Hollywood

MICHELLE Keegan gushed over Hollywood superstar, Reese Witherspoon, at a glitzy event in London.

The Brassic actress posed with the Academy Award winning star and they were seen getting on very well as they chatted excitedly.

She met Reese at an event for her new book, Gone Before Goodbye, which she co-authored with best selling crime author, Harlen Coben.

Michelle recently starred in Fool Me Once, one of Harlen’s many adapted series on Netflix.

She shared a series of photos of her posing closely with Reese and another video of her chatting with Reese as Harlen watched on happily.

“When two genuises collide.. ‘Gone Before Goodbye’ is made! 📖 (I can confirm Reese Witherspoon is everything you’d imagined her to be, what a woman),” Michelle captioned the post on Instagram.

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Reese later responded to her post writing, “So wonderful to meet you .. finally!”

Gone Before Goodbye is Reese’s debut novel and tells the story of surgeon Maggie who after a series of personal tragedies is offered an intriguing opportunity by a former colleague.

Michelle also shared a series of her posing at the Southbank Centre in London where the event was held.

Her brush with Hollywood royalty comes after The Sun was first to reveal how Michelle’s BBC series Ten Pound Poms had been scrapped after two series.

The show’s axe comes as the ex-Coronation Street star waves goodbye to hit comedy Brassic on Sky, just as she’s returning to work after becoming a first time mum, to daughter Palma Elizabeth.

Period drama Ten Pound Poms followed a group of British citizens who emigrated from post-war Britain to Australia in the 1950s, with Michelle playing nurse Kate Thorne.

A BBC spokesperson said: “It’s been a joy to bring the story of the Ten Pound Poms to life for BBC viewers and we are really grateful to Danny Brocklehurst, Eleven and all the cast and crew who have worked on the series.”

The gentle drama made a splash when it first aired in May 2023, with 6.37million viewers but that had halved to 3.15million by the end of series two in April this year.

She is busy on a new thriller called The Blame for ITV, though, after time off to have baby Palma with husband Mark Wright.

SUNNYVALE, Calif. — A young woman is desperate to raise $50,000 for her mom’s life-saving medical treatment. She will get the money, but only if she agrees to her stepsister’s unusual proposal: to marry her wayward fiance, who comes from a wealthy family but also has a rap sheet.

That’s the plot line for an episode of “The Double Life of My Billionaire Husband.”

That may sound like a telenovela. In fact, it’s a popular series that appears on ReelShort, an app where audiences can view on their smartphones over-the-top, dramatic tales reminiscent of soap operas called micro dramas.

Unlike a regular TV show, this drama unfolds over 60 episodes, each lasting one to three minutes. After six episodes, viewers hit the paywall, where they could continue watching ad-free with a $20 weekly subscription, watch ads or pay as they go.

Already, the series has garnered more than 494 million views since it launched in 2022 and ReelShort says it has made more than $4 million from the show.

With titles like “The Billionaire Sex Addict and His Therapist,” “How to Tame a Silver Fox” and “Pregnant by My Ex’s Dad,” micro dramas lean heavily into sensationalism and light on budgets, which are typically less than $300,000 per series. And many of them are filmed in Los Angeles.

Director and co-writer Cate Fogarty watches actor Diego Escobar on dual vertical monitors. The film, by platform DramaShorts, is shot vertically to be adapted for viewing on a phone screen.

(Juliana Yamada/Los Angeles Times)

Short serialized dramas first took off in China, where they are hugely popular and generated revenues of $6.9 billion last year, even surpassing domestic box office sales, according to DataEye, a Shenzhen-based digital research firm.

Now, Hollywood is starting to take note of the bite-sized format.

In August, the venture arm for Lloyd Braun — the former ABC executive and chairman of talent agency WME — and L.A.-based entertainment studio Cineverse formed a joint venture called MicroCo to build a platform for micro dramas.

“Traditional Hollywood moved away from a whole genre and storytelling that fans love, and I think micro dramas really took advantage of that and really leaned into that fandom,” said Susan Rovner, chief content officer of MicroCo.

Studio interest

Major studios are investing in micro dramas in an attempt to replicate China’s success and find new ways to appeal to younger audiences that are accustomed to watching short-form videos on TikTok, YouTube, Instagram and other platforms while on the go.

Fox Entertainment recently announced an equity stake in Ukraine-based Holywater, a producer of micro dramas. Under the deal, Fox Entertainment Studios (a division of Fox Entertainment) will produce more than 200 vertical video titles over the next two years for Holywater.

And Walt Disney Co.’s accelerator program, which invests in startups, recently named micro drama business DramaBox, whose parent company is based in Singapore, as part of its 2025 class.

David Min, Walt Disney Co.’s vice president of innovation, said he believes micro dramas will continue to do well, especially with younger audiences accustomed to watching entertainment on their phones.

“We have to be where everyone is consuming their content, so that’s an opportunity for us,” Min said in an interview. “…This is just another new platform to experiment with and explore and see if it’s right for the company.”

First assistant director Chakameh Marandi, left, and actress Leah Eckardt wait during filming at Heritage Props last month in Burbank.

(Juliana Yamada/Los Angeles Times)

This year, ReelShort, which is based in Sunnyvale, Calif., says it will produce more than 400 shows, up from 150 last year.

All of the productions are filmed in the U.S. and mostly in Los Angeles, said ReelShort CEO Joey Jia in an interview. The company plans to build a studio in Culver City that will adapt its most popular micro dramas into films.

“We offer a lot of opportunity,” Jia said.

Warsaw-based DramaShorts said in 2026 it aims to shoot 120 micro drama projects in the U.S., up from 45 to 50 this year. About 25% of those will be in the L.A. area.

DramaShorts co-founder Leo Ovdiienko says, “People are so used to consume content through social media, through TikTok, through Instagram, through Facebook and to share information.” .

(Juliana Yamada/Los Angeles Times)

“People are so used to consume content through social media, through TikTok, through Instagram, through Facebook and to share information,” said DramaShorts co-founder and Chief Operating Officer Leo Ovdiienko, 29, in an interview. “I believe it’s only a matter of time before the big players will also come to this stage.”

The company works with production partners in L.A. who employ actors, writers and crew members who work on the quick-turn projects, a bright spot in a struggling job market.

“The plus side of filming in L.A. is it is the epicenter of Hollywood,” said executive producer, writer and director Chrissie De Guzman, who has worked on DramaShorts projects. “We know how the state of our industry is doing right now, so a lot of talent have moved into the vertical space.”

Though vertical dramas are the length of a movie, they are spliced up into small chapters and produced quickly. A 100-page script might be shot in just one week as opposed to a month for a feature film.

Each chapter usually features a cliffhanger or dramatic moment — whether that’s a slap or a character in danger.

“It just hits every little emotional point,” said Caroline Ingeborn, chief operating officer at Palo Alto-based Luma AI, which provides micro drama companies with AI tools. “It hooks you in like this and because it’s so easy to press [Play]. You just need to see the next episode.”

The crew of vertical film “Sleeping Princess” break between scenes.

(Juliana Yamada/Los Angeles Times)

Labor tensions

With ultra-low budgets, many of the productions are non-union, prompting some writers and actors to work under pseudonyms to avoid facing sanctions from their unions, said several people who work on the shows.

In an effort to address the issue, performers union SAG-AFTRA recently announced it has created agreements that cover low-budget vertical dramas.

Writers Guild of America West President Michele Mulroney said in an interview the union is aware that “there are companies that are trying to do this work non-union, so the guild wants to help our members … in ways that they can work on verticals and make sure they get that work covered.”

Micro drama producers said they welcome talking with the unions, but questioned whether their business models could support union contracts.

“We’re not anti-union at all,” said Erik Heintz, executive producer at Snow Story Productions, which makes vertical dramas for platforms including DramaShorts.

Despite labor tensions, these short-form dramas have provided a key source of employment for Hollywood workers who’ve struggled to find jobs as production has moved out of California.

Corey Gibbons, 44, a director of photography, said vertical dramas kept him in the business when other work dried up.

“I have a feeling that we’re on the brink of something that’s really going to change,” Gibbons said. “I’m just excited to be a part of it.”

So was 27-year-old actor Sam Nejad, a former contestant on “The Bachelorette” who started acting in vertical dramas in January. He said he’s landed one or two lead roles a month since then and can earn $10,000 a week.

“It’s a new art,” Nejad said. “The new Tarantinos, the new Scorseses are all coming through this.”

ReelShort’s office in Sunnyvale looks more like a typical Silicon Valley startup than a Hollywood studio.

Jia, the chief executive, sits at a desk in an open floor seating area with his staff. Along the office walls are framed posters with titles like “Prince With Benefits,” “Never Divorce a Secret Billionaire Heiress” and “All the Wrong Reasons.” Jia proudly points out why each program was notable on a recent tour of the space.

“I don’t have money to hire celebrities,” Jia said. “I have 100% rely on story.”

The 46-year-old entrepreneur, who has an electrical engineering background, launched his business in 2022. At the time, there wasn’t much interest from Hollywood studios.

The skepticism followed the high-profile collapse of Quibi, the startup led by studio mogul Jeffrey Katzenberg and tech executive Meg Whitman, that worked with A-list movie stars on series that would appear on an app in short chapters. Quibi raised $1.75 billion, only to shut down roughly six months after launching.

Jia took a different approach. Rather than signing expensive deals with celebrities, he hired students or recent graduates from colleges like USC to work at his company.

Jia approves all of the micro drama stories at ReelShort, which he says is expected to generate $1 billion in revenue this year.

A ReelShort representative declined to disclose the company’s earnings but said the business is profitable.

Jia said ReelShort has 70 million monthly active users, with 10% of them paid users.

The churn — the rate at which customers drop weekly subscriptions — can be more than 50% at ReelShort, Jia said. That makes it paramount for the company to have a steady stream of content that entices customers to keep paying. Currently it has more than 400 in-house titles and roughly 1,000 licensed titles.

Like others in the genre, ReelShort and DramaShorts rely heavily on data metrics like customer retention and paid subscribers to make their content decisions.

“A lot of directors are thinking, when I shoot the film, ‘I don’t care how people think, this is my creation, it’s my story,’” Jia said. “No, it’s not your story. Your success… should be determined by the people.”

HOLLYWOOD star Reese Witherspoon is shaken and stirred by James Bond films — saying they objectify women in bikinis.

The Oscar winner, 49, blasted Bond Girls such as Halle Berry and Ursula Andress.

She said: “Women deserve better stories because women save the day all the time.

“We are not wearing bikinis while we do it.”

Reese was in London to plug her co-written novel Gone Before Goodbye.

Reese Witherspoon is best known for her roles in Legally Blonde, critically-acclaimed Walk the Line, and the dark comedy Cruel Intentions.

A FRIGHTFUL PLACE

The little-known town known as Hollywood for horror movies

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She’s been taking home awards since 2006 including Academy Awards, BAFTAs, Teen Choice Awards, and Golden Globes.

She’s set to feature on a new series of The Morning Show alongside Jennifer Aniston.

