Star

HOME Alone star Daniel Stern has been cited for allegedly soliciting a prostitute at a hotel.

The actor who is best known for playing Sticky Bandit (formerly Wet Bandit) Marv in the iconic Christmas films alongside Macaulay Culkin and Joe Pesci was allegedly busted by cops in Camarillo, California last month.

Stern, 68, was ticketed on December 10, a law enforcement source from Ventura County told TMZ.

He was not arrested but soliciting a prostitute in California is a misdemeanour.

Those who are convicted of such an offense in the Golden State can get up to six months behind bars or a $1,000 fine.

Neither Stern nor his representatives have issued comment about the citation.

The father-of-three has been married to his wife Laure Mattos since 1980 and has ditched Hollywood to focus on his art.

He lives on a ranch in Ventura where he sculpts and raises cattle.

On Christmas Eve he told People that he has been asked by the owners of the Home Alone house to create a sculpture of one of his iconic scenes.

“I got a call from the people who own the Home Alone house,” he said.

“And I’m a sculptor [and] they asked if if I would do a sculpture for the house. So I’m creating a sculpture of me and the spider.”

Back in October it was revealed by TMZ that he had been hospitalized after suffering an unknown medical emergency, but was quickly released and said to be “doing well”.

In other Home Alone news, before Christmas The U.S. Sun looked at how Kevin McCallister’s extravagant trip to New York City in the sequel would look today, including how much it would cost.

Plus, Macaulay Culkin has revealed what his children think of his starring role in the iconic films.

Hugh Laurie left quite the impression when he starred as villainous Richard Roper in The Night Manager 10 years ago.

Hugh Laurie, the legendary star of The Night Manager, is set to appear alongside a Westworld icon in a forthcoming crime thriller.

After initially rising to prominence in the Blackadder franchise with Rowan Atkinson and Stephen Fry, Laurie has since featured in numerous major dramas including Veep, House, and naturally, The Night Manager.

While his previous co-stars Tom Hiddleston and Olivia Colman return to the BBC thriller, Laurie has been busy filming his latest project, The Wanted Man, for Apple TV+, which is presently in post-production.

The 66 year old will portray crime boss Felix Carmichael, who lands behind bars after running the infamous criminal organisation The Capital for two decades.

The official synopsis reveals: “Upon discovering internal betrayal while locked up, he plots his breakout to seek vengeance and restore his criminal empire.”

The eight-episode series has been created by Hijack’s George Kay and also features Mission Impossible and Westworld star Thandiwe Newton.

However, they won’t be the only recognisable names, as Laurie and Newton will be accompanied by Game of Thrones actor Stephen Dillane, Say Nothing’s Hazel Doupe, and Dunkirk star Fionn Whitehead.

No official release date has been confirmed yet, though reports suggest The Wanted Man could launch around May 2026.

Meanwhile, fans’ focus has returned to Laurie following his memorable role in The Night Manager, which has made its comeback to British television screens. In the 2016 BBC thriller, he played the villainous Richard Roper, starring alongside leading man Hiddleston as Jonathan Pine and Colman as Angela Burr.

After a decade-long hiatus, The Night Manager has made a comeback for its second season, but with an unexpected twist – Roper was killed off-screen.

Laurie does make an appearance in the first episode through a dream sequence, but he hasn’t been seen in The Night Manager since and isn’t expected to return.

However, Laurie remains involved with The Night Manager behind the scenes, serving as an executive producer alongside Hiddleston.

The Wanted Man is slated to premiere on Apple TV+ in spring 2026.

The spectacular one-handed catch looked like the kind of play that could only be made with sudden adjustment. A reaction with no thought or practice required.

But that’s not how it went down for Rams star receiver Puka Nacua.

Nacua’s fourth-down touchdown catch against the Arizona Cardinals in the regular-season season finale had its roots in a conversation with quarterback Matthew Stafford.

“Just trusting the technique is something that actually me and Matthew talked about in the week before in a rep during practice,” Nacua said. “The angle departure that we were looking at.

“It’s crazy how some of those things come to life on Sundays.”

Stafford and Nacua were the NFL’s top connection this season.

Stafford, a favorite to win his first NFL most valuable player award, passed for a league-leading 4,707 yards and 46 touchdowns.

Nacua is among the candidates for offensive player of the year.

The third-year pro caught a league-best 129 passes, 10 for touchdowns. Nacua amassed 1,718 yards receiving, second to only Seattle’s Jaxon Smith-Njigba, who had 1,793 yards.

Nacua is expected to continue his outstanding play Saturday when the Rams play the Carolina Panthers in an NFC wild-card game at Bank of America Stadium in Charlotte, N.C.

Star receiver Davante Adams, the NFL leader with 14 touchdown catches, is scheduled to return, but it will be no surprise if Stafford continues to rely on Nacua, who was voted to the Pro Bowl for the second time.

Nacua became the first Rams receiver to lead the league in catches since Cooper Kupp achieved the feat in 2021, when he claimed the so-called triple crown of receiving by finishing first in receptions, yards receiving and touchdown catches. Kupp was the NFL offensive player of the year.

Nacua said one of his goals this season was to improve “catching the ball more consistently.”

He had already made great strides in that regard.

Rams wide receiver Puka Nacua hauls in a one-handed touchdown pass during a win over the Arizona Cardinals on Sunday.

(Robert Gauthier / Los Angeles Times)

As a rookie in 2023, Nacua caught 105 passes on 160 targets but had a league-worst 13 drops, according to Profootballreference.com.

Last season, he caught 79 passes on 106 targets, with one drop. This season he was targeted 166 times and dropped four passes.

“I really do feel confident that I can catch any ball that comes my way,” he said.

Coach Sean McVay noted Nacua’s improvement.

“He’s always had great natural hands, but sometimes these guys that have those great hands, you can almost start to get up field before you end up looking the ball all the way in,” McVay said. “I think he’s been really consistent and that’s not exclusive to when the ball’s in his hands.”

Nacua started the season with a 10-catch, 130-yard performance in a season-opening victory over the Houston Texans. It was the first of six games he eclipsed 100 yards receiving.

Three came in December, after he caught six passes for 72 yards in a 31-28 loss to the Panthers on Nov. 30.

The next week, Nacua caught seven passes for 167 yards and two touchdowns against the Cardinals. He caught nine passes for 181 yards against the Detroit Lions, and 12 passes for 225 yards and two touchdowns against the Seattle Seahawks.

“He brings a ton of energy to our team,” Stafford said during the run. “He plays the game the way we all want to with passion, energy and toughness.”

Saturday’s matchup will be Nacua’s fourth playoff game. He has 20 receptions for 322 yards and a touchdown in the postseason.

Adams’ return from a hamstring injury could open more windows for Nacua.

