George

Tony Maudsley is best known for his role as George Shuttleworth on Coronation Street and away from the soap he lives a far less dramatic life

Tony Maudsley is a beloved figure on Coronation Street – but what do we know about his life off the set?

Tony joined the ITV soap in 2020, portraying George Shuttleworth, the son of the late funeral director Archie (Roy Hudd). Since then, he’s won over viewers and has been involved in numerous major plotlines.

Particularly now, as George is inching closer to uncovering the truth about wicked Theo Silverton (James Cartwright), who has been tormenting Todd Grimshaw (Gareth Pierce) for several months, reports the Daily Star.

Off-screen, actor Tony leads a far less dramatic life. Here, we delve into the accomplished star’s personal world.

Tony’s Hollywood Stardom

In addition to Corrie, Tony has featured in Queer As Folk, Emmerdale and also starred in the popular ITV sitcom Benidorm, playing hairdresser Kenneth Du Beke from 2011 to 2018.

Moreover, Tony made an appearance in the Harry Potter series in Harry Potter and the Order of the Phoenix, portraying Hagrid’s half-brother, Gawp.

Reflecting on his time in Harry Potter, Tony remarked: “It was one of the hardest jobs I’ve ever done. I was weighed down with these huge monster feet that were so heavy, that I could never get into the canteen and back in time.”

Tony also shared screen space with Johnny Depp in the film Sleepy Hollow – but had an awkward encounter with the Hollywood icon. He revealed to Soap Inside magazine: “Very early on in my career, I worked with Johnny Depp on the film Sleepy Hollow.

“At the time, I’d stopped smoking for three years – but Johnny invited me for a roll-up round the back of the set, and I couldn’t say no! So, there I was trying to look cool with Johnny, while choking on a cigarette. It’s been a pretty lovely career.”

Tony’s private family life

Tony regularly keeps his devoted following of 77,000 Instagram fans informed about his daily activities. Earlier this year, he offered supporters an uncommon glimpse into his personal world when he posted multiple pictures of his beloved dog following a grooming session.

He wrote alongside the post: “Took Bosie to a new groomers today in Worsley Village and they did a great job! They even cleaned his teeth (well the few he’s got left!)”

And in March, Tony honoured his seldom-seen mother after sharing a photograph of them together for Mother’s Day. In the image, Tony appeared delighted standing next to his mum. He wrote with the post: “Happy Mother’s Day from me and mine.”

Tony’s grief following tragic loss

In January 2024, Tony expressed his devastation after his friend Michael McGarrigle – who collaborated with Tony on ITV’s Benidorm – had died.

Tony initially requested assistance from his followers to locate costume supervisor Michael who had disappeared, but days afterwards he confirmed the tragic news that Michael had passed away.

Posting a photo with Michael, Tony shared a heartfelt tribute to his mate: “Thank you so much to everyone for all your efforts in reposting our appeal to find Michael yesterday. I’m so sad to say that we found out late last night that we’ve lost our beautiful friend.

“Our whole Benidorm family is devastated and we’ll miss him hugely. RIP Michael.”

In addition to Benidorm, Michael served as the costume supervisor on programmes such as Prisoners Wives Maternal, The Larkins, DCI Banks, Whitechapel, Mrs Biggs, Annika and The Fear. He was also the co-owner of a musical theatre and cabaret bar in Brighton, Bar Broadway.

Coronation Street airs Monday to Friday at 8:30pm on ITV1 and ITVX

Antonelli’s first lap in the final session was 0.298secs quicker than Russell’s. He was on course to improve on his final run but locked up into the hairpin and lost time.

The 19-year-old Italian said: “Super happy with the session. It was a good one, a clean one. And I felt very good in the car and every run I was just improving and improving.

“Shame about the last lap after a lock-up in Turn 11 but it was a good one before that.”

Antonelli became the youngest driver to take pole position in history in China and is emerging as a serious threat to Russell in the championship – they start the race separated by four points, less than the margin between first and second places in a grand prix.

Russell, who was complaining of a lack of rear grip throughout qualifying, was quicker than Antonelli in the difficult first sector of the lap but lost out over the rest.

“Really strange session,” the Briton said. “We were both very fast all weekend. We made some adjustments after final practice and in this qualifying we were nowhere so we have to try and understand.”

Piastri, meanwhile, was pleased with the obvious progress McLaren have made this weekend, during which they have for the first time been in the mix with Ferrari as the closest challengers to Mercedes.

“We have looked good all weekend,” said the Australian, who is yet to start a grand prix this season after a crash on the reconnaissance lap in Australia and a battery failure in China before the start.

“We don’t have the pace to match Mercedes still but we are getting closer.”

Red Bull’s Max Verstappen, his car sporting an aerodynamic upgrade that featured new side pods, floor and engine cover, was seventh fastest, 0.791secs off the pace.