Her first break came when she appeared in several local TV adverts at just age seven.

She was soon securing major movie roles as a teenager and throughout the 1990s. 

June Lockhart, the perennial TV mom who consoled her son Timmy and his faithful pet collie in “Lassie” and explained the unfolding galaxy to her children in the kitschy prime-time sci-fi show “Lost in Space,” has died.

Active in Hollywood well into her 90s, Lockhart died Thursday in Santa Monica of natural causes, with daughter June Elizabeth and granddaughter Christianna by her side, said her publicist, Harlan Boll.

She was 100.

Upbeat and bubbly, Lockhart happily accepted playing second-fiddle to children, animals and even a robot. In “Lassie,” she was most often seen teaching her son small life lessons extracted from his misadventures, often saved from peril by his faithful dog. In “Lost in Space,” she was a biochemist who seemed to spend most of her time prepping meals in the galley or tending to the children as the “Swiss Family Robinson”-like clan drifted randomly in space.

“Motherhood has been a pretty good dodge for me,” Lockhart told The Times, years after the shows went off the air. “I seem to have outlasted most of my colleagues because of it.”

Cast members of the TV show “Lost in Space” pose in costume in this 1965 publicity photo. Seated is Marta Kristen; standing, from left, is Mark Goddard, June Lockhart and Guy Williams.

(AP / CBS)

June Kathleen Lockhart was born on June 25, 1925, in New York City and grew up in a family steeped in the arts. Her father was a Broadway actor and her mother a singer. For years the family staged a seasonal production of “A Christmas Carol” in their home, inviting neighbors, friends and relatives to attend.

In 1938, the family went a step further and took their by now well-polished version of the Charles Dickens classic to film with a young Lockhart cast as Belinda Cratchit. The movie was all of one hour and nine minutes long.

Lockhart attended the Westlake School for Girls after the family moved to Los Angeles, where her father hoped to find a career as a film actor. But it was Lockhart who cracked Hollywood by landing modest but frequent roles on popular television shows such as “Wagon Train,” “Gunsmoke” and “Rawhide.”

In 1958, she was cast as Ruth Martin, the patient and good-natured mother on “Lassie,” a role that earned her an Emmy nomination. The show ran for 17 seasons, making it one of the longest-running prime-time shows on television. Lockhart left the series in 1964 to pursue other opportunities.

Lockhart realized the show had its limitations. “It was a fairy tale about people on a farm in which the dog solves all the problems in 22 minutes, just in time for the last commercial,” she told The Times.

The scripts were only slightly more challenging in “Lost in Space,” which followed the adventures of a family aboard a saucer-shaped spaceship headed to an Earth-like planet circling a faraway star. She left the show after three years and joined the cast of “Petticoat Junction” as a medical doctor who sets up practice in a worse-for-wear hotel in the middle of nowhere.

Earlier in life, Lockhart had been a regular on the news quiz show “Who Said That?” in which contestants were read a quote and asked to guess who said it. Lockhart had been absorbed by journalism and newsmakers since childhood, when she started a neighborhood newspaper. As an adult she subscribed to the New York Times, Wall Street Journal and Los Angeles Times, reading them from beginning to end.

To prep for the show, she began cutting out quotes from the newspapers and memorizing them. One of the panelists on the show, a White House reporter for United Press International, was so impressed with Lockhart‘s grasp of politics that he invited her to a White House briefing.

Lockhart went on to become an unofficial member of the White House press corps, attending briefings, traveling with the Richard Nixon and John F. Kennedy entourages during their presidential showdown and hitting the campaign trail with Ronald Reagan.

June Lockhart in 1965.

(CBS via Getty Images)

During her years as an informal White House correspondent, she was called on only once to ask a question during a presidential briefing, asking President George W. Bush for the name of the veterinarian who cared for the first family’s dog, Barney. Bush chuckled and said it was top secret.

Though she never had another prime-time role as big as in “Lassie” or “Lost in Space,” her career was remarkably long. She was the kindergarten teacher on “Full House,” James Caan’s mother on “Las Vegas,” a mother once again on “The Drew Carey Show” and a hospice worker on “Grey’s Anatomy.” For years she hosted coverage of the Rose Parade on CBS.

Her final credit arrived in 2018, when she voiced a radio communications officer in the “Lost in Space” reboot on Netflix. Twice married and divorced, Lockhart is survived by daughters June Elizabeth and Anne, as well as four grandchildren, said longtime family friend, Lyle Gregory.

The service will be private. In lieu of flowers, the family suggests donations to the Actors Fund, ProPublica and International Hearing Dog Inc.

Times staff writer David Zahniser contributed to this report.

WHERE’S America’s most-haunted place?

Salem? New Orleans? Maybe Maine, the eerie backdrop to so many of Stephen King’s stories? Think again.

The spookiest city might be Wilmington, North Carolina.

With its seaside sister city Southport, Wilmington is known as the “Hollywood of the East” due to the number of films and TV shows shot there.

Dubbed Wilmywood, it’s earned a reputation for horror films in particular.

Here, James Draven takes a look at just a few of the cult classic fight-night films shot there . . . 

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FIRESTARTER (1984)

THE spark that ignited Wilmywood, Drew Barrymore portrays a young girl with terrifying pyro powers in this early Stephen King adaptation.

Produced by Dino De Laurentiis, this was the first film shot at his new studio in Wilmington.

It launched the city’s film industry, which has since hosted more than 1,350 film and TV productions.

Partly filmed at the historic Orton Plantation just south of the city, the film didn’t play well with critics.

But it is soaked in synth music and nostalgia – and the fiery climax is still a blast to watch, even if the plot is a slow burn.

THE CONJURING (2013)

MADE for just $20million and raking in a bone-rattling $320million, The Conjuring didn’t just scare the life out of audiences, it kicked off a whole new golden age of horror.

Forget cheap jump scares, this one creeps under your skin with eerie silence, creaking floors and shadows that slip just out of sight.

Its devilishly good atmosphere owes plenty to Wilmington, too.

The creepy Carolina Apartments play host to Annabelle the haunted doll, left.

And the spooky First Baptist Church opposite is where ghost-hunters Ed and Lorraine Warren meet their priestly back-up, Father Gordon.

THE BLACK PHONE (2021)

ETHAN HAWKE is chilling as The Grabber, a 1970s child-snatching monster with a magician’s grin and a basement full of secrets.

Adapted from a short story by Joe Hill (son of Stephen King, no less), it’s a tense, supernatural thriller where the dead want justice.

Filmed largely in Wilmington’s outskirts, the production transformed streets into a retro Denver nightmare.

The house at 2415 Shirley Road looms with menace, while Pinecrest Parkway captures key moments.

Kids on vintage bikes were shot at Cape Fear Optimist Park, and basement scenes inside EUE/Screen Gems Studios.

I KNOW WHAT YOU DID LAST SUMMER (1997)

THIS film, starring Sarah Michelle Gellar, is peak ’90s slasher cheese – think wet-look gel, bad decisions and a killer who just won’t quit.

Between all the tragic hairstyles and gasps, it became a huge hit, spawning two sequels and a TV show – proving that nothing says horror like a killer in a raincoat and some stilted dialogue.

Filmed mainly in Southport, a charming coastal town a short drive from Wilmington, it provided the perfect backdrop for all that screaming.

THE CROW (1994)

A DARK revenge tale soaked in rain and angst, The Crow is forever shadowed by the tragic on-set death of Brandon Lee, whose haunting performance only adds to the film’s legacy.

Filmed at EUE/Screen Gems Studios in Wilmington, the flick transformed the studio into a gritty cityscape.

The nightclub scenes were shot at the Ideal Cement Factory, near Castle Hayne, near Wilmington.

Sergeant Albrecht’s home was filmed at the Carolina Apartments, and one iconic alleyway scene is also believed to have been shot in Wilmington, capturing the film’s dark fantasy vibes.

SCREAM (2022)

THIS slick reboot-slash-sequel saw the return of Ghostface and a whole lot of fresh blood to the classic slasher formula.

It was shot around Wilmington, including at Williston Middle School and on Castle Street, dressed up as small-town Woodsboro.

The film pokes fun at modern horror while still delivering gore and tense chase scenes.

It’s self-aware, fast-paced – and a solid fan hit.

HALLOWEEN KILLS (2021)

KILLER Michael Myers stalks the shadows of Wilmington in this middle chapter of the reboot trilogy starring Jamie Lee Curtis.

Some exteriors were filmed around 20th Street and Greenfield Lake, while most of the gore was on sets at Screen Gems Studios.

Critics were split over the film – some loved the nastiness, while others found it relentless.

Still, the film is unapologetically harrowing and filled with callbacks for die-hard fans.

CAT’S EYE (1985)

THIS anthology of creepy tales stars a young Drew Barrymore and follows a stray cat through three stories, mixing black comedy and horror.

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Written by Stephen King and shot in downtown Wilmington, including at the Graystone Inn on South 3rd Street and near Water Street, it shows off the city’s more elegant side, before things turn nasty.

The film’s a bit uneven, but full of ’80s charm. The goblin showdown is as weird as it is unforgettable.

For fans of the director, one iconic location lies much closer to home and it is guaranteed to take your breath away

When you think of Christopher Nolan’s films, your mind might wander to the Parisian boulevards from Inception, New York’s skyscrapers doubling as Gotham in Batman, or even the expansive New Mexico desert featured in Oppenheimer.

However, for devotees of the groundbreaking British director, one iconic location is much closer to home and it’s sure to leave you breathless.

Nestled deep within a wooded gorge on the fringes of the Brecon Beacons, there lies a waterfall so spectacular that it was chosen as a filming location for a major Hollywood blockbuster.

Yet, many Welsh locals may not even be aware of its existence.

Henrhyd Falls, the tallest waterfall in South Wales, was selected by Christopher Nolan as the entrance to the Batcave in his entire The Dark Knight trilogy. Scenes featuring the Black Tumbler – the massive tank-like Batmobile – soaring through the Welsh waters into the superhero’s clandestine lair were filmed here, reports the Express.

But fear not, you don’t need to be the Caped Crusader to visit this waterfall. There’s no need for any of Bruce Wayne’s gadgets, perhaps just a sturdy pair of boots will do.

Your journey begins with a walk along a path through verdant woodland near the village of Coelbren. Here, you can already hear the sound of rushing water in the distance.

A steep yet well-maintained footpath then guides you down into the gorge, winding towards the waters.

After a 20-minute stroll, you’re greeted by the breathtaking sight of a 27-metre waterfall cascading into a moss-lined gorge.

This might trigger memories of Batman’s secret lair from The Dark Knight Rises, as this very waterfall was featured prominently when John Blake, aka Robin, stumbles upon the hidden entrance to the Batcave.

What transforms Henrhyd from just a picturesque scene to a location with Hollywood status is its inherent drama. The waterfall tumbles over a hard sandstone ledge, known locally as the “Farewell Rock”, into a narrow gorge enveloped by dense forest.

It’s slightly off the beaten path, giving it that elusive “hidden lair” feel.

