Hollywood

About 200 people gathered on Paramount’s Melrose Avenue lot for a screening of “Red Alert,” a four-part scripted drama portraying the deadly Oct. 7 Hamas attack on Israel from the perspective of six victims.

The host of the Sept. 30 event was Paramount Chairman and Chief Executive David Ellison, who shared how he had chatted with Academy Award-nominated producer Lawrence Bender a few weeks earlier at a memorial service for legendary Hollywood power broker Skip Brittenham. That’s where Ellison learned that Bender’s Israeli-backed series, “Red Alert,” needed a home in the U.S.

Ellison quickly volunteered. “It was a fast ‘yes,’ ” he told the group.

On Tuesday, “Red Alert” debuted on the company’s streaming service, Paramount+, marking the second anniversary of the Oct. 7 attack on Israel. The initial Hamas assault left about 1,200 Israelis dead and more than 250 kidnapped.

The high-profile project comes two months after Ellison assumed control of Paramount in an $8-billion buyout by his family, led by billionaire and Oracle founder Larry Ellison, and private equity firm RedBird Capital Partners.

Since the deal closed Aug. 7, David Ellison has moved to position the company slightly right of the political center, while also taking on polarizing issues. The scion has been unafraid to challenge those in Hollywood who’ve called for a boycott of Israel.

More than two years after the Oct. 7 attack, a deep divide remains in Hollywood over the subsequent Israel-Hamas war.

Last month, Paramount condemned an open letter in support of Palestinians, which has gained steam in Hollywood. More than 5,000 people have signed the Film Workers for Palestine letter, including such prominent filmmakers as Adam McKay, Ava DuVernay, Alex Gibney and Hannah Einbinder.

The effort called for a boycott of Israeli film festivals, institutions and projects to help spur an end to the war in Gaza. The campaign was designed in the vein of South African boycotts decades ago, which proved to be instrumental in ending apartheid, that country’s racial segregation.

No other major studio followed Paramount.

In its Sept. 12 statement, Paramount said it disagreed with the Film Workers call to avoid film screenings or to work with Israeli film institutions.

“At Paramount, we believe in the power of storytelling to connect and inspire people, promote mutual understanding, and preserve the moments, ideas, and events that shape the world we share,” the company said. “Silencing individual creative artists based on their nationality does not promote better understanding or advance the cause of peace.”

The Film Workers group accused Paramount of misrepresenting the intent of its pledge, saying it did not target individual filmmakers.

But critics counter that filmmakers who engage with Israeli cultural institutions would likely fall under the ban.

More than 1,200 industry players including actors Mayim Bialik and Liev Schreiber and Paramount board member Sherry Lansing signed an opposing open letter released by the nonprofit organization Creative Community For Peace that accuses the Film Workers for Palestine of advocating “arbitrary censorship and the erasure of art.”

The Palestinian supporters dismissed the characterization. “The Film Workers Pledge to End Complicity is an explicitly anti-racist and non-violent campaign that is grounded in international law and the moral clarity of a global majority opposed to genocide,” the group said in a statement this week. “It is the first major refusal of the international film industry at large that targets complicit Israeli film institutions and companies.”

“Red Alert” was co-produced by a prominent Israeli production company, Keshet Media Group, and received funding from the Jewish National Fund-USA and the Israel Entertainment Fund. The series premiered last weekend on Israel’s popular television channel Keshet 12. Keshet produced the Hebrew-language series “Prisoners of War” that Showtime later adapted into the award-winning American drama “Homeland.”

During the late September screening at Paramount, Ellison spoke of the need for such projects as “Red Alert” to remember the atrocities as well as stories of survival and heroism.

“We at Paramount, we are here to tell stories that last forever,” Ellison said. “We are not here to debate politics or platforms or to argue about east or west. And ‘Red Alert’ is the very embodiment of that mission, and I couldn’t be prouder to support this series.”

Critics note that Ellison’s father, Larry, the co-founder of Oracle, is a prominent supporter of Israel, contributing millions to the Friends of the Israel Defense Forces.

Others in Hollywood have found fault with Israel’s government and its conduct in the Gaza war, which has killed more than 67,000 Palestinians, according to Gaza’s Health Ministry, which does not distinguish between civilians or combatants.

The United Nations, rights groups, experts and many Western governments accuse Israel of committing genocide. Israel denies the charge.

During a May 2024 Simon Wiesenthal Center gala in his honor, WME Group Executive Chairman Ari Emanuel sharply denounced Israel Prime Minister Benjamin Netanyahu and called for his ouster. Emanuel’s remarks were met with cheers and jeers and some attendees walked out.

In his Oscar acceptance speech last year, Jonathan Glazer, director of the Holocaust drama “The Zone of Interest,” asked “Whether the victims of October 7th in Israel or the ongoing attack on Gaza, all the victims of this dehumanization — how do we resist?”

Weeks later, Steven Spielberg called out the rise of antisemitism as well as the ongoing war.

“We can rage against the heinous acts committed by the terrorists of October 7th and also decry the killing of innocent women and children in Gaza,” Spielberg said during an event celebrating the anniversary of the USC Shoah Foundation.

Paramount’s opposition to the Film Workers’ pledge and other recent moves, including buying the Free Press news site for $150 million and installing its founder, journalist Bari Weiss, as the editor in chief at CBS News, has rattled a small group of Paramount employees.

David Ellison recruited Weiss, who has been public about her support for Israel, for the prominent role.

The division was roiled by Paramount’s efforts to settle President Trump’s lawsuit over edits to a “60 Minutes” interview a year ago with then-Vice President Kamala Harris. Paramount this summer agreed to pay $16 million to end Trump’s suit, which 1st Amendment experts viewed as a spurious shakedown.

Weeks later, Trump appointees on the Federal Communications Commission approved the Ellison family’s takeover of Paramount.

The employee group, which calls itself Paramount Employees of Conscience, said they have sent two letters to Paramount leaders in the last month to voice their concerns but have not received a reply. In a statement, the group noted that while Paramount+ was distributing “Red Alert,” the company had not offered “equivalent programming about Palestinian experiences of the genocide in Gaza.”

“How can a company with this supposed creative mission actively ignore, suppress, and silence internal calls for years to champion stories that shed a light on the reality that marginalized and excluded communities, particularly Palestinians, face every day?” the group asked in a Sept. 17 letter addressed to Paramount’s leadership.

Paramount declined to comment.

The group includes about 30 employees, according to one member who asked not to be identified out of fear of retribution.

Paramount employees separately are bracing for a steep round of layoffs, which is expected next month. Ellison’s firm Skydance Media and RedBird promised Wall Street that they would find more than $2 billion in cost cuts at Paramount.

“We know the Ellisons are formidable, powerful and have a lot of resources,” said the Paramount employee. “But we are here to interrupt a culture of silence…. Silence within the industry becomes complicity.”

FORMER Home and Away actress Isabel Lucas, 40, is expecting her first child and has revealed her partner for the first time.

The actress announced her happy news with a series of beachside photos where she showed off her growing baby bump and shared a smooch with her partner.

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Isabel posed in a flowing white linen dress which she wore completely unbuttoned and showed her lacy black underwear, as she cradled her belly.

Other photos in the post shared to Instagram showed the Aussie actress sitting beach side in a white top and skirt, and where her baby bump was proudly on full display.

Also in the photos was her partner, Cyrus Sutton, a US filmmaker, surfer and the owner of a luxury spa home in Washington State.

Isabel captioned the post: “Sometimes words flow and sometimes the mystery is too vast and all that remains, is to feel. A new forever exists here. Among petals of silent wonder and pure love.

“Together we hold this miracle with tender heartful hands.”

Her fans and famous friends rushed to congratulate the star in the comments.

“Another perfectly healthy and beautiful 40 year old woman having a baby. don’t let anyone tell you there is a deadline by 30,” wrote one fan.

Fellow Aussie actress Teresa Palmer wrote: “Can’t wait to see you as a mother and for these little babies to be together. We love you guys xxx”

And Slumdog Millionaire actress, Freida Pinto added: “Oh Izzy!! This made my heart so happy. Sending you and your sweet baby so much mad love.”

Isabel rose to fame playing Tasha Andrews on the Aussie soap, Home and Away.

It was on the set of that soap where she met future Hollywood A-lister, Chris Hemsworth, and they dated for around three years.

Isabel later dated Entourage star Adrian Grenier and Australian folk singer, Angus Stone for two years.

The actress’ other TV roles include in the MacGyver reboot and Steven Spielberg’s war miniseries, The Pacific.

Her film credits include Transformers: Revenge of the Fallen and 2022’s Bosch & Rockit opposite her ex, Chris’ brother, Luke Hemsworth.

