show biz

“Kim’s Convenience” may not win points for originality, but originality isn’t really the point of an immigrant family drama meant to be instantly, one might say universally, recognizable.

The play, which opened Tuesday at the Ahmanson Theatre, was a runaway hit at the 2011 Toronto Fringe Festival. That success led to a larger production at Toronto’s Soulpepper Theatre that brought more attention to the show, paving the way for runs off-Broadway, in London’s West End and Washington, D.C.

But the show’s familiarity has another source. “Kim’s Convenience,” which was turned into a sitcom for Canada’s CBC, found an international audience on Netflix.

The story is set in Toronto, and the Kim family (owners of the titular convenience store) is of Korean background. But immigrants from Ireland, Italy, Latin America, India and Eastern Europe and their more assimilated children won’t have any problems relating to the generational conflicts at the heart of this gentle comedy.

Author Ins Choi, who once played the role of the prodigal son, has matured into the part of Appa, the patriarch who left Korea with his wife, Umma (Esther Chung), to start a new life in Canada. He opened a 7-Eleven-style shop, which he once considered calling 7-12, and has been living above the store with his family in what has been an all-hands operation.

Appa made sacrifices to give his son and daughter a better life — and he’s more than happy to tick off a list of what everyone owes him. He’s a mostly benevolent tyrant, but his crotchety side can get ugly and he’s not always in control of his temper. His son Jung (Ryan Jinn) ran away at 16, absconding with money from the store safe, after one of Appa’s flare-ups sent him to the hospital.

Janet (Kelly Seo), Appa’s 30-year-old unmarried daughter, bears the brunt of being the adult child who remained at home. She still works at the store, though her true calling is photography. Her father considers this just a hobby, a weekend recreation that shouldn’t interfere with her taking over the store one day. But she has other ideas for her future.

Change is coming whether Appa likes it or not. A Walmart is heading to the area, and with this news comes an unexpected offer for the shop that would allow him to comfortably retire. But selling the store is tantamount to discarding his story.

Brandon McKnight, left, and Kelly Seo in “Kim’s Convenience.”

(Dahlia Katz)

He explains this to Janet, hoping that she’ll continue his legacy. But she’s put her life on hold for too long. Both her parents never let her forget that she still doesn’t have a husband. But how can she get married when her father subjects any man she dates to the third degree?

Alex (Brandon McKnight), the police officer who answers the 911 call Appa had Janet place to report a Japanese car parked illegally by the store (he still hasn’t forgiven Japan for its invasion of Korea), turns out to be a childhood friend of Jung’s — and someone Janet used to have a crush on. The sparks between them are obvious, and Appa, the soul of indiscretion, can’t help meddling in his overbearing way.

Choi isn’t averse to shtick, if the result is an explosion of audience laughter. One comic gimmick involves Appa’s superhuman grip that can subdue even the mightiest of men. A shoplifter (also played by McKnight, who portrays all the customers and passersby) learns the hard way that Appa is not to be underestimated.

Esther Chung, left, and Ins Choi in “Kim’s Convenience” at the Ahmanson.

(Dahlia Katz)

The scene involves an unsavory routine on how to recognize a shoplifter. Janet challenges Appa’s racist assumptions, but father knows best and no one can convince him otherwise. Janet can’t win with him, but don’t count Appa’s daughter out.

Or his son, for that matter. Jung, who had a stint in rehab, hasn’t had an easy path in life, but he’s stayed in touch with his mother and eventually he and his dad will have their dramatically inevitable reckoning. There’s something determinedly hopeful about “Kim’s Convenience,” which like the store it’s named after, wants its patrons to leave satisfied.

The cast members, under the direction of Weyni Mengesha, all deserve high customer ratings. Choi’s Appa is impossible to stay mad at even when he’s said or done something unforgivable. He doesn’t mean to offend, though other people’s feelings are a luxury he has never been able to afford.

Still, his paternal bluntness is not without its infuriating charm, as when he informs his headstrong daughter, “You have to understand, now is desperation time for you. Sudden death, overtime, penalty kick shoot out. Expiration date is over. Take over store is only choice you having.”

Esther Chung and Ryan Jinn in “Kim’s Convenience” at the Ahmanson.

(Dahlia Katz)

Seo’s Janet is as feisty as she is loyal, making it easy to root for her and her quickly budding romance with McKnight’s worthy Alex. Chung’s Umma doesn’t take up a lot of room in the play, but her maternal presence registers sharply nonetheless. Jinn endows Jung with hidden dimensions of pain and regret.

But the most vivid performance might in fact be the convenience store itself, brought to fluorescent, sanitized, colorful life by scenic designer Joanna Yu and lighting designer Wen-Ling Liao. Nicole Eun-Ju Bell’s video and projection designs subtly transpose the setting when, for instance, Umma meets up with her son at church. The production seems right at home at the Ahmanson, a function of both the broad sitcom-friendly style and the warm Korean American reception that was audible at Tuesday’s opening.

“Kim’s Convenience” has an eager-to-please TV sensibility that can seem formulaic at times. But representation, particularly these days, can be a radical act, and there’s something heartening at the sight of the Kim family enjoying their turn in the mainstream spotlight.

Within the first 72 hours of a 26-day game, “Survivor 50,” featuring 24 veteran players, had already delivered feuding, anguish and heartbreak. Legendary rivals Ozzy Lusth and Benjamin “Coach” Wade appeared to bury the hatchet, only for their conflict to reignite soon after. Kyle Fraser was forced out due to injury, and Jenna Lewis-Dougherty, who competed in both the show’s inaugural season and “All-Stars,” was the first person voted out after more than two decades away from the game.

Yet there were also moments of nostalgia, connection and excitement as returning players arrived on the beach, grateful to be part of the show’s landmark 50th season.

This raw display of humanity has kept the show’s torch burning for over 25 years. “‘Survivor’ is built on a timeless idea because human nature doesn’t change,” says Jeff Probst, the host, executive producer and showrunner of the reality competition series. “It’s essentially behavioral psychology in the wild.”

Back in Fiji’s Mamanuca Islands for “Survivor 50: In the Hands of Fans,” the show has added a novel element. Fans were given a say in key decisions, voting online to shape production and game mechanics, from choosing tribe colors to requiring castaways to earn rice and supplies instead of receiving them at the start.

“What a great twist,” says Wade in an interview over Zoom. “‘In the Hands of Fans’ transforms the game. Instead of it being, ‘They are playing,’ it’s ‘We are playing.’”