One recent visitor was utterly captivated by the experience, leaving a glowing review: “Henrhyd Falls is absolutely stunning – a hidden gem surrounded by beautiful nature. The walk down to the waterfall is scenic and peaceful, and standing behind the falls is an unforgettable experience. The sound of the rushing water and the lush greenery make it feel magical.”

The optimal time to visit is after a light rain shower, when the waterfall is at its most dramatic, although the paths can be slippery, particularly if you venture behind the curtain of water.

Early mornings are usually quieter, and sturdy footwear is essential – along with a waterproof if you plan to get close enough to feel the spray.

Henrhyd Falls is a must-visit for nature lovers and Batman enthusiasts alike. Even if the Batmobile isn’t spotted in the shadows, visitors will undoubtedly leave with the sense of having uncovered one of Wales’s most captivating hidden gems.

You don’t have to be afraid to put your dream in action, because you’ll never fade, Trina Vega, you’ll be the main attraction — in a “Victorious” spinoff.

Netflix announced Friday that “Hollywood Arts,” a spinoff of the Nickelodeon teen sitcom following a group of students attending a performing arts high school, is now in production. The new show will see Daniella Monet reprise her Trina role from the original series, which aired for four seasons on the kid-centric network.

“Coming back as Trina alongside such a dynamic, powerful cast of newcomers is something I feel very lucky and grateful to do,” Monet said in a news release, which announced the “Hollywood Arts” cast will also include young actors Alyssa Miles, Emmy Liu-Wang, Peyton Jackson, Martin Kamm and Erika Swayze.

“‘Victorious’ was in a lot of ways life changing for all of us, our cast is forever bonded by that experience, and to think that I have an opportunity to steward anything close to that is a feeling I can’t begin to describe,” Monet continued. “As an actress, producer, and mom, I am so eager to create something we can all be proud to share with the world.”

According to the logline, “Hollywood Arts” will see Trina return to her alma mater as “an unqualified substitute teacher” after struggling to make it as an actress. There, she will both clash and “unexpectedly” inspire the next generation of ambitious and talented performing arts school students.

In “Victorious,” which originally ran from 2010 to 2013, Trina was the untalented but overly confident older sister of Tori Vega, played by Victoria Justice. The cast of the hit teen series also included Ariana Grande, Avan Jogia, Elizabeth Gillies, Leon Thomas III and Matt Bennett.

The spinoff will also feature Yvette Nicole Brown as a guest star. Brown briefly appeared in “Victorious” as school principal Helen Dubois — a character who originated on Nickelodeon’s “Drake & Josh,” which ran from 2004 to 2007.

In addition to starring on “Hollywood Arts,” Monet will serve as an executive producer alongside showrunners Jake Farrow and Samantha Martin and director Jonathan Judge. (Dan Schneider, who created “Victorious” and whose alleged misconduct was at the center of the 2024 docuseries “Quiet on Set: The Dark Side of Kids TV,” is not involved.)

The 26-episode first season is expected to debut on Netflix in 2026 before hitting Nickelodeon and Paramount+. The series is currently in production in Ontario, Canada.

The Great British Bake Off judges Dame Prue Leith and Paul Hollywood have opened up about their judging roles on the popular Channel 4 show and how they’re perceived by viewers

Prue Leith has leapt to the defence of her fellow judge, Paul Hollywood, over his so-called “horrible” image on The Great British Bake Off. Speaking from the iconic tent at Welford Park in Berkshire, the Bake Off judges shed light on their roles and how they’re seen by fans of the Channel 4 programme.

Prue, a South African-born restaurateur, pointed out that they’re perceived quite differently by the public, with her being seen as “kind” and Paul as “horrible”, but when it comes down to the brass tacks of scoring, they’re pretty similar.

The chef disclosed that their chat about the bakes in Cake Corner is generally to “inform and remind” the viewers, as, in reality, Prue and Paul could “do it in two seconds”.

Prue told Radio Times magazine: “The audience often say that I’m kind and Paul’s horrible, but if you look at our scores out of 10, we’re never more than one point apart. I think I’ve given one 10 in nine years… I can’t remember to who though!”.

She continued: “I used to say, ‘It’s not worth the calories’. That is my absolute judgment about any baking, because you know it’s full of fat and sugar, so: ‘Do I really want to eat this? Am I prepared to get fat?'”

However, it appears Prue had a change of heart regarding this particular remark, as people would say they “felt judged” for enjoying cake and thought she was being “fattist”.

Paul stated: “I’ve never given a 10, only a 9.5. A handshake is very close to a 10. These are amateur bakers, but if they get a handshake from me, it means it’s very professional.”

Prue added that Paul often claims he won’t be giving out any handshakes, but inevitably his hand will “come out” when a bake is so impressive that he “can’t resist”. She also mentioned the idea of her own version, the “Prue pat”.

In other developments, Paul, who has been on the show since 2010, reportedly showed a different side away from the cameras. Briony May Williams, who came fourth in the 2018 series, broke down in tears when “every element” of her showstopper went awry.

On the show, the chef labelled her creation “a disaster” as she “overcooked” the mirror glaze and was unfortunately left with uncooked pastry. However, Paul’s off-camera actions revealed a gentler side.

She disclosed: “I never got a [Paul Hollywood] handshake. I did, however, get a Hollywood hug off-camera when I was really upset about my cake on Cake Week, my showstopper, because it was really bad.

“I was upset, I was sat on my bench crying and I realised someone was stood behind me and I turned around and it was Paul.

“He gave me a really big hug and he said, ‘It’s okay it’s only a f*****g cake’. And yeah, that just really made me laugh.”

You can catch The Great British Bake Off: An Extra Slice on Channel 4 on Friday, October 24, from 8pm to 9pm.

ONE of Yorkshire’s prettiest towns is set for superstardom this December, as it stars in a new Christmas film featuring some of Hollywood’s top actors.

Earlier this year, Hollywood stars like Kiefer Sutherland, Rebel Wilson and EastEnders‘ Danny Dyer descended on Knaresborough for the upcoming movie, Tinsel Town.

Between January and February 2025, cast and crew were spotted in the Yorkshire town, in areas like Castlegate, Riverside, and Green Dragon Yard.

Filming of the Sky Original Christmas movie meant that the festive decorations were up for months longer than usual.

The film, set to be released n November 28, will see Kiefer Sutherland play Bradley Mack, a failed Hollywood action star ending up in a small, snow-dusted village to star in the town’s eccentric production of Cinderella.

It’s here that he encounters a number of oddball locals, one of whom is no-nonsense choreographer Jill, played by Rebel Wilson.

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It’s no wonder Knaresborough was picked as a filming location, as The Sun’s Katrina Turrill, who hails from the town, reckons it’s the “most beautiful town in the country” and “picture perfect”.

Knaresborough has pretty waterfront cafes and the opportunity to canoe down the river, while watching steam trains travel over the viaduct.

Katrina said: “If you venture down by the river from either Bond End or walking down the steps at the castle you’ll stand at the foot of the iconic viaduct. 

“Amongst the cafes and houses are two boat hire places – Blenkhorn’s and Marigold Cafe & Boating.  Both are open daily, weather permitting, and are a great way to soak up the stunning scenery.

“No visit to Knaresborough is complete without heading to Knaresborough Castle for the best view of the viaduct. 

“You don’t need to pay to enter the castle grounds, and I recommend seeing the view during the day and at night time, with the viaduct all lit up.”

Katrina also suggested checking out the many pubs in the area from Blind Jack’s in the market square, to Carriages.

As for attractions, there’s Mother Shipton’s Cave which is named after the Yorkshire prophetess who predicted many things, including the great fire of London and the black death.

It’s also the oldest tourist attraction to charge a fee in England, and has been open to visitors since 1630.

The town is also lobbying for cash to buy a tourist land train, which would mean visitors could easily go exploring without having to climb steep hills and steps.

A previous grant to get a land train was rejected due to “concerns over the scheme’s viability”, as reported by the BBC.

Now, the Knaresborough & District Chamber, which submitted the bid, is looking for alternative funding to get the service started.

The hope is that the land train would increase the number of visitors to all of Knaresborough, from the river to the main town.

One of the local council members told the BBC that visitors who visit usually wander around the castle and marketplace but don’t go down to the river because of the steep hill and steps.

If the land train becomes a reality, it would join other UK towns which run services generally during the summer.

Weymouth has its very own land train which runs across the promenade, meanwhile Bridlington has two trains, one which heads north, and the other, south.

Other popular destinations with land trains include Hull, Torquay, Hunstanton and Scarborough – each charges between £2-£6 per journey.

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And another Yorkshire destination to add to your To Do list…

Hutton-Le-Hole is said to be one of the last unspoiled villages in the UK, thanks to its very quaint houses and attractions.

Home to just 400 locals, it has been named one of Yorkshire‘s “best looking villages” by Lonely Planet, as well as one of the UK’s prettiest by Conde Nast Traveller.

Jane Austen fans will recognise it, having featured in the Death Comes To Pemberley BBC drama.

In the summer, locals sit on the village green, with the sloped grass leading into the river to cool off.

But the village is just as beautiful in autumn with the trees turning bright orange.

Most of the sheep are free-roaming, so expect to see a few munching on the grass.

If you fancy some retail therapy, The Chocolate Factory, which opened 20 years ago, is one of the top attractions.

Despite being small, there are a number of places you can stay like The Crown Inn and The Barn Guesthouse or a number of small B&Bs.

Here’s another Yorkshire village that looks like it is from the 18th century – where every front door is the same colour.

Plus, the pretty English town that attracts thousands of tourists a year with iconic shops and cosy barn stays.

The site of one of L.A.’s most notorious murder-suicides, Greystone has been supposedly haunted ever since. In February 1929, owner Ned Doheny, son of oil tycoon Edward Doheny, was shot and killed by his personal secretary and childhood friend Hugh Plunkett who, minutes later, shot himself. The motive for the crime was never discovered, though rumors posited a sexual relationship, a dispute over Plunkett’s salary and, most plausibly, the pair’s involvement in the Teapot Dome scandal. Doheny’s widow lived in the mansion until 1955, after which a series of sales almost led to its demolition, prevented by an 11th-hour purchase by the city of Beverly Hills, which converted the house into an event venue and the grounds into a park. Since then, there have been many reports by workers of mysterious sounds, the smell of rotting flesh and shadowy, spectral figures. That has not stopped it from becoming a favored filming spot for film and television, from “The Amazing Race” to “There Will Be Blood,” and a popular wedding venue.

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SELENA Gomez and Hailey Bieber risked an awkward run in at a glam Hollywood gala, just hours after the women exchanged swipes. 

Hailey, who’s married to the singer’s ex, Justin Bieber, appeared to throw shade at Selena’s Rare Beauty brand this week. 

The 28-year-old Rhode Beauty founder told WSJ Magazine she “doesn’t feel competitive with people she’s not inspired by”.

On Saturday, Selena, 33, spoke out, penning a post on her Instagram before quickly deleting it.

“She can say what she wants, it doesn’t affect my life whatsoever,” she snapped.

