After some shocking revelations in Mayor of Kingstown season four, actor Lennie James has teased even more surprises from mobster Frank Moses
Mayor of Kingstown star Lennie James has revealed his journey as Detroit mobster Frank Moses is headed in some very unexpected directions.
Following Mike McClusky’s (played by Jeremy Renner) feud with Russian crime lord Milo Sunter (Aiden Gillan), Frank has entered the fray in season four to fill the power vacuum.
After developing a shaky alliance with Kingstown’s ‘mayor’, Frank has since revealed his true colours as potentially an even greater threat in the Paramount+ crime saga.
In episode six, Brother, Can You Spare a Dime?, Mike’s closest confidant on the streets, Deverin ‘Bunny’ Washington (Tobi Bamtefa), is taken to hospital after suffering gunshot wounds from an attacker named Lamar (Zuri James).
However, Mike soon discovers that Lamar is actually working for Frank, who betrayed both his and Bunny’s trust to take over operations in Kingstown.
Mike brings him in and attempts to get him arrested, but a member of the Cartel tries to take Frank out. By the end of the episode, Mike and Frank’s working relationship seems to be completely dissolved.
Throughout the series, Frank has affected a calm demeanour even while under intense pressure, which James exclusively told Reach could be a façade that’s about to slip.
“It’s gonna be tested, but it’s not going to be tested where you expect it to be tested,” James teased.
“When it drops, it’s not gonna be for the reason that everybody thinks it might be. When he goes gangster, it’s not in the direction that is expected.
“That’s one of the things I think the writer’s room liked writing for Frank, because all things were possible, because he’s a unicorn.”
Frank’s history in Detroit has served him well so far as he’s able to rise to the challenges presented by the crime-ridden Kingstown with years of experience handling rival gangsters and cops.
At the very start of the series, he’s introduced just minutes after decapitating several Russian mobsters on a train track to announce his arrival, but he’s not had to get his hands dirty again since.
Line of Duty star James explains that he’s able to stay chillingly calm because “there isn’t much he hasn’t seen”. Even so, his power struggle with Mike could test him beyond his limits.
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The actor also hints the series could go back a little more to his roots in Detroit, confirming: “Yeah, you will. You’ll find out more.
“You won’t find out everything, but you’ll find out more, much more.”
Unfortunately, he wasn’t able to confirm whether or not Frank will be back in season five, which has yet to be confirmed by Paramount.
Still, he’s already proven a formidable threat and a popular new addition amongst fans, so there’s every chance of following in his predecessor Sunter and lasting for at least a couple of more seasons.
Mayor of Kingstown continues Sundays on Paramount+.
The technologist and professor Mindy Seu was having drinks when her friend casually referred to the phone as a sex toy. Think about it, her friend, Melanie Hoff, explained: We send nudes or watch porn, it’s vibrating and touch-sensitive — it’s practically an appendage.
“What exactly is sex, and what exactly is technology?” Seu wondered. “Neither can be cleanly defined.”
Around the same time, in 2023, Seu had just published “Cyberfeminism Index,” a viral Google Sheet-turned-Brat-green-doorstopper from Inventory Press. Critics and digital subcultures embraced the niche volume like a manifesto — and a marker of Seu’s arrival as a public intellectual whose archiving was itself a form of activism. The cool design didn’t hurt. “If you’re a woman who owns a pair of Tabis or Miistas, you are going to have this tome,” joked comedian Brian Park on his culture podcast “Middlebrow.”
Still, the knot between sexuality and technology tugged at her. “Recently, my practice has evolved toward technology-driven performance and publication,” she said. “It’s not exactly traditional performance art, but I believe that spaces like lectures and readings can be made performative.” Though she wasn’t yet finished exploring this theme, she wasn’t sure how to approach it next — until an experiment by Julio Correa, a former Yale graduate student, sparked an idea. Correa had devised an Instagram Stories-based lecture format, and she immediately saw its potential. She reached out to ask if she could “manipulate” his idea into a performance piece, and would he like to collaborate?