Both Verstappen and Norris were among the drivers to run wide at Spoon, where a tailwind on entry was causing problems.

Racing Bulls’ Liam Lawson and Arvid Lindblad were eighth and 10th, sandwiching the Haas of Esteban Ocon.

Williams’ Alex Albon had a torrid session, running off track and hitting the wall at Degner Two, traditionally one of the track’s most demanding corners, midway through the session, before a spin after colliding with Cadillac’s Sergio Perez, who appeared not to see Albon on the inside as the British-born Thai dived down the inside at the chicane.

The two Aston Martins brought up the tail of the field on a weekend on which engine partner Honda want to show improvement on its home track after a dire start to the season.

American reserve driver Jak Crawford, completing one of the team’s mandatory young driver days, was in Fernando Alonso’s car and was 22nd, just over a second slower than Lance Stroll.

Honda have introduced some changes that are hoped to address the engine-vibration issues that have been causing reliability problems and major discomfort for the drivers.

Aston Martin also have an aerodynamic upgrade for Japan, featuring a new engine cover and front-of-floor furniture.

Like millions of pop-culture-obsessed Americans, Howard Stern is bingeing FX’s “Love Story” and soaking up the nostalgia of ’90s-era New York, but unlike most of America, the radio host was buddies with the series’ real-life stars, and even graced the cover of JFK Jr.’s George magazine.

“I had done the cover for George magazine,” Stern said on his eponymous SiriusXM radio show Monday. “So I knew John Kennedy Jr., and he actually showed up to the shoot. It’s one of the worst covers I ever did. And I’ve done a lot of bad ones.”

John F. Kennedy Jr. launched George magazine alongside his partner, Michael J. Berman, in September 1995. With the tagline “Not Just Politics as Usual,” the magazine married pop culture and politics in an unprecedented way and aimed to flip the script on mainstream political discourse. The covers were legendary in their own right and featured supermodels, rock stars, Oscar winners and action film stars dressed up as the nation’s first president.

And, of course, radio jokester and provocateur Stern.

“They convinced me to be chopping down a cherry tree with a chainsaw, dressed up in colonial garb, dressed up, like, I guess I was supposed to be George Washington, but George Washington didn’t wear the s— I was wearing,” he continued.

“It was 100 years ago, and I remember I wasn’t doing a lot of magazine covers by choice,” Stern said.

When John Kennedy Jr., whom Stern described as “literally American royalty and the nicest guy in the world,” asked him to pose for the cover of the April/May 1996 issue, themed “The Virtue Issue,” Stern told his agent, “Of course I’ll do it.”

“I went down there, and they were like, ‘It’s George magazine. We have a theme cover. You can’t be in your regular clothes. We want you to be, like, George Washington,” he continued. “They must have caught me on the right day, because I was incredibly amenable. Normally, I would have gone, ‘I’m not wearing this s—.’”

Stern said he got the full supermodel treatment. “You know what John and the photographer did, that thing that they do to supermodels, ‘Gorgeous! You look great! Oh, man, this is the greatest cover. This is our best cover!’ They’re yelling while the guy’s clicking away, and I’m posing like I’m Cindy Crawford, like I’m one of the Hadid sisters,” he continues. “I’m standing there thinking I look handsome with my chainsaw and Louis the 14th [outfit.]”

After Stern went on dragging everything from the “pilgrim shoes” to the “poofy shirt” he wore for the shoot, he revealed that he actually knew Carolyn Bessette Kennedy as well, although he was a bit cagey about how exactly he knew her.

“She was very lovely,” he said. “She was a really nice woman. I don’t want to go into how I knew her, but I knew her.”

When Stern’s co-host, Robin Quivers, pushed him on why he couldn’t divulge how he knew the former Calvin Klein publicist, he said, “I just know enough to keep my mouth shut about that. Some stuff you do have to keep private. But anyway, I knew her. “

According to Disney, “Love Story: John F. Kennedy Jr. & Carolyn Bessette” is FX’s most-watched limited series ever on Hulu and Disney+, with reports that the first five episodes have been streamed more than 25 million hours since the Ryan Murphy series premiered in February.

The show, starring newcomer Paul Anthony Kelly as Kennedy and Sarah Pidgeon as Bessette, will air its finale Thursday.

Inara George looks back on it now as wistfully as someone remembering a love affair or a semester abroad.

“It was at this tiny theater on Pico near LaBrea, next to a barbecue place,” she says. “Our backstage was behind the theater, so we’d sit out there wearing these crazy corseted outfits while the guy next door was smoking brisket.”

A fixture of the Los Angeles music scene known for her solo records and as half of the Bird and the Bee, George is recalling the summer she spent working as a 20-something actor in “The Wandering Whore,” a musical set in 18th century London by composer Eliot Douglass and lyricist Philip Littell that played L.A.’s Playwrights’ Arena in August 1997.