Though he was disappointed to be deprived of staples upon his arrival, he smiles and says that if he were watching at home rather than competing, he also would have wanted players to start with nothing.

Singer-songwriter and “Survivor” superfan Zac Brown coooked and performed for contestants on the show. (Robert Voets/CBS)

“Survivor” has also leaned into its famous fan base this season, bringing in self-proclaimed superfans, including Grammy-winning singer-songwriter Zac Brown — who appeared in Episode 4 as a reward for a winning tribe for whom he spearfishes, cooks and performs. The show also nods to Billie Eilish via the Billie Eilish Boomerang Idol featured in the season premiere. The game piece was handpicked by the Oscar- and Grammy-winning pop star — whose 2022 song “TV” references “Survivor” — and accompanied by a letter in which she outlined its instructions.

But Mike White, creator of “The White Lotus,” represents the show’s most intertwined cultural crossover. He drew inspiration for his hit HBO series from “Survivor” and cast several former tribemates in cameos. “Survivor 50” also features “The White Lotus” Easter eggs.

Returning to the franchise for the first time since he finished as runner-up in 2018, in the Season 50 premiere he says, tearfully, “There are times in ‘White Lotus’ where I’m so fried … it’s a 129-day shoot, but I look back on my ‘Survivor’ experience, and I’m like, ‘Dude, I did that and I can do this.’” Yet White’s hard-won resilience couldn’t protect him from being voted out in a blindside in Episode 4, proving that fame offers no immunity.

And that is the point. At its core, “Survivor” is about watching people from all walks of life dropped into a remote, unforgiving landscape where they must outwit, outplay and outlast one another for a $1 million prize — hungry, exhausted and sore, roasting in the blazing sun or shivering through rainstorms, and enduring grueling physical competitions. They must cooperate with the very people they’re competing against. And as alliances form and fracture, each day grows more fraught.

Former “Survivor” contestants Mike White, left, and Quintavius “Q” Burdette in Season 50.

(Robert Voets/CBS)

“It’s very simple but very deep,” Probst says. “The goal is not to get voted out, but the strategy in achieving that goal is infinite, so the game’s easy to understand, but it’s impossible to master. That’s why it’s so much fun to watch. You’re constantly asking yourself, ‘What would I do?’”

It’s one thing to ask from the comfort of home, but another to live it out, and on national television to boot, says Wade. Coach “When you step on that beach, the stakes are so much higher,” he explains. “Nobody really thinks about the million dollars. They’re thinking about surviving, not getting voted off.”

“Most people would be able to do it,” he continues. “But what you’d realize is what happens to your character and your facade when you’re deprived of everything — food, comfort, reaching out to your friends and having a support system that you know and trust. When you strip all of that away, this stops being a game, and your character will be forged, revealed or shattered.”

A four-time player, Season 23 runner-up and 2015 Survivor Hall of Fame inductee, Coach is one of the show’s most legendary figures. Known as the Dragon Slayer, he’s often shown meditating, praying, waxing philosophical, and pontificating on nobility, integrity and honor. His grandiose persona rubbed many the wrong way early on, earning him a villain label.

Reflecting on his legacy, Wade partly blames the edit but acknowledges he often took himself too seriously, was arrogant, and tried too hard to be larger than life, yet he stresses his authenticity. “The way I look, dress and talk — I’m polarizing,” he says. “That’s who I am in my real life, so that’s who I am out there.”

Probst affirms that what you see is what you get. “Coach shows up authentically every day,” he says. “He wears his mythology on his sleeve and has it tattooed on his body. When he pulls back his hair into a ponytail and quotes Magellan, that’s Coach: ‘I’m the guy with quotes about war and victory and fearlessness and courage. That’s actually who I am.’”

This season, Wade calls himself “Coach 4.0,” but Probst remains skeptical. “Every time he plays, Coach refers to himself as the new version of Coach,” Probst says. “But the minute he starts talking, everybody thinks the same thing: ‘Coach, you may have some more maturity and life experiences now that you’re married and have kids, but you’re exactly the same.’”

That’s not a critique of Coach. After observing more than 750 players over 25 years, Probst believes, “We are capable of much more than we think we are, and simultaneously, at our core, we generally are who we are. It doesn’t mean you can’t change or become a better version of yourself, but you’re going to have some core instincts.”

Benjamin “Coach” Wade in “Survivor 50.” (Robert Voets/CBS)

Coach in 2011’s “Survivor: South Pacific,” the show’s 23rd season. (Monty Brinton/CBS)

The show’s unflinching exploration of human nature traces back to visionary British television producer Charlie Parsons. He conceived the social experiment based on a combination of his curiosity about people, the influence of “Lord of the Flies” and “Robinson Crusoe,” and his boarding school experience.

“It was an all-boys school and quite a competitive place, so there was an element of survival in that,” Parsons says over Zoom. “It wasn’t a bad experience, but if you’re 13 and you’ve never lived away from home before, it can be quite a wrench to live for a month at a time away from your parents. On one occasion I called my parents and said, ‘Will you rescue me?’ And they didn’t.”

In 1988, Parsons turned his concept into “The Castaways,” a three-part documentary for a magazine-style television program he was showrunning.

Several years later, he was approached by Disney’s Buena Vista Productions to make an American version of a successful British morning show he created. When that didn’t pan out, he pitched what would eventually become “Survivor,” developing it with Buena Vista in hopes of selling it to ABC.

But, he says, the radical concept didn’t fit neatly into existing TV genres, and the network balked. “It’s difficult to imagine, but back in the ‘90s this idea of reality TV basically didn’t exist,” Parsons says. “Television was reasonably siloed … ABC took a long time deciding because they could see that there was something about it, but in the end they passed.”

In 1997, however, the concept found immediate success in Sweden with “Expedition Robinson,” leading to expansion in more Scandinavian countries.

The leap to America required a new alliance. During Parsons’ development process with Buena Vista, he’d met fellow British TV producer Mark Burnett at a party in Los Angeles where he’d told him about the reality competition format he was building. Burnett then called every six months pressing to produce it until Parsons finally agreed to grant him the American licensing rights.

“Mark had an incredible energy and presence, which meant that he could go and sell the s— out of it,” Parsons says. “He could persuade the networks to take a risk on something risky.”