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Thus, “A Sexual History of the Internet” was born. The work is two things at once: a participatory lecture-performance conducted through the audience’s phones, and an accompanying, palm-sized, 700-plus-page “script” examining how our devices serve as bodily extensions.
The book isn’t exhaustive but instead a curated miscellany of non-sequiturs and the kind of dinner-party lore Seu delights in. Did you know that the anatomical structure of the clitoris wasn’t fully mapped until a decade after the invention of the World Wide Web? Or that the first JPEG — introduced in 1992 at USC — cribbed a Playboy centerfold nicknamed “Lenna,” which journalist and the author of the 2018 “Brotopia” Emily Chang called “tech’s original sin.”
The metaverse, web3 and AI — none of this is new, Seu said in her loft this past Saturday, hours before her West Coast debut at the Geffen Contemporary at MOCA. “But understanding the arc is helpful, especially how it’s tied to militaristic origins rooted in power, and how those same people were also confronted with sexuality.”
She’s just returned from a whirlwind tour — Antwerp, New York, Oslo, Madrid — with Tokyo next month. She splits her time between L.A. and Berlin, where her boyfriend lives, but for now, she’s staying put in what she calls her “bachelor pad on the set of a ‘90s erotic thriller,” inherited from a friend, the artist Isabelle Albuquerque.
The floor-to-ceiling windows high in a historic Brutalist artists’ complex overlook MacArthur Park and the downtown skyline. She’s offset the building’s cement with a childhood baby grand piano and her grandmother’s lacquer vanity with pearl inlay. That Seu marries the feminine and the spartan in her space feels intentional — a reflection of the dualities that animate her life and work.
“A Sexual History of the Internet” by Mindy Seu
(Photography by Tim Schutsky | Art direction by Laura Coombs)
Though she moved from New York three years ago, she resists calling herself an Angeleno — partly, she admits, because she never learned to drive despite growing up in Orange County. Her parents ran a flower shop after immigrating from South Korea. The household was conservative, Presbyterian and promoted abstinence. Like with many millennials, her sexual awakening unfolded online.
“I asked Jeeves how to have an orgasm,” she writes. “I sexted with classmates on AOL Instant Messenger. Any curiosities were saved until I could sneak onto my family’s shared ice blue iMac G3 in the living room.”
At 34, the very-online academic holds a master’s from Harvard’s Graduate School of Design and has taught at Rutgers and Yale before joining her alma mater, UCLA, as one of the youngest tenured professors (and perhaps the only one who has modeled for JW Anderson and Helmut Lang). Her first three years at UCLA have each had their crises — encampments, fires, ICE raids — yet her Gen Z students give her hope. “They’re so principled and motivated, even if it’s in a nihilistic way,” she said.
Online, fans declare their “brain crushes” on Seu, whose ultra-detailed spreadsheets have become unlikely catnip for TikTok. Vanity Fair dubbed her the rare cybernaut who “lands soft-focus photoshoots in niche lifestyle publications.” Her unusual power is the ability to move through different fields, Trojan-horsing her theories across academia, the art world, the lit scene, tech, fashion, et al. Seu’s notoriety continued to swell after appearing on the popular internet talk show “Subway Takes” with the standout zinger: “Gossip is socially useful, especially to women and the marginalized.”
“Mindy’s really good at bridging different audiences who might not read an academic text about the history of the internet but are interested in Mindy’s practice,” said Correa, Seu’s student-turned-collaborator. When the two workshopped their performance last year on their finsta (a.k.a. fake Instagram), they encountered one major hurdle: censorship. They had to get creative with their algospeak (like changing “sex” to “s*x”) to keep from getting banned.
Mindy Seu in her MacArthur Park loft.
(Carlin Stiehl / For The Times)
“A Sexual History of the Internet,” designed by Laura Coombs, carries that collaborative ethos into its financial structure. Seu’s first book went through traditional publishing, where authors often receive about 10% and contributors receive fixed fees. This time, she wanted a citation model that compensated the 46 thinkers who shaped her understanding of the subject.
