talent

In recent months, the iconic ticking stopwatch of the CBS News magazine “60 Minutes” began to sound like a time bomb.

The explosive detonated Tuesday as the prestigious program’s most high-profile correspondent, Scott Pelley, was fired after openly challenging the moves and motives of the news division’s leadership and questioning the credentials of new “60 Minutes” executive producer Nick Bilton.

Pelley accused CBS News Editor in Chief Bari Weiss of “murdering” the program and berated Bilton, a former New York Times journalist, for lacking TV news experience. His forced exit along with the departure of several other veterans is raising fears about the future of the most-watched TV news program that has managed to retain its vitality and importance in the face of major changes across the media landscape.

Weiss praised Pelley’s contribution to the network when she discussed his termination at the network’s morning editorial meeting Wednesday, but cited a loss of “trust and mutual respect” as the reason for moving on.

“We cannot do our work without it,” Weiss said. “That foundation was broken on Monday, and despite our attempts to engage with Scott Pelley and to find a way back, unfortunately we weren’t able to do so, and so we had to part ways.”

But industry veterans familiar with “60 Minutes” said the firings represented a notable shift in how the venerable program has been run by its predecessors.

Rome Hartman, a former longtime “60 Minutes” producer, said Wednesday in an interview that the termination of Pelley for forcefully expressing his views at a staff meeting is a fundamental misunderstanding of how the program has operated and thrived over 58 years. Spirited, and occasionally acrimonious, internal debate has always been a part of working at “60 Minutes.”

“Sharp words in defense of important ideas, whether they be in stories, or whether they be about the future of the broadcast, shouldn’t just be tolerated, they should be encouraged and inculcated, and they always have,” Hartman said.

The insularity of the “60 Minutes” operation — which has its own suite of offices across the street from the main headquarters of CBS News — has rankled the network’s executives in the past. But those dynamics were considered part of the price of having the most prestigious news program on television.

“Every single CBS News president in the history of CBS News has resented the independence of ’60 Minutes,’” Hartman said.”But the smart ones have come to understand that that independence is part of the secret sauce. I don’t know Bari Weiss, but she seems incredibly thin-skinned.”

The turmoil inside “60 Minutes” comes at an inopportune time for CBS. Weiss is now under the gun to replenish the program’s staff with three months to go before original episodes return to the prime-time schedule.

Pelley is the fourth correspondent to depart “60 Minutes” since Weiss took over as editor in chief. Last week, Weiss fired correspondents Sharyn Alfonsi — who accused Weiss of playing politics by holding a story on the government’s use of El Salvador prisons for undocumented migrants — and Cecilia Vega, who was also outspoken in her criticism of the changes at “60 Minutes,” saying she faced censorship. Anderson Cooper, the CNN anchor who spent nearly 20 years as a contributor to the program, chose not to sign a new contract.

Weiss also fired executive producer Tanya Simon, who has been with the program for 25 years, and her second in command. (Pelley said he was unable to get answers on the firings during his final meeting Tuesday with Weiss and CBS News President Tom Cibrowski.)

Bari Weiss hosts Senator Ted Cruz on her “Honesty” podcast on January 18, 2025, in Washington, D.C.

(Leigh Vogel / Getty Images for Uber, X and The Free Press)

And there could be more departures on the way, adding to the upheaval. Bill Whitaker, who joined the program in 2014 and was a Pelley ally, is said to be weighing whether to walk away from the two years left on his current contract. The program’s respected veteran , Lesley Stahl, is pondering her future as well amid the massive changes, according to people familiar with her thinking who were not authorized to speak publicly.

The call is out for new talent, according to one agent who said CBS News is talking to “dozens of people” for the openings.

But the company will also look within its ranks. Matt Guttman, hired away from ABC News by Weiss to become senior national correspondent, is one name being mentioned, along with Major Garrett, the network’s chief Washington correspondent. Both have emerged as favorites of Weiss.

Norah O’Donnell, already a contributor to the program, is also likely to have a larger presence.

While the “60 Minutes” patina has been tarnished by the recent events, there is no shortage of journalists who would be willing to step up and join the program. But whoever does sign on will be intensely scrutinized while the Nielsen numbers are closely watched.

Newcomers on the program are rare and would have an easier time gaining audience acceptance if they were joining a stable operation.

Although every long-running TV program can use an occasional refresh, a massive overhaul is destabilizing for “60 Minutes,” one of the last non-sports appointment programs for the traditional television audience that still provides broadcast networks with the bulk of their advertising revenue.

Notably, the program averaged 9.1 million viewers during the 2025-26 TV season according to Nielsen, up 9% over the previous year.

“Viewers liked the ’60 Minutes’ that they had,” said a former CBS News executive who worked on the program who was not authorized to speak publicly. “And if they don’t like it, they have many other places to go.”