Even so, as Burnett relayed in a comprehensive 2010 Television Academy interview, he faced a difficult pitching process. But after every major network passed, he re-approached CBS, where then-CEO and President Les Moonves was game to try original programming during summertime when reruns caused dwindling viewership. But when Moonves commissioned a pilot, Burnett said a stand-alone episode was too costly and couldn’t capture the show’s slow-burn endgame.

Instead, he proposed a sponsorship model built on integrating products into the game, pitching the value of a castaway using a branded cellphone to call home, or the desperation for a slice of pizza and a beer. After Burnett secured corporate sponsors, Moonves greenlighted “Survivor.”

Though firmly embedded in the culture today, “Survivor” was revolutionary when it debuted May 31, 2000, quickly becoming a cultural phenomenon. The Season 1 finale averaged 51.7 million viewers, surpassing both the Academy Awards and Grammys that year. Time magazine featured Lewis-Dougherty on its late June 2000 cover, and “The Late Show With David Letterman” featured a “Survivor”-themed Top 10 list presented by the show’s 16 castaways.

From its exotic location to the now-iconic buffs, “Survivor” established a world all its own, complete with a unique lexicon of immunity challenges, tribal council and Probst’s signature catchphrase, “The tribe has spoken.” As the enduring face of the show, Probst is central to its legacy, earning four Emmys for his role as host.

But even Probst’s survival wasn’t guaranteed. About 15 years ago, the relentless travel and schedule left him so depleted that he briefly quit the show. A few months of rest, however, allowed him to reevaluate. “It really was, ‘I don’t know if I have anything left in my tank to bring to the game.’ That might be what partly influenced Mark to make me showrunner even faster,” Probst says. “I needed to be more of a storyteller on this show.”

The cast of “Survivor” Season 1, standing from left: Ramona Gray, Dirk Been, Gretchen Cordy, Richard Hatch, Sonja Christopher, Susan Hawk, Kelly Wiglesworth, Sean Kenniff, B.B. Andersen and Rudy Boesch. Seated from left: Gervase Peterson, Jenna Lewis, Joel Klug, Stacey Stillman, Greg Buis and Colleen Haskell.

(Monty Brinton/CBS)

He’s quick to note the show’s collaborative ethos, however. “The term ‘showrunner’ is pretty misleading at this point. We make this as a team,” Probst says. Under his stewardship, “Survivor” is more cinematic, reimagined through the lens of Joseph Campbell’s “The Hero’s Journey,” and family friendly. Probst also notes the necessity of continually evolving game design, creating unexpected twists and advantages to keep players on edge and never knowing whom to trust.

The pandemic brought changes as well. With production shut down amid a world in turmoil, Probst felt “Survivor” needed more levity. When filming resumed, due to the 14-day quarantine requirement, back-to-back seasons were shot and the format was shortened from 39 days to 26. The faster-paced “New Era” that began with Season 41 also coincided with CBS’s 2020 diversity mandate requiring at least 50% of the cast to be nonwhite, and Probst dropped his longtime catchphrase “Come on in, guys” in favor of more inclusive language.

By Season 45, in keeping with Probst’s narrative-driven vision, the previously hourlong episodes expanded to 90 minutes.

Television habits have also changed since viewers once dissected tribal council proceedings at the office the next morning. Streaming breathed new life into “Survivor,” with younger viewers discovering it during the pandemic, while its cross-generational appeal keeps it a broadcast powerhouse. The Season 50 premiere drew 9.1 million viewers across live broadcast and delayed streaming, and in the weeks leading up to the launch, viewers revisited older seasons, boosting streaming numbers ahead of the anniversary.

According to Mitch Graham, CBS executive vice president of alternative programming, “Survivor” ranks No. 1 in the coveted 18 to 49 demographic, and the Season 50 launch generated the biggest social media engagement in the franchise’s history.

Even as the reality TV landscape has grown crowded, Probst remains unfazed. “It’s a show like no other,” he says. “It’s adventure, survival, strategy, interpersonal relationships, social politics. … This multi-layered storytelling gives it durability because any given week you have no idea what you’re going to watch.”

Meanwhile, as Season 50 continues to unfold, no one knows who will be crowned “Sole Survivor” on May 20 in Los Angeles, the show’s first live finale since 2019. But rest assured, by then they’ll have revealed exactly who they are.

POLICE have shelved an investigation into a terrifying raid at the home of model and TV star Danielle Lloyd after failing to find a single suspect.

Detectives have no leads into the burglary — despite telling the star they thought it was carried out by the same gang that broke into the home of England footballer Jack Grealish two months later.

We told how Danielle, 42, was at a Halloween party with husband Michael O’Neill and her five children when she watched the raid in real time on a security app on her phone.

Danielle told us at the time: “It was terrifying. We were all in shock.

“It was definitely a targeted raid — they knew what they were looking for.”

Last night a source said: “Danielle and her family are still upset by the raid and it had a big impact on them.

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“They will be aghast to discover police have dropped the probe, as convictions would have brought peace of mind.

“But they have moved home now — and security at their new place is tougher than ever.”

The professional gang took just 90 seconds to smash through the back door of Danielle’s home in October 2023.

They were then in the house for one minute and 26 seconds as they dashed straight to a bedroom and stole a jewellery box and designer handbags worth £100,000.

West Midlands Police said: “We carried out a number of enquiries but weren’t able to identify a suspect.”

It is feared the burglary gang are from South America and have fled the country.

CHESSY, France — A 118-foot mountain of ice rose over the suburban Paris countryside this weekend as Disney opened its Arendelle kingdom to the world — Elsa’s palace glowing at the summit, a “Frozen” Nordic fishing village below, and the company’s new chief executive standing before a crowd of celebrities.

World of Frozen, an immersive land themed to the blockbuster animated franchise, opened Sunday as a centerpiece of a $2.2-billion transformation at Disneyland Paris.

The transformation renames one of Disneyland Paris’ two parks from Walt Disney Studios Park to Disney Adventure World. The inauguration drew Penélope Cruz, Naomi Campbell and Teyana Taylor.

It is the largest expansion in the 34-year history of Disneyland Paris, and one node in a roughly $60-billion global build-out of Disney’s parks, resorts and cruise lines.

A new CEO’s first stage

It is also the first major international stage for Josh D’Amaro, who took over as Disney’s CEO on March 18 — 11 days before the French gates opened — after nearly three decades in the company’s theme parks division.