Just hours after Selena’s post, the two women appeared at the 2025 Academy Museum Gala in LA. 

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They both stunned on the carpet as they posed for photos. 

Hailey opted for a brown corset dress and attended the glamorous event alongside best pal Kendall Jenner. 

She arrived shortly after Selena, who is Justin’s ex girlfriend, rocked up to the carpet. 

Selena looked sensational in a floor length black gown, and attended with husband Benny Blanco. 

Selena’s now-deleted statement continued: “It’s just about relevance not intelligence. Be kind. All brands inspire me.

“There is room for everyone. And hopefully we can all stop.”

On Hailey, she still urged fans to “leave the girl alone”.

Hailey and Justin tied the knot in 2018 and welcomed their son Jack in 2024.

Selena previously dated Justin on and off from around 2010, with the two girls embroiled in constant feud rumors.

They attempted to put the nastiness to bed in 2022 by posing for a snap together, but fans still aren’t convinced.

In June, they noticed that Hailey and Selena unfollowed each other on Instagram.

Speaking in her WSJ interview, Hailey referenced the comparisons again, saying: “It’s always annoying being pitted against other people.

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“I didn’t ask for that. When people want to see you a certain way and they’ve made up a story about you in their minds, it’s not up to you to change that.”

It comes after Selena tied the knot with her husband Benny Blanco last month.

Lindsey Horvath knew all the words to “Pink Pony Club.”

It was an overcast Sunday in June, the WeHo Pride parade was in full swing and the hit song about an iconic West Hollywood gay bar was blasting at full volume.

Sure, the county supervisor’s sequined, rainbow muumuu was giving her an angry rash. But that did little to dampen her spirits as she danced atop her pink pony-themed Pride float, swaying and mouthing the lyrics.

Five hours later, Horvath had traded her sequins and rainbow sneakers for a simple black dress and heels.

Now, she sat on a wooden pew for evening Mass at her 121-year-old Catholic parish in Hollywood.

But she still knew all the words, albeit this time to a traditional hymn about the holiness of the Lord. And then she knelt down in quiet prayer.

Horvath, 43, defies easy characterization.

She is the first millennial member of the county Board of Supervisors, a governing body that wields tremendous power despite remaining unknown to most Angelenos.

When elected in November 2022, she went from representing roughly 35,000 people as a West Hollywood City Council member to having more than 2 million constituents across a sweeping, 431-square-mile district that sprawls from the Ventura County line down to Santa Monica, east to Hollywood and up through much of the San Fernando Valley.

While attending the University of Notre Dame, Horvath held a leadership position with the school’s College Republicans chapter, helped create Notre Dame’s first gay-straight alliance and drew national opposition for staging “The Vagina Monologues” at the Catholic university — all while working three jobs to pay off her student loans. (She’s still paying them off.)

During her 2022 campaign for supervisor, she had the backing of some of the most progressive politicians in the city, including then-Councilmember-elect Eunisses Hernandez, as well as then-Councilmember Joe Buscaino, one of the more conservative members of the body.

As a member of the West Hollywood City Council, she helped approve what was then the highest minimum wage in the country, yet her county reelection bid was just endorsed by one of the region’s most prominent pro-business groups.

In the three years since she was elected to the county Board of Supervisors, she has effectively rewritten the structure of county government and drastically changed its approach to homelessness response.

Horvath’s Midwestern mien, unflagging politeness and warm smile belie her fierce ambition.

She has long been seen as someone who does not — to crib a phrase occasionally used about her behind closed doors — “wait her turn.” And that impatience has worked out OK for her so far.

All of which raises the question, will Horvath challenge Karen Bass in the June 2026 Los Angeles mayoral race?

Horvath speaks as supporters rally in September for her motion to pass an emergency rent relief program.

(Al Seib / For The Times)

Her name has been bandied as a potential Los Angeles mayoral candidate since early in the year, when her public profile exploded in the wake of the devastating Palisades fire and tensions between her and Bass first became public.

She has done little to tamp the speculation since, though some posit she is merely expanding her profile ahead of a run for county executive in 2028.

Still, the political rumor mill went into overdrive in early summer, as word trickled out that the erstwhile mayor of West Hollywood had moved into a two-bedroom apartment at the edge of Hollywood — firmly in the city of Los Angeles.

When asked about her mayoral intentions late last month, Horvath demurred, but made clear the door was open.

“I have no plans to run for mayor,” she said, sitting under the sun in Gloria Molina Grand Park, just outside her office in the Kenneth Hahn Hall of Administration, within direct view of City Hall.

“I continue to be asked by people I deeply respect, so I continue to listen to them and consider their requests, and I’m taking that seriously,” she continued. “But I’m focused on the work of the county.”

Horvath, left, embraces Mayor Karen Bass in August at an event in Pacific Palisades.

(Myung J. Chun / Los Angeles Times)

Horvath declined to share specifics about who was pushing her to run, though she said they were “significant stakeholders” that didn’t hail from any single community.

On Monday, former schools chief Austin Beutner kicked off his campaign for mayor, becoming the first serious candidate to challenge Bass. Political watchers have speculated that Beutner’s entrée could potentially open the floodgates by offering a permission structure for others to challenge the mayor of the nation’s second-largest city.

In the immediate wake of the January firestorm, Bass’ political future appeared to be in real jeopardy, but she has since regained some of her footing and shored up support with powerful interests, such as local labor groups.

***

Horvath was 26 and had lived in West Hollywood for all of 18 months when Sal Guarriello, a 90-year-old West Hollywood council member, suddenly died.

It was spring 2009. The advertising executive and Ohio transplant was active in Democratic and feminist circles, co-founding the Hollywood chapter of the National Organization for Women and leading the West Hollywood Women’s Advisory Board. (Raised by conservatives, Horvath started college as a Republican but soon evolved into a staunch Democrat.)

Former Los Angeles Mayor Eric Garcetti — who was then president of the Los Angeles City Council — had become a friend and mentor to Horvath through her activism. He and others urged her to throw her hat into the ring for the open seat.

More than 30 people applied, but Horvath was ultimately chosen by the remaining members of the council to join them — an outcome that was stunning, even to her.

After two years in her appointed role, she lost an election bid in 2011 but continued to make a name for herself in the tight-knit, clubby world of progressive West Hollywood politics.

Undeterred, she ran again for West Hollywood City Council in 2015 and won.

Horvath is sworn in as the new county supervisor for District 3 in December 2022.

(Jason Armond / Los Angeles Times)

Horvath remained on the council for the next seven years and twice served as mayor before turning her ambitions toward the county Hall of Administration.

She was seen as an underdog in her supervisor’s race, running against former state Sen. Bob Hertzberg, a political veteran who had a 3-to-1 fundraising advantage and first took elected office as she was entering high school.

Hertzberg had far more name recognition, but Horvath ultimately defeated him with a coalition that included local Democratic clubs and some of labor.

***

On the Board of Supervisors, Horvath has been unafraid to take chances and ruffle feathers.

Less than two years into her first term, Horvath was leading the charge to fundamentally reinvent the structure of county government, which hadn’t been meaningfully changed in more than a century.

Horvath’s bold plan to increase the size of the board from five to nine supervisors and create a new elected county executive position was approved by voters last November.

Voters will choose the county’s first elected executive in 2028. Opponents (and even some allies) have long griped that Horvath has her sights set on the very position she helped create, which will undoubtedly be one of the most powerful elected offices in the state.

“There are people who are never going to be convinced that I created this measure without seeing a seat for myself in it,” she says. “I’m not interested in convincing people of that. I’m interested in doing the work.”

As she campaigned for Measure G, critics also said Horvath and her allies were moving too fast, with too much left to figure out after the vote, including the price tag.

“Not everybody always loves you when you do things that upset the status quo. But I think history judges people not by ‘Did everybody love them in a given moment?’ … It’s were they smart and were they brave,” Garcetti said of Horvath.

“And she’s both,” he added.

Still, some of those criticisms came to bear in July, when it was revealed that county officials committed a near-unthinkable administrative screwup. When voters approved the sprawling overhaul to county government in November, the move unintentionally repealed Measure J, the county’s landmark criminal justice reform passed by voters in 2020.

Horvath said she didn’t think she and other proponents moved too fast, arguing that if they hadn’t seized the moment, they would have missed the opportunity “to bring about the change that has been stuck for far too long.”

Horvath argues that the fact that Measure J could have been unwritten in the first place is why Measure G was so needed.

***

Horvath was, briefly, everywhere during the fires.

While Mayor Bass receded into the background, Horvath was a constant presence at media briefings and on the news.

Her face was so omnipresent that a man she’d recently gone on a date with — someone who didn’t fully understand what she did for a living — spotted her on television with some confusion.

That was the last she heard from him, she said. (Dating as a public official is “very weird,” and not just because the one time she tried to use Tinder while abroad, she was seemingly banned for impersonating herself.)

She also tussled with Bass behind closed doors in late January, as revealed in text messages obtained by The Times that highlighted an increasingly fractious relationship.

The two women were at odds even before flames laid waste to a wide swath of coastal paradise.

Last November, Horvath went public with a proposal to shrink the duties of the Los Angeles Homeless Services Authority, which is overseen by city and county political appointees.

Horvath called for hundreds of millions of dollars to be shifted out of the agency and into a new county department focused on homelessness — a proposal to which Bass strenuously objected.

Horvath ultimately pushed her strategy forward in April, but not without warnings from Bass about creating a “massive disruption” in the region’s fight against homelessness.

Horvath attends a news conference celebrating the Army Corps of Engineers clearing debris from the final house in the Palisades in late August.

(Jason Armond / Los Angeles Times)

Horvath’s relationships in the Palisades have also not been without some tension.

The supervisor recently pledged $10 million of her county discretionary funds to help rebuild the Palisades-Malibu YMCA, but some in the community have felt betrayed by her, according to Pacific Palisades Residents Assn. President Jessica Rogers.

“We don’t believe that she’s properly engaging her community,” Rogers said, citing the independent commission that Horvath convened in the wake of the fires. “She put a lot of time and energy into creating this report. The intentions might have been good, but she didn’t include proper community participation.”

Rogers was particularly bothered by Horvath’s proposal for a countywide rebuilding authority, since Rogers felt like Horvath hadn’t earned their trust. The rebuilding authority, which was supported by the mayor of Malibu, did not come to fruition.

“There’s a perception that [Horvath] is too aggressive,” said another community leader, who asked to speak anonymously because they hope to get things done without alienating anybody. “But there’s more of a mix to how people feel about her than you can see.”

The loudest voices, particularly in community WhatsApp groups, NextDoor and other forums, tend to be the most vitriolic, the community leader said, positing that some of the gripes about Horvath had more to do with her progressive politics than her leadership.

“People are suffering, and I will always show up for my constituents — especially when the conversations are difficult. The Blue Ribbon Commission provided independent, expert guidance on a sustainable rebuild. Its recommendations were meant to inform, not replace, community engagement,” Horvath said.