One of Weiss’ mantras — echoed by Bilton — has been the need to pull “60 Minutes” into the digital future as traditional TV viewing declines. Insiders say she has yet to make clear how that will be achieved.

Under Weiss’ watch, clips and full segments of the program gained significant traction on platforms such as YouTube. The success on digital is an encouraging sign for the program’s ability to attract younger viewers who don’t watch traditional talent.

But veteran TV executives say that loyal “60 Minutes” viewers still expect to see seasoned correspondents delivering in-depth investigations and analysis. A diversion from that formula poses substantial risks.

“Its audience has certain expectations,” said Jim Murphy, a former executive producer for CNN and CBS News. “These guys built a literally nearly perfect program for the medium and for the audience. You’re not going to make it better just because somebody cooler does a story that’s, like, a little funkier. It just not going to work.”

Steve Capus, a veteran network producer who worked with Pelley at the “CBS Evening News,” said his former colleague was built for the meticulous work that goes into every “60 Minutes” segment.

“It’s hard to do week in and week out,” Capus said. “You have to be first-rate in your storytelling.”

What’s more, Weiss and Bilton will also have to fight the perception that their moves on the program have been guided by the desire of David Ellison, chief executive of CBS News parent Paramount, to please the Trump administration as he seeks regulatory approval of his deal to acquire Warner Bros. Discovery.

Trump sued “60 Minutes” over the editing of an interview with his 2024 presidential opponent, former Vice President Kamala Harris. The suit was settled just ahead of the Federal Communications Commission clearing the way for the takeover of Paramount by David Ellison’s Skydance Media.

Ellison acquired Weiss’ digital startup, the Free Press, which established itself as a voice critical of so-called woke politics.

Pelley said in a statement Tuesday that there has been pressure to shape CBS News coverage to please the Trump White House, a claim that both Vega and Alfonsi have made.

“I’ve been told to include assertions that are unverified,” he said. “To date, in every case, I have ignored these instructions or refuse them.”

In a statement, a representative of “60 Minutes” said that the exchanges with Pelley regarding editorial content were not out of the ordinary.

“There is no political interference at CBS News, not from ownership, not from Bari Weiss,” the representative said. “The only ‘interference’ is the normal back and forth between editor and correspondent that happens in every newsroom.”

The Hawkstone Farmers Choir was crowned the winner of Britain’s Got Talent 2026 after they sang an original song called This Is Home in the final on ITV last night

Amanda Holden has expressed her delight following the crowning of the 2026 Britain’s Got Talent winners, The Hawkstone Choir.

The 10 acts, which include Golden Buzzer winner and singer Matty Juniosa and PowerPoint comedian Ted Hill, performed again for the judges – Simon Cowell, Amanda Holden, Alesha Dixon and KSI. The winner, Hawkstone Farmers Choir, won £250,000 alongside the Royal Variety spot, and was ultimately decided by a public vote.

For the final, The Hawkstone Farmers Choir sang an original song called This Is Home. The choir sang the emotional song whilst stood in front of a backdrop of the local countryside through the changing seasons. They dedicated the song to anyone who is struggling.

In a video shared to Simon Cowell’s Instagram, Simon and Jeremy Clarkson could be seen celebrating together moments after Hawkstone Farmers Choir’s win.

“Wow, wow, wow,” Simon started before panning the camera so that Jeremy could join in from over his shoulder. That was incredible,” Jeremy said. Simon remarked that he could see how nervous Jeremy got upon seeing the choir perform and whislt waiting to see in they would win. Jeremy continued: “They worked so hard, thank you for having us.”

Simon added: “They did deserve it.” He wrote in the caption: “Wow wow wow. I am genuinely thrilled. A very very very happy choir, and so they should be.”

Amanda Holden also took to social media to express her joy that her golden buzzer act won for a second year running. Captioning the post: “Omfg. I couldn’t be more delighted that the brilliant @thehawkstonefarmerschoir won the whole thing @bgt!! I haven’t stopped crying. They deserve every second of the elation and joy!!! So BLOODY PROUD!!”

One user commented: “Sooo super happy they won! Well done. I couldn’t hold back the tears. So glad they have a voice – what a special final,” another said: “So bloody proud of them all absolutely smashed it, massive congratulations guys such hard working worthy winners chuffed to bits for them.”

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There have been 18 winners of BGT so far – seven music acts, two dog acts, two magicians, three comedians and four dancers/dance groups.

The first winner was crowned in 2007, when opera singer Paul Potts impressed with his rendition of Nessun Dorma. The following year, 14 year-old George Sampson won after showing off his break dancing skills.

The third winner was Diversity, who are perhaps one the best known BGT acts. Their leader, Ashley Banjo, has gone on to become a TV presenter. Dancing seemed to be a big hitter with audiences, as dance group Spellbound won the following year.

In 2011, singer Jai McDowall broke the dancers’ winning streak, and the next year, the crown went to Ashleigh Baker and her dog Pudsey. But, in 2013, the winners were once again dancers, as Attraction, a dance troupe that used movement to create images and tell a story came first.