“It’ll be fun to continue to run the routes that I get to run, but then also I know that the defense is going to shift another way feeling the threat and the presence of Davante Adams,” Nacua said. “The threat that he provides in our offense and understanding that Matthew can look one way and always throw the ball the other way, that’s the threat every time.”

Etc.

Offensive lineman Kevin Dotson (ankle), who sat out the last two games, will remain out for Saturday’s game against the Panthers, McVay said. Receiver Jordan Whittington (knee) also is out, and tight end Terrance Ferguson (hamstring) and defensive back Josh Wallace (ankle) are questionable. … The Rams announced their end–of-year team awards. Stafford was MVP, Ferguson was top rookie, linebacker Nate Landman won sportsmanship, ethics and commitment to teammates, and offensive lineman Alaric Jackson won inspiration, sportsmanship, and courage.

You’re HBO, and your newest release is an explosive documentary about one of the most controversial sectors of the United States government: the Border Patrol. What do you do to get it as much attention as possible?

We’re seeing their strategy play out right now.

“Critical Incident: Death at the Border” recounts the death of Anastasio Hernández Rojas, a 42-year-old undocumented immigrant who died in 2010 days after immigration agents handcuffed, beat and Tasered him near the San Ysidro Port of Entry after trying to deport him to Mexico. Border Patrol at the time said they used force after Hernández Rojas, who had lived in this country since he was 15, resisted them.

The case drew international attention and Hernández Rojas’ family received a $1-million settlement from the federal government, which declined to file criminal charges against those involved in his death even though the San Diego County coroner’s office ruled it a homicide. Enter John Carlos Frey, a reporter who has pursued the story for nearly 15 years and who is one of the protagonists in “Critical Incident.”

He knocks on the doors of agents who were there when Hernández Rojas died, discovers footage that contradicts the Border Patrol’s official account and uncovers a secretive Border Patrol unit tasked with the “mitigation” of use-of-force incidents that was disbanded in 2022. The documentary includes an interview with a whistleblower who claimed bosses told him to doctor evidence to exculpate the agency in the death of Hernández Rojas. It also alleges the cover-up went all the way up to Customs and Border Protection commissioner Rodney Scott, who was Border Patrol deputy chief for the San Diego region when Hernández Rojas died.

Scott appears near the end of “Critical Incident” to dismiss those “allegations” and declines to comment about any culpability those involved may have had, citing ongoing litigation. “This case from over a decade ago was thoroughly investigated and resolved by the Department of Justice and local law enforcement,” a Department of Homeland Security spokesperson told the Times in a statement when I asked for comment about the documentary’s findings. “Efforts to malign CBP and ICE officers as lawbreakers are slanderous, irresponsible, and only reveal the media’s eagerness to mislead the American people.”

“Critical Incident” is taut, disturbing, timely and a brisk hour and a half. It deserves as many viewers as possible and a publicity campaign as ubiquitous as what HBO is currently pushing for its hit hockey romance, “Heated Rivalry.”

Instead, the network released “Critical Incident” on Dec. 29, when most Americans were lost in a haze of Christmas leftovers, “Avengers: Endgame” reruns and college football bowl games. It’s not listed alongside other recently released documentaries on HBO’s website, and I wasn’t able to find it on the network’s streaming app’s “Just Added” tab.

Director Rick Rowley was diplomatic about his documentary’s “difficult” release date, saying he has “limited insight” into HBO’s decision. He’s nevertheless confident “this film is going to have a long life because these [Border Patrol] issues are only more pressing as the days pass.”

Frey wasn’t as polite: “If I was an executive and released it on that date, I would be fired.”

Rodney Scott, then-nominee for commissioner of U.S. Customs and Border Protection, arrives for a Senate confirmation hearing in April 2025.

(Stefani Reynolds / Bloomberg via Getty Images)

An HBO spokesperson pushed back on Frey’s criticism, stating, “The documentary was actually released during one of the highest usage times on the platform and we are proud to say the film is doing very well, even showing up in the top 10 rail.”

In development for four years, Frey said “Critical Incident” was supposed to air just before the 2024 election. He showed me a text message from a senior producer attesting to that. But HBO held on to it even as a Senate committee grilled Scott about Hernández Rojas’ death during his confirmation hearing last April, which isn’t included in the documentary. The documentary didn’t air even as the Border Patrol’s invasion of cities far from the U.S.-Mexico border throughout last year made the story “Critical Incident” told more relevant than ever.

HBO “buried it on purpose,” Frey, 56, told me over breakfast in Boyle Heights. He blames the current political environment — specifically, Netflix’s proposed $82.7-billion bid to acquire HBO’s parent company, Warner Bros., which federal regulators would have to approve. The last thing executives wants to do right now, Frey argued, is anger President Trump by promoting a documentary that attacks his deportation deluge.

“They buried it on the worst day of the year when no one is watching, and of course, they’re going to deny it,” Frey said.

“That is, of course, not true,” the HBO spokesperson said .

Covering la migra is personal for Frey, who grew up in Tijuana and Imperial Beach with views of the U.S.-Mexico border fence. When he was 12, a Border Patrol agent approached his mother — then a green card holder — while her son was playing outside.

“He wouldn’t believe anything she would say and wouldn’t let her go to our house to get her documents,” Frey said. He’s of average height, deep-voiced and barrel-chested and tends to respond to questions with questions. “Why would he? The agent deported her.”

As an adult, Frey began to cover the Border Patrol in a post-9/11 era. Much like today, it was rapidly expanding, and aggressive tactics like breaking car windows when the occupants weren’t resisting and agent-involved shootings were endemic. The Hernández Rojas case entered his scope after someone reached out claiming they had footage of his death.

“The original narrative was Anastasio became belligerent, they subdued him and he died,” Frey said. “The case was closed, the Border Patrol had written it off.”

The source was initially too scared to share their recording, but Frey eventually convinced them after forwarding his stories about repeated Border Patrol abuses of power. What he saw — about a dozen Border Patrol agents circling a prone, moaning Hernández Rojas, Tasering and punching him while onlookers scream at them to stop — left the reporter “disgusted.”

The footage eventually aired on a 2012 PBS program, which made the story go national. Frey’s continued work on the case eventually caught the attention of Rowley, whose documentaries on neo-Nazi groups, the murder of Washington Post columnist Jamal Khashoggi and the War on Terror have earned him Emmy wins and an Oscar nomination.

The documentarian wanted to examine the Border Patrol’s impunity, and, he said, “Anastasio’s story is one of the only stories that takes you all the way to the top. And you have to work with John if you’re going to do the Anastasio case. He’s fearless.”

Rowley is proud of his final product but admitted that he’s “used to having more press around a film release, especially about a film about … the most important domestic issue in the country, especially in the last year.”

That’s what angers Frey the most about the release of “Critical Incident.”