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FRIDAY’S RESULTS

CITY SECTION

Central League

Bernstein 54, Hollywood 0

Contreras 46, Belmont 6

Roybal 35, Mendez 0

Coliseum League

Crenshaw 12, Dorsey 8

Washington 38, Fremont 8

East Valley League

Grant 48, Fulton 13

North Hollywood 24, Arleta 20

Chavez 28, Sun Valley Poly 16

Verdugo Hills 55, Monroe 20

Eastern League

Garfield 34, Bell 19

Huntington Park 28, South East 7

L.A. Roosevelt 16, Legacy 13

East Valley League

Chavez 28, Sun Valley Poly 16

Exposition League

Jefferson 56, Angelou 0

Marquez 50, Santee 0

Marine League

Gardena 29, Wilmington Banning 6

San Pedro 48, Narbonne 6

Metro League

Hawkins 20, Rancho Dominguez 6

Northern League

Eagle Rock 41, L.A. Marshall 7

Franklin 21, L.A. Wilson 2

Southern League

Los Angeles 44, West Adams 0

Maywood CES 62, Rivera 0

Valley Mission League

Canoga Park 37, Reseda 0

Granada Hills Kennedy 42, Panorama 7

Van Nuys 49, Sylmar 46

Western League

LA Hamilton 26, Fairfax 6

Palisades 35, Westchester 19

Venice 27, LA University 7

West Valley League

Birmingham 42, El Camino Real 7

Cleveland 36, Chatsworth 19

Granada Hills 46, Taft 30

SOUTHERN SECTION

Almont League

Montebello 52, Keppel 12

Angelus League

Cathedral 56, St. Paul 25

Paraclete 49, Alemany 6

St. Pius X-St. Matthias 42, St. Francis 15

Baseline League

Chino Hills 27, Upland 21

Etiwanda 40, Ayala 0

Rancho Cucamonga 24, Damien 22

Bay League

Leuzinger 43, Inglewood 32

Mira Costa 14, Lawndale 0 (postponed in first quarter)

Palos Verdes 48, Culver City 7

Big West Lower League

Murrieta Mesa 35, Temecula Valley 21

Riverside King 44, Corona Santiago 28

Big West Upper League

Chaparral 28, Vista Murrieta 20

Murrieta Valley 55, Norco 45

Bravo League

Corona Del Mar 33, San Juan Hills 10

Tesoro 17, Newport Harbor 14

Yorba Linda 28, Villa Park 7

Camino Real League

Mary Star of the Sea 21, St. Genevieve 12

St. Bernard 48, Bosco Tech 8

Channel League

Ventura 62, Buena 13

Moorpark 52, Oak Park 27

Royal 20, Oxnard 0

Citrus Belt League

Beaumont 56, Redlands 0

Redlands East Valley 14, Citrus Valley 3

Citrus Coast League

Grace 53, Del Sol 6

Nordhoff 55, Channel Islands 14

Conejo Coast League

Newbury Park 31, Santa Barbara 21

Thousand Oaks 49, Calabasas 34

Westlake 49, Rio Mesa 20

Cottonwood League

Silver Valley 22, Temecula Prep 0

Del Rey League

Crespi 42, St. Anthony 6

La Salle 47, Harvard-Westlake 37

Salesian 64, Cantwell-Sacred Heart 7

Del Rio League

La Serna 30, El Rancho 13

Santa Fe 34, Whittier 12

Delta League

Capistrano Valley 41, Western 14

El Modena 21, Trabuco Hills 7

Desert Empire League

Palm Springs 32, La Quinta 13

Shadow Hills 18, Rancho Mirage 14

Xavier Prep 19, Palm Desert 14

Desert Sky League

Barstow 21, Victor Valley 7

Granite Hills 25, Adelanto 20

Epsilon League

Huntington Beach 65, Laguna Hills 10

Foothill League

Hart 63, West Ranch 21

Saugus 41, Canyon Country Canyon 13

Foxtrot League

Dana Hills 35, Aliso Niguel 14

Laguna Beach 42, Northwood 0

Gateway League

Dominguez 21, Paramount 14

Downey 33, Mayfair 14

Warren 27, La Mirada 13

Golden League

Highland 28, Littlerock 6

Lancaster 34, Quartz Hill 20

Palmdale 28, Knight 9

Hacienda League

Chino 49, Covina 27

Diamond Bar 30, Walnut 7

Inland Valley League

Moreno Valley 42, Citrus Hill 7

Perris 13, Lakeside 9

Iota League

El Toro 27, Anaheim Canyon 17

Irvine 43, Santa Ana 7

Troy 42, Sonora 9

Ironwood League

Aquinas 75, Ontario Christian 27

Cerritos Valley Christian 35, Capistrano Valley Christian 26

Village Christian 17, Heritage Christian 13

Ivy League

Orange Vista 49, Paloma Valley 20

Rancho Verde 21, Riverside North 14

Kappa League

Brea Olinda 21, Westminster 0

Esperanza 58, Garden Grove 33

Segerstrom 27, St. Margaret’s 14

Lambda League

Beckman 34, Fullerton 14

La Palma Kennedy 14, Placentia Valencia 7

Manzanita League

Bermuda Dunes Desert Christian 47, Nuview Bridge 0
Marmonte League

Oxnard Pacifica 17, Oaks Christian 13

St. Bonaventure 41, Simi Valley 16

Mesquite League

Maranatha 20, Linfield Christian 14

Whittier Christian 7, Arrowhead Christian 6

Mid-Cities League

Compton Early College 63, Firebaugh 49

Gahr 48, Bellflower 13

Norwalk 25, Lynwood 6

Miramonte League

Bassett 37, Workman 14

Ganesha 47, La Puente 20

Garey 41, Duarte 0

Mission League

Chaminade 35, Bishop Amat 0

Sherman Oaks Notre Dame 35, Loyola 10

Sierra Canyon 30, Gardena Serra 0

Mission Valley League

El Monte 28, Rosemead 7

Gabrielino 30, South El Monte 28

Mojave River League

Oak Hills 28, Serrano 14

\Ridgecrest Burroughs 17, Sultana 7

Montview League

Hacienda Heights Wilson 42, Pomona 13

Nogales 53, Azusa 3

Ontario 49, Sierra Vista 31

Moore League

Long Beach Wilson 23, Compton 21

Millikan 49, Long Beach Jordan 10

Mountain Pass League

Elsinore 34, Temescal Canyon 18

San Jacinto 53, Tahquitz 7

Mountain Valley League

Indian Springs 30, San Bernardino 15

Mountain View 41, Pasadena Marshall 13

Ocean League

Compton Centennial 28, Beverly Hills 0

El Segundo 38, Hawthorne 0

Omicron League

Buena Park 30, Katella 3

Garden Grove Pacifica 42, Irvine University 6

Portola 17, Woodbridge 7

Pacific League

Burbank 55, Arcadia 23

Burbank Burroughs 34, Glendale 12

Muir 49, Crescenta Valley 0

Pasadena 66, Hoover 8

Pioneer League

Peninsula 35, South Torrance 34

Santa Monica 21, North Torrance 13

Torrance 34, Redondo Union 24

Rio Hondo League

La Canada 44, Temple City 3

South Pasadena 23, Monrovia 21

River Valley League

La Sierra 35, Rubidoux 24

Norte Vista 67, Jurupa Valley 0

Patriot 31, Ramona 27

Sierra League

Bonita 21, Colony 7

Charter Oak 40, Glendora 7

Claremont 28, Los Osos 24

Sigma League

Estancia 25, Rancho Alamitos 17

Santa Ana Calvary Chapel 42, Santa Ana Valley 14

Skyline League

Bloomington 16, Arroyo Valley 14

Rialto 19, Fontana 16

Sunbelt League

Hillcrest 41, Arlington 17

Riverside Poly 50, Hemet 0

Tango League

Anaheim 54, Loara 21

Bolsa Grande 14, Westminster La Quinta 7

Tri County League

Agoura 35, Santa Paula 10

Dos Pueblos 27, Hueneme 8

Fillmore 21, San Marcos 0

Trinity League

Mater Dei 25, Orange Lutheran 10

Santa Margarita 17, Servite 7

St. John Bosco 70, JSerra 21

Valle Vista League

Alta Loma 20, West Covina 6

San Dimas 35, Diamond Ranch 0

Zeta League

Saddleback 52, Godinez 14

Nonleague

Arroyo 27, Glenn 0

Brentwood 35, Don Lugo 0

Cathedral City 28, Indio 0

Mission Viejo 56, Long Beach Poly 7

Rim of the World 28, Chaffey 24

Rowland 57, Artesia 7

Yucca Valley 62, Banning 42

INTERSECTIONAL

Manual Arts 64, Verbum Dei 0

Rio Hondo Prep 49, Dallas First Baptist 28

8-MAN

CITY SECTION

City League

Animo Robinson 58, New Designs Watts 22

New Designs University Park 48, Stella 14

Valley League

Sherman Oaks CES 32, TEACH Tech 20

SOUTHERN SECTION

Nonleague

Cornerstone Christian 76, Public Safety Academy 20

Hesperia Christian 50, PAL Academy 18

Hillcrest Christian 60, Malibu 16

INTERSECTIONAL

California School for the Deaf Riverside 44, Colorado City (Ariz.) El Capitan 12

Vista St. Joseph Academy 50, California Lutheran 6

DAME PATRICIA ROUTLEDGE created a monster, and we loved her for it.

The actress, who has died aged 96, turned Hyacinth Bucket – pronounced “Bouquet” – into one of the most memorable TV characters of all time.

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Decades on from Nineties sitcom Keeping Up Appearances the pearl-wearing snob, with her candlelight suppers and white slimline telephone, is still as embedded in the national psyche as a character from Charles Dickens.

In Patricia’s own words: “She was grotesque.”

But the actress, like viewers, could not help but admire her: “She was always getting it wrong and slipping on the banana skin, and then coming back and flying the flag.”

By the time the sitcom first hit screens, Patricia had been acting for nearly 40 years, in roles from Coronation Street to Broadway musicals, with co-stars from Sidney Poitier to Jerry Lewis.

She was also a favourite of writer Alan Bennett, who wrote his first great TV monologue especially for her in 1982.

Its success led to the landmark series Talking Heads, in which she also starred.

Alan said in 1998: “She has an enormous amount of zest and brio and she puts a lot of air into the language, so it lifts dialogue which might otherwise seem quite banal.”

After leaving Keeping Up Appearances, Patricia had a second smash-hit with Hetty Wainthropp Investigates, and in 1996 was voted the nation’s favourite actress of all time.

But Patricia managed to keep her private life out of the spotlight.

She never married or had children, and for years refused to discuss her relationships except to say: “I do know what it is to have loved and suffered.”

Eventually, she revealed she had had three great love affairs, including one with a married man, which tormented her as a devout Christian.

She also admitted: “I didn’t make a decision not to be married and not to be a mother -– life just turned out like that because my involvement with acting was so total.