2014 saw singing group Collabro win with their musical theatre performances. Jules and Matisse, another dog act, won the next year’s series. The first magician to win was Richard Jones, who won in 2016, while in 2017, pianist Tokio Myers won next.

Comedian Lee Ridley, who went by Lost Voice Guy, won in 2018. Singer Colin Thackery won in 2019. Comedy singer Jon Courtenay won in 2020 and comedy continued to be winner in 2022 and 2023, when Axel Blake and Viggo Venn were announced as the winner.

2024’swinner was musical theatre singer Sydnie Christmas and the most recent winner was musician Harry Moulding.

May 29 (Asia Today) — SK Group Chairman Chey Tae-won said generalist talent will become more important in the artificial intelligence era as workers need to develop abilities that remain uniquely human.

Chey, who also serves as chairman of the Korea Chamber of Commerce and Industry, said South Korea should accelerate the expansion of AI infrastructure based on speed, scale and safety.

SK Group said Friday that Chey appeared Thursday on KBS1’s “Documentary Insight – Talent War 2: Chey Tae-won’s Answer,” where he discussed what people should learn and what abilities they should develop as AI advances faster than humans.

“I wanted to share the perspective I have gained by speaking directly with many people in the AI industry and working with them in business,” Chey said.

Chey said the world is now moving through the era of “reasoning AI,” in which AI responds to human questions, and will enter the era of “agentic AI,” in which AI can make decisions and act on its own.

“In this period, the gap in ability between people who actively use AI and those who do not could become much wider than it is now,” Chey said. “The same polarization could deepen among individuals, companies and countries depending on how quickly and effectively they use AI.”

Over the longer term, however, Chey said the rise of artificial general intelligence could narrow gaps in knowledge and productivity among people.

He said that if two people now have ability levels of 10 and 100, their gap is 10 times. But in an AGI era, if everyone receives a baseline AI-powered ability of 1,000, those levels could become 1,010 and 1,100, sharply reducing the relative gap.

“In the future, what matters more than what job a person has will be how that person can use and connect humans and AI together,” Chey said.

He said generalists who can move across different fields and design new systems and societies where humans and AI coexist will become more important than specialists who deeply understand only one field.

Chey also said AI could perform a large share of work tasks, making it possible for people to take on multiple roles and jobs at the same time. He said the conventional “9 to 6” work structure and fixed ideas about occupations could gradually change.

Chey presented four core “muscles” that individuals should build in the AI era: a thinking muscle to ask fundamental questions, an adaptation muscle to respond to rapid change, an empathy muscle that reflects uniquely human compassion and “body skills” that create value through physical activity such as music, art and sports.

“The ability to quickly acquire knowledge and do well on tests will be replaced in large part by AI,” Chey said. “It is important to build the areas that only humans can do.”

Chey also presented a national strategy, saying South Korea needs “3S” — speed, scale and safety — to become a competitive “AI nation.”

He said South Korea should speed up technological development, expand large-scale AI infrastructure and investment and build an institutional foundation that allows citizens to use AI safely.

“AI talent does not simply mean engineering talent,” Chey said. “Education and social systems must also change quickly so future generations can naturally use AI and coexist with it.”

— Reported by Asia Today; translated by UPI

© Asia Today. Unauthorized reproduction or redistribution prohibited.

Original Korean report: https://www.asiatoday.co.kr/kn/view.php?key=20260529010008715

Belgian defender Thomas Meunier caused debate recently after saying that France has the footballing talent to put out three teams capable of winning the World Cup.

Could Les Bleus, who are co-favourites with Spain in this summer’s World Cup, really lift the title with their second- or third-string team? Maybe not, but their talent is certainly Mariana Trench-deep.

Consider this: According to transfermarkt.com, a lineup of French players that didn’t make the 26-man cut would rank in value among the top five teams – ahead of Portugal, Brazil, the Netherlands and reigning champions Argentina.

Lucas Chevalier 30 million euros ($35m); Pierre Kalulu 32 million, Jeremy Jacquet 55 million, Leny Yoro 50 million, Adrien Truffert 25 million; Boubacar Kamara 40 million, Eduardo Camavinga 50 million; Dilani Bakwa 28 million, Senny Mayulu 40 million or Khephren Thuram 40 million, Mousa Diaby 28 million; Junior Kroupi 40 million. = 418 million [38 million average]

So, how did Les Bleus get to this point?

It started with frustration after French teams consistently fell short on the biggest stage from the 1930s to the 1970s. The solution, national team manager Georges Boulogne said in the early 1970s, would be for the French Football Federation to create training academies known as Centres de Formation.

“France had not won any trophies, and it was decided they needed to create a new structure,” INF (Institut National du Football) Clairefontaine administrator Franck Bentolila told Al Jazeera.

The government backed the programme, viewing it as promoting French ideals through sports, as well as a recipe for winning trophies.