“The stories I used to hear — ‘Border Patrol broke my windows, left me bloodied, grabbed me without asking any questions’ — it’s now in neighborhoods,” he said. He twisted a napkin, tossed it into the pile of twisted napkins next to his coffee cup.

“It’s a deliberate choice when you’re going to release a documentary and how. If I were HBO and I had evidence of a murder by the feds, I would’ve led with that inmy promotion. I would think that’s a selling point, especially with the [immigration] raids. Instead, they have me hugging someone in the trailer.”

Frey shook his head. “We made a good film, but half the battle is getting people to see it.”

The period drama first aired back in 2021 and features the likes of James Norton, Eleanor Tomlinson and Tom Riley.

Next month, ITV viewers are in for a treat as a popular supernatural period drama is set to land on the streaming platform.

The Nevers, which is originally a Sky Atlantic and HBO series, was first released five years ago in 2021 and consists of 12 episodes, which were split into two instalments.

Set in 1896 Victorian London, it follows a community that is rocked to its core after a supernatural event.

As a result, the event gives people, mostly women, abnormal abilities from the wondrous to the disturbing. This group are then given the name the ‘Touched’.

A synopsis for the show reads: “But no matter their particular ‘”turns,'” all who belong to this new underclass are in grave danger.

“It falls to mysterious, quick-fisted widow Amalia True (Laura Donnelly) and brilliant young inventor Penance Adair (Ann Skelly) to protect and shelter these gifted “orphans.” To do so, they will have to face the brutal forces determined to annihilate their kind.”

The cast features the likes of James Norton, who takes on the role of Hugo Swan, a morally ambiguous aristocrat who runs a secret club. Although he’s fascinated by the touched, he exploits the supernatural group for entertainment.

**For the latest showbiz, TV, movie and streaming news, go to the new ** Everything Gossip ** website**

Also in the supernatural drama in Poldark star Eleanor Tomlinson, who plays the gentle but resilient singer Mary Brighton in the series.

ITV viewers will also see the likes of Olivia Williams, Tom Riley, Rochelle Neil and Amy Manson in The Nevers.

Pip Torrens, Denis O’Hare, Zackary Momoh, Elizabeth Berrington, Kiran Sawar, Anna Devlin, Viola Prettejohn, Ella Smith, Nick Frost and Ben Chaplin are also featured in the show.

Speaking to Radio Times in the past about the show, James said: “It’s so unpredictable and as a result it’s just so brave.”

“That’s what makes the series unique, I think. When you watch episode six, your mind will be blown. Ours was blown when we read it, so watching it is going to be an absolutely crazy experience!”

The series has received high praise in the past from fans as one person said: “This is a superb supernatural drama. Well acted, great characters and superbly produced. Well worth a watch, so you can make up your own minds.”

Another shared: “So far, I think this show is a cinematic masterpiece. Slow and deep storytelling, beautiful world-building and intriguing character-building. It sweeps you in. I definitely recommend.”

While someone else shared: “Have just binge watched the first six parts, I am totally hooked. This is a very original series that is really refreshing. It has great characters who you become really attached to. Some of the best television I’ve seen for a long time.”

ITV will launch The Nevers to stream for free on ITVX from February 1

A fan-favourite star from Stranger Things took on a minor Game of Thrones role before becoming a household name

Joseph Quinn, known for his role in Stranger Things, had a minor part in HBO’s smash-hit fantasy series Game of Thrones, and fans are just now discovering this unexpected link.

The British actor is most recognised for his portrayal of the standout character Eddie Munson in the fourth series of Netflix’s popular supernatural horror drama.

He has since secured the iconic role of Johnny Storm, also known as the Human Torch, in Marvel’s The Fantastic Four: First Steps and will be playing George Harrison in the eagerly awaited four-part Beatles cinematic event.

However, before he became a familiar face, he played a small role in the seventh and penultimate season of Game of Thrones as Koner, a soldier loyal to House Stark.

In the episode titled The Spoils of War, Koner is seen guarding Winterfell’s gate alongside fellow soldier Henk (played by Danny Kirrane) when Arya Stark (Maisie Williams) arrives and insists on being let in, reports the Express.

The soldiers mock her and dismiss her, believing Arya to be dead, and instruct her to leave when she requests to see Jon Snow (Kit Harington), who they inform her is thousands of miles away.

Eventually, Arya manages to bypass the soldiers by warning them of severe repercussions if her sister and the castle’s head, Sansa Stark (Sophie Turner), learns of their refusal to let her in.

Koner and Henk argue over who will accompany her to Sansa, while Arya seizes the opportunity to sneak through the gates.

Viewers who haven’t watched the episode since its original broadcast in 2017 were left gobsmacked after a recent Reddit discussion jogged their memories about the Stranger Things actor’s early television role.

“I was today years old when I realized that Joseph Quinn (who plays Eddie in Stranger Things) was also in GoT!” one fan wrote.

Another viewer on X recently made the connection as well, writing: “Love when you go back to an older show and notice a now established actor in the start of their career.

“Joseph Quinn in Game of Thrones. Never realised he was in it.”

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This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows like Stranger Things.

Interestingly, Quinn’s episode was helmed by Matt Shakman, who would later go on to direct him in The Fantastic Four.

The actor has also featured in films including Gladiator II and Warfare, as well as BBC dramas Strike and Small Axe.

He’s set to return as the Human Torch in Avengers: Doomsday, which arrives in cinemas towards the end of 2026.

Stranger Things is available to stream on Netflix. Game of Thrones is available on Sky and NOW.

**For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website**

A HOTEL owned by a major British sports star has closed ahead of a huge transformation.

Three-time tennis Grand Slam winner Andy Murray has closed the hotel he owns, just three miles from his hometown of Dunblane, in Scotland.

The closure comes ahead of a major transformation to the hotel, which sits on a Victorian country estate sprawling over 34 acres with its own chapel and small loch.

Over the coming months, the hotel will remain closed while a new 80-seat restaurant with a ‘living’ roof covered in plants is built.

A smaller, fine dining restaurant will be added to the hotel as well.

The current restaurant, The Glasshouse, will be transformed into an afternoon tea and event space.

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As for accommodation, three bedrooms will be added and there will be a new wellness cottage too.

Back in 2023, planning permission was also granted for nine new cabins to be built in the woodland, though whether these are going ahead is unclear.

The hotel is then expected to reopen in May of this year.

The tennis player and his wife, Kim, purchased the mansion back in 2013 for a rumoured £1.8million.

Via the hotel’s Instagram account, Cromlix said: “Our team is all set to pack away the house, but we’re already counting down to 15th May when we’ll welcome you back.

“While our doors are closed, our team is still here and ready to take your bookings for spring and beyond.”

Inside the hotel, guests will find a billiards room with vaulted wooden ceilings adding to The Traitors feel of the mansion.

Guests can also request in-room spa treatments such as a back, neck and shoulder massage from £80 or a full body massage from £95.

