

The Battle — which opened at the Birmingham Rep theatre this week — is a comedic caper that tries to recreate the 90s vibe.

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So Oasis frontman Liam Gallagher — played by George Usher — is seen snorting lines of coke, swigging champagne and threatening to knock Blur singer Damon Albarn’s block off.

And the production includes more uses of the C word than have been uttered in much of the rest of British stage history put together.

The play’s writer, best-selling novelist John Niven, tells me he had to explain the context of the expletive-laden script to the actors.

He said: “The young cast found some of the language challenging at first.

“I had to say that that was just the way people spoke back then. It was more full-on and a much more unfiltered time.

“There’s five or six c***s in it but I guess that’s a lot for the theatre.

“But there’s no way you could accurately reflect those musicians over a five-month period without a few C-bombs dropping. It wouldn’t be authentic.”

John, 60, said he took inspiration for the narrative from a comment by Oasis manager Alan McGee about the rise of his band from a tough Manchester suburb.

He recalled: “Alan said, ‘The thing is, Blur think this is all good media fun but you’ve got five lunatics off a council estate in Burnage who actually want to f*****g kill them’.

“Blur moved the release date of their record to coincide with the Oasis single, so Liam thought, ‘Right, they’ve offered us out’.”

With actor George, 21, successfully aping Liam’s loping gait, he also gets to deliver the most one-liners.

John, who spoke to Blur’s bassist Alex James while writing the play, added: “Someone like Liam is so seductive to write for.

“Noel and Liam are both very funny in completely different ways.

“Noel is really dry and has got great timing, like a stand-up comedian, while Liam is much more surreal, random and unfiltered. He’s a delight to write dialogue for.

“Sometimes you think, ‘F***, have I gone too far there?’

“And then you could go online and find an interview with Liam where he said something ten times crazier.”

John — who began writing the play in 2023, long before the triumphant Oasis reunion last year — also had to explain to the young cast how the Britpop battle came to dominate the national conversation.

He said: “It was such a big cultural phenomenon. The whole country, from six-year-olds to 60-year-olds, knew about it.

“It went from the music papers to the broadsheets to the tabloids to News At Ten. Back then, things spread via radio, TV and the Press, whereas now the culture is so atomised.

“I’ve got teenage kids and you can have acts with a billion TikTok followers who play Wembley Stadium and I’ve never heard of them.”

After a blast of Blur’s Girls & Boys, the play begins at the February 1995 Brits, where Blur won four awards to Oasis’s one.

Collecting the prize for best British group, Damon insisted: “I think this should have been shared with Oasis.”

Interviewed later, Noel Gallagher said: “As far I’m concerned, it’s us and Blur against the world now.”

But the love-in didn’t last. Later that year Noel said of Blur: “The bassist and the singer, I hope the pair of them catch Aids and die because I f***ing hate them two.”

(The guitarist would later appologise, insisting he was “f***ed” on drugs when he made the remark).

When John began writing the play, he recalled the resentment that had built up between the bands in a few short months.

The former music company executive who was at the Brits that year, added: “I thought. Now there’s a dramatic arc.

“Back in February they had all been mates with Noel giving an interview saying, ‘It’s us and Blur against the world now’.

“Now he was saying he hoped they died.”

Then, in August Oasis’s record company Creation announced their new single Roll With It would be released a week before Blur’s Country House.

John added: “Blur’s manager Andy Ross was worried that Oasis would have a massive No1.

“Back then a single could top the charts for a month so Andy was worried the Blur would be stuck at No2.”

Andy, played by Gavin and Stacey star Mathew Horne, decides to move Country House’s release date forward to coincide with Oasis and all hell was unleashed.

The then influential music magazine NME produced a front cover with the headline, British Heavyweight Championship, Blur v Oasis.

A then 29-year-old Clive Myrie reported breathlessly for the BBC News At Ten on the brewing rivalry.

Like the Beatles and the Rolling Stones in the 1960s, the two bands divided friends and families into rival camps.

An exclusive in the The Sun revealed that Oasis-mad Mandy Vivian-Thomas had kicked out her husband Richard for being a massive Blur fan.

Richard said: “Mandy’s been a nightmare. She’s spent a fortune on trash about Oasis and the last starw was using my card to buy their record.

“I’m out on my ear but I’m hoping things will calm down.”

Headlined, You Blurty Rat, the Sun article takes centre stage in The Battle.