A total of 16 centres were set up, the first opening in 1974 with the main site in Vichy. It recruited widely, drawing young players from the entire country, plus overseas departments. The centres laid a foundation, preparing players for professional careers and the national team.

The record was initially mixed. In the 1980s, France won the European Championship and Olympic Games titles (both in 1984) and reached two World Cup semifinals, but then failed to qualify for the 1990 and 1994 World Cups.

But by 1998, everything fell into place, with the so-called “Black-Blanc-Beur” squad winning the World Cup at home. The multiethnic group represented the changing nature of French society, as well as validating the federation’s development programme. Bentolila said coach Aime Jacquet dedicated the victory to “all the amateur clubs and academies – it’s also your trophy”.

“The [1980s] period with [Michel] Platini, [Alain] Giresse, [Jean] Tigana, had a lot of talent, but we don’t win a World Cup,” Bernard Lama, a goalkeeper who captained the national team in the 1990s, told Al Jazeera.

“The difference with our generation, all the guys were from academies. And we were hungry to win a title. And, also, we had one exceptional talent with Zinedine Zidane.”

France went on to lift the 2018 World Cup and were runners-up in 2006 and 2022.

‘We have players who can make a difference’

Lama traces France’s success to the combination of the centres, with the contribution of immigration.

“You have people coming from overseas – Africa, French Guyana, Martinique – they give us two things, music and sports,” Lama said.

“And, now, there is a sub-generation coming from overseas, and they are French. [Ousmane] Dembele, [Desire] Doue, they are French, they are not naturalised, they grew up in France, the majority around Paris.

“And they are hungry, you understand, for a lot of reasons. But, also, it’s not only a question of work; the first thing is they have talent.”

Lama sees a danger in football, more broadly, of players becoming overly drilled and “robotic”, but France has many exceptions who can give them an edge.

“We are lucky to still have these players who are capable of making the difference,” Lama said. “Maybe that is why we are so good, we have players like [Kylian] Mbappe, Dembele, Doue. They hate to lose and, physically and technically, they can make the difference, individually.

“And that is the force of the national team, and also PSG, our capacity to score. Today, we have maybe four or five guys – [Maghnes] Akliouche, [Rayan] Cherki, a different kind of talent. When you have that explosion of talent, it gives the coach more solutions, offensive solutions.”

Most national team members, no matter their background, have gone through the academies, but their development starts long before that.

“It’s cultural,” Bentolila said. “In America, when you are young, you have a basketball in your hands, or a football in your hands. In France, you have a football at your feet when you are a baby – and free access to facilities.”

That part of the formula sounds similar to many countries. Is there a secret to French development, or are they just doing it better than most?

“The secrets,” said longtime coach and scout Stephane Nado, “are a combination of hard work, structure and organisation.”

Nado said: “The player is the centre, the heart, of the project. The player will receive education. And we will not take them away from their family. It is important for them to keep their roots, important psychologically. This is why France is one of the best in the world at developing players for export.”

Training at Clairefontaine blends street game skills with organisation, including “lots of 1 vs 1, 2 vs 2”, Bentolila said. “You have to fight. You’re good at dribbling and first touch, now you organise possession, 5 vs 2. As soon as you get the ball, you have to have good control. We do that a lot.”

Clairefontaine is now focusing on younger age groups, ceding responsibility for older players to clubs. And development is expanding beyond the centres and established club academies, Bentolila said.

“Paris and Sao Paulo are the best areas in the world for talent,” Bentolila said. “Why? Private academies. It is an amazing situation. Kids, eight- and nine-year-olds, playing every day. Amateur coaches offer not a meal, but a snack at 4 o’clock. Then, they do homework and training sessions. When they are 12 years old, they play like Mbappe.

“In Paris, you have amateur clubs nobody knows, and they can beat [the youth teams of] Barcelona and professional clubs. They are better than PSG, Paris FC. So many players – they play anywhere, any time, eight years old against 10 years old. They are like soldiers, they fight every day, and they are good because they play under pressure.”

In the 1980s, Les Bleus were dubbed “The Brazilians of Europe”. It’s taken a while, but France appears to have lived up to the moniker. And they’ve gone about it their own way.

“Brazilian coaches [used to] tell me, ‘In our country, we are poor, but we can succeed in football or music. So, we start the day with football,’” Bentolila said.

“In France, we go to school, first, and, after, practise football. We do it every day and, like Brazil, we play a lot, and play well.”

Cricket greats, writers and broadcasters hail 15-year-old Rajasthan Royal opener after his 29-ball 97 in IPL playoffs.

Vaibhav Sooryavanshi has been termed a ⁠⁠generational talent after the Rajasthan Royals teenager smashed 97 off 29 balls to power his side to victory in their Indian ⁠⁠Premier League eliminator against Sunrisers Hyderabad.