“There was a scene where I die,” George adds, “and then I get reanimated by a ghost and someone pays — I don’t know if you need to put this in the article — someone pays to have relations with me.” She sighs.

“It was just such a rich time.”

Three decades later, George’s warm feelings for that era — and especially for the duo who soundtracked it — have led to an exquisite new album, “Songs of Douglass & Littell,” on which she sets aside her own songwriting to interpret nine tunes by these under-the-radar veterans of West Coast musical theater: searching, funny, vividly emotional songs like “Tired Butterfly,” about a busy insect in search of “a little nap,” and “The Extra Nipple,” which ponders a “harsh encounter with another heart.”

Think of the record as George’s take on one of Ella Fitzgerald’s classic “Song Book” LPs from the late ’50s and early ’60s, when the jazz star was systematically enshrining the work of Cole Porter, Irving Berlin and other authors of the Great American Songbook.

“These men deserve to have some attention,” George says of Douglass and Littell, the latter of whom she’s known since she was a little girl performing in plays at Topanga Canyon’s Theatricum Botanicum. “I want to give them their flowers.”

Yet if the album is rooted in the creative awakenings of George’s youth, it’s also the 51-year-old’s way of embracing middle age.

Inspired by singers like Helen Merrill and Chet Baker — “Elis & Tom,” a 1974 duo album by Brazil’s Elis Regina and Antônio Carlos Jobim, was another touchstone — George turns on “Songs” from the Bird and the Bee’s blippy electronica and the folky pop of her solo work to a jazzier sound that puts her cool, breathy vocals amid piano, strings and horns.

“This is a grown-up record,” says George, who shares three teenage children with her husband, the movie director Jake Kasdan. “I don’t want to be making music that makes me feel like I’m trying to be younger — I wanted to make something that makes me feel my age.”

Inara George at home this month.

(Christina House / Los Angeles Times)

The singer is at home near Griffith Park on a recent afternoon; with her kids at school and Kasdan away on a film shoot, the house is quiet, though signs of music are everywhere: a drum set, a grand piano, a guitar once owned by George’s late father, Lowell George, who founded the cult-fave L.A. rock band Little Feat and who died of a heart attack when Inara was only 4.

“As a woman, it’s a weird time in life — there’s something in-between about it,” she says. “Even the question of what do you wear. When you’re younger, you’re like, I’m gonna wear a dress — is it sexy, is it cute? Now, all of a sudden, all I want to do is wear suits.” She laughs.

Douglass, who plays piano on the new album, hears a “groundedness” in George’s singing all the more remarkable given that the arrangements represent “a new kind of school for her,” he says. “I was wondering how she would approach it, and she’s done it with such aplomb and wisdom.”

On Friday night, Douglass will accompany George — along with more than a dozen other players — in a record-release concert at Largo at the Coronet, with proceeds going to the nonprofit LA Voice, which seeks to organize voters on issues related to immigration and affordable housing.

George happily describes “Songs of Douglass & Littell” as a passion project. “I think you get to a certain point where selling a million records is not your intention,” she says. “Obviously, I wouldn’t make a record like this if I had that intention.” (Counterpoint: the arena-filling success of Laufey.)

“I’m just about the experience,” she adds, “and this has been an amazing experience.”

The experience began one night a few years ago when George hosted a wine-soaked reunion of performers who’d worked with Douglass and Littell back in the ’90s on shows like “The Wandering Whore” and “No Miracle: A Consolation,” the latter a song cycle rooted in the losses of the AIDS epidemic.

Philip Littell, from left, Eliot Douglass and Inara George.

(Thomas Heegard)

After her years of childhood dramatics at the Theatricum — Littell remembers meeting “this bird of a girl with these huge eyes” — George had gone to Boston’s Emerson College to study acting but dropped out and returned to L.A., where she eventually made her name as a musician. (In addition to the Bird and the Bee, her duo with the Grammy-winning producer Greg Kurstin, she’s also played with the Living Sisters and sung with Foo Fighters.)

Yet her postcollege stint in the experimental theater scene always stuck with her, she says. Reconnecting with Littell, whose other work includes the libretto for André Previn’s operatic adaptation of “A Streetcar Named Desire,” and Douglass, who played piano for years with Cirque du Soleil, got George thinking about how she might help preserve their music and bring it to a modern audience.

In 2024, she put together a trio for an intimate gig at Pasadena’s Healing Force of the Universe record store; her old friend Mike Andrews, who produced her solo albums, was there and told her they should record the material. Given the number of ballads she’d worked up, George asked Douglass and Littell to write a couple of new uptempo tunes; among the ones they came up with was the frisky “La Lune S’en Va.”

Does George speak French?