***

The chances of Horvath entering the mayoral race still remain far slimmer than the alternative, particularly because she is up for reelection in 2026 — meaning she would have to sacrifice her safe board seat for an uphill battle challenging an incumbent who still has deep wells of support in the city.

Former Los Angeles City Councilmember Mike Bonin, who long represented the Westside and now directs the Pat Brown Institute for Public Affairs at Cal State LA, said he wondered why someone would want the job of mayor while in the comparatively plush position of county supervisor.

Supervisors have more power and suffer far less scrutiny, he argued. Still, there were benefits to remaining in the mix.

“Being mentioned as a potential candidate is one of the greatest places a political figure can be. Because when you’re in the mentioning stage, it’s all about your strengths, your assets, your positive attributes,” Bonin said with a laugh. “Once you declare, it’s the reverse.”

Times staff writers David Zahniser and Rebecca Ellis contributed to this report.

Hollyoaks is celebrating its 30th anniversary this month after first airing on October 23, 1995

Hollyoaks is marking a special occasion this month as it celebrates 30 years on air.

The popular Channel 4 soap first graced our screens on 23 October 1995 and will soon be marking its 30th anniversary.

Over the decades, Hollyoaks has seen a plethora of actors and characters come and go in the fictional village. Some stars, like Nick Pickard, who portrays Tony Hutchinson, have been with the soap since its inception.

However, other actors have traded the fictional village for the glitz and glamour of Hollywood. From Oscar triumphs to hit HBO series, let’s take a look at the stars who’ve made the leap to Los Angeles…, reports the Manchester Evening News.

Rachel Shenton

Rachel Shenton portrayed Mitzeee Minniver on Hollyoaks from 2010 to 2013. After her departure, Rachel, 37, bagged a role in US series Switched at Birth, where she played Lily Summers.

The actress, who is fluent in both British Sign Language and American Sign Language, had her big moment in 2018 when she clinched an Academy Award for her short film The Silent Child, which she wrote, produced and starred in.

The short film tells the story of Libby, a profoundly deaf four year old girl, who lives a silent life until a social worker, played by Rachel, teaches her how to communicate through sign language.

Following her Oscar triumph, Rachel has portrayed Helen Alderson in All Creatures Great and Small since 2020. Other roles include The Strangers: Chapter 1, The Rumour and The Strangers: Chapter 2.

Nathalie Emmanuel

Nathalie Emmanuel, who portrayed Sasha Valentine on Hollyoaks from 2006 to 2010, has since enjoyed a successful career. After leaving the soap, Nathalie, 36, secured the role of Missandei in the HBO hit series Game of Thrones from 2013 to 2019, catapulting her to stardom.

Since then, she’s been playing Jordan King in Die Hart since 2020 and has taken on numerous film roles.

Her filmography includes Maze Runner: The Scorch Trials, Furious 7, The Fate of the Furious, Maze Runner: The Death Cure, The Titan, F9, Fast X, Arthur the King, Megalopolis and The Killer.

Emmett J Scanlan

Emmett J Scanlan, who played Brendan Brady from 2010 to 2013, has also had a successful career post-Hollyoaks. After his departure, Emmett, 46, bagged the role of D. C. Glenn Martin in The Fall.

He’s also starred as Josh in Harlan Coben’s Safe in 2018, Billy Grade in Peaky Blinders, and has appeared in Derry Girls, The Teacher and MobLand, among others.

Emmett achieved international recognition with Netflix’s hit Harlan Coben drama Fool Me Once in 2024, where he played Shane Tessier. His film credits include Guardians of the Galaxy, Argylle and A Working Man.

Guy Burnet

Guy Burnet played Craig Dean in the popular Channel 4 soap from 2002 until 2008.

Guy, 42, has since gone on to have a successful Hollywood career with appearances in films such as Pitch Perfect 3, where he played Theo in the 2017 movie. The actor has also appeared in hit TV series Ray Donovan, The Affair and Counterpart.

However, it was one of his latest projects that left fans stunned as he was part of the star-studded cast of Oppenheimer, which was released in cinemas on 21 July 2023 in the UK.

He has recently appeared in FUBAR alongside Arnold Schwarzenegger as Theodore Chips and American Horror Stories.

Ricky Whittle

Ricky Whittle, who portrayed Calvin Valentine on Hollyoaks from 2006 to 2011, has also made a name for himself in Hollywood. After leaving the soap, Ricky, 45, relocated to Los Angeles and quickly landed a number of roles.

From 2014 to 2016, he starred in the sci-fi drama The 100 and US soap Mistresses. Following this, he secured the lead role in American Gods in 2017, with the series running until 2021.

Roxanne McKee

Roxanne McKee, who portrayed Louise Summers from 2005 to 2008, went on to secure the role of Doreah in Game of Thrones from 2011 to 2012 after her departure.

The 45 year old actress then bagged roles in Dominion as Claire Riesen and Pandora as Eve in 2020, among others. Her film credits include Inside Man: Most Wanted and Bambi: The Reckoning.

Wallis Day

Wallis Day played Holly Cunningham in Hollyoaks from 2012 to 2013.

Since then, the 31 year old actress has taken on roles such as Angie on The Royals from 2016 to 2018, Nyssa-Vex in Krypton from 2018 to 2019, Kate Kane / Circe Sionis in Batwoman in 2021, and Gigi in Netflix’s 2023 series of Sex/Life.

Bold claim, I know. But the Clown Motel is special. Owner Vijay Mehar has taken an old motel and filled it with clowns. Paintings, murals, dools, ceramic figures. Many of them frowning or shrieking.

What guests love, Mehar has learned, is fear, loathing, painted faces, circus vibes and hints of paranormal activity. To be afraid, basically.

“America’s Scariest Motel,” say the brochures by the register. “Let fear run down your spine.”

The 31 guest rooms teem with enough clown imagery to eclipse a Ringling Brothers reunion. The gift shop is vast and troubling. (Clown knife, anyone?)

And then there are the neighbors. The motel stands next to the Old Tonopah Cemetery, most of whose residents perished between 1900 and 1911, often in mining accidents.

Some guests sign up for ghost hunt tours or explore the cemetery after dark. Others settle in with a horror movie, perhaps one of the several made on site, along with countless Youtube videos.

When I visited in late 2024, Mehar said hundreds of people stop by the motel on busy days, mostly focusing on the gift shop and the crowded, dusty shelves of the lobby-adjacent clown museum.

“When we came here, there were 800 or 850 clowns,” Mehar said. “Right now, we have close to 6,000.”

Throughout the motel’s corridors, walls and no-frills guest rooms (rated at 3.5 stars by Yelp and Trip Advisor), the clowns continue against a color scheme of purple, yellow and red, augmented by polka dots of blue and green. Rates start at $99.

If you book Room 222, which highlights Clownvis (Elvis as a clown, basically), the motel warns that you may be awakened in the wee hours by a mysterious “malevolent entity.”

The hotel also advises all guests that, despite monthly pest-control visits, they may encounter “UFI’s (Unwanted Flying Insects),” because rooms open to the outdoors. (This part of Nevada is known for its many Mormon crickets.)

“KPop Demon Hunters” creator Maggie Kang thinks there’s potential for more Huntr/x stories in the future, but only in animation.

In a recent interview with the BBC, the co-director of the Netflix phenomenon said there is nothing officially in the works, but she thinks “there’s definitely more we can do with these characters in this world.” Kang and her co-director Chris Appelhans also assured fans that if another “KPop Demon Hunters” were to happen, “it will be a story that deserves to be a sequel, and it will be something that we want to see.”

Produced by Sony Pictures Animation, the movie follows a popular K-pop girl group whose members use their music and dance moves (and magical powers) to fight demons and protect the world. But Huntr/x’s leader Rumi is keeping a secret from her bandmates Mira and Zoey that could lead to their downfall.

Since its June debut, “KPop Demon Hunters” and its catchy soundtrack have smashed numerous records on Netflix as well as the Billboard charts. The movie’s massive popularity led to a limited theatrical run for sing-along screenings as well as live performances of its songs.

With Hollywood’s current trend of sequels and remakes, it’s easy to believe that “KPop Demon Hunters” could spawn its own franchise. But Kang and Appelhans both insist that a live-action adaptation should be off the table.

“It’s really hard to imagine these characters in a live action world,” Kang told the BBC, pointing to the tone and comedic elements in “KPop.” “It would feel too grounded. So totally it wouldn’t work for me.”

Appelhans agreed that the characters in “KPop Demon Hunters” are best suited for animation and worried a live-action version of them could feel too “stilted.”

“One of the great things about animation is that you make these composites of impossibly great attributes,” Appelhans told the BBC. “Rumi can be this goofy comedian and then singing and doing a spinning back-kick a second later and then free-falling through the sky. The joy of animation is how far you can push and elevate what’s possible.”

For now, it seems that Huntr/x will keep shining only in the medium they were born to be — in animation.

After Contreras’ offensive coordinator, Carlos Trujillo, did his work on Friday night during his team’s 39-14 win over Hollywood, he was picked up by car and whisked off to Los Angeles International Airport to take a red-eye flight to Chicago so he could complete the 11th marathon of his life.

“I will never be crazy enough to do one,” Contreras head coach Manuel Guevara said.

Running 26.2 miles is pretty challenging, but Trujillo has found something he enjoys, and players admire his commitment.

“The entire varsity [team] wished him good luck,” Guevara said. “It teaches the kids that coaches challenge themselves in different ways.”

He’ll be back for practice on Tuesday as Contreras (4-3, 2-0) prepares for a key Central League game against Bernstein on Thursday night.

Trujillo, 43, said he started running marathons when he was head coach at North Hollywood. He has run marathons in Los Angeles, San Francisco, Las Vegas and New York besides Chicago.

This is a daily look at the positive happenings in high school sports. To submit any news, please email [email protected].

To live in Los Angeles is to be a seeker. There are those who come to the city in search of the limelight and affluence. There are others who crave temperate weather and long for accessible beaches. The list goes on. Some of these desires are easily satisfied, while others are left unfulfilled or forgotten. But for those born and raised in this atypical metropolis, like Shirley Kurata, the search is never-ending.

The costume designer tells me the key to loving this city is to never stop venturing around. We sit in the shaded back patio of Virgil Normal, a 21st century lifestyle shop she owns with her husband, Charlie Staunton. She wears a vibrant pink getup — a vintage top and Issey Miyake pants — complete with small pleats and optimal for the unavoidable August heat wave. Her signature pair of black circular glasses sits perfectly on the bridge of her nose. It’s a style of eyewear she owns in several colors.

“I always tell people, L.A. is like going to a flea market. There’s some digging to do, but you’ll definitely find some gems,” says the stylist and costume designer, as she’s regularly on the lookout for up-and-coming creative hubs and eye-catching storefronts. “It won’t be handed to you. You have to dig.”

In one way or another, “digging” has marked Kurata’s creative livelihood. Whether she’s conjuring wardrobes for the big screen, like in the Oscar-winning “Everything Everywhere All at Once,” or styling musicians like Billie Eilish, Florence and the Machine and ASAP Rocky for photo shoots and music videos, the hunt for the perfect look keeps her on her toes.