In the grounds, visitors will be able to spot beehives, chickens, deer and red squirrels across a number of woodland trails.

In classic Murray style, the hotel of course has outdoor tennis courts where guests can have private coaching sessions.

There are a number of different rooms in the hotel including ‘Turret Suites’ – though, they aren’t as small as The Traitors turret.

Inside the rooms, visitors will find statement furniture, country house patterns and botanical features.

In total there are 10 bedrooms and five suites, and they have different views, including of the garden and woodland.

Though, if you fancy something a little more private then you can book The Laurel Gate Lodge.

Inside there is a small turret, kitchen, living room, king-size bedroom and a family bathroom with a walk-in shower and separate bath.

If you do want to bring your kids, there is a pull-out sofa bed too.

Though it isn’t cheap, as it costs from £555 to stay in the lodge.

Prices for rooms and suites in the main building vary from around £300 a night.

For wider exploring, the hotel is sat between Glasgow and Edinburgh, with both cities just an hour away.

The mansion was previously passed down generations of the Drummond family.

In that time it has even survived a fire in 1878 and then later was transformed from a house into a hotel.

In other hotel news, these are 12 of our favourite UK hotels to visit this year – from cosy farm retreats to £55 all-inclusives in London.

Plus, Britain’s best hotels for 2026 have been named from seaside pubs to island B&Bs.

In the last episode of The Envelope video podcast before the 2026 Oscar nominations, Joel Edgerton describes the transformative experience of making “Train Dreams.” Plus, our hosts share the names they’d like to hear called on nominations morning.

Kelvin Washington: Hello and welcome to another episode of The Envelope. Kelvin Washington, Yvonne Villarreal, Mark Olsen, and it’s great to have you both here as usual and especially when this is our last episode before Oscar nominations. So I’ll start with you, Yvonne. It could be a movie, a director, or some rising star or just anything that you hope once they read those nominations that morning, you’re gonna hear.

Yvonne Villarreal: I’m not going to say the usual suspects because that’s covered. I really want to see Chase Infiniti get nominated for her role in “One Battle After Another.” I just think she’s been such a revelation for me as somebody who watched “Presumed Innocent.” Seeing her in this role — and I don’t want to spoil anything, but she really finds herself in a hairy situation in this film and the way she sort of rises to the occasion and really has a moment of triumph for herself, I think it was just striking to watch. And she’ll be in “The Handmaid’s Tale” spin-off “The Testaments.” I’m really looking forward to see what she does there. But also I’ll say, as somebody who got thrown into the bandwagon of “KPop Demon Hunters” because of my 6-year-old niece, I wanna see that get some love in the animated category.

Mark Olsen: And in the music categories. Best song.

Washington: It better! Do you know how much I have to hear that song in my house with three daughters, 9, 7 and 4 [years old]? Like, I’m going to be “Golden.”

Villarreal: Are they memorized?

Washington: That’s an understatement. It’s to the point I got concerned. Is it like some robotic AI that’s taking over my daughter’s brain? Instantly. That and 6-7. I have to deal with that every day.

All right. Mark, swing it to you. What do you have?

Olsen: Well, you know, the actress Rose Byrne for the movie “If I Had Legs I’d Kick You.” She won a lot of critics’ prizes leading up to the nominations. And I think it’d be so exciting if the filmmaker on that, Mary Bronstein, also got recognized either for the screenplay or as director. You know, Mary’s someone that she made her first film, “Yeast,” more than 15 years ago and had not gotten a second project going and had sort of been living a life and doing other things. And to see her sort of reemerge with this project in particular, which is so powerful and so specific, it would be really exciting — as great as it is to see Rose being rightfully recognized — to see Mary get some attention as well.

Washington: So I’m gonna jump in with a couple. One, because she’s been on the radar for years as just a multitude of things, she’s multifaceted: Teyana Taylor can dance, she can sing, she’s just all of that and now acting alongside Leonardo DiCaprio. Very impressive for her. And not a debut, but maybe for those who aren’t familiar. So I’d be interested to see, I have a feeling we’re gonna hear her name. And then I’m going super popcorn, Raisinets, Junior Mints, going to the theater. “F1,” for me, I know it was kind of —

Villarreal: Whoa, that’s a throwback.

Washington: I know, but hear me out. It was fun. It was just fun. And it’s kind of one of those movies like, you know, you forget that you go to the movies, it’s gonna be a little fun, maybe a little cheesy, but dang it, I’m here. I’ve got my popcorn. All of that. That for me was another one that was like, “Oh man, that’s kind of the moviegoing experience sometimes we’ve forgotten.”

Olsen: And it’s always good to see the Oscars recognize a film like that as well. I mean, it helps just for attracting audience to the telecast. But I think it is important that the Oscars recognize a breadth of filmmaking styles and one of the things that’s so exciting about the movies is that it can be so many different things, from like a really small personal story to some big high-tech film like “F1: The Movie.” And so I think, yeah, to see that recognized in some of the major categories would be really exciting.

Washington: You know why I like Mark? Because he tried to legitimize my choice. And I’m OK with that.

Olsen: There’s no try. You don’t need the help.

Washington: Look at how I look in the camera. You know, why? Because I know someone’s going to be highbrowin’ me right now. And I get it. And I am with you. However, as we know, we can get all the types of mergers and some things will happen. Are people going to be going into movies anymore? And I was sitting in it going, “Oh, yeah, this is kind of what that feels like.” So ha! Take that.

Villarreal: My reaction was more, it had been a while since I heard the title.

Washington: It felt the same.

Villarreal: Sorry!

Washington: I like what I like, OK? I enjoyed it. That’s all I have to say about that.

All right, Mark, coming to you now. We’re talking about Oscar buzz, and just buzz and a lot of traction that someone can get from a role. Talk about Joel Edgerton playing a logger in Netflix’s “Train Dreams.” What was that conversation like?

Olsen: It was a really terrific conversation. This is a movie that premiered at Sundance last year and was picked up by Netflix there. And even though it has that machinery behind it, there is still something that feels very organic about the success of this movie. It genuinely feels like it’s word of mouth that people have been discovering the film. And it has just a really quiet power too. And a lot of that comes from Joel’s performance. You know, he originally pursued the rights to this book himself and wasn’t able to get it, the rights were already taken. And so he sort of like thought, “Oh, well, that’s that.” And then years go by and the project comes back around and he’s offered this role that he’d been so interested in playing. And he feels like it’s hit him at a very specific time in his life.

The [story] is set in the early part of the 20th century. He plays a logger in the Pacific Northwest. And it really is just a portrait of a life. And the story deals with grief and family, and Joel, in the subsequent years, has become a father himself. And he said how, if he’d have played this a few years ago, he thinks it’d be totally different than the way that [he’s] playing it now. Also he is a guy who’s been in the business for a few years now. He has, I think, some really sharp opinions, views on like what this business is, what the industry is like right now and where it’s going. So it was a really terrific conversation to have with him.