“Not at all,” she says, smiling. “But Philip does. It’s so fun — I was like, ‘Yeah, I’ll take it.’ I think the pronunciation’s OK.”

She and a small crew of musicians cut the album live in the studio over three days — in part an attempt to capture some energy, in part an acknowledgment of an economic reality.

“Is music just a hobby for me now? Yeah, it is,” says George, who’s putting “Songs” out through her own label, Release Me Records. “I mean, I’m spending money to do it.” She worries about the disappearance of music’s middle class even as she notes happily that “Again & Again” by the Bird and the Bee “recently had a little TikTok moment,” as she puts it. (With 86 million streams, it’s the duo’s most popular track on Spotify, followed by an ethereal cover of the Bee Gees’ “How Deep Is Your Love.”)

Yet all that seems less important to George than taking the opportunity to honor “these incredibly talented, very sensitive people” who she says shaped the artist she became.

“Their songs just mean so much to me,” she says of Douglass and Littell. “More than ever, this is the music I want to listen to.”

Russell’s pole position – 0.8 seconds clear of the fastest non-Mercedes car – had sent shockwaves through the paddock on Saturday but the race was initially much closer than qualifying.

Both Ferrari drivers made their expected electric starts, and Leclerc vaulted from fourth on the grid to take the lead at the first corner.

Russell powered past the Ferrari on lap two between Turns 10 and 11 by using extra electrical energy.

But Leclerc was not to go down without a fight and drove past the Mercedes in a similar fashion on the run to Turn Nine on lap three.

Russell tracked Leclerc closely. He challenged for the lead into Turn One on lap nine only for the Ferrari driver to fend him off and leave Russell to fight to retain his position from Hamilton, who by now had joined the leading train of cars.

Antonelli, who had dropped to seventh at the start before fighting back past Norris, Lindblad and Isack Hadjar’s Red Bull, then joined them to make it four cars in the leading group after 10 laps, and they circulated together until Hadjar retired on lap 12.

The Frenchman, who had been running fifth, pulled off on the back straight, bringing out the virtual safety car, usually the trigger for teams to pit and benefit from the reduced time loss compared with pitting under racing conditions.

But while Russell and Antonelli pitted, Leclerc and Hamilton did not. Hamilton immediately questioned the call, saying over the radio: “At least one of us should have pitted.”

Instead, they ran long, sticking to their pre-race plan of a one-stop strategy.

By the time Leclerc pitted on lap 25, Russell was only five seconds behind him, and the Ferrari emerged 14 seconds adrift of the lead.

On fresher tyres, Leclerc might have been expected to narrow the gap to Russell, but he did not, and the fight at the front was over.

Call the Midwife fan favourite Helen George has revealed why BBC viewers can resonate with the hit period drama as the latest series comes to an end

Helen George has made a heartfelt admission as the countdown to the final episode of Call the Midwife series 15 begins.

The last episode of the current season airs this Sunday (March 8) before the BBC drama is rested to make way for a Second World War spin-off prequel and a film.

Ahead of the farewell before the residents of Poplar take a well-deserved break, Helen, who stars as Trixie Aylward, revealed how the believes programme is so popular because it shows the “truthful” side to real-life which many viewers relate too.

She told Radio Times: “It’s ugly and it’s dirty and it’s painful and it’s hard – it’s f***ing hard -and all that is shown on Call the Midwife. Not grotesquely glamorised and not sensationalised. Just truthfully.”

Helen added the period drama, which follows a group of midwives working in the East End of London around the 1950s and 60s and now early 70s “won’t be the same” when the series returns.

The 41-year-old actress added: “It is just a pause, because we know it’s coming back but it won’t be the same, with different characters leaving and whatever.”

Writer Heidi Thomas previously told Yours last month: “I don’t think it’s the last series in the classic form but we are going to take a break from it for a couple of years.”

“We’re going to do a film that involves most the current cast, set in 1972, possibly 1973.

“We’re going to do that first, then we’ll return to the current style.

“Series 16 will have a slightly different setting because of changes in NHS. It’ll still be in the East End of London but possibly something like a small community hospital or a GP practice, but that’s something I’ll be working on later this year.”

The synopsis for the final episode of series 15 teases: ““Sister Veronica must decide her future now she is not currently a nun, but not fully part of the world either.

“The Maternity Home prepares to close its doors, but Dr Turner is determined to preserve equipment and resources for his patients until the last possible moment. The Mullucks fight for the rights of all Thalidomide victims, while Cyril and Rosalind prepare for their wedding.”

The BBC has also released a photo of Sister Monica Joan lying in bed, eyes closed, with her hands by her side.

Is this the end for the adored sister? Viewers will have to wait and see what lies ahead for Sister Monica Joan.

Call the Midwife continues Sunday, March 8 at 8pm on BBC One and iPlayer

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