The parks-and-experiences business reportedly generated 57% of the company’s $17.5 billion in segment operating income last year, the force that observers say propelled D’Amaro from parks chief to the corner office.

“The Walt Disney Co. was built on one man’s dream, and for more than 100 years we’ve shared that dream with the world,” D’Amaro told the inauguration crowd.

“Storytelling is fundamental to everything that we do, whether that’s on screen or stage, in our theme parks, on our cruise ships, or even at home.”

He called the opening “a transformational moment” and paid tribute to the creative team behind the attraction, including “Frozen” writer-director Jennifer Lee — who are all now at work on “Frozen 3.”

An Associated Press journalist accompanied D’Amaro on the “Frozen” ride Saturday night.

The carriage splashed through water to childlike cheers from riders and laughter from the new CEO as they glided past Elsa singing in the dark. Some stepped off lightly wet.

The evening’s emotional peak came when Lou, an 11-year-old whose wish was granted through Make-A-Wish France, took the stage to sing a few notes of “Do You Want to Build a Snowman?”

A next-generation robotic Olaf walked out to join her. It was the 25,000th wish fulfilled for a sick child at Disneyland Paris since 1992.

A French reversal

On Friday, D’Amaro had stood alongside Emmanuel Macron at the resort.

The French president used the visit to claim the park as a national economic asset, calling Disneyland Paris “the leading tourist destination in Europe” and describing it as “a genuine ecosystem of success.”

Macron said the latest expansion would create 1,000 additional direct jobs.

“Since the beginning, that’s 13 billion euros invested on this territory,” Macron said, a figure equivalent to about $15 billion.

Disneyland Paris says it has recorded more than 445 million visits since 1992, accounting for 6.1% of France’s national tourism revenue.

Macron’s presence underscored a remarkable reversal.

When the park opened as Euro Disney in 1992, French intellectuals derided it as a “cultural Chernobyl.” The president at the time, Francois Mitterrand, dryly derided the new attraction as “not exactly my cup of tea.”

Now a French president was standing in front of cameras calling it an engine of national prosperity.

European roots

“‘Frozen,’ of course, has its roots in European storytelling,” said Michel den Dulk of Walt Disney Imagineering.

“It’s very loosely based on Hans Christian Andersen. So to have a northern European, charming wooden little village here in Disneyland Paris — it just made sense.”

The new Tangled family ride, too, draws from European folklore — the Brothers Grimm’s Rapunzel.

The land re-creates Arendelle around a lagoon, its timber buildings painted in muted Scandinavian pastels, facades adorned with rosemaling, a traditional Norwegian decorative art.

At the center is Frozen Ever After, a boat ride featuring state-of-the-art animatronics and immersive projection effects.

Guests can meet Anna and Elsa inside Arendelle Castle, have a conversation with a responsive baby troll named Mossy who talks back, and watch a lagoon celebration called the Snow Flower Festival — featuring an original song.

Visitors praised the scale of the mountain and the detail of the village, even after delays and minor glitches.

“Despite the wait, it was well worth it. The attention to detail is incredible, and the perspective of the ice mountain is breathtaking,” said Daniel Weber, 41, an architect from Munich, Germany, after the ride Sunday.

“You forget you’re outside Paris. For a few minutes, it really feels like Arendelle,” said Léa Moreau, 27, a graphic designer from Lille, France.

Beyond World of Frozen, the rebranded park brings a vast new lake called Adventure Bay, a Tangled family ride, 15 new dining locations — including the posh Regal View Restaurant — and a nighttime spectacular called Disney Cascade of Lights featuring more than 380 drones.

A Lion King land, already under construction, will follow.

More than 90% of the second park’s offerings will have been redesigned since it opened in 2002, and Disney says the footprint will roughly double once the full transformation is complete.

Disney’s streaming has swung from deep losses to profitability, but the parks remain the company’s most dependable earnings engine — and D’Amaro is the man who ran them.

“We continue to dream bigger and bring stories to life in brand new ways,” D’Amaro told the crowd.

Pyrotechnics lighted up Arendelle Village.

The ice palace on the mountain turned blue.

And 34 years after Euro Disney became a punchline, a brand-new kingdom opened in the fields east of Paris — for the first time in forever.

Adamson writes for the Associated Press.

A single mum of three received a ‘life-changing’ gift on Rich House, Poor House on Channel 5

A single mum-of-three, drowning in debt, was moved to tears after a millionaire invested £100,000 in her budding restaurant venture and paid off her debt on Rich House, Poor House.

Valerie Mayer, from Portsmouth, who is juggling raising her three children and working as a full-time carer, appeared on the Channel 5 hit show on Sunday (March 29) night alongside mum Cleopatra.

The talented home cook has always had dreams of launching a Zimbabwean restaurant in the UK, however with a weekly budget of just £53 her lifelong passion has been pushed to the side as she battles to make ends meet.

In a heartbreaking moment, she admitted that she has faced threats from debt collectors. She revealed: “My financial situation got so bad that I had bailiffs come in, and I just went into a state of panic. I was looking out of the windows to see if anyone was there. I got scared to leave the house.”

Seeing how the top 1% live, Valerie swapped homes for a week with tech startup millionaire, Steve Bolton, who lives in a plush £1m, six-bedroom property in Bournemouth.

The father of four left school at 16 with no qualifications but built a business from scratch, with his company now boasting a portfolio worth £750m.

Given his hectic life as an entrepreneur, he missed out on quality time with his children, so he decided to invite his eldest daughter, marketing guru, Ella, and his clothes shop owner son, Charlie, to join him on the show.

The family traded their home with two lounges, a dining room for eight, six bedrooms and five bathrooms, for a week-long stay in Val’s council house 60 miles along the coast.

While Steve and his two children had to manage on £51.93 for the week, Valerie and her mum experienced a glimpse of luxury living with a weekly budget of £2,000. Val and Cleopatra indulged in costly seafood, went on shopping trips for clothes, and even treated themselves to a day at the races.

However, Steve and his family found it difficult to adapt in their new environment and things took an emotional turn as Steve visibly moved after finding out about Valerie’s debt.

It was clear that Steve wanted to help Valerie get her life on track as he had a few surprises for her when they finally reunited after their swap.

The millionaire not only committed to investing £100,000 into her restaurant venture, but also cleared all her debts and transformed her garden.

Sitting opposite each other, Steve went on to say: “We’ve been talking a lot about how we might be able to help you guys because that’s obviously a big part of what we want to do and we’ve thought about three things that we can do to help you.”