It’s cited by Blur guitarist Graham Coxon as a symptom of how the chart battle has seen his band drift away from their indie ideals and into the mainstream.

John explained: “It became apparent how different the two bands were because I think Noel and Liam loved being in the tabloids and wanted to be that big.

“They had no problems with having loads of reporters outside their door. They thought, ‘We want to be the biggest band in the world and this is part of it’.

“But I reckon Blur found it all much more uncomfortable, especially Graham. That when you get that big you’ve got the tabloids banging on your door.

“I think he thought, ‘This is getting crazy now.’”

In the end, it was Blur who would win the Battle of Britpop with Country House topping the charts but Oasis would go on to have a more stellar career.

John added: “Damon and Noel are pals now.

“When men are in their 20s and 30s and they’re really ambitious, they’re all claws and teeth, sharp edges and hustling.

“You hurt people trying to get where you want to be but I think as men get older in their 40s and 50s they get a lot nicer and they calm the f*** down a bit.”

John hopes the play will transfer to the West End after runs in Birmingham and Manchester.

“I don’t think we’ll see a time when two bands dominate the national consciousness in a way like that again,” he said.

“It’s almost impossible to imagine.”

TOUCH OF TARANTINO

EFFING and jeffing as he struts around the stage like a rampant chimp, George Usher has Liam Gallagher down to a tee.

I’m supping a lager in the stalls at the Birmingham Rep, where if you suck your gut in and comb your hair forwards, it could be 1995 all over again.

With blasts of their hits, and aided by newsreel and radio clips, the great Battle of Britpop is fought once again.

The dialogue is pacy, comedic and very sweary. Yet with two bands, assorted managers and girlfriends to cover, there is little time for character development.

However, just as the play seems to be running out of narrative, it plunges into a Quentin Tarantino-esque sequence.

It’s a fittingly surreal end to this parable of a drug-addled decade.

★★★☆☆

Bed rest can go pound sand: Ray J gave his all on stage on Friday night, it seems, with fan videos showing his eyes appearing to bleed as he worked the crowd.

The singer also doffed the top of his orange jumpsuit to reveal some sort of medical port or device inserted on the upper left side of his chest.

The “Love & Hip-Hop: Hollywood” star, who is singer-actor Brandy’s brother, was performing in Shreveport, La.

In the first clip, red liquid — which many assumed was blood — ran down one of the R&B singer’s cheeks like tears as he handed out long-stemmed red roses to people in the audience. Another clip showed him singing into a mic while climbing down from the stage after shedding the top part of his jumpsuit.

“Hey, y’all, we perfectly fine. Ain’t nobody sick. Look at me, I’m fine,” he says in a later clip, which takes place off stage. The 45-year-old appears to be annoyed, saying that people have been laughing at him because he’s sick.

“He loves the camera. He loves the attention,” Tommy Nard II of Nard Multimedia Group, who was behind the scenes that night, told Shreveport news station KTAL separately. “It’s all theatrical … I seen him literally put on the fake blood and go out there.”

A concertgoer told KTAL that it was “very concerning to see blood, what appeared to be blood, coming from his eyes.”

Ray J told TMZ in late January that he was under doctor’s orders to stay on bed rest and avoid drugs and alcohol. He said he was on eight medications related to his heart, which he said had been damaged because of his excessive drug and alcohol use.

“I thought I could handle all the alcohol, I could handle all the Adderall,” he said in a video livestream in late January.

Doctors told Ray J — real name William Ray Norwood Jr. — that he should prepare for the chance that he might need a pacemaker or defibrillator soon, the singer told the celebrity site. He expected to get an update when he went back in two weeks for a checkup.

Two weeks was up over the weekend.

Ray J told followers in a video posted Jan. 25 that he wanted to “thank everyone for praying for me.”

“I was in the hospital,” he said. “My heart is only beating like 25%, but as long as I stay focused and stay on the right path, then everything will be all right.” In a video, he said the right side of his heart was “like, black. It’s like done.”

Ray J said elsewhere that his heart was beating at 60%. The number likely refers to his heart’s ejection fraction, which measures the volume of blood coming out of the heart’s left ventricle or being drawn into the right ventricle when the heart beats. Right-sided heart failure is far less common, according to WebMD.

A representative for Ray J did not respond immediately Tuesday to The Times’ request for comment.

However, in an Instagram story posted Monday, Ray J put up this quote: “‘If you want to know who your real friends & family are, lose your job, get sick, or go through hard times. You’ll see clearly.”