The 15-year-old also broke Chris Gayle’s record for most sixes in an IPL season on Wednesday, taking his tally to 65 in the ⁠⁠match and surpassing the former West Indies captain’s 59 set in 2012.

Sooryavanshi’s performance helped Rajasthan secure a 47-run win that kept their hopes of reaching the final alive.

Rajasthan will play Gujarat Titans ‌‌in ‌‌the second qualifier on Friday, with the winner advancing to Sunday’s final against defending champions Royal Challengers Bengaluru.

Hyderabad assistant coach James Franklin said the teen batter’s potential was frightening.

“I don’t think anyone’s ‌‌ever seen a talent like this. It’s freakish what he’s doing at the moment,” he told reporters. “To think that he’s potentially got 25 years left in his career, it’s quite scary.

“He’s only going to get better, stronger and more mature with how he bats. So, it’s just devastating at the moment.”

“There’s a very small margin where you could bowl to him,” Franklin said. “He’s an amazing talent that he can start playing around with it [bowling variations] and then start ‌‌to cause the bowlers to have to go to other places, which tend to then go back into his strength.”

The season’s leading run-scorer struck 12 sixes ⁠⁠in his innings, including three in a row ⁠⁠off Hyderabad captain Pat Cummins, but fell short of Gayle’s mark for the fastest IPL century off 30 balls.

Sooryavanshi miscued an upper cut to deep third, leaving him visibly dejected after the dismissal as Smaran Ravichandran completed the catch.

“I thought about it [the hundred] after ⁠⁠I got out. At that time I was just focusing ⁠⁠on contributing as much as I can,” Sooryavanshi said after being named player of the match.

“Hundreds will come, but the goal is to ensure how we win trophies.”

Sooryavanshi, who last year hit the first ball he faced in his IPL career for a six at age 14 and later became the youngest player to score a T20 hundred, has amassed 680 runs this season at a strike rate of 242.85.

Indian cricket great Sachin Tendulkar analysed Sooryavanshi’s batting on social media, saying the baby-faced attacking batter’s technique allows him to play with freedom.

“That innings was nothing short of spectacular!” Tendulkar wrote.

The young player was hailed as the best T20 opener by former England captain Michael Vaughan, who urged India to select him in the national side.

“He is the best T20 opener in the world. India have to pick him,” Vaughan wrote on X.

Cricket author and broadcaster Bharat Sundaresan said that despite the change in bat sizes and record-breaking T20 scores, Sooryavanshi’s achievement was “era-defining”.

“Eight sixes in the first four overs of an innings? What are we watching? This is beyond incredible,” he wrote.

West Indies bowling great Ian Bishop, who is now a cricket commentator, said the quality of Sooryavanshi’s strokes was “rare”.

Former India batter Mohammed Kaif joined in heaping praise on Sooryavanshi, calling him a “wonder boy” in a tweet.

During the last semi-final, The Hawkstone Farmers Choir performed Bastille’s Pompeii and managed to bag their place in the final next week but Simon Cowell had a cheeky dig at their founder Jeremy Clarkson

Britain’s Got Talent judge Simon Cowell made a cheeky dig at Jeremy Clarkson on last night’s show.

The former Top Gear host founded The Hawkstone Farmers Choir after scouring the country for 34 British farmers who wanted to work together and create ads to save pubs and farms.

Earlier this year Hawkstone Farmers’ Choir auditioned for the ITV reality competition and managed to win Amanda Holden’s Golden Buzzer, sending them straight through to the semi-finals after wowing with a rendition of Elbow classic One Day Like This. Just prior to belting out the famous track, member Katrina explained to the judges that Jeremy himself had set the choir up, having been sponsored by the Hawkstone Brewery that the TV star co-owns in the Cotswolds.

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At the time in response to the golden buzzer audition While visibly holding back tears Jeremy thanked Amanda Holden for pressing the Golden Buzzer. He said: “It shows that people quite like farmers. They were very very good, well done all of you. I’m a very happy man tonight.”

During the last semi-final, the 32-strong chior performed Bastille’s Pompeii and managed to bag their place in the final next week.

Simon said to the choir: “You’re not a professional choir, however I love what you stand for. It might be quite annoying to see Jeremy Clarkson‘s smug face, that’s the only downside. He’s a friend of mine. However more importantly this is about you and you did brilliantly well congratulations.”

While Simon’s comments were not all positive, it was clearly only banter between two friends.

Jeremy was over the moon at the chior’s win and in celebration filmed a short video at farm-fest with partner Kaleb Cooper. The duo filmed themselves congratulating the singers in front of a cheering crowd at Farm Fest.

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Britain’s Got Talent fans have been left baffled after grandad Frankie and grandson Lucciano were missing from the semi-final line-up and the duo have now addressed their absence

Fans of Britain’s Got Talent have been left scratching their heads after a popular grandfather and grandson act failed to appear in the line-up for tonight’s semi-final.