“Now I think it’s a pity I didn’t have children. But I’m not sure you can have a career and a family and do both satisfactorily. I always knew, deep down, that everything has a cost.”

But whenever she was asked how to become a success, she had the same answer: “I say, I can give you a tip. It’s called risk. And if you’re prepared to risk everything, then you can do anything.”

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Katherine Patricia Routledge was born on February 17, 1929, in Birkenhead, Wirral, and grew up in a house behind father Isaac’s “high-class gentlemen’s outfitters” shop.

The family was theatre-mad and Patricia acted in school plays but never saw it as her future: “I always intended to be a go-ahead headmistress in a red sports car who had romances all over Europe in the holidays.”

With that in mind, she studied English at the University of Liverpool but spent so much time in the student drama club that older brother Graham urged her to audition for the Liverpool Playhouse.

She said: “He was the one who said, ‘That’s what you ought to do.’”
In 1952, aged 23, she made her professional debut with the company as Hippolyta in Shakespeare’s A Midsummer Night’s Dream.

Just two years later she was in the West End, showing off her roof-raising contralto singing voice in musical comedy The Duenna.

By early 1961 she was so well known on stage stage that the makers of Coronation Street, which had begun a couple of months earlier, pounced: “They created a character for me – Sylvia Snape. She had a little cafe.”

Their idea was for the no-nonsense proprietor to become one of the cobbles’ stalwarts, but after just three episodes Patricia quit.

She recalled: “I just knew inside that I needed to have other adventures.”

That included belting out satirical songs on That Was The Week It Was, as well as her big-screen debut in 1967’s To Sir with Love.

She played a teacher who offers support to Sidney Poitier’s character, and years later recalled the actor’s generosity: “I just had one scene alone with him, and he gave it to me.”

Patricia had less happy memories of working with Jerry Lewis in 1968’s Don’t Raise the Bridge, Lower the River: “An absolute nightmare. And I’m afraid I didn’t find him funny at all.”

BROADWAY DEBUT

That year Patricia also took Broadway by storm, with the New York Times critic describing her performance in Darling of the Day as “the most spectacular, most scrumptious, most embraceable musical comedy debut since Beatrice Lillie and Gertrude Lawrence came to the country.”

It landed her a Tony Award, presented by Groucho Marx.

Back at home, Alan Bennett had been a long-time fan and so when he wrote his first ground-breaking TV monologue, he wrote it for her.

Initially, Patricia turned him down: the piece was 47 minutes of just one character speaking directly to the camera.

Patricia recalled: “I said it wouldn’t work – people would switch off in their thousands.”

But Alan told her: “If you don’t do it, nobody will. I’ve written it for you.”

A Woman of No Importance screened on BBC2 in November 1982, with Patricia as Miss Schofield, who bubbled away about office gossip and the goings on at a hospital where, it slowly dawned on viewers, she was dying.

It was a sensation, and won Patricia a British Press Guild award for best actress. She later said of the writer: “He turns cliche into poetry.
“He sees a world in a grain of sand – the sympathy, the humanity.”

Its success led to 1988’s beloved Talking Heads series of six monologues, with Patricia in A Lady of Letters as a lonely busybody who finally finds friendship when she is sent to prison.

She said: “It’s about salvation, about learning to love at a tremendous cost. Oh, it was a joyous thing to do.”

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A second series was made in 1998, with Patricia’s monologue this time about a shop assistant who ends up in the thrall of her chiropodist.

In 2004 she admitted she found that part “very kinky”: “I didn’t really enjoy it. I didn’t understand it, deep down.”

Alan said later: “Patricia has a very strong moral streak and very strong views, and I think if a part doesn’t conform with those she’s very dubious about it.”

In between all this, she showed off her comedy brilliance again in Victoria Wood’s series As Seen on TV, playing an overconfident recurring character called Kitty who came out with lines like: “I’m something of a celebrity having walked the entire length of the Pennine Way in slingbacks, to publicise mental health.”

But when sitcom writer Roy Clarke, already famous for Last of the Summer Wine, presented the BBC with scripts for a new series about a suburban social climber, he did not have a lead actress in mind.

He recalled in 2004: “People do assume I must have written Keeping Up Appearances for Patricia Routledge, but I didn’t.”

It was director and producer Harold Snoad who Roy credited for “that perfect bit of casting”.

Harold said: “I wanted the character of Hyacinth to be a sort of stately galleon. I didn’t want somebody lightweight, either in size or vocal terms.”

Patricia said of the character: “She leapt from the page.”

GLOBAL HIT

The first series began on BBC1 in October 1990; soon 13million people a week were tuning in, including superfan the Queen Mum.

Nobody could have delivered lines like her (“I hope that’s a first-class stamp. I object to having second-class stamps thrust through my letterbox”) but she also brought a bursting energy to the role that was unmatchable.

The late Clive Swift, who played Hyacinth’s long-suffering husband Richard, said in 1998: “I can’t think of an another actress who could have brought the physical clowning to the part, which isn’t there particularly in the script.”

It was a global hit, but in 1995 after five series Patricia announced she would not do any more, despite the BBC’s pleas: “There were other adventures to have.”

They included, at the time, a new relationship.

Speaking to The Sun in 1996 she opened up about her private life for the first time, admitting: “A corner of my heart is taken. I’ve got a sneaking feeling that I might have almost everything in the end.

“He’s someone I’ve known for years and years. He’s in theatrical management but we hadn’t seen each other for a long time and then we met again.

“Life is full of the most wonderful surprises.”

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Patricia moved to Chichester, West Sussex, in 1999 to be closer to this new love, whose identity was never revealed, and lived there for the rest of her life.

She also told The Sun: “I had my heart broken when I was young. It was a grand passion, but it was complicated because he was married and, of course, I felt very guilty.

“I would gladly have lived with him and I wanted his children. But I couldn’t do it because I thought it would kill my parents.”

Her second great passion came in the late Eighties, when she least expected it: “Out of the blue this enchanting person appeared.

“He was a theatre director – a very funny and delightful man. But he had a heart condition, which I didn’t know about for a while.

“One day I went to rehearsal and was told he’d died in the night. This dear man was no more. I was just so hurt, so sore with the pain of loss.”

‘ILLUMINATING LIFE’

Work was always a refuge. In 1996 she was back on screen in Hetty Wainthropp Investigates as pensioner-turned-crime fighter, who was a down-to-earth, proud working-class opposite of Hyacinth.

Patricia later said of that character: “I loved her.”

It was another hit and the actress never forgave the BBC for axing the programme after four series without telling the cast: “No word ever came – how rude.”

Hetty was her last major TV role; afterwards she focused on theatre.
Her final role was in Oscar Wilde’s play An Ideal Husband in 2014 in her adopted hometown of Chichester, where she worshipped at the cathedral each week.

In 2017 she was made a dame for services to the theatre and charity.

On getting the news, she said: “I started to laugh, and then I started to cry. It was extraordinary.”

But Patricia believed her profession was important.

She once said: “It sounds a bit high-faluting, but I think acting is the physicalisation of the imagination.

“If the word becomes flesh, then you are illuminating life for other people.”

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THE SMASHING MACHINE

(15) 123 min

★★★☆☆

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WHEN big stars take parts that require them to alter their face with prosthetics it’s often a sign they want to be taken more seriously.

Think Steve Carell in Foxcatcher and Bradley Cooper in Maestro.

In The Smashing Machine — director Benny Safdie’s biopic of UFC heavyweight champion Mark Kerr — it’s Dwayne ‘The Rock’ Johnson’s turn to sit in the make-up artist’s chair.

Signalling a departure from the typical action hero roles he is best known for, Johnson’s nose, lips, eyebrows and hairline are transformed to play the fighter.

He’s not totally unrecognisable, though.

A professional wrestler himself, The Rock already had the fighter’s hulking physique.

Acting muscles

And he’s in familiar territory being on screen with his trademark biceps on display.

But here he proves he absolutely can flex his acting muscles too.

American amateur wrestling champion Kerr became one of the pioneers of MMA at the turn of the millennium, well before the sport became the worldwide phenomenon it is today.

We meet him as an unbeaten man, skilled at then-permitted, wincingly violent moves like eye gouges, who lives to win, and who can’t comprehend the thought of losing.

But as painkiller addiction takes hold and Kerr succumbs to his first ever defeat, he returns home a human wrecking ball, tearing his house apart in sheer frustration.

Johnson depicts this rage-fuelled tantrum with real proficiency so we can understand it as a loss of control underpinned by a deep vulnerability.

Emily Blunt, excellent as his girlfriend Dawn, can only look on as the “big man who she loves” demolishes their kitchen with his bare hands.

The real Kerr eventually acknowledged and overcame his narcotic reliance, returning from rehab to the ring.

As a sporting tale, this is in familiar triumph-over-tragedy territory, with no surprises.

While the performances are gripping, the script lacks nuance.

Is this brutal watch a knockout? No, not completely.

But will the prosthetics pay off for Johnson come awards season?

They just might.

A HOUSE OF DYNAMITE

(15) 112mins

★★★★★

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KATHRYN BIGELOW has done it again, this time turning the camera on the nightmare we all pretend that we can ignore – a nuclear strike.

The director’s tense, claustrophobic, brilliantly staged film grips you from the very first frame.

The story is simple and terrifying – an 18-minute window between a rogue missile launch in the Pacific and its projected strike on Chicago, seen from multiple perspectives.

Every decision, every glance at a screen, every phone call carries huge weight. Uncertainty is the enemy here, and Bigelow wrings every ounce of drama from it.

The cast is flawless. Idris Elba is compelling as a President caught between disbelief and duty, while Rebecca Ferguson delivers a career best as security specialist Captain Olivia Walker.

Elsewhere, Jared Harris, Gabriel Basso, Jonah Hauer-King and Anthony Ramos bring depth as they try to hold a crumbling chain of command together.

It isn’t just a thriller, it’s a heart-stopping meditation on human fragility. If you want cinema that makes you feel the weight of the world in real time, this is the one.