She approached Yancey Strickler, director of Metalabel, “an indie record label for all forms of culture,” and co-founder of Kickstarter. Seu’s original proposal waived all profits to collaborators. “Everyone got paid but her,” Strickler said. If she wanted the model to be replicated, he told her, it needed a capitalist backbone.
They landed on Citational Splits, where everyone who was cited joined a 30% profits pool, in perpetuity, across future printings (27 opted in). The remaining 60% goes to Seu and five core collaborators. Strickler likened it to music royalties or company shares: “Your presence increases the project’s value, and some of that value should flow back to you.”
Neither can name a publishing precedent. “It shows a profound, practical morality that underlies her work,” he said.
At MOCA, about 300 Angelenos braved an atmospheric river to sit in the darkened former police car warehouse bathed in red light. No projector, no spotlight. A pair of Tabis winks at her all-black-clad friend; a couple holds hands as Seu moves through the room. (“I intentionally wear very noisy shoes,” she said earlier.)
With the calm cadence of a flight attendant, Sue instructs everyone to put their phones on Do Not Disturb, sound and brightness to max and open Instagram to find @asexualhistoryoftheinternet.
The audience reads in unison when their designated color appears. What follows is a chorus of anecdotes, artworks and historical fragments tracing the pervasive — and sometimes perverted — roots of our everyday technologies. Hearing men and women say “click and clitoris” together is its own spectacle.
“From personal websites to online communities, cryptocurrencies to AI, the internet has been built on the backs of unattributed sex workers,” one slide notes. Sex work has long been an early adopter of emerging technology — from VHS to the internet — and the present is no exception. Two years ago, OnlyFans creators made more money than the total NBA salary combined; today, the company now generates more revenue per employee than Apple or Nvidia.
Seu ends with the widely known dominatrix Mistress Harley’s concept of data domination, a subset of BDSM in which her “subs” (a.k.a. submissives) grant her remote access to their machines. Seu tells the crowd that she has essentially done the same, “viewing the voyeurs” and taking photos of us throughout the performance, which are already posted to Instagram.
We walk out into the dark rain, wondering what exactly we witnessed — and realizing, perhaps, we’ve been witnessing it all along.
The festive season is definitely upon us as Christmas markets open up and down the country
08:00, 20 Nov 2025Updated 08:14, 20 Nov 2025
Visitors have noticed the market is lacking something (Image: Newcastle Chronicle)
As Christmas markets open up and down the country, many towns and and cities are joining in the festive fun.
This year Newcastle has gone the extra mile and introduced some new attractions for its Christmas market offering and not everyone is happy about it.
Newcastle’s Christmas markets opened up this past weekend on Saturday, November 15, and are set to run right through until Tuesday, December 23. Making the festive season bigger and better than ever, they have added some spots to the space that locals wouldn’t have predicted.
A huge shift in the city’s plans for this year’s markets saw 83% of its traders being local and based within 20 miles of the city centre – a positive for channelling independent brands. Although, alongside it came some tweaks and shifts that have certainly surprised shoppers looking for a fun day out.
Potentially the most random addition to this year’s market saw a silent disco take hold at the event. It offers a free entry, with no booking needed, as visitors can boogie wearing a pair of headphones, playing music that goes unheard by fellow passers-by. The Silent Disco operates every Friday night from 5 to 8pm, Saturdays from 10am to 8pm, and Sundays beginning at 10am up until 5pm. Although it may seem a little out of place for a festive market, the city is clearly trying to diversify its offering over the rest of the UK markets.
Adding to the festive fun, the market also decided to add a giant Ferris wheel to the town’s city centre. Based in the Old Eldon Square section of the market, the wheel sits at an impressive 50 feet and is believed to offer unmatched views of the city. From great heights shoppers can see the likes of Grey’s Monument to Grey Street and St James’ Park peeking through the hustle and bustle. For those not afraid of heights, they can experience the views at a considerably affordable price in comparison to some of the market’s other offerings – adult tickets are £5, £4 for children and £15 for a family of four.