Washington: It sounds like it. Let’s get straight to it. Here is Mark and Joel right now.

Joel Edgerton in “Train Dreams.”

(Netflix)

Mark Olsen: As we’re talking, the movie has been building this sense of momentum around it with reviews and awards. And while there is an awards campaign around the movie, there is something about it that feels very organic. This movie seems to be catching on through word of mouth, just people seeing it and responding to it. How do you feel about the response to the movie?

Joel Edgerton: It feels very good. Coming from an independent film background, I love it when small movies make a lot of noise. And I can’t really analyze or diagnose why, but I get this feeling with “Train Dreams” that it means different things for different people and it holds up a bit of a mirror to their own experience, being that the film is really this celebration of an ordinary life and shows the majesty in that. What my character goes through, they’re universal experiences and so people find something of their own experience in it and I think that’s part of the reason why. It’s a small movie but it’s also a very big movie.

Olsen: The other side of that, in a way, you were recently on a red carpet and you were asked about some comments that James Cameron had made regarding movies on streaming services and the awards race. And I don’t know if you want to say anything more about that, but also do you feel like people do somehow hold it against “Train Dreams” that it’s on Netflix?

Edgerton: Look, the world we live in now is so in the hands of the audiences because of social media. I feel like in the old days, well before I was born, we were told who our movie stars were. The studios would make those decisions for us, and things were very narrow. And now people have the power to choose what they want to watch, who they want to watch, they choose the movie stars. They speak about the movies, and Letterboxd, for example, is such a big thing. And in that same vein, it’s really interesting to hear what people, regular people, moviegoers think of how movies should be exhibited, how they feel, regardless of whether they know about the business side of things or not, or why things are the way they are. They have feelings, sometimes very passionate points of view on where and how we should watch movies. And of course, for all of the business side, if we put it aside, I do believe people want to go to the cinema and watch movies.

My comments come from understanding now where I am in my life. I’m all about creativity and all about story, but I do understand business, and I feel like I emerged out of my bubble in Sydney and felt like the whole world of cinema had suddenly changed. My views on streaming had started to evolve just after we showed a movie at Cannes called “The Stranger.” Another very small movie we made down in Adelaide and Netflix picked up the movie and I remember thinking, “Should we go with them?” So many people saw that movie because it was on a streamer. And so my feelings are very mixed and they’re very much tailored to what the movie is — and therefore according to what the movie is and how big or small it is, where it should live. I’m all for pushing to fight for keeping cinema alive and I believe a younger generation feels the same thing. But I also feel like there are chances that some people have that are narrow as they get their start in the business, which means sometimes the first things you can do, you’re not necessarily going to get a 2,000-screen release on your very first movie. So I have many, many opinions about it. But I feel like we all need to fight for cinema. We also sort of hopefully don’t allow streaming, as great as it can be, to take over everything. That’s my feeling.

Olsen: You’re also a producer as well. This feels like we’re in the middle of a transformative moment for the industry. What is it like for you as a person in the middle of that tide, just trying to navigate that for yourself?

Edgerton: Again, it’s all about what is the story and where should it live. My feeling always is that if I ever get behind making something, I want as many people as possible to see it. I also want to have an exchange at the cinema. One of the great things about “Train Dreams” is I’ve done about 50 Q&As so far — I haven’t counted them up, but around that, and we’ll do a bunch more. We’ve been to a number of festivals and we have an exchange with the audience. We get to watch and see people’s reaction to the film in like an analog way. Sometimes the feeling with letting a movie go on streamer without any fanfare is that it feels like it disappears with a whisper, and you don’t get to have that exchange. And I think that’s very important.

My dream would be to make a film exhibited at the cinema, knowing that at some point it will end up on TV screens and in people’s lounge rooms all over the world. And finding the right way to get a balance of both. There’s nothing better than sitting in the cinema and watching a movie with a bunch of other people. The sad thing at the moment [is] it seems — and again, I don’t know the full diagnostics of it — you get a cinema release and you’re there for like two weeks and then you’re replaced by something else. I’m old enough to remember the days where a movie would sit in the cinema for six, seven, eight weeks if it was good.

Olsen: I don’t want to belabor the point, but I’m so curious about this. I’m assuming when you went to the Gotham Awards you were not thinking “I’m going to give James Cameron a piece of my mind tonight.” Do you find in the time that you’ve been doing this, now you may show up to something and you have no idea what someone’s going to ask you, you have to be ready to talk about just about anything?

Edgerton: You’re right, and I never expect a red carpet is a mine field. I do go home sometimes and think, “What did I say?” I knew what I said. And I also stand by what I said. What I don’t love is the process of reduction of someone’s comments. Someone had sent me this thing that said that I “lashed out” or used a word that was quite a violent one, like I was lashing back at James Cameron. I was like, “No, I wasn’t doing that at all.” I actually had a fair and balanced opinion about the fact that James is, excuse the semi-pun, a titan. He is a pioneer and an inventor and we’ve seen that he’s created technology that has made movies better. He can exhibit movies in this broad scale because he’s dared to dream big. And I feel like there’s a world where there are people who are never going to get their first film on 2,000 screens because it’s a small story, movies like “Sorry, Baby.” They’re not 2,000-screen release movies. There’s a world where they live somewhere, whether it’s in small art house cinemas or whatever. So I was like, “All right, don’t make it feel like I’m putting the gloves on and have a fight with James Cameron, because he’s probably going to win if that’s the case.” And that’s certainly not what I was doing at all. Just saying my point of view is slightly different. And I also understand his point of view. But [comedic wrestler voice] “I’ll meet you on the top oval, James. Let’s do it.” I’m not trying to start a fight. I’m a lover, not a fighter.

Olsen: To start talking about “Train Dreams,” you’ve talked a lot about how you read the book around 2018 or so and the rights weren’t available so you set that idea aside —

Edgerton: Sulked a bit.

Olsen: What do you feel like you were responding to then in that book?