LINDA MARRIC

HIM

(18) 96mins

★☆☆☆☆

3

HORROR film Him feels like it has been stitched together from a dozen better movies, without ever finding a soul of its own.

In short, this is a mess.

The story follows Cameron (Tyriq Withers), a hotshot quarterback whose bright future is thrown off course after a brutal injury.

When retired legend Isaiah (Marlon Wayans) invites him to a secluded training camp, it feels like a chance to rebuild, stronger and faster than before.

But the deeper Cameron steps into Isaiah’s world, the more unsettling it becomes.

Produced by Get Out, Us and Nope director Jordan Peele, Him’s fatal flaw is its emptiness. For long stretches, nothing happens.

Characters drift around muttering ominous nonsense, occasionally raising their eyebrows at the weirdos around them, before going right back to ignoring the obvious.

Withers and Wayans put in respectable perform-ances but the dialogue is clunky, the pacing is dead on arrival and the supposedly shocking reveal is anything but. Even the stylistic additions feel less like art and more like padding for a story that never gets to the point.

Bleak, boring and painfully pretentious, Him isn’t just a bad horror film, it’s the kind of bad movie that thinks it’s being very clever.

LINDA MARRIC

Scary. Terrifying. Deeply misguided.

Those were among the visceral reactions this week from Emily Blunt, Whoopi Goldberg, Natasha Lyonne and many other actors and filmmakers over the sudden fame of Tilly Norwood.

Norwood isn’t real — the brunette who appears in a comedy sketch on her Instagram page is in fact a computer-generated composite.

“I may be AI, but I’m feeling very real emotions right now,” states a message on Norwood’s Instagram page. “I am so excited for what’s coming next!”

The sentiment was not widely shared, at least in Hollywood, where anxieties about the use and abuse of artificial intelligence replacing actors runs deep.

Norwood’s creator ignited a furor after she announced that the digital actress would soon be signed by a talent agency.

This week, SAG-AFTRA weighed in with a withering response. Two years ago, the union’s members engaged in a 118-day strike to fight for more AI protections in their contracts with major studios.

“To be clear, ‘Tilly Norwood’ is not an actor, it’s a character generated by a computer program that was trained on the work of countless professional performers — without permission or compensation,” the guild said. “It doesn’t solve any ‘problem’ — it creates the problem of using stolen performances to put actors out of work, jeopardizing performer livelihoods and devaluing human artistry.”

Norwood was created by AI through Xicoia, a London-based AI talent studio launched by Dutch actor Eline Van der Velden. Xicoia is working with estates and Hollywood stars who want to appear as their younger selves on screen, according to Deadline, which first reported talent agency interest in Norwood.

Van der Velden, who is also the founder of AI production company Particle6, was not available for comment on Wednesday. But in a statement posted on Instagram following the backlash, Van der Velden stressed that Norwood is “a creative work — a piece of art.”

“I see AI not as a replacement for people, but as a new tool — a new paintbrush,” Van der Velden said. “Just as animation, puppetry, or CGI opened fresh possibilities without taking away from live acting, AI offers another way to imagine and build stories.”

SAG-AFTRA President Sean Astin disputed the claim.

He said in an interview with The Times that the material used to create Norwood was “improperly obtained” from SAG-AFTRA members’ work without permission, compensation or acknowledgment.

“It manipulates something that already exists, so the conceit that it isn’t harming actors — because it is its own new thing — ignores the fundamental truth that it is taking something that doesn’t belong to them,” Astin said.

“We want to allow our members to benefit from new technologies. … They need to give permission for it, and they need to be bargained with.”

Norwood has 44,000 followers on Instagram and is portrayed as an aspiring young actor based in London who enjoys shopping and iced coffee.

The social media page depicts Norwood in various scenes. In one, she’s armed and ready to battle a monster; in another, she’s running away from a collapsing building in a futuristic city.

At an industry panel in Zurich on Saturday, Van der Velden touted her creation.

“With Tilly, you know, when we first launched her, people were like, ‘That’s not going to happen,’” Van der Velden said. “And now, we’re going to announce which agency is going to be representing her in the next few months. It’s all changing and everyone is starting to see the light, fortunately.”

Talent agencies have represented digital characters used in ad campaigns. And seeing such avatars in the mainstream has become increasingly common — in 2024, Japanese digital character Hatsune Miku performed at Coachella and an AI model was featured in the August issue of Vogue magazine for L.A. brand Guess.

And some studios, including Lionsgate, have partnerships with AI startups to explore using the technology in areas such as storyboarding. Others, such as Netflix and Amazon MGM Studios, have series that use AI in visual effects.

Tech companies have argued that they should be able to train their AI models on content available online and bring up relevant information under the “fair use” doctrine, which allows for the limited reproduction of content without permission from the copyright holder.

But the proliferation of AI has also fueled concerns that AI companies are using copyrighted material to train their models without compensation or permission. Earlier this year, Disney, Universal and Warner Bros. Discovery sued AI companies over copyright infringement.

Some actors called for a boycott of any agents who decide to represent Norwood. “Read the room, how gross,” “In the Heights” actor Melissa Barrera wrote on Instagram.

“Our members reserve the right to not be in business with representatives who are operating in an unfair conflict of interest, who are operating in bad faith,” Astin said.

For the past five years, I’ve been interviewing Hollywood professionals about what they wish they’d known when they were starting out. The entertainment business can feel opaque and overwhelming, and many who navigated it the hard way said they want to help level the playing field for those arriving with passion but without connections.

The best advice — which is collected in a book I co-wrote with my former Times colleague Jon Healey, “Breaking Into New Hollywood: A Career Guide to a Changing Industry” — was often about how they handled chaos. The key to longevity, many said, is how you manage the rejection, instability and heartbreak that are unavoidable in the industry.

And as Hollywood has weathered the COVID-19 pandemic, strikes, recessions and periods of contraction — some reports estimate Hollywood jobs were down 25% in 2024 from their 2022 peak — many of them have had to take their own advice. Decades-long industry veterans have pivoted to adjacent professions, including teaching and advertising. Some of them have left Hollywood altogether.

But others have landed their dream jobs. They’ve learned how to build something from nothing. They’ve gotten to show what they’re capable of, once someone finally gave them a chance.

The most sensible advice to give young people who dream of working in the entertainment industry, they said, is to run in the other direction — or at least have a backup plan. There are so many practical, safer choices that can result in a happy, fulfilling career.

But dreams have a way of resurfacing, no matter how deep you try to bury them. So here’s what I would tell my own kids if they felt Hollywood was their calling.

Learn how all the different parts of Hollywood come together and figure out which jobs best suit your skills.

Many people, when they imagine working in Hollywood, think of only the most high-profile jobs: actor, writer, director and producer. But Hollywood is made of hundreds, if not thousands, of careers, from pre-production, production and post-production, to representation (publicists, agents and managers), design and more.

Some questions you can ask yourself: Do I like being in front of the camera or do I prefer being behind it? Do I want to be on set or would I prefer a desk job? Do I want a leadership role or do I prefer going deep into the day-to-day details? This can help you determine which path you should pursue.

Consider whether this is something you’d do even if no one paid you to do it.

Many Hollywood professionals will tell you not to take unpaid gigs, as it devalues your work and the industry itself. But that’s different from the time and effort you’ll have to devote to becoming extremely reliable at your craft — as well as the work you’ll do to convince people to give you the job (filming auditions, developing pitch decks, building portfolios and creating demo reels).

People across the industry consistently told us it often takes five to seven years before you earn a living wage. You not only have to keep wanting to do it for that long, with no guarantees of success, but you have to see it as an investment in yourself as an artist.

Anchor yourself with two essentials: money and community.

People who come into the industry with wealth and connections will have an advantage. But if you don’t know anyone in the industry, be diligent about saving and investing the money that you’re making from your day job or side gigs.

Prioritize networking by joining or creating your own communities. Networking isn’t just about attending intimidating Hollywood events — it can also mean going to film festivals, taking classes, joining a gym, engaging with your favorite social media influencers, collaborating on passion projects, joining Facebook groups or finding other whisper networks.

Make friends inside of the industry who are going through the same struggles so you can lift each other up. But also make friends outside of the industry who will remind you that there is life outside of Hollywood.

Figure out how you’re going to distinguish yourself.

Hollywood is an extremely competitive industry. The harsh reality is that most people are replaceable. So why would a producer or showrunner hire you over someone else? What unique skills or viewpoints could you bring to a project? Figure this out; it will be your advantage and calling card.

And once you pinpoint what sets you apart, create your own work (whether it’s sketches, designs, animations, TikTok videos or web series) and put what you’re proud of online. You’ll need to get very comfortable with self-promotion. Make sure that you’re on people’s minds if a job opens up that you’d be perfect for.

Learn AI tools.

If I were talking to a current working professional about AI, we would discuss its ethical and legal implications and what unions can do to protect worker rights and fight for fair compensation.

But if I were talking to a young person starting their career, I’d say, embrace the technology and figure out how it can make you more — not less — creative.

Know that it’s good to take breaks from Hollywood — and OK to leave.

Hollywood veterans will tell you that they’ve seen the industry rise and fall, again and again. Each time there’s an upturn, it feels like it won’t last. And each time there’s a downturn, it feels like it might be the end.

If Hollywood is your calling, you owe it to yourself to try, but if your experience in the industry starts to resemble a destructive relationship, you owe it to yourself to take some space or call it quits.

But for as long as you’re out there hustling, have fun on the roller coaster and appreciate every moment you get paid to do what you love.

In the latest salvo between Hollywood and artificial intelligence companies, tech start-up Character.AI has removed many Disney characters from its chatbot platform after the Burbank entertainment giant sent the firm a cease-and-desist letter, alleging copyright infringement.