He continued: “The first one is already done and it’ll be a surprise when you get home, the second one is about your debt situation, so we wanted to get you out of debt and then the third thing is we want to back your vision, your dream, your passion and your talent for business.

“Support you financially, support you with mentoring, support you with anything and everything you need up to a value of £100,000.”

Valerie broke down in tears as she struggled to get her words out: “Oh, wow. I don’t even know…How do you say thank you? Thank you. Wow, this is amazing.”

With tears streaming down her face she said: “I’m feeling really overwhelmed right now. Happy tears. This can change mine in my family’s life. I really wanted this so much and I’m so glad that my family’s also going to be involved in this because it’s going to change everything for the better.”

Rich House, Poor House airs Sunday night from 9pm on Channel 5

COMEDIAN and actor Alex Duong has died aged 42 after a year-long battle with cancer.

The funny man was known for his appearances on Jeff Ross Presents Roast Battle and Blue Bloods.

A close friend who was by his side confirmed to TMZ that Duong passed away 11am Saturday at St. John’s Hospital in Santa Monica, California, surrounded by family and friends.

Duong reportedly went into septic shock Friday night.

He was diagnosed with alveolar rhabdomyosarcoma – a rare and aggressive cancer – last year.

A biopsy found an extremely aggressive tumour after he had experienced headaches behind his eye.

He eventually lost sight in his left eye.

In August, his comedians contemporaries hosted the The Alex Duong Has Cancer In His Eye Comedy Benefit Show in LA.

Ronny Chieng and Atusko Okatsuka were among the comedians involved.

He leaves behind his wife Cristina and daughter Everest, 5.

Duong grew up in Dallas, Texas as the youngest of six children.

He graduated high school and went on to pursue medicine before finding success in the creative industries.

His writing about the Vietnam War gained him meetings with producers in California, according to IMDB.

Duong left school to pursue a feature development deal with Melody Phan of Zenoost Media.

More to follow… For the latest news on this story keep checking back at The Sun Online.

Thesun.co.uk is your go-to destination for the best celebrity news, real-life stories, jaw-dropping pictures and must-see video.

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Hardcover nonfiction

1. The Best Dog in the World by Alice Hoffman (editor) Fourteen authors celebrate the life-changing bond with their canine companions in a collection of essays. (Scribner: $22)

2. Strangers by Belle Burden (The Dial Press: $30) A woman explores her marriage, its end and the man she thought she knew.

3. A World Appears by Michael Pollan (Penguin Press: $32) An exploration of consciousness and a meditation on the essence of our humanity.

4. You with the Sad Eyes by Christina Applegate (Little, Brown & Co.: $32) The actor opens up about her tumultuous childhood, her five-decade-long career and the MS diagnosis that upended it all.

5. Young Man in a Hurry by Gavin Newsom (Penguin Press: $30) The California governor tells his origin story.

6. Good Writing by Neal Allen and Anne Lamott (Avery: $27) Two writers show you how to turn a worthy sentence into a memorable one.

7. One Day, Everyone Will Have Always Been Against This by Omar El Akkad (Knopf: $28) Reckoning with what it means to live in a West that betrays its values.

8. Mobilize by Shyam Sankar, Madeline Hart (Bombardier Books: $30) A Palantir executive’s call to strengthen America’s industrial base.

9. Kids, Wait Till You Hear This! by Liza Minnelli (Grand Central Publishing: $36) The entertainment legend shares her story.

10. Stay Alive by Ian Buruma (Penguin Press: $35) An account of life in Berlin from 1939 to 1945 under a murderous regime.

…

Paperback fiction

1. Project Hail Mary by Andy Weir (Ballantine: $22)

2. Theo of Golden by Allen Levi (Atria Books: $20)

3. Heated Rivalry by Rachel Reid (Carina Press: $19)

4. Dungeon Crawler Carl by Matt Dinniman (Ace: $20)

5. The Lion Women of Tehran by Marjan Kamali (Gallery Books: $19)

6. The Antidote by Karen Russell (Vintage: $19)

7. Hamnet by Maggie O’Farrell (Vintage: $19)

8. I Who Have Never Known Men by Jacqueline Harpman (Transit Books: $17)

9. Stone Yard Devotional by Charlotte Wood (Riverhead Books: $19)

10. The God of the Woods by Liz Moore (Riverhead Books: $19)

…

Paperback nonfiction

1. The Demon of Unrest by Erik Larson (Crown: $22)

2. Raising Hare by Chloe Dalton (Vintage: $21)

3. The Art Thief by Michael Finkel (Vintage: $18)

4. All About Love by bell hooks (William Morrow Paperbacks: $17)

5. The Beginning Comes After the End by Rebecca Solnit (Haymarket Books: $17)

6. Miracles and Wonder by Elaine Pagels (Vintage: $20)

7. On Tyranny by Timothy Snyder (Crown: $14)

8. The Wager by David Grann (Vintage: $21)

9. The Backyard Bird Chronicles by Amy Tan (Knopf: $36)

10. I’m Glad My Mom Died by Jennette McCurdy (Simon & Schuster: $20)

On March 29, Taix as we know it closes forever. The iconic French restaurant originally opened downtown in 1927 and relocated to its current chalet on Sunset Boulevard in 1962. It’s a grim reminder of L.A.’s insatiable appetite to destroy its own heritage and especially devastating to a certain milieu of writers and artists, myself very much included. Since it announced its closure, I’ve been visiting as often as I can to say farewell, not only to the charmingly shabby faux-1920s interiors, but to the many lives I’ve lived at its tables. First as a young guitarist when a bandmate worked the bar’s soundboard, next with the Chinatown artist scene, then with Semiotext(e)’s avant-garde lit circle, later through firecracker romances and heartbreaks during the art party Social Club, recently floating through the louche carnival of Gay Guy Night and now with the circus of beatniks from my reading series Casual Encountersz.

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It’s difficult to explain why this cavernous and windowless restaurant means so much, so I’ve tried to list everything I love about Taix.