Edgerton: I’ve heard the term neo-western, which I understand now, but it didn’t really make sense to me at the time. When I first read the book, we come into the story with this violent act towards the Chinese worker, for anyone who’s seen the film. And I didn’t know Denis Johnson’s work at all at the time. The book had been gifted to me as a wrap gift on “Boy Erased.” I thought, “If someone gives you a book, it means they think there’s some meaning in it for you, that it will resonate with you,” and it did. But I thought, “Oh, this is a western.” And then within a handful of pages, I realized it was a different kind of western. It would look and feel like a western, but it was a rumination on a life itself. Not that it was going to answer the big elusive question of the meaning of life, but swirling questions of what is the purpose of a life and what is in the extraordinary details of a life we may never care to remember because the person is not the great inventor, the great general, the great president or superhero. I love the ordinariness, I love the idea that it resonated with something that my parents had always instilled in me, which is that every single human being has a great story to tell and that we all shouldn’t be considered insignificant. And I just was so moved by the sort of glimpses of one man’s entire life. Wanted to get my hands on it, couldn’t, and I’m happy to say that it’s good that I didn’t get my big fat lumberjack hands on it then. Mostly because I think [director and co-writer] Clint [Bentley] is a remarkably sensitive, excellent filmmaker [and] has done a much better job than I ever would if I was in control of things. And because in the four years since he reached out to me to be in the film, I’d become a dad. And that was like everything to me. And if you’ve seen the film and you know what’s inside of the film, I really believe that my performance, I don’t know what my performance would have been like pre-Joel the Dad, but now that I am a dad, it’s like there’s stuff inside of me that makes this performance possible.

Olsen: But when it came back to you, do you feel like you responded to it differently? Did you recognize that difference right away?

Edgerton: One hundred percent. And I know it, there was a significant moment. Clint came to meet me in Chicago, I was shooting “Dark Matter” and I was very excited that this had somehow come around to me, knowing that I loved the book and the character so much. Then I watched “Jockey” and knew that he was a really solid filmmaker. His adaptation was extraordinary. And then when I met him, I realized as a filmmaker he was like a director version of the central character of the film — kind, honest, generous, a really great observer. And I went home and I spoke to my wife, and she obviously, her two big questions every time I want to do a project [are] when and where. Because it means moving us around, uprooting our family. I told her and Spokane didn’t exactly make her click her heels, because her life is about being plugged into big cities. She said, what’s the story about? And I started trying to tell her the story, and when I got to the stuff that happens to Robert in the middle of the film, and my 1 1/2-year-old twins are in the other room, I couldn’t even finish telling her the story. And I realized then how much the story now kind of terrified me. But also was so much more connected for me. And she watched me, my chin was quivering and and she was like, “All right, I guess we’re going to Spokane.”

Olsen: Have you done a project that felt this personal before? And did that have its own kind of anxiety attached? Did you have any reluctance to do this for the reason that you were connecting to it so strongly?

Edgerton: I feel like I learn something about myself on every job and every time I approach a new job, I always describe it in rudimentary terms, like a toolkit. What aspects of myself do I bring to this? Which parts do I leave behind? And how would I approach this? For example, “Gatsby” for me felt like, “This is about me turning myself up to 11 out of 10, bringing something bigger.” And with “Train Dreams” what I’ve really learned was how much in the past I’ve tried to hide from myself. And I feel like it’s a trap a lot of actors fall into, is thinking they’re not enough and you have to adorn a performance to be really seen or heard or impress. And I realized how much I’ve avoided playing characters that are very much like me. And though Robert’s a lumberjack, I’m putting all the trappings of it aside on an emotional level. How much is a character like you? And I’m constantly trying to play dress ups and really interested in being people that I’m not and I think that my favorite actors have often been transformative character actors. So I felt like my task in my mind was always to do something different and run away from the idea of just showing my own self really. And I realized that as a husband, as a father and as a guy who’s constantly guilty and struggling with the idea of being away from my family for work, these are all things that Robert is [dealing with], just doing a different job. A contract worker, which I am too except I’m not chopping down trees. And I have my greatest fears around my kids and the safety of my kids. So it felt to me like this was a chance to be very open about my own feelings and bring that to the work without feeling like I had to put too much garnish on things. And that’s a bit scary for me. But it now makes me realize it’s probably a better path in the future to do a bit more of that, just be a bit more open rather than hiding who I am, if that makes any sense.

Olsen: Completely. Because a lot of reviews of the movie, I sort of said this myself, have noted how it feels almost as if your career has been building to this performance, leading to it somehow. Does it feel like that to you?

Edgerton: I know that in decades to come I’ll look back and say always that “Train Dreams” is one of the great experiences I’ve ever had. The process and the result. I think the movie’s fantastic, but what I got out of it personally, it was extraordinary. Look, I hope that I’m building towards something else extraordinary in the future, and it’s like a new mission with each film and each story and each character. But this one definitely feels special for me, and it feels like I use the word “suitable,” which feels so boring. But I played characters that are not suitable for me in the past, and I’ve really challenged myself to bend into shapes that are different from who I am, rhythms that are different from what I’m like, successfully or relatively unsuccessfully. I can’t really judge it for myself. But this felt really suitable. It felt like it belonged to me.

Olsen: You’re also a director, writer, producer. What is it like for you when you show up to a project and you’re just an actor? Does it allow you to focus more on your performance? Or are you always like, “I was thinking you could put the camera over there.”

Edgerton: It’s such a relief. I think directing is the best job in the world, but I wouldn’t want to be doing it every time I went to work, because there’s a lot of stress, a lot of responsibility. Many times I’ve described the difference between acting and directing. An actor is like a child. Literally you could turn up to work in your pajamas, somebody will put makeup on you, dress you, you have one — well, I don’t want to be reductive about it — but you have one job, to play your character and fit into the story, serve the story. As a director you’re running the household. You’ve got to do everything. You’ve got to stock the fridge, you’ve got to make all the decisions about everything in the household, and there’s so much responsibility to that.

I was curious after I directed my first film, how I would be walking onto another director’s set. And it would just be a sin to walk onto someone else’s set and start to look over their shoulder and check their homework and sort of impose yourself on that process. I realized the two things that fascinated me the most were what lens was being put on the camera according to what the shot was. So I just became like really quietly observant. Actors who direct get this sort of great luxury of visiting so many sets and watching other directors and learning from them, good and bad things. And behavioral stuff. It’s not just about how their craft works or how they apply themselves as filmmakers, but how they conduct themselves as people, how they treat their crew, how they elicit the best out of their heads of department and give them freedom or not. Like Clint, for example, on “Train Dreams” is amazing at deputizing his heads of department, giving them freedom, and I think that’s the greatest show of power as a director, the confidence of relinquishing control because you hired the great people and you’re trusting them to collaborate with you. So as an actor I love the freedom of just being there to serve the story. And then watching and putting little things in my ideas bag for next time if I’m lucky enough to be the director again.

Olsen: You were recently on [“Late Night With Seth Meyers”] and he said that he thought it was a very wonderful performance and he noted how you don’t have very much dialogue in the movie and you said you think it’s wonderful because there isn’t much dialogue. And you were kidding, but I wonder if you could unravel that a little bit. How do you think the lack of dialogue in the movie impacted your performance?