Chatbots on the Character.AI platform impersonated well-known Disney characters such as Elsa, Moana, Peter Parker and Darth Vader and generated replies that simulated the “essence, goodwill, and look and feel of each character” and also incorporated their backstories, according to a letter dated Sept. 18 from a law firm representing Disney.

“These actions mislead and confuse consumers, including vulnerable young people, to believe that they are interacting with Disney’s characters, and to falsely believe that Disney has licensed these characters to, and endorsed their use by, Character.ai,” the letter said. “In fact, Character.ai is freeriding off the goodwill of Disney’s famous marks and brands, and blatantly infringing Disney’s copyrights.”

Disney also raised concerns about reports that chatbots have engaged users in inappropriate conversations.

A spokesperson for the Menlo Park-based startup said in an email that Character.AI responds “swiftly” to rights holders’ requests to remove content and noted that all of the characters on the service are generated by users.

On Tuesday afternoon, a few Disney characters remained on the platform, including Elsa from the hit animated film “Frozen.” The spokesperson said removing the characters is a process.

“We want to partner with the industry and rightsholders to empower them to bring their characters to our platform,” the spokesperson said. “Our goal is to give IP owners the tools to create controlled, engaging and revenue-generating experiences from deep fandom for their characters and stories, expanding their reach using our new, interactive format.”

Friction between Hollywood studios and AI firms has been growing.

In June, Disney and Comcast’s Universal Pictures sued AI company Midjourney, alleging that its image generator infringed on its copyrighted characters from franchises such as “Star Wars” and “Despicable Me.”

Warner Bros. Discovery joined the legal fight earlier this month, alleging that Midjourney’s software was producing rip-offs of characters such as Scooby-Doo and Superman.

EMILY Ratajkowski raised the temperature as she posed for steamy lingerie snaps to promote her campaign with Lounge underwear. 

The actress and model, 34, flaunted her famous figure in a selection of lingerie pieces from her collaboration with the underwear brand, and posted some of the saucy pics to her Instagram account.

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Mum-of-one Emily donned a hot-pink bra, panties and garter set in one snap, as she posed suggestively with white sheets on a bed.

In another picture, the Gone Girl actress lay seductively on the floor in an all-black set as she looked directly into the camera.

The famously slender star also showed off her frame and toned stomach as she posed stood up in the all black ensemble, 

The sexy lingerie pieces are part of the model’s collection with Lounge Underwear, dubbed “Emily’s Edit”. 

Speaking about the edit, Emily said: “Sexiness has nothing to do with what someone else sees. It’s about how I feel. 

“I’m a mother, I’m a writer, I’m someone who loves fashion. I play a dozen different roles every day. I love that Lounge recognizes how multifaceted women can be.”

The edit, which features seasonal picks from the star, marks Lounge’s Fall 2025 collection, and also features clothing items including a suede blazer and matching shorts, a cherry lacquer argyle cardigan, and a chocolate sheer shirt paired with a coordinating skirt.

It comes a week after Emily was seen partying away with British pop star Charli XCX, after attending their wedding ceremony in Sicily, Italy. 

The Brat star, 33, married her The 1975 drummer husband George Daniel in a small ceremony in London last month, before flying out to Italy to throw a huge celebration with family and close friends.

Emily was among a flurry of stars who attended the wedding, which included Matty Healy, Gabriette, Amelia Dimoldenberg and Julia Fox.

The model appeared to attend the ceremony alone – without her four-year-old son Sylvester Apollo Bear, who she shares with her ex-husband Sebastian Bear-McClard. 

Emily finalized her divorce with the film producer, who faced a slew of sexual misconduct allegations, in July, after filing for divorce in September 2022. 

The model sparked her latest romance rumours earlier this month, after she was spotted getting close to Caught Stealing actor Austin Butler in New York. 

The pair were spotted together at the Waverly Inn in Manhattan’s West Village, in what could mark her first relationship since her divorce.

She has previously been linked to stars including chart-topper Harry Styles, Oscar winner Brad Pitt, artist Jack Greer and SNL alum Pete Davidson. 

Emily recently revealed she would be making a career turn, as she gears up for a screen-writing debut on A24’s untitled drama series for Apple TV+, which is set to explore female identity and modern motherhood – with Lena Dunham and author Stephanie Danler. 

“Lena was the first person who published my writing, on Lenny Letter, but she knew about me from Instagram,” she told Variety in July. 

“I’ve had a lot of experiences, with Lena specifically, where she has seen past surface level things and given me so many opportunities.”

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President Trump again suggested that films made outside the U.S. should be subject to a 100% tariff, a move he said would help rejuvenate film production in America but that has been greeted with skepticism by many in Hollywood.

“Our movie making business has been stolen from the United States of America, by other Countries, just like stealing ‘candy from a baby,’” Trump wrote in a post Monday morning on his Truth Social platform. “California, with its weak and incompetent Governor, has been particularly hard hit! Therefore, in order to solve this long time, never ending problem, I will be imposing a 100% Tariff on any and all movies that are made outside of the United States.”

The post did not include details on how such a tariff would work or how it would be levied. The White House did not immediately respond to a request for comment.

This is not the first time Trump has floated a tariff on films made overseas to combat so-called runaway production.

In May, Trump said he was authorizing the Commerce Department and U.S. Trade Representative to begin the process of instituting a 100% tariff on “on any and all Movies coming into our Country that are produced in Foreign Lands.”

That announcement surprised studio executives, who said at the time that they had no advance notice of the move. Shortly after, California Gov. Gavin Newsom reached out to the White House, offering to work together to create a federal film tax incentive, which many in the industry have said they would prefer over a tariff.

Newsom responded to Trump’s dig by sharing on X a screenshot of a news headline detailing the recent increase in applications for California’s revamped film and TV tax credit program next to a headline about Hollywood studios’ stock performance after Trump’s initial call in May for a 100% tariff on films made outside the U.S. “Almost like we know what we’re doing,” Newsom wrote in his post. “Almost like Donald Trump absolutely does not.”

Countries including Canada, the U.K. and New Zealand have developed generous film tax credit programs, which, along with lower costs, have increasingly lured productions out of the U.S. California has been particularly hard hit by the production exodus.

In response, states have also upped their individual tax credit programs, including California, which has now more than doubled the annual amount allocated to its film and TV tax credit program and expanded its eligibility criteria.

The Motion Picture Assn., the lobbying arm of Hollywood’s major studios, was not immediately available for comment.

On Monday, California congressional representatives reiterated their support for a federal film tax incentive program to support the U.S. film business.

Noting that a tariff could have “unintended and damaging consequences,” Sen. Adam Schiff (D-Burbank) said he was “ready to work with this administration” and colleagues “on both sides of the aisle” to pass a major federal film tax credit.

The California senator is currently working on a proposal for a federal film incentive, a Schiff spokesperson said.

Rep. Laura Friedman (D-Glendale), a former film producer, also called for movement on a federal tax incentive, saying that a 100% tariff on films made overseas would only increase costs for consumers.

“I’m relieved President Trump recognizes that we are losing a signature American product: the domestic film and TV industry,” she said in a statement. “I hope the President will join us in pioneering a real solution that levels the playing field with international competition.”

In Hollywood, something shifted in the six days between the time that Walt Disney Co. dropped “Jimmy Kimmel Live!” “indefinitely,” following Kimmel’s comments about the suspect in the shooting death of conservative activist Charlie Kirk, and the late-night comedian’s return.

For many, Kimmel’s rebound appears to be a win for free speech and a testament to the power of boycotts against powerful corporate interests. However, for other writers, particularly comedy scribes, who view the events that transpired in the darkest, most McCarthy-esque terms, the fight over comedy may have just begun.

“There’s fear and outrage at the same time,” said Emmy-winning comedy writer Bruce Vilanch, who for years was the head writer for the Oscars and “Hollywood Squares” and has written jokes for comics including Billy Crystal and Bette Midler.

“Ever since ‘woke’ started before COVID and George Floyd, comedy became a minefield. And then, last week, it became a nuclear garden,” he said.

Indeed, the day after Disney announced Kimmel’s return, President Trump told reporters that TV networks critical of him are an “arm of the Democrat Party,” and said, “I would think maybe their license should be taken away.” Angered that Kimmel was returning to the airwaves, he took to social media to threaten ABC and called for the late-night scalps of NBC’s Seth Meyers and Jimmy Fallon.

Such ominous threats have cast a pall in writers rooms across the industry.

One showrunner currently developing multiple series, who spoke on condition of anonymity, said that many of her colleagues have started to become more cautious about incorporating certain elements in their stories, something they didn’t do before. Others are having discussions privately rather than posting them on social media.

Several writers and showrunners who have worked on late-night shows, sitcoms and films declined to share their thoughts on the matter with The Times, citing fear of reprisals.

The cascade of anxiety comes at a time when Hollywood continues to struggle to get on solid footing after the pandemic lockdown, the dual labor strikes in 2023 and cost-cutting across the media landscape.

“Artists are already very concerned about our consolidated media ecosystem. A small shrinking number of gatekeepers control what Americans watch on TV, and these conglomerates are now being coerced into censoring us all by an administration that demands submission and obedience from what should be a free and independent media,” said television writer Meredith Stiehm, who is the outgoing president of Writers Guild of America West, during a rally in support of Kimmel outside the El Capitan Theatre last week.

“This cowardice has not only put the livelihoods of 20 writers, crew members and performers in limbo,” she said. “It has put our industry and our democracy in danger.”

Political satire has long held a mirror to human folly while challenging power with humor.

More than 2,400 years ago, Greek playwright Aristophanes’ biting, satirical comedies such as “Lysistrata” ridiculed Athens leaders during the Peloponnesian War. Many of the English nursery rhymes that are now viewed as sweet stories of princesses and fairies began appearing during the 14th century as veiled swipes at the monarchy. Rather than a lovely children’s melody, “Baa Baa Black Sheep” is said to be a critique of the wool tax imposed by King Edward I.