ITV has announced that The Hawkstone Farmers Choir will face off against leading drone art specialists Celestial, sideshow and suspension pair Baron and Vesper, magician Jake Banfield, vocalist James Miller, schoolboy dancer Juan Carlos, Japanese comic Mr Cherry and rock boyband SOS in tonight’s (Saturday, May 23). last live semi-final of the series.

Yet fans were swift to spot that Lucciano and Frankie were absent from the roster, despite receiving four enthusiastic yeses from the judging panel of Simon Cowell, Amanda Holden, Alesha Dixon and KSI during their audition.

During their initial appearance, Lucciano revealed to the star-studded panel that his passion for singing stemmed from performances at care homes alongside his grandfather during the school breaks. The youngster then delighted both the crowd and his grandfather by inviting him to share the stage.

The duo delivered a rendition of One Direction’s History, earning a standing ovation, and supporters are now questioning their absence from the semi-final line-up, reports Bristol Live.

Flooding social media, one puzzled viewer wrote: “I’m surprised the little boy and his grandad haven’t been chosen for the semis.” Another questioned: “What happened to the boy and his grandad!? Whatttt.”

A third enquired: “Where is the boy and his grandad?” while a fourth asked: “Is this the last semi final? Where is that sweet boy and his grandad?”

Following their disappointment at not securing a place in the BGT semi-finals, Frankie and Lucciano have reached out to their supporters with a heartfelt message, posted on both their Instagram accounts alongside a touching photograph from their audition performance.

The extensive post stated: “ANNOUNCEMENT. NO SEMI FINAL FOR LUCCIANO and GRANDAD. 4 yeses from the judges, a viral social media explosion, the whole nation routing for us and over 50 MILLION views across all social platforms.

“Unfortunately, we haven’t made it through to the semi-finals amongst such an incredible and talented group of acts on Series 19. What an AMAZING opportunity and experience to take away with me forever. Surprising my Grandad was truly magical and performing in front of Simon Cowell was a dream come true @simoncowell.

“Thank you all so much for the support – the likes, the love, the shares, the follows and all the positive comments. Me and my Grandad want to thank each and every one of you for all the love and support you’ve shown us.

“A huge thank you to @bgt for the opportunity and for believing in me, thank you to the team behind the show, all of the show producers, researchers, camera crew and the one and only @antanddec for making it such a fantastic journey for me. So… what’s next for Lucciano and Frankie?. STAY TUNED. #sharethelove #dream#happyplace #singing #surprise.””

The Britain’s Got Talent grand finale takes place next Saturday, May 30 at 7pm, when the 2026 champion will be crowned. Last year, magician Harry Moulding secured the title and walked away with a life-changing £250,000 prize and a coveted slot at the Royal Variety Performance.

Britain’s Got Talent continues tonight on ITV1 and ITVX at 7pm

Westlife have paid tribute to Simon Cowell during an appearance on Britain’s Got Talent, with Shane Filan, Nicky Bryne and Kian Egan all taking to the stage without bandmate Mark Feehily

Westlife have paid tribute to Simon Cowell during an appearance on Britain’s Got Talent.

The band – which features Shane Filan, Nicky Bryne and Kian Egan – performed their biggest hits ahead of their 25th anniversary tour. However, they were without bandmate Mark Feehily, who will also not appear on the tour.

There was no specific mention of Mark, but the trio paid a heartfelt tribute to judge Simon, who was instrumental in their success.

“It’s been a long time since Simon Cowell suggested standing up from our stools on a key change,” Nicky said. Kian went on to pay tribute to Simon and said they wouldn’t have been there without him.

In June, it was confirmed Mark would be absent from the tour. The band said in a statement: “Sadly, Mark will be unable to join the celebrations. We hope he can join us back on stage when he is ready and able. He sends his love and positivity to you all as always.”

Mark announced he would be taking a break from Westlife just days before first ever tour of America in 2024. At the time, he shared: “Hello and much love to you all! It’s Mark here.. Most of you are aware that I have had some health challenges over the past while.

“It actually all started 3.5 years ago in August 2020 when I had surgery. Within a few days of this surgery I was in severe pain and was rushed into A&E. I eventually ended that awful day in ICU (Intensive Care Unit) where I was informed that due to a complication with the surgery, I had developed severe ‘Sepsis‘, a life-threatening infection that would require immediate emergency surgery to rectify the problem and basically save my life.”

He explained that he was in hospital for months during lockdown, and was later told he needed more surgery.

“It was physically and mentally a very difficult time, not to mention traumatic having to spend so long in ICU. In late 2021, I became very ill in Newcastle before a concert and ended up back in A&E, this time being told I had pneumonia. I was told I had to go straight home to recover and regrettably miss the rest of the concerts that December,” he said.