Over the summer, Kurata spent a lot of time inside the Costco-size Western Costume Co., pulling looks for Vogue World, the magazine’s annual traveling runway extravaganza. This year, the fashion spectacle is centered around Hollywood and will take place at Paramount Pictures Studios in late October. She is one of the eight costume designers asked to present at the event — others include Colleen Atwood of “Edward Scissorhands,” Ruth E. Carter of “Black Panther” and Arianne Phillips of “Once Upon a Time in Hollywood.” Kurata will be styling background performers and taking inspiration from the invited costume designers.

Shirley wears vintage hat, Meals Clothing top, shirt and dress, We Love Colors tights, Opening Ceremony x Robert Clergerie shoes and l.a. Eyeworks sunglasses.

“[Vogue] wanted someone that is a stylist and costume designer who has worked both in fashion and film. Because a lot of costume designers work primarily in TV and film, they don’t do the fashion styling for editorial shoots,” says Kurata. “I’m coming on and working with what other costume designers have done.”

Since her start in the business, Kurata has gained acclaim for her ability to infuse daring prints and vibrant color into the narrative worlds she deals with. Her maximalist sense of experimentation took center stage in “Everything Everywhere All at Once” and earned her an Academy Award nomination for costume design. From a bejeweled Elvis jumpsuit to a look made entirely of neon green tassels meant to resemble an amoeba, her vision was avant-garde, playful and undeniably multidimensional.

When Kurata isn’t on set or in the troves of a costume house, she’s likely tending to Virgil Normal. Housed in a former moped shop, the Virgil Village store offers a selection of novelty items and streetwear treasures, curated by both Kurata and Staunton. Though Staunton jokes that he’s constantly seeking her approval when sourcing inventory: “If it’s not cool enough for her, it doesn’t come in.”

The couple first met at the Rose Bowl Flea Market through mutual friends. At first sight, Staunton recalls being enthralled by her perpetually “cool” demeanor. Early in their relationship, he even floated the idea of starting a clothing line together, just to “knock off her closet.”

Shirley wears Leeann Huang t-shirt, skirt and shoes, We Love Colors tights and l.a. Eyeworks glasses here and in photos below.

“She’s like a peacock. It’s not like she’s trying to get attention. But she has her own vision and doesn’t really care what’s going on. She knows what’s cool,” says Staunton, who cites Kurata as the biggest “inspiration” for the store.

Inside the quaint red brick building, blue L.A. hats are embroidered to read “Larry David,” acrylic shelves are packed with Snoopy figurines (for display only), trays of l.a. Eyeworks frames fill the tables and each clothing tag is a different elaborate doodle illustrated by Staunton. He adds that everything in the store is meant to have a “rabbit hole” effect, where shoppers can give in to their curiosities.

“We wanted a place where like-minded people could come here and have it be a space to hang out. They don’t have to buy anything,” says Kurata. The attached patio is complete with a mural of a man floating in space, pipe in hand, and the coolers are still filled with chilled beers and sparkling waters from their most recent get-together. She tells me about how many times they’ve allowed musicians and artists to transform this peaceful outdoor space into a lively venue.

“Having that connection with a community of creatives in the city is essential. Having that sort of human interaction is really good for your soul, and for your creativity,” she shares. “Having this store has been one of the most fulfilling things that I’ve done, and it’s not like we’re not making a ton of money off it.”

From the cactus out front, which Kurata and Staunton planted themselves, to grabbing lunch at the taqueria down the street, she explains cultivating a space like this and being an active part of the neighborhood has made her into a more “enriched person.” Kurata, who is of Japanese descent, brings up the lesser known history of East Hollywood. In the early 1900s, the neighborhood, then called J-Flats, was where a sizable group of Japanese immigrants settled. It was once a bustling community with Japanese boarding houses that offered affordable rent and home-cooked meals. Today, only one of these properties is operating.

“Having that connection with a community of creatives in the city is essential. Having that sort of human interaction is really good for your soul, and for your creativity,”

For Kurata, being a part of this legacy means trimming the nearby overgrown vegetation to keep the sidewalks clear and running over to the locally owned convenience store when Virgil Normal needs supplies, instead of immediately turning to Amazon. She pours everything she learned from being raised in this city back into the store, and in turn, its surroundings.

Kurata was born and raised in Monterey Park, a region in the San Gabriel Valley with a primarily Asian population. The neighborhood is a small, homey stretch of land, known for its dining culture, hilly roads and suburban feeling (but not-so-suburban location). These days, she’ll often find herself in the area, as her mother and sister still live there. Together, they enjoy many of the surrounding dim sum-style restaurants.

Even from a young age, she was encouraged to treat the entire city as her stomping grounds. She attended elementary school in the Arts District, which she describes as quieter and “more industrial than it is today.” She also spent a lot of her childhood in Little Tokyo, shopping for Japanese magazines (where she found a lot of her early inspiration), playing in the arcade and grocery shopping with her family.

Shirley wears Leeann Huang lenticular dress and shoes, Mary Quant tights and l.a. Eyeworks sunglasses.

For high school, she decided to branch out even further, making the trek to an all-girls Catholic school in La Cañada Flintridge. “It was the first time where I felt like an outsider,” Kurata says, as she had only previously attended predominantly Asian schools. She laughs a little about being one of the rare “Japanese Catholics.”

“When you’re raised in something, you go along with it because your parents tell you, and it’s part of your education,” Kurata says. Her religious upbringing began to reach a point where she wasn’t connecting with it anymore. “Having that sort of awakening is good for you. I was able to look at myself, early in life, and realize that I don’t think this is for me.”

Her senior year, she discovered vintage stores. (She always knew that she had an affinity for clothing of the past, as she gravitated toward hand-me-down Barbies from the ’60s.) Her coming-of-age style consisted of layering skirts with other oversize pieces — and everything was baggy, “because it was the ’80s.” With this ignited passion for vintage and thrifting, Kurata began to mix items spanning across decades into one look.

“All the colors, the prints, the variety. It just seemed more fun. I would mix a ’60s dress with a jacket from the ’70s and maybe something from the ’40s,” says Kurata. It’s a practice that has remained a major part of her creative Rolodex.

Her lifelong interest in fashion led her to get a summer job at American Rag Cie on La Brea Avenue. At the time, the high-end store primarily sold a mix of well-curated timeless pieces, sourced from all over the world. It was the first time she encountered the full range of L.A.’s fashion scene. She worked alongside Christophe Loiron of Mister Freedom and other “rockabilly and edgier, slightly goth” kinds of people.

“Living abroad is such an important way of broadening your mind, being exposed to other cultures and even learning another language. It helps you grow as a person. It’s the best thing I ever did.”

“Time moved really slowly in that place. But just the creativity that I was around, from both the people who worked there and shopped there, was great exposure,” says Kurata, who recalls seeing faces like Winona Ryder and Johnny Depp browsing the selection and Naomi Campbell and Christy Turlington trying on jeans.

Kurata continued her L.A. expedition to Cal State Long Beach, where she began her art degree. It wasn’t long before Studio Berçot, a now-closed fashion school in Paris known for its avant-garde curriculum, started calling her name.

“Living abroad is such an important way of broadening your mind, being exposed to other cultures and even learning another language. It helps you grow as a person,” says Kurata. “It’s the best thing I ever did.”

Her Parisian studies lasted around three years and it was the closest she had ever gotten to high fashion. Sometimes, she would be able to see runway shows by selling magazines inside the venue or volunteering to work backstage. Other times, she relied on well-intentioned shenanigans. She used to pass around and reuse an invitation within her group of friends. She once snuck in through a large, unattended hole in a fence. In one instance, she simply charged at the entrance when it began to rain. All things she did in the name of fashion.

“I would just do what I could to see as many shows as possible. All of the excitement is hard to explain. When I worked backstage, there’s this labor of love that’s put towards the show. It’s this contagious energy that you could feel when the models start coming,” says Kurata, who saw everything from Jean Paul Gaultier to John Galliano and Yves Saint Laurent. When she was backstage for a Vivienne Westwood show, she recollects seeing this “shorter model, and thinking, ‘Oh, she’s so tiny,’ and then realizing that it was Kate Moss who was still fairly new at that point.”

“We wanted a place where like-minded people could come here and have it be a space to hang out. Having this store has been one of the most fulfilling things that I’ve done.”

Staying in France was intriguing to a young Kurata, but the struggles of visas and paperwork deterred her. She instead returned to L.A., freshly inspired, and completed her bachelor’s degree in art (to her parents’ satisfaction). She didn’t plan to get into costume design, Kurata explains. But when it became clear that designing her own line would require moving to somewhere like New York or back to Europe, she realized, “Maybe fashion is not the world I want to get into; maybe it’s costumes.”

“I felt comfortable with that decision,” shares Kurata. “I do love film, so it was just a transition I made. It was still connected [to everything that I wanted to do].”

Without the aid of social media, she sent letters to costume designers, hoping to get mentored, and started working on low-budget jobs. She quickly fell in love with how much the job changed day-to-day. On occasion, there are 12-hour days that can be “miserable,” but her next job might be entirely different. One day she’s styling the seasonal campaigns for her longtime friends Kate and Laura Mulleavy, owners of Rodarte, and the next she could be styling for the cover of W Magazine, where a larger-than-life Jennifer Coolidge stomps through a miniature city in a neon polka-dot coat.

Whenever Kurata takes on a project, Staunton says she “just doesn’t stop.” Sometimes, he’ll wake up at 3 in the morning and she’s emailing people in Europe, attempting to hunt down a rare vintage piece. Her passion is the kind that simultaneously consumes and fuels her.

“There’s a lot of times [with her work] where I’m like, ‘That’s just straight out of Shirley’s closet.’ It’s not like she has to compromise. It’s something she would wear herself. She doesn’t have to follow trends,” explains Staunton. “People seek her out, because she has such a unique vision.”

“I always tell people, L.A. is like going to a flea market. There’s some digging to do, but you’ll definitely find some gems.”

Kurata thinks of herself as “someone who gets bored easily.” It’s a quality that’s reflected in her eclectic style, busy travel schedule, Virgil Normal’s constantly changing selection and even the common feeling she gets when she’s sick of all of her clothes. It’s a good thing being bored and being in Los Angeles don’t go hand in hand.

I ask Kurata a somewhat daunting question for a born-and-bred Angeleno.

“Do you think you could ever see yourself calling another place home?”

She lets out a deep sigh and tells me it’s not something she’s closed off to. Though, she takes a moment to reflect on how everyone came together to provide support during the Palisades and Eaton fires earlier this year. Or how good it feels when they have events at Virgil Normal, to be surrounded by a diverse group of creative minds “who don’t judge.” She even thinks about how she currently lives in a Franklin Hills house, a neighborhood she never thought she would be able to afford.