During the 1950s and 1960s, the brilliant satirical singer-songwriter (and mathematician) Tom Lehrer skewered taboo topics of the day such as the Catholic Church, militarism and racial conflict in America through parody songs.

In the early 1970s, George Carlin’s controversial monologue about the “Seven Words You Can Never Say on Television” set off a landmark Supreme Court case that broadened the definition of indecency on public airwaves and set a free speech precedent for comedians.

Every presidential campaign season has become must-see TV on “Saturday Night Live.” Think Dana Carvey’s George H.W. Bush, Phil Hartman’s Bill Clinton, Tina Fey’s Sarah Palin or Alec Baldwin’s Donald Trump.

But now the political climate has changed drastically.

“It’s a dark time for comedians and, by extension, for all Americans,” said a statement put out by hundreds of comedians under the banner Comedians4Kimmel in the wake of his ouster.

“When the government targets one of us, they target all of us. They strike at the heart of our shared humanity. They strip away the basic right every person deserves: to speak freely, question boldly, and laugh loudly.”

What’s different now is that where once market and cultural forces placed pressures on comedians — see Ellen DeGeneres and Roseanne Barr — the squeeze is now coming directly from the government. (Barr, who was fired from her eponymous reboot in 2018 after she made a racist tweet about senior Obama advisor Valerie Jarrett, has accused ABC of having a “double standard.”)

“That’s just called censorship,” said Vilanch. “This is the government actually intervening in the most capricious way.”

It’s not just late-night comedy that is deemed offensive, Trump has made public a rolling perceived enemies list, and he is going after them with vigor.

Just last week, former FBI Director James Comey was indicted, and Atty. Gen. Pam Bondi said that she would “absolutely target” people who engaged in “hate speech.”

This month, Trump sued the New York Times for $15 billion, claiming that the paper and four of its journalists had engaged in a “decades-long pattern … of intentional and malicious defamation.” A federal judge dismissed the suit. In July, he sued the Wall Street Journal and its owner, media mogul Rupert Murdoch, for $10 billion, claiming defamation. That suit is ongoing.

What’s deemed funny or offensive has shifted through the years. Comedy writers have long pushed that line and adjusted. But after the cultural wars and trigger warnings of recent years, where writers adapted to audience sensitivities, they are now facing an era where offending the president and his administration itself is considered illegal.

”So much was going on before,” said a veteran late-night TV writer. “It just feels like another brick in the wall of the world that I have worked in for the past 35 years no longer exists.”

The uproar over Kimmel began after the comedian seemed to suggest during his monologue that Tyler Robinson, the Utah man accused in the shooting death of Kirk, might have been a pro-Trump Republican.

Last Tuesday, after Kimmel came back on air with a defiant defense of free speech, several writers sighed a breath of relief, seeing his return as a victory.

“It would have been scary if this actually ended in his firing,” said the former late-night writer.

But the culture and free speech wars are not over.

“I think [comedy] will get sharper,” said Vilanch. “It will get sharper and probably meaner because people are angry, and they want to fight back. And that’s always what happens when you try and shut people down. They come back stronger.”

It has been used as a location for a number of blockbuster movies and TV shows known for the stunning views and ‘timeless architecture’ with lots to do for everyone to enjoy

A Northumberland castle, known for its appearances in blockbuster films and hit TV shows, has been named one of the top film locations to visit in the UK.

The castle has been praised for its ‘timeless architecture’ and ‘stunning’ surroundings. For years, the cast and crew of the popular drama Vera have descended upon the North East each summer to film new series of the beloved show.

While Gateshead, Newcastle and South Shields have all featured, it’s Northumberland that has been the primary filming location, with numerous spots in the area taking centre stage as Brenda Blethyn retired from her iconic role earlier this year.

READ MORE: Travel expert names best sun-soaked destinations for a ‘shoulder-season’ escapeREAD MORE: Epic walk through popular location ends at ‘heavenly’ cave famous for its beauty

Northumberland also made waves on the big screen in 2025, following the release of Danny Boyle’s zombie sequel 28 Years Later. The film shot straight to the top of the UK film charts after its summer release.

The Oscar-winning director utilised various locations in the region for his story, including Rothbury, Kielder and Holy Island, reports Chronicle Live.

While it didn’t make an appearance in 28 Years Later, Alnwick Castle is no stranger to the glitz and glamour of Hollywood, having now been named one of the top film locations in the UK by travel gurus at Holiday Cottages.

The castle, which served as the backdrop for key scenes in the first two films, including the iconic flying lesson in The Philosopher’s Stone, has also played host to the cast and crew of big-budget blockbuster Dungeons and Dragons, as well as the acclaimed period drama Downton Abbey and Star Trek: The Next Generation.

In their glowing review of the famous landmark, Holiday Cottages wrote: “Northumberland has long been a favourite location for filmmakers because of its captivating history and landscapes that seem almost otherworldly, and one of its most famous landmarks is Alnwick Castle, which will be instantly recognisable to fans of a certain wizarding franchise as Hogwarts School of Witchcraft and Wizardry in the first two films.

“Visitors can wander through the Outer Bailey, where Harry first learned to fly on a broomstick with Madame Hooch, and children and adults alike can experience the magic themselves by taking part in the castle’s Broomstick Training Lessons, while the courtyards recall the memorable scenes when the flying car came crashing down in the early films.”

The travel site heaps praise on Alnwick, describing it as a ‘joy to explore’ with its enchanting cobbled streets, unique shops and stunning coastline, all contributing to its ‘magical’ staycation appeal.

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ONE BATTLE AFTER ANOTHER

(15) 162mins

★★★★★

WHAT time is it? It is a question Leonardo DiCaprio’s stressed-out fugitive Bob Ferguson is asked over and over again in this black comedy.

Wearing a dressing gown and bad shades, Bob doesn’t have the answer because he’s too stoned to remember the code he was given by a left-wing terror group called the French 75.

But I can tell you that the time is absolutely right for One Battle After Another.

This is a political satire that skewers both the extreme right and the extreme left at a moment when both sides are to the fore in the real world in the United States.

The time is also well overdue for this piece of cinematic dynamite that will have you on the edge of your seat — from laughter or the high-octane action.

Directed by Paul Thomas Anderson, it is a work of genius that fuses the best elements of his films There Will Be Blood and Boogie Nights.

It begins 16 years ago with Bob helping to free refugees at a US border crossing.

During the raid his girlfriend, the wonderfully named Perfidia Beverly Hills (Teyana Taylor), orders Sean Penn’s military officer ­Steven J Lockjaw to “get up” his private parts.

The French 75’s increasingly reckless terrorism ends in a thrilling chase and Bob needing to go into hiding with the baby daughter he shares with Perfidia.

Most of the story is set in the current time, with Lockjaw coming after Bob and his daughter Willa.

As things get wilder, the audience is introduced to a bunch of incredible characters, including members of the white supremecist Christmas Adventurers Club, gun-toting nuns and Benecio Del Toro’s always-cool martial arts instructor Sergio.

The serene Del Toro is a perfect comic foil for the frantic DiCaprio who spends a lot of time running around shouting “f, f, f***.”

In one of the standout screwball moments, Sergio keeps repeating “four” as Bob is reluctant to jump out of his moving car like “Tom Cruise”. It is just one of many quotable lines.

But the most memorable scene brings the movie’s various plots to a perfect, heart-racing conclusion.

All of the cast are outstanding, with DiCaprio and newcomer Chase Infiniti as Willa most likely to be nominated for awards.

If there is any justice this film will get one Oscar after another.

GRANT ROLLINGS

3

THE STRANGERS: CHAPTER 2

(15) 96mins

★★☆☆☆

3

DIRRECTED by Renny Harlin, this second instalment in the Strangers trilogy is a bafflingly incoherent mess.

It picks up right after the events of Chapter 1, but instead of expanding on Bryan Bertino’s original 2008 home-invasion nightmare, it devolves into a clumsy blend of ­borrowed horror tropes held together by a barely coherent backstory.

Chapter 2 follows the survivor, Maya (Madelaine Petsch), as she is relentlessly pursued by masked killers in a sleepy American town.

Despite her injuries, Maya must find the strength to stay alive and tell the tale.

Petsch is committed to the physical demands of the role, fighting a CGI boar in a bafflingly out-of-place sequence.

However, the film’s drawn-out and repetitive cat-and-mouse chases become truly unbearable.

Narratively, the film is all over the place lurching from home-invasion suspense to slasher to survival horror.

The only thing that prevents it becoming a total farce is Harlin’s occasional use of a few inspired jump scares.

As a middle chapter, this feels like a placeholder for the next film.

LINDA MARRIC

DEAD OF WINTER

(15) 98mins

★★★☆☆

3

IF you were casting for a Ramboesque heroine, Emma Thompson would not be the first name to spring to mind.

But in this rescue of a kidnap victim from a remote cabin thriller, it is the Love Actually actress displaying ingenious ways to survive.

Set in northern Minnesota in the US, Thompson’s Barb heads out in a snow storm to a lake that had a sentimental value to her recently deceased husband.

There she comes across a man who has tied up a young woman in his cellar.

Unable to go to get help, Barb vows to save the girl herself.

But the man is not her main concern, because it is a gun-toting woman played by Judy Greer who is the one with the least to lose by fighting to the bitter end.

Thompson is remarkably good when Barb is stitching up a bullet wound in her arm with fishing wire, and the attention to detail in the sets also impresses.

But choosing her isn’t enough to make this last- person-standing drama feel particularly original.

Like the tracks that Barb leaves in the snow, you know where most of the plot turns lead.

GRANT ROLLINGS

DISGRACED rap mogul Sean “Diddy” Combs has received glowing handwritten testimonials from his fellow inmates.

The letters paint him as a positive force inside Brooklyn’s Metropolitan Detention Center, despite the serious convictions hanging over him.