I love that they don’t play music. I love the 1960s bathrooms. I love the bottomless tureens of soup. I love the complimentary crudité from the pre-pandemic era. I love the cold pats of butter. I love that you can always get a table, no matter how many people roll in. I love the free refills on Diet Cokes. I love the 80-year-old couples on dates. I love how the dim lighting makes everyone seem chic. I love the frayed carpeting. I love the fake votive candles. I love the icy martinis. I love the corner booth beside the fireplace. I love the smoked mirrors and tin-plate ceilings in the elegant back dining rooms. I love the small fortune I’ve spent there picking up the check for many strippers, poets and bohemians. I love its rundown glamour, which miraculously evokes Old Hollywood, Belle Époque and trashy Americana all at once. I unironically love the food, which isn’t spectacular, but is very comforting. I love how a waitress once ran off with a friend of mine and slept on my couch for a week. I love how my wife generally hates eating at restaurants but loves eating at Taix. I love how every L.A. artist I know has their own singular version of this list.

The only thing I don’t love about Taix is that its owners are tearing it down to erect soulless condos. I know the city needs housing, but not like this. I hope we’ll all find a new place to call home again soon.

Taix shaped me as a writer and artist, along with so many others, which is why before the new owners demolish this cultural institution, I asked other creatives what the Echo Park landmark means to them.

Chris Kraus.

(Ariana Drehsler / For The Times)

Chris Kraus, writer, artist and co-editor of the independent press Semiotext(e): When I moved to L.A. in 1995, Taix was the go-to place, with its deep banquettes, cuisine bonne-femme and its nightly prix-fixe specials. Mostly it was police officers and their wives who went there. Sylvère Lotringer and I went often, for him it was a little reprieve from the non-Frenchness of L.A. He could order in French and exchange pleasantries with an elderly French waiter who seemed to live there. Years later, when Sylvère moved to Ensenada and was less active with Semiotext(e), Taix was the site of our “Annual General Meetings” — Hedi El Kholti, Sylvère and I would have dinner together and Hedi would catch Sylvère up on all the forthcoming publications and projects. Taix was a place to run into people unexpectedly. About a decade ago, when the bar was refreshed, it changed again and I kind of lost track of it.

Rachel Kushner, novelist: I dined at Taix probably once per week for 23 years. It hurts so much that it is closing. I simply stopped going, so that I could begin to grieve, and also to avoid every last random tourist standing by the host station, on their phone, and the glum possibility of being seated in the second dining room, a.k.a “the Morgue” as my friend Benjamin Weissman put it. I want to protect my memories of the special occasions I enjoyed in this perennial special occasion establishment … I want to remember Bernard, a cheerful Basque from Biarritz who worked there 60 years, got progressively trashed over the course of his shift, went to Bakersfield on Sundays to party with his sheep-herding countrymen, came back Wednesdays sunburned and happy. The old valets who were let go during the pandemic. I used to give them a Christmas bonus every year, as a thanks for letting me park my classic out front. Look, I was born in Taix. I mean, in a way. I nursed my newborn in Taix. He grew up there. People who criticize the food are losers, and will never understand. The steak frites are great. The panna cotta, discontinued after the pandemic, was my favorite. The Louis Martini Cabernet was reliable. (Bernard told me the wine cellar downstairs took up the entire footprint of the main restaurant. Don’t know if that’s true.) Meanwhile, I can’t put my arm around a memory. All the smart girls know why. It doesn’t mean I didn’t try.

Cord Jefferson, writer and director: When I started going to Taix, in 2004, you could still gamble at the bar. They sold keno slips and lottery tickets, and whenever Powerball got over $100 million, I’d buy a ticket with my pint. Where else can you do all that while simultaneously watching a game and eating a tourte de volaille? Taix was where I watched the heroic Zinedine Zidane headbutt the gutless Marco Materazzi in the saddest World Cup final ever. When France lost that afternoon, my favorite server, Phillipe, cried. Phillipe’s teeth were often as wine-stained as his customers’. He’d bum me cigarettes in the parking lot and speak abusively about the ways the neighborhood was changing. I’m happy Phillipe is not around to see the digital renderings of what they plan to erect once they demolish the Taix chateau: another condo building with all the charm of a college dorm. It’s a damn shame what’s happening to Taix. I wish I had more money so I could buy it and keep it around, but I never won the Powerball.

John Tottenham, novelist and poet: It’s a shame that Taix is closing, not only because other plans will now have to be made for my funeral reception, but because it was the last civilized watering hole in the neighborhood. There isn’t anywhere else that one can walk into and immediately satisfy the social instinct among a convivial and refreshingly diverse clientele in what is becoming an increasingly homogenized locality. It has been the nexus of my social life for over 20 years, and is simply irreplaceable.

Jade Chang.

(Ariana Drehsler / For The Times)

Jade Chang, novelist: I’d only known Taix as a raucous bardo of a French restaurant, then there was a memorial service for Alex Maslansky, my beloved friend Max’s brother, owner of Echo Park’s best bookstore, Stories. Alex was a beautiful and beleaguered soul, born worried, born romantic, difficult and hopeful and apparently a shockingly good poker player. The room was packed with music people and book people, sober friends and poker friends, packed with the gorgeous girls who’d always loved him, our collective sorrow potent and sweet enough to pull the walls in around us tight as we said goodbye and goodbye.

Alexis Okeowo, New Yorker staff writer: I was a late discoverer of Taix, stumbling upon it when I moved to a bungalow just above Sunset during the pandemic from New York. I seemed to only see writer friends there. I met up with a journalist for drinks and then ran into a new writer friend at the bar. I later had a big, spontaneous dinner with TV writer friends and then a birthday celebration in the dining rooms that ended in two friends escorting me home, sick and happy off a mostly-martini meal and the selfies I took in the bathroom with the iconic pink and gold wallpaper. Every time, there was talk about ideas and gossip and so, so much laughter.

Alberto Cuadros, writer/curator and co-founder of the Social Club: About 10 years ago, Max Martin and I started Social Club as a weekly social salon at Taix. We thought of it as a kind of Beuysian social sculpture, it was a weekly ritual, and over time it became something of an institution in the L.A. art world. Everyone knew where to go in L.A. on a Wednesday if they wanted to meet interesting people or find friends. I even met my wife there who was visiting from Montreal.

Siena Foster-Soltis, playwright: Taix felt like one of the few remnants of the L.A. I grew up in and love so dearly.

Ruby Zuckerman.

(Ariana Drehsler/For The Times)

Ruby Zuckerman, writer and co-founder of the reading series This Friday: Taix is the only restaurant in L.A. that doesn’t lose its mind if new friends drop in halfway through dinner or if you stay at your table for hours after you stopped ordering. That kind of flexibility leads to spontaneous nights where what started off as an intimate hang expands into an all-out party. As a writer, that flexibility has allowed me to meet editors, collaborators and readers, drawn together by pure fun rather than networking. One of my favorite nights involved getting in a physical altercation with novelist John Tottenham after he stole my phone to send prank texts to my boyfriend. I’ll miss taking selfies in the bathroom.