After a couple shared their experience of the new ride in a TikTok video, people were quick to poke fun at the market attraction. One user said: “‘The views are lovely’ really got me, fair play!”. As another added, cynically: “I bet Level 7 at St James Park is still higher up than the Ferris wheel!”
As someone gave a virtual tour of the place in a video clip, others shared their disappointment with the lack of actual shopping taking place. Many suggested that there was too much food on offer and not enough spots for buying gifts or festive trinkets. One comment read: “We went tonight, but it’s all food outlets… hardly any places to buy actual Christmas presents.” Meanwhile, another wrote: “It seems these ‘Christmas markets’ are just mainly food stalls.”
Cllr Abdul Samad, Cabinet member for Culture, Music and Arts at Newcastle City Council said: “Last year the market contributed nearly £91million to the city’s economy, which is a remarkable amount, and we hope with an improved event this year, this can be matched or even bettered. And with most traders selected coming from the local area, small businesses are also being supported at this vital time of the year,” according to the council’s website.
Clarkson’s Farm quickly became a fan favourite when it debuted in 2021, with viewers captivated by the comedic hurdles and blunders the former Top Gear host encountered while trying to run his Cotswolds farm.
Throughout his journey, Jeremy has been assisted by a cast of characters including Kaleb Cooper, Charlie Ireland, Gerald Cooper, Harriet Cowan and his partner Lisa Hogan, all of whom have become beloved figures on the show.
However, Jeremy’s long-time producer Andy Wilman revealed that the presenter didn’t believe he would ever have another hit after leaving the BBC motoring programme.
Speaking on Wednesday’s episode of The Chris Moyles Show on Radio X, Andy confessed that they never anticipated the success of the show, reports Gloucestershire Live.
He said: “That was absolutely out of the blue. Jeremy never thought he was going to have another hit, you know? We were done.”
As Dominic Byrne praised the quality of the show, Andy explained that they had an agreement with Amazon for Grand Tours which required them to continue working, leading to individual projects.
He added: “Jeremy went, ‘I want to do life on my farm.’ And if I had a quid for every exec who rang me and went, ‘Can you talk him out of that?'”
Admitting he rang the TV personality to explain that nobody fancied him doing a programme about farm life, Jeremy confessed he couldn’t fault people for attempting to dissuade Andy from it.
Andy revealed that Jeremy was anxious as he reckoned it might be ‘the most boring thing’, but the personalities on Clarkson’s Farm made a massive difference to its triumph.
He added: “We didn’t see that cast coming.”
Thanks to Clarkson’s Farm’s popularity, it’s led to Kaleb securing his own show which he’s presently shooting in Australia.
The fresh four-part series on Prime Video will witness the TV personality exchange Chipping Norton for existence down under.
Discussing the forthcoming programme, he said: “I spend most of my time with the most travelled man in the world, so I got brave and booked my first ever flight to see what all the fuss was about. Australia here I come!
“And Australia, you’ll be gaining a new farmer for a couple of months as I discover if I can make my farming contracting business go international.”
Clarkson’s Farm is available to watch on Prime Video. Tune into The Chris Moyles Show on Radio X weekdays from 6:30am – 10am and on Global Player
Waitrose may be one of the last retailers to unveil its Christmas adverts but it has produced a cracker, with Actress Keira Knightley and comedian Joe Wilkinson making an unlikely match
The festive offering, directed by Bafta-award winning director Molly Manners, follows Knightley and Wilkinson as their relationship blossoms over a shared love of food.
It begins with Wilkinson’s character, forlorn ‘Phil’, sitting in a pub with mates who are urging him to move on in love. He says of his lost love that “the only person I could move on with was Keira Knightley”, to which his friend replies “good luck with that mate.”
As luck would have it, a downcast Phil pops into a branch of Waitrose and standing at the cheese counter when he asks – at the same moment – for the identical ‘Sussex Charmer’ variety as Knightley. Phil plucks up his courage and asks her out, to which Knightley agrees. From there love slowly blooms. But it all appears to go wrong when Phil finds a present to what he assumes is a love rival. Using his culinary skills, Phil vows to win her heart by recreating Keira’s Nan’s turkey pie recipe.