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The 55-year-old, awaiting sentencing next month, has reportedly been running a weekly session called “Free Game with Diddy.”

Inmates say it covers everything from entrepreneurship to health advice, while also giving them a chance to “pick his brain” about fame and money.

Douglas Welch, 42, told Judge Arun Subramanian that Combs “brings love into the Unit” and claimed the class pushed him to go “harder at my health journey.”

He wrote: “Sean Combs brings love into the unit.

“I know because since he’s been here all the Spanish and black inmates cook and pray together, workout together too…

“Since he started his class I’ve been going harder at my health journey.”

Another inmate, Quinton Davis, said the sessions included “business Management, entrepreneurship and life skills,” adding that Combs had even encouraged the group to use “AI and Chat GPT.”

“It’s a key factor and inside scoop on how Mr. Combs started from nothing and became the icon-business mogul he is today,” Davis explained.

“I also learned how to research things better by using AI and Chat GPT.”

A third prisoner insisted the rapper “brings joy and happiness to the atmosphere in the unit” and alleged that “everybody in the unit is treating and acting positively towards each other” since his arrival.

“Because of Mr Combs everybody in the unit is treating and acting positively towards each other,” the letter said.

“Mr Combs cares very much for everyone in here, doesn’t matter what race or age and he is making it his business to do his best to make an impact.”

An official evaluation form dated June 10 backs up those glowing reports.

The “Work Performance Rating – Inmate” document identifies Combs as a tutor in Unit C-B, with a handwritten note praising: “Excellent class. Keep up the great work!!!”

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The case against Combs

Combs has been jailed at MDC since his September 2024 arrest.

He was acquitted in July of headline-grabbing charges including sex trafficking and racketeering conspiracy.

But he was convicted on two counts of violating the Mann Act after prosecutors said he arranged travel for women and escorts across state lines for alleged drug-fuelled “freak-offs.”

Sentencing is scheduled for October 3, 2025.

His lawyers last week filed a 380-page plea asking Judge Subramanian to impose no more than 14 months, which would mean immediate release after time served.

They cited what they described as “inhumane” jail conditions, his childhood trauma, and claimed progress in battling substance abuse.

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Over 100 letters from family and associates were also submitted, attempting to portray him as rehabilitated.

Prosecutors are expected to argue for a far stiffer punishment — reportedly four to five years — and continue to highlight allegations of violence and coercion against ex-girlfriend Casandra “Cassie” Ventura and another woman known as “Jane.”

On top of the looming sentencing, Combs is fighting multiple civil lawsuits and reputational fallout from years of abuse and exploitation claims.

For now, though, the inmates sharing his unit have presented a strikingly different picture to the judge — one of a man they say “changes the vibe” in prison.

ROME — Acclaimed Italian actor Claudia Cardinale, who starred in some of the most celebrated European films of the 1960s and ’70s, has died, AFP reported Tuesday. She was 87.

She starred in more than 100 films and made-for-television productions, but she was best known for embodying youthful purity in Federico Fellini’s “8½,” in which she co-starred with Marcello Mastroianni in 1963.

Cardinale also won praise for her role as Angelica Sedara in Luchino Visconti’s award-winning screen adaption of the historical novel “The Leopard” that same year and a reformed prostitute in Sergio Leone’s spaghetti western “Once Upon a Time in the West” in 1968.

She died in Nemours, France, surrounded by her children, her agent Laurent Savry told AFP. Savry and his agency did not immediately return emailed requests for comment from the Associated Press.

Cardinale began her movie career at the age of 17 after winning a beauty contest in Tunisia, where she was born of Sicilian parents who had emigrated to North Africa. The contest brought her to the Venice Film Festival, where she came to the attention of the Italian movie industry.

Before entering the beauty contest, she had expected to become a schoolteacher.

“The fact I’m making movies is just an accident,” Cardinale recalled while accepting a lifetime achievement award at the Berlin Film Festival in 2002. “When they asked me, ‘Do you want to be in the movies?’ I said no, and they insisted for six months.”

Her success came in the wake of Sophia Loren’s international stardom, and she was touted as Italy’s answer to Brigitte Bardot. Although never achieving the level of success of the French actor, she nonetheless was considered a star and worked with the leading directors in Europe and Hollywood.

“They gave me everything,” Cardinale said. “It’s marvelous to live so many lives. I’ve been living more than 150 lives, totally different women.”

One of her earliest roles was as a black-clad Sicilian girl in the 1958 comedy classic “Big Deal on Madonna Street.” It was produced by Franco Cristaldi, who managed Cardinale’s early career and to whom she was married from 1966 to 1975.

The sensuous brunette with enormous eyes was often cast as a hot-blooded woman. As she had a deep voice and spoke Italian with a heavy French accent, her voice was dubbed in her early movies.

Her career in Hollywood brought only partial success because she was not interested in giving up European film. Nonetheless, she achieved some fame by teaming with Rock Hudson in the 1965 comedy thriller “Blindfold” and another comedy, “Don’t Make Waves,” with Tony Curtis two years later.

Cardinale herself considered the 1966 “The Professionals,” directed by Richard Brooks, as the best of her Hollywood films, where she starred alongside Burt Lancaster, Jack Palance, Robert Ryan and Lee Marvin.

In a 2002 interview with the Guardian, she explained that the Hollywood studio “wanted me to sign a contract of exclusivity, and I refused. Because I’m a European actress and I was going there for movies.”

“And I had a big opportunity with Richard Brooks, ‘The Professionals,’ which is really a magnificent movie,” she said. “For me, ‘The Professionals’ is the best I did in Hollywood.”

Among her industry prizes was a Golden Lion for lifetime achievement that she received at the Venice Film Festival nearly 40 years after her initial appearance onscreen.

In 2000, Cardinale was named a goodwill ambassador for the U.N. Educational, Scientific and Cultural Organization for the defense of women’s rights.

She had two children. One with Cristaldi and a second with her later companion, Italian director Pasquale Squitieri.

Simpson, the principal writer of this obituary, is a former Associated Press writer.

BRITISH actor James Norton has said he “worked hard” to perfect his Dublin accent for his upcoming series House Of Guinness.

Norton, 40, plays Sean Rafferty, foreman of the Guinness brewery, in the eight-part Netflix series from Peaky Blinders creator Steven Knight.

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House Of Guinness brings to life the real scandals, power struggles and generational secrets of Ireland’s most famous family.

The series reimagines the fallout from Sir Benjamin Guinness’s death, set against the backdrop of 19th-century Dublin and New York.

The Happy Valley actor said he was adamant to get the accent right.
Norton said: “I worked hard. I was aware that many actors have gotten it wrong, and the Irish are a proud bunch so if you get it wrong, you hear about it.

“I worked hard and had great guidance from my fellow cast members.”
Norton, who recently starred in and co-produced historical drama series King & Conqueror for BBC One, said he learned a lot about 19th century Irish history from the Guinness show.

He said: “It’s always a privilege, and part of our job is being given the opportunity to explore periods of history we might not otherwise encounter.

“For me, it was a massive revelation. I hadn’t realised how influential the Guinness family was on Dublin’s architecture, or the extent of their welfare and philanthropic efforts, like the pensions and support they provided, which are portrayed in the show.

“They were also pioneers as a brand, becoming one of the first multinational drinks companies and dominating North America as the biggest beer brand of their time. It was both eye-opening and an incredibly thrilling journey to delve into all of that.”

The show explores the impact of Sir Benjamin’s will on the futures of his four adult children: Arthur, played by Derry Girls actor Anthony Boyle; Edward, portrayed by Enola Holmes star Louis Partridge; Anne, played by The Responder actress Emily Fairn; and Benjamin, portrayed by Normal People actor Fionn O’Shea.

Boyle, 31, whose character is homosexual, said he drew inspiration from Irish poet and writer Oscar Wilde for his role.

He said: “I looked a lot at Oscar Wilde, particularly because of the threat of someone finding out about your sexuality at that time and you could have resulted in 20 years of hard labour, which is essentially a death sentence, which is what Oscar Wilde was sentenced to.

“And reading a lot of his work, like the Ballad Of Reading Gaol.”

Boyle, who leads the series, said he is particularly proud that the programme showcases Irish culture.

“I’m really, really proud Irish culture is having such an amazing moment right now on the global stage and I feel really, really proud of having artists like Kneecap and Fontaines DC being on the soundtrack. It’s class.”

Knight, 66, who is writing the script for the next James Bond film, said the series’ ability to showcase Irish culture is like a “Christmas present”.

He said: “It’s not an effort to force it in, it’s already there. And then there’s that whole generation of Irish music, along with this incredible generation of young Irish actors.”

Knight added that the Guinness family provided an excellent stimulus for dramatic storytelling.

He said: “I was immediately surprised no one’s done this because the story is dynamite, the characters are so interesting and the dynamic of the family. It’s all there ready for you.

“There’s the reading of the will, which is a dramatic moment. Sir Benjamin Guinness leaves millions of pounds, along with land, lakes and castles. Yet his four children are all left unhappy with the terms. They must then go on and live their lives. It’s fantastic.”

House Of Guinness premieres on Netflix on Thursday.

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If Arnold Schwarzenegger’s gubernatorial campaign does nothing else, it ought to excise the mythology of liberal Hollywood from our popular consciousness once and for all.

The notion that Hollywood marches in ideological lock step — left foot always forward — has long been useful to publicity-seeking congressmen, right-wing culture warriors and moralists-on-the-make from the Legion of Decency to the Traditional Values Coalition. In fact, there was a time, not so very long ago, when the mere mention of Jane Fonda’s name was so remunerative to conservative fund-raisers’ direct mail campaigns that they should have put her on retainer.