Speaking about Mark missing their big anniversary tour, Kian told us: “We’re devastated he won’t be joining us on this tour. We’ll be missing him every night just as much as the fans will. But he’s given us his full support. This is the 25th anniversary, it’s something that we all felt needed to be celebrated. We hope as soon as he’s ready he’ll be back with us and we look forward to that moment.”

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SIMON Cowell has revealed he is thinking of bringing back The X Factor, nearly eight years after the ITV talent contest was axed.

Over its 14-year run the show discovered huge acts including One Direction, Little Mix, Leona Lewis and Olly Murs.

And now the music mogul is considering a revival for the Gen Z years, following the success of his Netflix show The Next Act, which spawned rising pop stars December 10.

Simon told TV presenter Jamie East on his new podcast Tales From The Celebrity Trenches: “Do you bring it back as X Factor or do you bring it back as the Z Factor? We talk about it a lot.

“There’s still no question — the power of TV in terms of getting people to know an artist.

“It is so important if you are not writing your own material.

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“There is something about being on a big screen.

“You do hear about these artists who break online, but so rarely.

“We could have made [The Next Act] online.

“I just don’t think it would have had the same effect.

“The truth is, thank God, people like being on TV.”

Running such a huge talent show is not always plain sailing, but Simon had a distinctly New Age solution when the stresses got just too much while filming The Next Act.

He turned to crystals.

Simon recalled: “We were running out of money so I did have a little mini meltdown.

“And then I just sat with my crystals and they just comforted me.

“I can feel the energy.

“I thought it was kind of comforting having the crystals rather than everyone in my ear driving me crazy.”

He added: “I definitely believe in the powers of the universe.

“I feel that if you can harness the power of the universe to try and make your mind just calm down for a moment . . . ”

I don’t think I’ll be swapping a medicinal glass of rosé for rose quartz any time soon, but each to their own . . . 

Kylie in Michael tribute

Kylie Minogue will pay tribute to late boyfriend Michael Hutchence in her new self-titled Netflix documentary.

She confirmed yesterday that the Inxs frontman will be included.

In a first-look trailer, Kylie shared photographs of them together while they dated between 1989 and 1991.

Despite splitting, Kylie stayed close to fellow Aussie Michael until his death aged 37 in 1997,

She said previously: “He was a dark bad boy and I was the pure good girl.

“He opened up a whole new world for me.”

The three-parter will also feature Kylie’s friends and family talking about highs and lows she has faced, including her breast cancer diagnosis in 2005.

Kylie is heard saying off camera: “I felt removed from my body.

“I was so scared of what was ahead.”

Her sister Dannii can then be seen welling up as she says: “We didn’t know if she was ever going to well again.

“I just wanted to be with my sister.

“Music kept us going.”

Fans will have to wait until May 20 to watch the series in full.

Hol lotta Caity

Caity Baser was hostess with the mostess as she opened a beach club in the back garden of her seaside home.

She squeezed into a tight blue dress and posed with bunting and flowers at the party to mark the release of new single Holiday Song this Friday.

The singer’s pal Joel Corry was drafted in as DJ for the bash in Brighton.

She ordered a tonne of sand to turn her garden into a beach – but revealed to TikTok followers that she ordered builders’ sand by mistake.

She referred to her makeshift club as Ibiza Crops – a reference to Ibiza Rocks on the White Isle – but was dreading the prospect of clearing it all up afterwards.

If the release of the single goes as well as her party, she’ll have a very fun summer.

Jack Cullen began his first headline European solo tour in Bristol last night, and has a long slog in front of him.

The musician, who released single Face To Face on Friday, will play across the UK in the next few days then head to Brussels, Cologne, Amsterdam and Berlin.

He’ll then Run 22 marathons in 22 days – back from the German capital to London for the tour’s final night, headlining Oslo in Hackney on June 12.

Live gigs in Dolldrums

Pussycat Dolls, Post Malone and Zayn Malik have all cancelled North American tours in the past week – and it’s the clearest sign yet the live music economy is about to turn.

Last summer was one of the best-ever for gigs, with Oasis, Dua Lipa and Coldplay selling out stadiums, while Radiohead, Lewis Capaldi and Tate McRae played to packed arenas.

But ticket prices have only continued to rise since live shows returned after Covid, and now it’s clear punters have had enough of greedy artists taking advantage.

Shows are already hugely expensive in the UK, but over in the US, the prices are even higher.

Suki Waterhouse, Ella Mai and Logic and G-Eazy’s tours there later this year are also struggling to shift tickets, with fears they could be axed too. It’s only a matter of time before we see a similar knock-on effect in the UK.

Even some major tours here this summer are yet to sell out, after insatiable promoters added strings of dates and pushed artists into bigger and bigger venues.

As you know from this column, I love a good concert.

But at a time when everyone is strapped for cash, paying through the nose for a couple of hours of singing is just not an option for many.

So if the music industry keeps moving like it is at the moment, it’s only going to turn people off altogether.

It’s a three-horse race to the No1 album spot this Friday, with Mel C, Michael Jackson and Kneecap all battling it out for the prime position.