Edgerton: Words are there to confuse us in the world. There’s the things we say, what they actually mean, there’s so many layers to any conversation you have with any person. There’s something really interesting about people who don’t speak very much. There’s a mystery often to them. I think there’s a lot of mystery to men that I grew up with in my life. I find myself drawn to people that don’t speak very much because I’m wondering what they think, what do they think of me, what’s going on in their mind. As an actor, I guess I really cut my teeth on “Loving” with Jeff Nichols. He’s a character, again, a very good man who had a lot of feelings and a lot to say, but for whatever reason or for different reasons, with Richard Loving and with Robert, chooses not to say things or doesn’t know if he has the right to say certain things. As an actor I think what becomes the focus is knowing that the camera sees, is looking into your soul. The thought is the imperative, to put the thoughts in the right place, to just be present, knowing that the camera will read those things. And of course the story’s job is to help guide us along and we have a narration. But I was always hoping that the camera will see what’s on my mind and for me to then fill that with words would actually kind of be counter to what the character is, which is one of these very stoic nonverbal men that I think we can all identify with or that we’ve met in our lives. So it’s just putting the right thoughts in my head.

Olsen: It is remarkable how often in the movie it’s as if we’re just watching you feel, you’re sort of taking in your surroundings, you’re not really saying much, but it does feel like we’re in your head, that we can understand what the character is thinking and what you’re conveying as a performer.

Edgerton: Thank you. I was smiling because I was remembering the square root of eight. Do you know what I’m talking about? There’s an episode of “Friends” — is it Joey who’s the actor? — he’s like, “When you’ve got to act and you’ve got to look like you’re really trying to work something out, you’ve just got to think of the square root of eight.” It actually works. But I wasn’t using it in “Train Dreams.”

Olsen: The story does build to this scene with Kerry Condon where your character actually does explain himself. What was it like to flip the switch and have to be verbal and emotional in a more conventional way?

Edgerton: Talking about emotion was one of the tricky things with “Train Dreams.” Clint and I had many conversations, very cerebral conversations, theoretical conversations about story — and emotion was one of them. So Robert’s a character, one of these men who is not really willing to show his emotions. And when he does he’s very quick to put them down, or in the case of the film he apologizes for showing his grief. But it’s all building to this moment, and this is one of the things I love about the film, is that it illuminates the importance of human connection. Robert meets this character Claire that the audience feels like maybe there’s a romance about to happen, which I love that it doesn’t steer in that direction. These chance encounters with strangers that we maybe don’t know that we need to have met on our journey, that are a chance for us to express ourselves. And he has a chance to, whether he knows it or not, he’s going to tell her about his feelings of strange complicity in something he had no responsibility for. And we knew that we were building towards this and yet at the same time we’re still trying to keep a lid on the emotions, but finally Robert gets to speak and it makes so much more sense of his silence up until that point if he we finally hear him string more than a sentence together to try and talk about what’s inside of him and those scenes we shot them in a short one-and-a-half hour window of magic hour with Kerry, who’s just extraordinary. And it felt like time was standing still, even though you would think that there would be a sense that we were rushing. It felt like we had hours.

Olsen: As you’re making the movie, are you talking with Clint or William H. Macy or Felicity Jones, having these kind of big picture, thematic conversations? Because the movie invites these questions of, what makes a life? How do you define being a man? Are you having those conversations while you’re making the movie?

Edgerton: There’s something fascinating about “Train Dreams.” Something I say is so special about Clint is, I know this because I read so many screenplays and I think about story all the time, is this draw to tell an audience what to feel all the time. Whether it’s through words, the story itself, music. “Train Dreams” does this thing that as much as I can speak about it objectively, and it’s the same in the novella, these moments that aren’t telling you what to feel, they’re just layering on top of each other, and I feel like there’s some compression of all these things. It pulls something out of people in their own way. They find their own experience out of it, which can be quite emotional and quite cathartic in a good way. Particularly anyone who’s been through moments where they’re being knocked down in life. I think there’s some sort of hopefulness in watching Robert’s story. It’s hard to define, but there’s a confidence in the way Clint’s rendered it. It’s not telling you each time what to feel. Robert’s not telling you, it’s not screaming to the heavens. There’s nothing sort of overly melodramatic or cathartic about it. And yet these layers build and compress. I had a very similar experience watching “Into the Wild,” Sean Penn’s film. It’s another character isolating himself in in nature. The credits roll and something in me just was like it was like, “I needed to feel something.” I call them a happy cry movie. You know, you’re crying but also happy at the same time.

Olsen: There’s a a moment in the film that I find so haunting and I’ve been trying to unravel it for myself. It’s late in the film, it’s the 1960s, you’re portraying the character as an old man. And in the voice-over the narrator Will Patton says something like, “He never spoke on a telephone.” And there’s something about that I just find deeply moving and really haunting. And I’m struggling to even define for myself what it is about that idea that really gets me.

Edgerton: Because there’s these great things in the movie that I call little sidecars or whatever, this idea that the world is sort of moving so quickly it’s going to leave us behind. It reminded me of my grandmother, who when I pointed a video camera at her for the first time, she didn’t move because she was thinking I was taking a photo of her. And I was saying “It’s OK, this is a camera that’s gonna capture you moving.” She was like Robert. She never saw some of these things. She never experienced a lot of things. I think she went on an airplane, like a jumbo jet, once in her life. And there’s a great thing in the book actually, about Robert and his point of view on the world and as he’s aging, and it talks about his body and his spine and the way his shoulders moved. For example, that scene where Robert goes up to the window and realizes he’s staring at a man walking on the moon and he’s looking up at the sky, wondering, “How is that even possible?” There’s this sense of his physical dilapidation as he moves. It’s this guy that every time he turns his head has to move his entire body from all the hard work. But all this is sort of just a general sense of wonderment that I remember in my grandmother’s eyes when she would look at new things. But this sort of awe and childlike wonder at the world, which I found very special.

Olsen: Part of the story also deals with just how to know when your time has past. And you and I are about the same age and it’s something I grapple with a lot, wanting to be sure that I still have something meaningful to contribute. Do you worry about that for yourself? In a way it comes back to where we started this conversation, that there are people who would tell you that movies are on the way out.

Edgerton: Relevance is a weird thing. I always saw myself as the youngest person in the room. I started very young. I was young at drama school. I was always young, and now I’m not. The beauty of being an actor if we’re allowed to keep doing what we’re doing, if AI doesn’t mess everything up, as long as my brain keeps working, I can keep learning about the new versions of myself as I get older. You know, “Train Dreams” is a good chance for me to see myself in the middle of my life. But I wonder about relevance. I wonder about my character staring at a chainsaw in the movie and wondering how it’s going to affect his world. I wonder at that for myself, as I’ve never downloaded ChatGPT. I’m sort of terrified, but I also feel like I need to not turn a blind eye to it. I have young kids. I’ve got to accept this thing. But I do worry about what it’s going to do to movies. What I feel optimistic about [is] — I always evoke Jonathan Glazer’s film, “Zone of Interest.” Because I think the genius of that film is the beautiful human thought behind the point of view of setting a Holocaust film in the general’s house over the wall in an opulent setting. And I keep thinking, “I don’t think AI is going to come up with an idea like that, think outside the box.” I think it pushes us into more of a challenge of the unique thought, the unique piece of art, doing things that are bespoke. I don’t think we’ll ever want to stop watching human beings or listening to human stories told by humans, starring humans, music made by humans, paintings painted by humans. I hope. Yes, we can enjoy the wildness of what computers create for us. But I don’t think zeros and ones are going to entirely ruin our lives. But then I can be pessimistic too. I won’t rant on that.