Blaine O’Neill, DJ and events organizer: I always say Taix is the “People’s Country Club.” It is exceptional because of the staff who understand the importance of hospitality, and the scale of the space is humane. You’re able to evade feeling pinched by the noose of transactional cosmopolitanism.

Tif Sigfrids, gallerist and publisher Umm…: Taix was a cultural nexus. A space with broad range. It went from being the dark bar I read books and day-drank at in my 20s to the place where I rented a private room to host my son’s first birthday party. It’s where I watched Barack Obama get elected twice, the Lakers win back-to-back championships, and where I indulged in countless night caps and an unreasonable amount of all-you-can-eat split pea soup. You never knew what kind of hot jock, wasted poet or other type of intrigue you might run into there. You can’t make a place like Taix up. It’s a place that just miraculously happens.

Kate Wolf, writer and editor: Though I have been going to Taix for nearly 20 years, embarrassingly, it was only in the last year that I realized the building wasn’t from the 1920s. Those smoke-stained mirrors, that tin ceiling, the drapery and light fixtures are in fact set-dressed — ersatz! Which of course only makes me love the place more. Taix’s history, and its spot in the city’s cultural firmament, cannot be denied. But what really makes it so special are the people who work there and the clientele, not its past. This point is perhaps my only hope in losing what is my favorite restaurant in Los Angeles. That by some divine grace, we will all find each other again in another spot, designed to a different decade than the horror-filled present, and fill it with the same warmth, the same bottomless soup bowl, the same cheer.

1/4

Hedi El Kholti, the co-editor of Semiotext(e).   (Ariana Drehsler/For The Times)

2/4

Writers Lily Lady and Siena Soltis-Foster.  (Ariana Drehsler/For The Times)

3/4

Poet Meat Stevens (Steven Lesser).   (Ariana Drehsler/For The Times)

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Sammy Loren, writer and curator of Casual Encountersz.  (Ariana Drehsler/For The Times)

Hedi El Kholti, artist and co-editor Semiotext(e): Taix is where we would end up after every reading since 2004 when I started working at Semiotext(e). I have memories of being there with Kevin Killian, Dodie Bellamy, Gary Indiana, Michael Silverblatt, Colm Tóibín, Rachel Kushner and Constance Debré among others … Taix has that particular anachronistic vibe that made L.A. so charming when I moved here in 1992, one of these places that time forgot. It was odd when it became really hip in the last 10 years. It made me think of what Warhol wrote about Schrafft’s restaurant when it had been redesigned to keep up with the fashion of the moment and had consequently lost its appeal. “If they could have kept their same look and style, and held on through the lean years when they weren’t in style, today they’d be the best thing around.”

Loren is the founding editor of the art and literary conceptual “tabloid” On the Rag and curator of the reading series Casual Encountersz.

KATIE Price has put on a busty display during a workout after confessing she “begged doctors” for answers over her weight loss.

Over the last year the former glamour model’s shrinking frame has caused concern amongst her fans.

Katie went strength training with her husband Lee Andrews in a bright pink plunging top and matching shorts.

Lee shared the video clip to Instagram and can be heard motivating his wife and helping her to train.

And although Katie was concentrating hard on her exercises, the glamour model raised a smile when her husband joked: “You can smile, you know.”

Katie recently revealed she was too thin and had begged Doctors for help, when TV host Susanna Reid explained she was worried about the “very skinny” star when she appeared on GMB.

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After talking about her whirlwind marriage to fourth husband Lee Andrews, 41, the topic of the former pin-up’s weight came into question.

Host Susanna then revealed her concern for Katie’s tiny frame, and said: “Katie, can I ask, because I am concerned about your weight. Because you are very, very, very skinny.”

To which the star replied: “So people who follow me online will know I have lost weight. I recognise I lose weight. I look too skinny. I look gaunt.

So I have been to the doctors to see why am I losing this weight. I’ve done all the blood tests. I even had to do the poo one as well to find out.”

Susanna then asked: “The doctor says you’re OK?”

Katie then replied: “And I said to them, ‘everyone says I’m on Ozempic’.

“And they said, ‘well, we can tell in your blood you’re not’. I am lack of iron.

“They’re now checking the other bit.

“And I’m going through pre-menopause at the moment as well.”

Last month, Katie revealed she had actually PUT ON weight after marrying Lee.

After previously calling herself a “stick woman”, she told fans in an Instagram video: “I actually have a confession to make.

“Number one: he is a feeder,” she said pointing to self-proclaimed millionaire businessman Lee.

“I’ve been to the doctors and everything, asking why,” she trailed off, before revealing she had put on weight, and the exact figure.

“I’ve actually put on half a stone,” Katie confessed.

“So it goes to show, that when you’re happy…

“So you’ll be please to know that I’ve put on half a stone because I can’t stop eating.”

The “Harry Potter” team did not need a divination expert to know its cast would encounter some “unpleasant and aggressive behavior.”

HBO boss Casey Bloys told multiple outlets this week that the network had taken precautions anticipating the vitriol the “Harry Potter and the Philosopher’s Stone” actors would face. Ghanian-English actor Paapa Essiedu recently spoke out about the racist abuse and death threats he has received since the announcement that he had been cast as potions professor Severus Snape.

“With all actors on any kind of big IP shows — and this is obviously one of those where you’ve got, you know, passionate fans, people with a lot of opinions — it can get scary in places,” Bloys told Variety in an interview published Tuesday. “So for any show like that, we anticipated it and tried to have training, you know, best practices in terms of social media and how to handle it. And obviously we’ve got a serious security team.”

Essiedu, who is portraying the enigmatic but ultimately heroic Hogwarts professor first brought to life by Alan Rickman in the original “Harry Potter” films, has opened up about the racist abuse he has received from those who believe a Black man should not be playing the fictional wizard.

“I’ve been told, ‘Quit or I’ll murder you,’” he said in an interview with the Times of London. “The reality is that if I look at Instagram, I will see somebody saying, ‘I’m going to come to your house and kill you.’”

“[N]obody should have to encounter this for doing their job … And I’d be lying if I said it doesn’t affect me emotionally,” Essiedu added.