Like so much in politics, it all works very nicely — until you consider the record:

Schwarzenegger is traversing a well-marked path from entertainment celebrity to elective office, and all who have preceded him have been Republicans, foremost among them Ronald Reagan. Age and Constitution permitting, he probably could have been elected to a third presidential term. There’s former U.S. Sen. George Murphy and the late Rep. Sonny Bono, who came to politics through song and dance. Clint Eastwood was probably America’s most famous small-town mayor.

The last time a certified Hollywood liberal had a real shot at elective office it was 1950, when one-time actress Helen Gahagan Douglas — whose husband was actor Melvyn Douglas — ran as the Democratic candidate for one of California’s U.S. Senate seats. She, of course, was defeated in a bruising campaign by a young Orange County congressman named Richard M. Nixon.

The 1960s generally are regarded as the time when liberalism spread Kudzu-like throughout the film and television industries, choking out every other mode of thought and expression and producing a spate of culturally subversive and anti-Vietnam War films. Like a majority of Americans, most people who worked in Hollywood in those years came to oppose the war, and it’s safe to say that a fair number inhaled along the way. Yet it was also an era in which so-called mainstream stars like John Wayne and Bob Hope maintained considerable influence.

And, when all was said and done, the guys with the real power — the ones in suits who run the studios — recruited as their industry’s new international spokesman President Lyndon B. Johnson’s former chief of staff, Jack Valenti. And so he remains today, Hollywood’s sonorous paladin of unshakable centrism.

David Freeman, novelist and screenwriter, is also a shrewd chronicler of his company town.

He points out that the real Hollywood — as opposed to the imagined one — always has encompassed both ends of the ideological spectrum. “Jimmy Stewart, a deeply conservative and sincere Republican, and Gregory Peck, a very liberal and committed Democrat, were the opposing poles of their era,” he said. “Louis B. Mayer thought of himself as a Republican plutocrat. Big money usually is conservative; this is not news. Over the last generation, it’s certainly true that liberals have been noisier, but there always have been plenty of conservatives, though an ingrained sense of good manners made them quieter about it.

“There are vocal people on the left — Barbra Streisand, for example — but on the other side there are people like Tom Selleck, Bruce Willis, Mel Gibson and Arnold, who have made their positions known. In fact, now that conservatism is fashionable, Republicans everywhere, including Hollywood, have become louder. There’s been a change in the country, and Hollywood always reflects changes in the country. It doesn’t lead change; it reflects it.”

Thus, said Freeman, since Sept. 11, most Hollywood Democrats — like most Americans — have adopted a more traditionally conservative approach to issues of physical security.

Take, for example, his friend and former Yale Drama School classmate Roger L. Simon, a mystery novelist, Academy Award-nominated screenwriter and filmmaker whose best-selling Moses Wine mysteries involve a protagonist who came to private detection as a pot-smoking Berkeley radical. Nowadays, Simon — whose latest novel is “Director’s Cut” — also maintains a popular blog that generally supports Schwarzenegger, whom he describes as “a straight down the line, middle-of-the-road Republican.”

“When I came here 30 years ago,” Simon said, “I was known as a radical. I was considered too left wing for creating a hero out of Moses Wine.

“Now, I consider myself nothing. Since 9/11, my politics are completely based on individual issues. I was definitely in favor of war on Iraq.”

Even when he began writing films, Simon recalled, Hollywood’s “liberalism was never universal. When I wanted to pitch stories with leftish themes, I never went to the so-called baby moguls, who made such a big deal out of being former SDSers. They were afraid of those stories, but other — ostensibly more conservative — people in the industry wanted to appear open. Hollywood is a business. You can have any opinion you want, if your movies are making money.”

There is no better evidence of that — and no stronger refutation of the liberal Hollywood myth — than the movie industry’s most decisive intervention ever into California politics.

In 1934, the muckraking novelist, socialist tract writer and dietary crank Upton Sinclair stunned the state by winning the Democratic gubernatorial nomination. His platform called for adopting a modest universal old-age pension and seizing idle factories and farmlands so that they could be handed over to cooperatives of the unemployed. Sinclair was favored to win the general election, and that prospect rattled the California establishment to its marrow.

Among those most alarmed were the mostly Republican, mostly Jewish founding fathers of the film industry. They had a particular reason to loathe Sinclair, who, as a relatively well-paid but unsuccessful screenwriter and producer, had turned on the industry. The year before he won the nomination, Sinclair had published a book, “Upton Sinclair Presents William Fox,” based on a series of interviews he had conducted with the recently deposed Fox Studios founder. The book, as historian Kevin Starr points out, was “an anti-Semitic document in which Jewish villains were everywhere. Ostensibly an expose of Hollywood and Wall Street, the Fox memoir had a strong secondary theme as well: Hollywood as the Cosa Nostra of American Jewry.”

Hollywood responded as it never had before — or since. Louis B. Mayer collected a day’s pay from every one of his employees making more than $100 a week for Sinclair’s Republican opponent. Irving Thalberg, Metro’s production chief, produced dozens of phony newsreels, subsequently distributed free to theaters up and down the state, in which seedy, suspicious looking immigrants with vaguely Russian accents endorsed the Sinclair program: “Vell, his system worked vell in Russia. Vy can’t it vork here?”

Sinclair lost and returned to his tracts and novels, though he never worked in Hollywood again. Paradoxically, he later would win the Pulitzer Prize for “Dragon’s Teeth,” one of 10 novels he wrote about the adventures of an anti-Nazi secret agent, Lanny Budd.

Somehow, like the Schwarzenegger campaign, it all suggests that Hollywood lives not by ideas left or right but by Joseph P. Kennedy’s famous dictum: “Sooner or later, everybody does business with everybody.”

There’s a particular niche of sophisticated, loungy music that thrived from the late ’90s into the mid-2000s. It grew out of ELO’s regal rock and Serge Gainsbourg’s loucheness, taking on bits of U.K. trip-hop, midcentury exotica, the Largo scene’s orchestral flourishes and Daft Punk’s talkboxes. I don’t quite have a word for it — conversation-pit-core? — but a primary text of it is Air’s “Moon Safari.”

The French duo of Nicolas Godin and Jean-Benoît Dunckel released “Moon Safari,” Air’s debut LP, to wide acclaim in 1998. The band’s meticulously hazy synth pads paired beautifully with ultra-minimal funk bass and loping tempos. “Moon Safari” set a new benchmark for upmarket French pop, with singles like “Sexy Boy” and “Kelly Watch the Stars” proving they had chops for hooks as well. The band immediately followed it with the score for Sofia Coppola’s debut feature, “The Virgin Suicides,” and those two albums locked in Air as the ultimate turn-of-the-century band for tasteful European melancholy.

At the Bowl on Sunday, the band revisited the whole of “Moon Safari” with the Hollywood Bowl Orchestra, capping off KCRW’s festival season there. Since that album’s release, Coppola’s daughter Romy grew old enough to become an influencer herself, yet “The Virgin Suicides” remains a mood-board favorite for Gen Z. Fellow travelers like Bonobo, who opened the night with a DJ set, have become arena stars in their own right.

“Moon Safari” has held up wonderfully on its own merits. But as algorithms funnel audiences deeper into formless background listening, Sunday’s show was a reminder that chill can be compelling. Air’s intense focus gave these wispy songs a strong backbone too.

From the opener of “La Femme d’Argent,” lifted by Godin’s nimble basslines, the vibes were, as they say, immaculate. Dressed in all-white formalwear, the band took care to show how much compositional rigor went into this album’s laid-back feeling. The arrangements highlighted the nuanced tones of each of Dunckel’s many synths, and how the band’s Beatles-y chord changes could keep your ears locked into the most stark passages.

Extra credit goes to Air’s creative direction and lighting designer, who locked the band inside a rectangular elevated platform that gave the look of performing inside a James Turrell sculpture. It’s a neat conceptual challenge to visually enliven a famously blissed-out album like this onstage, and Air did it with exquisite panache on Sunday.

The Hollywood Bowl Orchestra usually kicks back on shows like this, adding some sizzle and arrangement richness but functioning more as another band member. The orchestra’s horns perked up during “Ce Matin-là” and raised the dramatic temperature on closer “Le Voyage de Pénélope,” but the whole set was an exercise in restraint as a means of making sure every good idea gets its shine. “Moon Safari” didn’t need much else, but what it got was illuminating.

The back half of the set went into the band’s score work for Coppola — “Highschool Lover” and “Alone in Kyoto,” from “The Virgin Suicides” and “Lost In Translation” respectively, stirred the wistful elder millennials among the crowd, this writer included. They adopted a Daft Punk-ish distance on “Electronic Performers,” touting how “MIDI clocks ring in my mind … We need envelope filters to say how we feel,” but they didn’t really need that wink and nudge. When they broke the spell of ethereal cuts like “Cherry Blossom Girl” for heavier, krautrock-driven numbers like “Don’t Be Light,” they proved that being roused from tasteful stoned pondering is as fun as falling into it.

ACTOR Tom Holland was rushed to hospital after a stunt on the set of the latest Spider-Man blockbuster went wrong.

It is believed he cracked his head in a fall and was treated for concussion.

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A woman, thought to be a stunt double, was also taken to hospital in an ambulance.

Filming of £150million Spider-Man: Brand New Day was suspended at Leavesden Studios in Watford, Herts, on Friday and could be on hold for weeks.

British star Tom’s comedian dad Dominic, attending a charity dinner in Mayfair, confirmed his son would be away from filming “for a while”.

Tom, 29, was there too and even posed for pictures with co-star and fiancée Zendaya, 28.

However, he left early after feeling ill.

The fall could lead to an investigation by the Health and Safety Executive.

The film — Tom’s fourth standalone Spider-Man movie — is due out next July.

Leavesden Studios and Sony Pictures were contacted for comment.

An East of England Ambulance Service spokesman said: “We were called at 10.30am on Friday to attend to a patient who had sustained an injury at Leavesden Studios in Watford.

“An ambulance was sent to the scene, and the patient was transported to hospital for further care.”