Just under 3,000 chart units separate third place from the top spot, so it’s all to play for.

Kneecap are currently at No1 with Fenian, closely followed by Mel’s Sweat and MJ’s 2005 compilation album The Essential, which is back in demand after the Michael biopic.

Pete aims for Kyle collab

Pete Doherty is recruiting The View’s frontman Kyle Falconer to collaborate on songs for his next solo album.

They previously worked together on Pete’s track Midas Touch, on Kyle’s recent LP Lovely Night Of Terror.

Now Kyle has revealed he visited Pete’s home in the South of France and will return soon to work with the Libertines rocker, right, again.

He said: “I was just over in France to see him, we’re talking about loads of stuff.

“It was all very arty. We were painting together, and talking about films.”

Pete’s last solo effort was 2025 album Felt Better Alive, while the last Libertines record was 2024’s All Quiet On The Eastern Esplanade.

Two years ago Kyle moved to Alicante in Spain with his wife Laura and their four kids.

He now runs songwriting camps from his La Sierra Casa studio, and said: “The camp is getting bigger and better every year, and we’ve just moved to a new place.”

Celebrity treasures on sale

War Child is back with its Spring Clean auction – packed with some of the most random and brilliant celebrity treasures going.

Fans can get their hands on Alan Carr’s Isabell Kristensen blazer from RuPaul’s Drag Race, and even a signed Devil Wears Prada 2 script donated by Stanley Tucci.

There’s a Fantastic Four script signed by Vanessa Kirby, plus one of the strangest items on offer – the infamous radish prop from Netflix’s Beef, signed by the cast.

You can also win a private film screening and lunch with Simon Pegg.

Meanwhile, sci-fi lovers can snap up a personalised photo signed by X-Files co-stars Gillian Anderson and David Duchovny.

Music lovers are also in for a treat, with signed setlists and memorabilia from Robbie Williams, The 1975 and Coldplay all among items up for grabs.

It runs until May 27, and will raise money to support children in war zones. See springclean.charitystars.com to get involved. Prize draw entries start at £10.

Liz up to sun-thing

Lizzo is lapping up as much sun as she can before she kicks off the promo for her new album, Bitch.

The Truth Hurts singer shared this snap with her 11million Instagram followers with the caption: “Best Birthday Ever”.

Lizzo turned 38 last week and used her special day to announce the record, which is the follow-up to her 2022 album, Special.

Teasing what Bitch has in store, Lizzo said: “I think it’s always going to be the Lizzo sound.

“I posted a snippet of one of my new songs that’s coming out very, very soon and somebody was like, ‘The Nineties are back’.

“I love constructing and producing and creating just well-crafted music and songs.

“I hope everyone likes it.”

As a massive Lizzo fan myself, I am sure I’m going to love it.

They are one of the most in-demand couples in ­Hollywood, so what do Gen Z heartthrobs ­Zendaya and Tom Holland do in their spare time?

The British actor, above with his other half, said: “So we have been ­crocheting at home. I absolutely love it.”

“I just find it turns my brain off. I can’t do anything else and do it. I have to be lasered in.”

I’m sure he still has Zendaya in stitches . . . 

The latest live semi final Golden Buzzer act on Britain’s Got Talent was announced by Alesha Dixon and while viewers were happy with the decision, they still had complaints to share

Britain’s Got Talent viewers weren’t impressed by the studio audience as Alesha Dixon chose an act to go straight to the live final. Week two of the live semi-finals got under way and viewers of the ITV competition let their feelings be known as the judge gifted LMA an automatic route through.

The 66-person dance troop, Sadeck Berrabah & LMA, from the Liverpool Media Academy (LMA) University took to the stage and put on a stunning display that more than matched their impressive audition. After Simon labelled it “gobsmackingly beautiful” and called it the best live performance to date, it was left up to Alesha to have her say.

And she did just that. She said: “Do you remember what I said to you in the auditions. That if I had a golden buzzer, I would have given it to you.”

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She then rose to her feet to smash the buzzer and cause the confetti to rain down on the act, leaving them in tears.

Viewers on Twitter/X were pleased with the call, too. One user wrote: “They definitely deserved the golden buzzer #bgt #britainsgottalent” Another added: “Well deserved golden buzzer !!#BritainsGotTalent”

A third commented: “LMA act was so beautiful and deserved the golden buzzer. They could use fans for the final. #BGT #BritainsGotTalent.”

But, despite many agreeing it was a well deserved choice, it was the audience that received complaints online. One user wrote: “The audience screaming “Push The Gold” like they haven’t shouted that after every act! #BGT #BritainsGotTalent“

Another moaned: “#BritainsGotTalent Mute the b****y audience…” And a third said: “The audience on #BGT is ruining the show. It’s like a mob. It would be much better if the audience did the shouting and screaming when the judges stop talking. #BritainsGotTalent.”