Knightley, whose big screen hits include Bend It Like Beckham through to Pirates of the Caribbean alongside Johnny Depp, said: “I love food, and so when I received this script where I get to fall head over heels in love over a shared love of cheese, I couldn’t turn it down. I adored working on this silly, fun and delicious film with Joe, and I hope those watching it fall in love too.”
Wilkinson, fresh from starring in hit BBC show The Celebrity Traitors, said: “As you can imagine, it was tough having to eat the delicious Waitrose food and falling in love with Keira, but I just got on with it, like the trooper I am.”
Wilkinson reprises his role as Phil from the grocer’s 2024 ‘whodunnit’ festive advert. The soundtrack features the song She’s A Star by British band James.
Waitrose chief customer officer Nathan Ansell said: “Our four-minute Christmas film – an industry first – pays homage to the seasonal romantic comedy tradition, celebrates the exciting and elevated Waitrose festive food offering, and adds a little more of that warm, fuzzy feeling to the holiday season.”
Ms Manners said: “We had such a great time making the perfect miniature romcom with food as a love language deep at its heart. The combination of Keira Knightley and Joe Wilkinson is magical in such an unexpected way. I hope they knock your socks clean off, as they did mine.”
HOLIDAYMAKERS jetting off with one of the UK’s most popular budget airlines are being stung by a sneaky charge hidden in the small print – and families could be left £140 out of pocket.
Even as a seasoned budget traveller, I thought I knew every trick.
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Wizz Air has a strict airport fee catching passengers outCredit: AlamyMake sure to check in more than three hours before your flightCredit: Alamy
But when recently travelling with Wizz Air, I was still caught me out with a rule in the fine print.
Like many travellers, I tried to check in on the morning of my flight – only to be met with an error message.
Online check in had closed, and I was told I had to pay €40 (£35) at Milan Malpensa just to get my boarding pass.
Wizz Air’s online check-in opens 24 hours before your flight – and unlike most airlines, closes three hours before departure.
Miss the window, and you’ll be slapped with a hefty fee to pay.
So if you check in on the day of your flight – or fly early in the morning – you could easily miss the cut off.
The strict fee allows even less time than Ryanair or easyJet, which open online check in up until around two hours before take off.
According to Wizz Air’s policy: “Online check-in is available from 30 days up to three hours before the scheduled departure time if you have purchased a seat during your booking.
“In case you have not purchased any seats with your booking, check-in will become available only 24 hours before departure.”
That means a family of four who forgets to check in online within the specific time frame could be looking at an eye-watering €160 (£140) bill before they’ve even reached security…
And though the airport check in fee is listed at just €13 (£11) on the official Wizz Air site, this price only applies to those who choose to add this charge on in advance, rather than check in online.
Plenty of travellers have been caught out by this little known rule too.
On social media, you’ll find threads full of passengers complaining about “unexpected” airport check-in charges.
Luke, 22, from London, was caught with the charge flying back to the UK.
He told The Sun: “You’d think checking in three hours before a flight would be fine, but with Wizz Air, it’s already too late.
“We had to pay €80 (£70) for two of us to check in at the airport – I thought I could just do it on my phone like every other airline.”
Wizz Air isn’t breaking any rules in the UK; the information is there on its website.
But, it’s easily missed unless you’re combing through the small print before your holiday.
Terms and conditions on Wizz Air’s website state: “Online check-in is available from 24 hours up to three hours before scheduled departure.
“Passengers who fail to check in online must complete the process at the airport and will be charged a fee as outlined in our terms.”
How to avoid the €40 fee
Here’s what travellers should do to stay one step ahead:
Check in as soon as online check-in opens. For Wizz Air, that’s exactly 24 hours before your flight. Set a reminder on your phone so you don’t forget.
Download your boarding pass immediately. Don’t rely on the app or airport WiFi, which can be unreliable. Print it at home, or save it to your smartphone’s wallet.
Avoid leaving it until the morning of your flight – always check in the day before, then you know that you’re sorted.