Time and time again, Kurata and this sprawling city-state have looked out for each other. From the way she speaks of different areas with such an intrinsic care, to showcasing her unique creative eye in Tinseltown, L.A. has made her into a permanent seeker. Whether she chooses to stay in Franklin Hills for the rest of her life or packs up everything tomorrow, she’ll always keep an eye out for hidden gems — just like at the flea market.

Welcome to Screen Gab, the newsletter for everyone who spent the week Googling Ed Gein.

“Monster,” the gruesome and graphic anthology series from longtime collaborators Ryan Murphy and Ian Brennan, has dramatized the chilling story of serial killer Jeffrey Dahmer and the highly publicized and complex case of Lyle and Erik Menendez, brothers who were convicted for the 1989 murder of their parents. The third installment of the Netflix series, which was released last week, puts its twist on the legend of Gein, a killer who inspired fictional villains like Norman Bates and Leatherface. Brennan, who wrote the season, stopped by Guest Spot to discuss the fantastical approach to the season and that “Mindhunter” hat tip.

Also in this week’s Screen Gab, our streaming recommendations include a “Frontline” documentary that continues its chronicle on the lingering impact of poverty and a spinoff of “The Boys” set at America’s only college for superheroes.

ICYMI

Must-read stories you might have missed

Illustration of John Candy with his hands on his cheeks.

(Brian Lutz / For The Times)

‘You never stop thinking about John Candy’: How a pair of projects keep his legacy alive: The beloved actor, who would have turned 75 this month, is the focus of an eponymous biography and “John Candy: I Like Me,” a documentary directed by Colin Hanks.

With the help of advisors, ‘Boots’ co-stars challenged themselves to portray military life authentically: Actors Miles Heizer and Max Parker trained like Marines and utilized the experiences of the show’s military advisors to ground their characters.

She’s used to finding laughs in catastrophe. But Rose Byrne is only now going to the edge: After stealing focus in everything from “Bridesmaids” to “Insidious,” Rose Byrne unravels beautifully in “If I Had Legs I’d Kick You.”

Victoria Beckham sheds Posh persona, gets candid about eating disorder in Netflix doc: The three-part docuseries chronicles the Spice Girls alum’s pivot from pop stardom to high fashion.

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Recommendations from the film and TV experts at The Times

A still from “Frontline: Born Poor,” which filmed over 14 years with kids from three families, from adolescents to adults, to explore how poverty has affected them.

(Frontline PBS)

“Frontline: Born Poor” (PBS.org)

Television is glutted with “reality,” but there are still filmmakers who prefer to look at how people live when they’re not contestants in a dating game or bunked up with competitive strangers. Jezza Neumann’s “Born Poor” is the third installment in a moving documentary series that began 14 years ago with “Poor Kids,” and, like Michael Apted’s “7 Up” films, has visited its subjects in intervals over the years since. Set in the Quad Cities area, where Illinois meets Iowa along the Mississippi River, it follows Brittany, Johnny and Kayli from bright-eyed childhood into chastened, though still optimistic adulthood, as they deal with life on the margins — power lost, houses lost, school impossible, food unpredictable. Now, with kids of their own, all are concerned to provide them a better life than the ones they had. With Washington waging a war on the poor to protect the rich, it’s a valuable watch. — Robert Lloyd

Derek Luh (Jordan Li), from left, Jaz Sinclair (Marie Moreau), Keeya King (Annabeth Moreau), Lizze Broadway (Emma Meyer) in “Gen V.”

(Jasper Savage / Prime)

“Gen V” (Prime Video)

Just two weeks out from its Season 2 finale and the satirical superhero series continues to deliver merciless dark humor and sharp topical commentary on America’s great crumble — inside of a tale about misfits enduring the rigors of college life.

Spun off from the brilliant “The Boys” franchise, this series from Eric Kripke, Craig Rosenberg and Evan Goldberg follows a group of students at Godolkin University, an institution designed to identify and train the next generation of superheroes. But the co-eds soon discover that their supposed higher education is in fact a clandestine operation to create “Supe” soldiers for an impending war between the super-powered and non-powered humans. Returning to the fold is Marie Moreau (Jaz Sinclair), who emerges as the rebel group’s most powerful weapon against the school’s nefarious plot. Working alongside her are Emma (Lizze Broadway), Cate (Maddie Phillips), Jordan (London Thor and Derek Luh) and Sam (Asa Germann). The wonderfully unnerving Hamish Linklater (“Midnight Mass”) joins the cast as the school’s new dean.

Is “Gen V” just as gory as “The Boys”? Absolutely. Watch with caution. But nothing else is quite as fearless in calling out the contradictions and absurdities of our times, be it corrupt politics, corporate domination or false religiosity. — Lorraine Ali

Guest spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

Charlie Hunnam as Ed Gein in an episode of “Monster: The Ed Gein Story.”

(Netflix)

“Monster: The Ed Gein Story” stars Charlie Hunnam as the so-called “Butcher of Plainfield,” whose gruesome crimes in 1950s small-town Wisconsin went on to inspire pop culture classics like “Psycho” and “The Texas Chain Saw Massacre.” The season leans into Gein’s diagnosed schizophrenia and his legacy in Hollywood to present a deeply fictionalized version of his horrifying activities. All eight episodes of the season are now streaming. Ian Brennan, who co-created the anthology series with Ryan Murphy and helmed the latest installment, stopped by Guest Spot to discuss the season’s approach to fact vs. fiction, that “Mindhunter” nod and the documentary that earns his rewatch time. — Yvonne Villarreal

We often hear from actors about the roles that stay with them long after they’re done filming. Are there elements of “Monster: The Ed Gein Story” that you still can’t shake?

Ed Gein was schizophrenic, and I find the internal life he would have suffered through for decades — alone and hearing voices, primarily that of his dead mother — completely harrowing. He wasn’t medicated until late in his life, and until he was, his mind was a hall of mirrors of images he saw and couldn’t unsee — most shockingly photos of Nazi atrocities during the Holocaust. I believe the only way he could cope was to try to normalize these things — digging up bodies, skinning them, making things from them — and the nagging voice of his mother ultimately drove him to murder at least two women, Mary Hogan and Bernice Worden, maybe more. Ed Gein wasn’t the local boogeyman — his neighbors didn’t find him scary — he was the guy you’d have watch your kids if the babysitter canceled last-minute. And yet, in those four inches between his ears there existed a bizarre, terrifying hellscape of profound loneliness and total confusion. Every day in this country we see what happens when the lethal combination of male loneliness and mental illness goes ignored. The thought of an Ed Gein living just down the street from me is chilling.

“Based on a true story” depictions typically have a loose relationship with the truth due to storytelling needs. This season of “Monster” bakes that idea into the narrative — whether because of Ed’s understanding of events or the way in which he, or his crimes, inspired deeply fictionalized villains like Norman Bates (“Psycho”), Leatherface (“The Texas Chain Saw Massacre”) and Buffalo Bill (“The Silence of the Lambs”) — in trying to unpack the “Who is the monster?” question. What questions were swirling in your head as you tried to weave this story together? And how did that inform where and how you took your liberties?

Ed’s story is, in many ways, fragmented — he didn’t remember many details of the acts he committed, and he passed polygraph tests when interrogated about cold cases police suspected he may have perpetrated. So we knew from the very beginning that there would be gaps to fill in when telling his story — and it seemed the obvious way to do it was to let the true story interplay with the fictionalized versions of Ed Gein that he inspired. There’s a subtle thematic bleed between the versions of Ed we see in the series and the monsters in the movies he inspired — in the first three episodes, we see a “Psycho”-inflected Ed Gein obsessed with his mother; next a much more sexualized, violent Ed Gein that would become “Leatherface”; then an Ed Gein who so fetishized the female body and who was made so ill by the repression of that urge that he became obsessed with building a suit made from women’s bodies. These versions of Ed, to me, are like the blind men feeling different parts of the elephant in the parable — each true in their own way, but each also just a fragment of a shattered whole that will probably never be fully understood.

The season finale features a “Mindhunter” nod. Happy Anderson, who played serial killer Jerry Brudos on that show, reprises his role as the Shoe Fetish Slayer, talking to characters meant to be Holden Ford and Bill Tench, though they’re named John Douglas and Robert Ressler, the real FBI agents who inspired the fictional ones. When and why did you realize you wanted to have that hat tip? Was there an attempt to try to get Jonathan Groff or Holt McCallany?

Having written three seasons of this anthology so far, we’ve realized each time that the emotional climax always comes in the penultimate episode and the finales are always particularly difficult to figure out. We knew we needed to top the episodes that had preceded it by shifting the show’s look and tone — and we had in our hands the nugget that John Douglas and Robert Ressler had, indeed, interviewed Ed Gein in person. Ryan and I both find David Fincher’s oeuvre almost uniquely inspiring, so once we pictured an episode that played as an homage to Fincher’s tone and style and narrative approach, it was something I, at least, just couldn’t unsee. If we were going to go down the rabbit hole of what this chapter of Ed’s story might have looked like, I could only really picture it in Fincher’s terms — so your guess is as good as mine as to why casting the “Mindhunter” pair of Jonathan Groff and Holt McCallany in the roles didn’t feel right (we both love both of those actors), but it just didn’t.

There are so many dark moments for the actors. What scene struck you as especially difficult to write and shoot?

I was at once excited and terrified by the challenge of depicting necrophilia on our show. I’m fairly certain it’s never been done before on TV, and I knew it ran the risk of seeming arbitrarily shocking or exploitative (though I think choosing to tell Ed’s story in an easier manner by avoiding this chapter and not showing it would be the actually exploitative choice). Needless to say, even after I’d written the scene, it preoccupied me, as I had to also direct it. I felt greatly helped by the new industry standard of intimacy coordinators on set — and ours, Katie Groves, was spectacular — but still I worried about the scene just playing as cringey or unwatchable. But Charlie Hunnam, as with every scene he acted in on the show, came at the sequence with honesty and deep concern to capture all of the strangeness of the bizarre, disturbing act we were depicting — and what it said about what was going on inside Ed to lead him to commit such an act.

What have you watched recently that you are recommending to everyone you know?

I just saw PT Anderson’s “One Battle After Another” — which was shot by one of our two directors of photography, Michael Bauman — and was just completely floored and delighted. I’m sure it’s rife with homage to films that have gone before, but I could detect no inheritance at all; it felt like a genre to itself — completely original and new. And I still find the time I watched Jonathan Glazer’s “Zone of Interest” to be among the most profound experiences of my life. He took what is maybe cinema’s most settled, well-trodden genres and turned it on its head in a way I found shocking and revelatory. If there is a better portrait of the proximity and ubiquity and the banality of human evil, I haven’t seen it. I think it is as brilliant a slice of human ingenuity as has ever been crafted. I have thought about that movie every day since I first saw it.

What’s your go-to “comfort watch,” the movie or TV show you go back to again and again?