SNL has faced a recent flurry of speculation.

Domingo sketch star, Marcello Hernandez, responding to swirling rumors regarding his relationship.

The Miami-born comedian posted a video with architect girlfriend, Ana Amelia Batlle Cabral, suggesting that the couple may have secretly tied the knot. 

This buzz was ignited by a video posted on social media that captured the couple in a seemingly intimate moment.

In the video, Marcello gets dressed in a tuxedo, Ana wears a bedazzled gown, and friends join in to pop bottles of champagne.

The video posted on Instagram led many to believe they had made a significant commitment. where their playful interactions caught the attention of fans. 

The chemistry displayed in the clip prompted a wave of congratulations and speculation about their marital status on various platforms.

However, Marcello Hernandez took to Instagram to clarify the situation.

In a follow-up video, Hernandez explicitly stated that he and Batlle Cabral are not married. 

He emphasized that the content shared was primarily focused on promoting his upcoming Netflix special, dispelling rumors that had seemingly taken on a life of their own.

To promote his comedy special, which launches on January 7th, Marcello also reunited with his Miami grade school teacher.  

The new video also features a blonde woman, sparking more questions.

But, as it turns out, the mystery woman was later identified as his mother.

One fan stated, “Is Domingo getting ready to ruin another wedding?” ribbing about his ongoing character that ruins relationships in a Saturday Night Live sketch.

“Did my Internet husband go and marry someone else?” another commenter wrote. 

A third funny fan stated: “Only a little disappointed that Bad Bunny isn’t actually your mom.”

Marcello Hernandez has become a prominent figure on SNL, gaining recognition for his comedic talent and dynamic presence on the show. 

His relationship with Ana Amelia Batlle Cabral, a rising talent in the architecture field, has caught the eye of both fans and media alike. 

The couple’s public appearances and social media interactions often highlight their supportive dynamic, drawing praise from followers who appreciate their connection.

Batlle Cabral has been making strides in her architecture career, garnering respect for her work and contributions to the field. 

As a couple, Hernandez and Batlle Cabral are learning to navigate the complexities of public life.

Moving forward, fans will undoubtedly remain interested in both Hernandez’s entertainment endeavors and Batlle Cabral’s architectural achievements.

HAPPY Mondays singer Shaun Ryder missed Stone Roses bassist Gary “Mani” Mounfield’s funeral with pneumonia.

Shaun, 63, said he and Black Grape bandmate Paul Leveridge caught the lung condition as they were finishing a tour on December 20.

He told BBC Breakfast: “I got back the day before Mani’s funeral and collapsed, and so I couldn’t even go.

“In the end I got antibiotics . . .  that sorted me out. I’ve only been out of bed, what, four days?”

Shaun was on the breakfast show with Happy Mondays dancer Mark “Bez” Berry, who made Mani’s funeral at Manchester Cathedral on December 22.

Mani, who had emphysema, died at 63.

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Oasis star Liam Gallagher helped carry legendary bassist Gary’s coffin at his funeral – as a host of stars said their final goodbyes.

Sir David Beckham and Ian Brown also paid their respects to Stone Roses’ Mani, who died just two years after losing his wife, Imelda, to cancer.

The dad-of-two was last seen in public alongside Liam at the funeral of legendary boxer Ricky Hatton in October.

Just weeks later, the rocker’s family announced the sad news of his death on social media – sparking floods of tributes from across the globe.

Hundreds of locals in his hometown of Manchester were spotted lining the streets as Mani’s procession passed.

TOWIE star Harry Derbidge’s ex-boyfriend has been left heartbroken by the tragic death of his fiancé.

Dean Rowland, 41, announced partner Steven Hewitt’s passing on Facebook today with a selfie of the couple and a devastating statement.

He wrote: “The world didn’t deserve you, the best of the best, you’ll forever be my one true love, I love you so much [broken heart emoji] I can’t believe I’ve got to go on without you.”

One follower wrote: “So sorry to hear this, thinking of you.”

Another said: “Dean I’m so sorry my heart is completely broken for you and all Steven’s family and friends [heartbreak emoji] sending you all of our love xxx.”

Just days ago, Dean reflected on a 2025 packed with fun, laughter and love.

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He wrote: “This year gave me memories I will never forget and people I am endlessly grateful for.”

Dean thanked Steven for being “my constant, my calm and my chaos all in one, thank you for being my home wherever we are.”

And he signed off the positive post, writing: “If 2025 taught me anything it’s that life moves fast, moments matter and the right people make everything better. Here’s to growth, love, laughter and whatever comes next.”

The couple, who had been together for four years, got engaged this time last year at the five-star Gleneagles Hotel in Scotland.

In October Dean revealed they were on the hunt for the perfect wedding venue and were finishing off home renovations.

Last January he shared special videos and pictures from the engagement, writing: “I said YES! Completely overwhelmed and filled with joy.

“Stephen surprised me with the most beautiful proposal, and I couldn’t be happier to start this next chapter with the love of my life.

“Here’s to forever and a lifetime of love, laughter, and adventures together.”

Dean was previously engaged to Towie star Harry but they split two years later in 2021.

It came after the former couple were forced to put their adoption plans on hold.

They also cancelled their wedding twice in 2020 due to the coronavirus pandemic.

Harry said on Towie: “To be with someone for four years… and for it to not work out, it has just been the most heartbreaking like awful thing I’ve had to go through.

“I gave so much to this relationship, I gave everything to it!

“To the point where I’d give so much… that it would actually cause an argument.”

At the time, Dean reflected on their four years together and said they remained amicable and good friends.

He wrote: “After 4 long amazing years, Harry and I have decided to part ways. It’s with a really heavy heart and absolute anxiety that I’m sharing this with you all.

“There are no secret nor salacious events at the root of decision- just two best friends realising it’s time to take some space and help each other live the most joyous, fulfilled lives possible.

“I would trust him with anything and he still remains that important person in my life.”

He continued: “No relationship is easy, and we all know this, but with my hand on my heart, I can say the last 4 years have been the most amazing memories I could have ever asked for in a human being.

“We have laughed, cried and drunk a lot of wine, and after all of this, I still have the utmost respect for Harry and his decisions going forward.

“Not only was Harry a lifelong partner for me, but he also was my best friend I did everything with, and although I’ve lost the connection on that level he’s still my best friend and someone I trust with my life.”