A Wizz Air spokesperson said: “Like many other airlines, Wizz Air encourages all passengers to check-in online as early as possible before their scheduled departure time. We aim to make check-in simple for passengers and provide instructions during the booking process, on the Wizz Air website and via email reminders on how to check-in online to avoid fees.
“Customers who have not purchased seats with their booking, can check-in online 24 hours before departure via the Wizz Air app or website. At this point, they also have the opportunity to purchase a seat.
“Passengers who fail to check-in online, or who wish to check-in within three hours of their flight, must do so at the airport. This service can be pre-booked online for £12.00 or €13 per flight. Airport check-in without pre-booking costs £36.50 or €40.00. Full details on our check-in policy can be found on the Wizz Air website.
“Wizz Air does not discriminate against any passenger. While we are a digital-first airline, we offer special assistance to any passenger who might need it, abiding by all relevant UK CAA regulations, which specifies passengers who need special assistance should contact the airline at least 48-hours before departure. Wizz Air is fully committed to accommodating the special needs of any passenger who contacts them in the stipulated timeframe, which can also be requested by telephone.”
Wizz Air passengers have slammed the unfair chargesCredit: Alamy
The government has asked the media regulator to revisit its rules on phone companies raising their prices in the middle of a contract, after O2 unexpectedly announced it was raising prices by £2.50 a month.
Technology Secretary Liz Kendall said O2’s higher than expected price increase is “disappointing given the current pressures on consumers”.
“I believe we need to go further, faster. I am keen that we look at in-contract price rises again,” she wrote in a letter to the media regulator.
Ofcom said it shared the government’s concern “customers who face price rises must be treated fairly by mobile providers”.
O2 said in a statement: “We appreciate that price changes are never welcome, but we have been fully transparent with our customers about this change, writing directly to them and providing the right to exit without penalty if they wish.”
Ofcom has been given until 7 November to respond to Ms Kendall’s letter, and said it would respond to her specific questions shortly.
In January, new rules came in which cracked down on phone and broadband providers increasing prices in the middle of a contract without warning.
It was able to do this because the increase was not linked to inflation, and it has given customers 30 days to leave without penalty – so long as they pay off the cost of their device in full.
The company said it has not gone against the regulation and Ofcom’s rules do not stop providers from raising prices.
“A price increase equivalent to 8p per day is greatly outweighed by the £700m we invest each year into our mobile network, with UK consumers benefitting from an extremely competitive market and some of the lowest prices compared to international peers,” it said.
Ms Kendall said O2 went “against the spirit” of the rules in her letter to Ofcom’s chief executive Dame Melanie Dawes.
She has asked Ofcom to look into whether the 30-day switching period makes it easy enough for consumers to move to another provider.
“I would welcome your undertaking a rapid review on how easy it is for customers to switch providers,” she said.
“If companies are determined to increase pricing, it is beholden on us to make sure that customers are able to go elsewhere as easily as possible.”
She has also asked for an assessment into whether the January rules give consumers enough transparency into price rises during their contracts.
Ofcom’s rules require companies to tell customers how much their bills will rise by in pounds and pence before their contract starts.
O2 initially said its monthly prices would increase by £1.80 a month in April 2026 for current customers.
But the firm now says they will go up by £2.50 instead.
Ms Kendall said she wants phone providers to inform all their customers – including those whose contracts started before the new rules – how much their monthly prices will go up by.
“We’ve always said fixed should mean fixed,” said Tom MacInnes, director of policy at the Citizens Advice charity, and added the current rule “hasn’t gone far enough to protect customers”.
“If one company is able to get away with this, other providers could follow suit,” he said.
“The time has come for the regulator to banish mid-contract price rises for good.”
Meanwhile, telecoms analyst Paolo Pescatore of PP Foresight said UK network operators are “cash-strapped as margins are being squeezed”.
He added: “Striking the right balance between raising much-needed funds and investing in next-generation networks is never easy.”
But he said while other providers would have usually followed in announcing similar prices rises, “it seems highly unlikely that rivals will follow suit, given the consumer backlash and awareness generated thus far”.