It’s annoying to say it, but I don’t watch a lot of television. It’s like spending all day at the sausage factory then coming home to watch sausage footage. But the big exception is Peter Jackson’s Beatles documentary “Get Back” [Disney+] chronicling the making of the film and album “Let it Be.” I basically just watch it over and over again. I came late to the Beatles (I loved the Who and resented that they always sat squarely in the Beatles’ shadow), but when they hit me, they hit me hard, and watching them in this documentary at the height of their powers is a master class in the craft of collaboration and the hard work of genius. Also, everything I thought I knew about the Beatles at the end of their stretch as a band is wrong — fighting all the time? A bit but not really. Paul hated Yoko? He actually seems to really like her. I don’t know how many hours the documentary clocks in at, but I wish it were 10 times as long.

The small seaside development in Carmarthenshire is known as ‘Sunset Village’ and offers stunning and tranquil views that residents say are like a year-round holiday

In a charming seaside town, there’s a row of houses that leave locals gasping ‘wow’ every morning.

Living here feels like a permanent holiday, regardless of the British weather. Who needs a coastal getaway when you can see the sea as soon as you open your curtains? Welcome to Pentre Nicklaus Village on the fringes of Llanelli in south-west Wales.

Although it’s just a stone’s throw from the town centre, the peaceful views and tranquillity make it feel miles away. Two decades have passed since the first of approximately 170 homes were built here, offering vistas found in few other parts of the UK.

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The properties in this development were designed in a ‘New England style’, giving you the feeling of being in a Welsh mini-version of The Hamptons – an area in Long Island, New York, known for its grand homes with spacious terraces and balconies overlooking breathtaking sea views, reports the Express.

In fact, it bears a striking resemblance to Seahaven, the fictional small, privately-owned beachside town from the Truman Show, made famous by Jim Carrey in the 1998 hit comedy drama. From your balcony, on a clear day, you can enjoy stunning views of Gower on one side and Tenby on the other.

“I’m always in awe – in the summer in particular it’s just breathtaking,” said Janice Gallacher, a local resident who enjoys a stunning view of the Millennium Coastal Path, a picturesque trail along the Loughor Estuary that leads into the bounteous Carmarthen Bay.

“But whatever the season, it’s beautiful. Every day is different, every day you get to see the sunset. Even when the tide is rough it’s brilliant to watch.”

In 2004, Janice relocated to Pentre Nicklaus alongside her husband Stuart, a Llanelli icon celebrated for his rugby accomplishments in both union and league, before assuming senior positions as chief executive of Llanelli RFC and the Scarlets.

Stuart died in 2014, but Janice has remained deeply devoted to the area they selected together. Now a great-grandmother, the location continues to provide plenty for her to enjoy.

Showcasing her spacious open-plan upper-floor home, Janice enthuses about the local wildlife and the sweeping coastal views on her doorstep.

She also highlights the proximity to Llanelli’s town centre, saying: “I can walk to the nursery in 10 minutes, we’ve got the golf club around the corner – it’s a wonderful place to live. I can see the coast for miles around. We knew when we bought the place almost 20 years ago that it was a home for life.”

Carwyn and Susan Richards, who reside next door to Janice, are equally fortunate with their seaside outlook and recall how the view of the property convinced them to relocate immediately. The pair hail from Llanelli and returned here in 2014 following a period in neighbouring Gower.

“We had to travel into and through Swansea to get anywhere, but here we’re close to shops, we’re close to family and we’re close to the M4, it’s perfect. Summer time is the best time to live here but it’s beautiful all year round,” they gushed.

A photograph captured by Carwyn, which adorns their wall, perfectly captures the stunning panorama from their home. “We’ve moved around a lot over the years with my job,” Carwyn recalled.

“We had a lovely place to live in Gower, right by the beach. When we decided to come back to this area, we looked at several places. But as soon as we stepped through the door here, it was June and straight away we saw that view. That was it. We knew within 30 seconds that this was where we wanted to be.

“We’re not moving again!” Susan declared emphatically. “This is home.” Further along Pentre Nicklaus, Garry is busy with his refurbishment.

Unlike most properties of comparable design that boast a wall separating the kitchen and lounge on the second floor, Garry has opted to knock it down, forming a vast open-plan area that makes the most of the spectacular seaside vistas through the enormous glass windows.

Garry and his family were attracted to their property in Pentre Nicklaus six years ago, chiefly for its breathtaking outlook: “We wanted this place because of the view. We originally came here because it’s near the sea and the coastal path and I love cycling – all that is literally right in front of us, so it was a lifestyle choice.”

Situated in Llanelli, a town with a proud rugby tradition, Garry’s home boasts a remarkable sporting connection, having previously belonged to Gareth Jenkins, the former player and head coach of the Wales national team – a detail Garry enthusiastically mentions from his balcony.

“We wanted this place because of the view. We originally came here because it’s near the sea and the coastal path and I love cycling – all that is literally right in front of us, so it was a lifestyle choice.”

“Some people might look at the land down there (between his home and the estuary) and think it’s just wasteland but we don’t see it like that. We have wild foxes here, we have birds of prey – for us it’s a nature reserve on our doorstep.

“The best part about the view is that it changes every hour. It’s expensive to buy a property here but it’s free for everyone to enjoy the path and the surroundings. We used to commute a lot, which is bad for the environment and it’s bad for our health. Thankfully I’m able to work from home. People might think you take it for granted after a while but you don’t. It’s just stunning.”

Living in Pentre Nicklaus delivers the perfect balance. Whilst the town centre’s energy and activity lies just a brief stroll away, your property serves as a peaceful sanctuary.

Peering through your generous lounge window during the evening hours, you’re surrounded by wildlife and the ocean, creating the sensation of being countless miles from civilisation.

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A year after tech firm OpenAI roiled Hollywood with the release of its Sora AI video tool, Chief Executive Sam Altman was back — with a potentially groundbreaking update.

Unlike the generic images Sora could initially create, the new program allows users to upload videos of real people and put them into AI-generated environments, complete with sound effects and dialogue.

In one video, a synthetic Michael Jackson takes a selfie video with an image of “Breaking Bad” star Bryan Cranston. In another, a likeness of SpongeBob SquarePants speaks out from behind the White House’s Oval Office desk.

“Excited to launch Sora 2!” Altman wrote on social media platform X on Sept. 30. “Video models have come a long way; this is a tremendous research achievement.”

But the enthusiasm wasn’t shared in Hollywood, where the new AI tools have created a swift backlash. At the core of the dispute is who controls the copyrighted images and likenesses of actors and licensed characters — and how much they should be compensated for their use in AI models.

The Motion Picture Assn. trade group didn’t mince words.

“OpenAI needs to take immediate and decisive action to address this issue,” Chairman Charles Rivkin said in a statement Monday. “Well-established copyright law safeguards the rights of creators and applies here.”

By the end of the week, multiple agencies and unions, including SAG-AFTRA, chimed in with similar statements, marking a rare moment of consensus in Hollywood and putting OpenAI on the defensive.

“We’re engaging directly with studios and rightsholders, listening to feedback, and learning from how people are using Sora 2,” Varun Shetty, OpenAI’s vice president of media partnerships, said in a statement. “Many are creating original videos and excited about interacting with their favorite characters, which we see as an opportunity for rightsholders to connect with fans and share in that creativity.”

For now, the skirmish between well-capitalized OpenAI and the major Hollywood studios and agencies appears to be only just the beginning of a bruising legal fight that could shape the future of AI use in the entertainment business.

“The question is less about if the studios will try to assert themselves, but when and how,” said Anthony Glukhov, senior associate at law firm Ramo, of the clash between Silicon Valley and Hollywood over AI. “They can posture all they want; but at the end of the day, there’s going to be two titans battling it out.”

Before it became the focus of ire in the creative community, OpenAI quietly tried to make inroads into the film and TV business.

The company’s executives went on a charm offensive last year. They reached out to key players in the entertainment industry — including Walt Disney Co. — about potential areas for collaboration and trying to assuage concerns about its technology.

This year, the San Francisco-based AI startup took a more assertive approach.

Before unveiling Sora 2 to the general public, OpenAI executives had conversations with some studios and talent agencies, putting them on notice that they need to explicitly declare which pieces of intellectual property — including licensed characters — were being opted-out of having their likeness depicted on the AI platform, according to two sources familiar with the matter who were not authorized to comment. Actors would be included in Sora 2 unless they opted out, the people said.

OpenAI disputes the claim and says that it was always the company’s intent to give actors and other public figures control over how their likeness is used.

The response was immediate.

Beverly Hills talent agency WME, which represents stars such as Michael B. Jordan and Oprah Winfrey, told OpenAI its actions were unacceptable, and that all of its clients would be opting out.

Creative Artists Agency and United Talent Agency also argued that their clients had the right to control and be compensated for their likenesses.

Studios, including Warner Bros., echoed the point.

“Decades of enforceable copyright law establishes that content owners do not need to ‘opt out’ to prevent infringing uses of their protected IP,” Warner Bros. Discovery said in a statement. “As technology progresses and platforms advance, the traditional principles of copyright protection do not change.”

Unions, including SAG-AFTRA — whose members were already alarmed over the recent appearance of a fake, AI-generated composite named Tilly Norwood — also expressed alarm.

“OpenAI’s decision to honor copyright only through an ‘opt-out’ model threatens the economic foundation of our entire industry and underscores the stakes in the litigation currently working through the courts,” newly elected President Sean Astin and National Executive Director Duncan Crabtree-Ireland said in a statement.

The dispute underscores a clash of two very different cultures. On one side is the brash, Silicon Valley “move fast and break things” ethos, where asking for forgiveness is seen as preferable to asking for permission. On the other is Hollywood’s eternal wariness over the effect of new technology, and its desire to retain control over increasingly valuable intellectual property rights.

“The difficulty, as we’ve seen, is balancing the capabilities with the prior rights owned by other people,” said Rob Rosenberg, a partner with law firm Moses and Singer LLP and a former Showtime Networks general counsel. “That’s what was driving the entire entertainment industry bonkers.”

Amid the outcry, Sam Altman posted on his blog days after the Sora 2 launch that the company would be giving more granular controls to rights holders and is working on a way to compensate them for video generation.

OpenAI said it has guardrails to block the generation of well-known characters and a team of reviewers who are taking down material that doesn’t follow its updated policy. Rights holders can also request removal of content.

The strong pushback from the creative community could be a strategy to force OpenAI into entering licensing agreements for the content they need, legal experts said.

Existing law is clear — a copyright holder has full control over their copyrighted material, said Ray Seilie, entertainment litigator at law firm Kinsella Holley Iser Kump Steinsapir.

“It’s not your job to go around and tell other people to stop using it,” he said. “If they use it, they use it at their own risk.”

Disney, Universal and Warner Bros. Discovery have previously sued AI firms MiniMax and Midjourney, accusing them of copyright infringement.

One challenge is figuring out a way that fairly compensates talent and rights holders. Several people who work within the entertainment industry ecosystem said they don’t believe a flat fee works.

“Bring monetization that is not a one size fits all,” said Dan Neely, chief executive of Chicago-based Vermillio, which works with Hollywood talent and studios and protects how their likenesses and characters are used in AI. “That’s what will move the needle for talent and studios.”

Visiting journalist Nilesh Christopher contributed to this report.