This is not the first time that fans of J.K. Rowling’s Wizarding World novels expressed outrage over the casting of a Black actor in an adaptation. There was a similar outcry in 2016 when Noma Dumezweni was cast to play Hermione Granger in the original London production of “Harry Potter and the Cursed Child.”

It’s also not a situation unique to “Harry Potter.” Racist vitriol has been hurled toward actors in other genre franchises, including fantasy shows such as “House of the Dragon” and “The Lord of the Rings: The Rings of Power,” as well as those involved in “Star Wars” and the Marvel Cinematic Universe.

Bloys also told Deadline in an interview published Wednesday that they had “anticipated there would be a lot of interest in all of [the actors], and interest can tip over into more unpleasant and aggressive behavior.”

“We talked to them about what to expect, what to expect on social media and how we handle it, but any kind of security that’s needed is an unfortunate aspect of doing IP shows,” he said. “We just try to be mindful and monitor it.”

Essiedu also told the Times of London that “the [racist] abuse fuels” him.

“[It] makes me more passionate about making this character my own, because I think of how I felt as a kid,” he said. “I would imagine myself at Hogwarts on broomsticks, and the idea that a kid like me can see themselves represented in that world? That’s motivation to not be intimidated by someone saying they’d rather I died instead of doing work I’m going to be really proud of.”

You might expect a screenwriter working in the horror genre to be relatively difficult to scare, but Haley Z. Boston, the creator and executive producer of Netflix’s harrowing new limited series “Something Very Bad Is Going to Happen,” insists that is not the case.

“I’m afraid of everything,” Boston, 31, said during a recent Zoom conversation. “I’m afraid of horror movies, but that’s why I love them so much, because they scare me. A lot of horror people are desensitized and looking for something to shake them. I am the opposite. I am easily afraid.”

The easily frightened — and the recently engaged — might be advised to approach Boston’s new series, which premiered Thursday, with caution. A haunting fusion of David Lynch surrealism and “Rosemary’s Baby” paranoia, “Something Very Bad Is Going to Happen” traces the peculiar and ominous events that unfold in the week leading up to the nuptials between wary Rachel (Camila Morrone) and trusting fiancé Nicky (Adam DiMarco), as overseen by Nicky’s mother Victoria (Jennifer Jason Leigh).

Faced with inexplicable truths about Nicky’s family and her own past, Rachel becomes convinced that saying “I do” has the potential to prove deadly, and she comes to fear what might take place when she walks down the aisle.

Camila Morrone as Rachel Harkin in Netflix’s “Something Very Bad Is Going to Happen.”

(Netflix)

“I’d seen people in their wedding, in their vows, say, ‘I never once had a doubt,’” Boston said. “I’m like, ‘How could you not constantly question everything?’ It felt very natural to me to explore that idea in a horror show where the doubt is the horror.”

Horror has long been a preoccupation for Boston. The Oregon native has a tattoo of the phrase “Carrie White burns in hell” to commemorate her favorite film, Brian DePalma’s landmark Stephen King adaptation, “Carrie.” She distinguished herself writing episodes of weird, atmospheric series including Netflix’s “Brand New Cherry Flavor,” a nightmarish exploration of witchcraft and filmmaking in 1990s L.A., and “Guillermo del Toro’s Cabinet of Curiosities,” also for Netflix.

Her installment in the Oscar-winning director’s anthology series, “The Outside,” was inspired by a comic titled “Some Other Animal’s Meat” and followed the unnerving transformation one woman undergoes after purchasing a beauty cream advertised on a late-night infomercial. “It’s all about being an outsider and feeling different, and I related to that,” Boston said.

Boston began writing at the age of 11, and after seeing Quentin Tarantino’s “Kill Bill” in her early teens, she became interested in filmmaking. “I was so taken by the way that the story is told, and I love a revenge story,” she said. “That’s when I started to think, ‘Is this something? Who wrote that? How does any of this work?’”

She had considered following her parents’ path and choosing a career in medicine, but during her first formal writing class at Northwestern University, she felt that she’d found her calling. “I was like, ‘No, this is it. This is what I want to do,’” Boston said.

“I’m like, ‘How could you not constantly question everything?’” Haley Z. Boston says about marriage. “It felt very natural to me to explore that idea in a horror show where the doubt is the horror.”

(Christina House / Los Angeles Times)

After graduation, she moved to L.A., taking a job in the William Morris Endeavor mailroom and writing scripts on her own time. A high school slasher movie she’d penned in college landed her an agent. Soon after, her pilot for a “sapphic murder story” inspired by “Killing Eve” netted her 22 pitch meetings — the first was with director Sam Raimi, whose early-career “Evil Dead” movies are beloved cult classics. “I was 24, and I did the scariest thing at the time possible,” Boston said. “Sometimes I think if you don’t think too much about how terrifying it is, and you’re just thrown into it, that’s better.”

With “Something Very Bad Is Going to Happen,” Boston found herself thrown into the position of showrunner without ever having spent any real time on a set. Yet Morrone says Boston was the picture of confident professionalism throughout the shoot. “There’s just a grace to her,” Morrone said. “Even if she was overwhelmed, you would just never see it. These are her words and her world, and she inherently knows the character and the story so well that she could really navigate any questions thrown at her because it lives in her.”

The series is something profoundly personal for Boston. Growing up with parents whose marriage seemed idyllic had left her struggling once she began dating, and she channeled many of her own anxieties into the show. “They’ve been together for 37 years or something,” Boston said of her parents. “I felt all this pressure knowing that that exists. It always felt like a curse. You have this great example of what a marriage is, and I always found myself weighing every little romantic tryst against this 30-year marriage — which was unhelpful.”

She hit upon the premise for the series right around her 27th birthday, a time when more and more of her friends began to get married, and developed the idea while working on other projects. By the time Boston sat down to write the pilot episode, she knew the narrative and the characters so well that it took her just two weeks to finish.

Pitching the series, she met with “Stranger Things” creators Matt and Ross Duffer, who were so impressed by her vision that they signed on to executive produce “Something Very Bad Is Going to Happen” through their Upside Down Pictures banner.

“From reading one page of her script, it became very clear that this is someone who has a very unique voice,” Ross said. “It was unlike anything we’d ever read before. Immediately, we were like, ‘We have to be involved with this. We have to help bring her vision to life.’”

Rachel (Camila Morrone) and Nicky (Adam DiMarco) experience peculiar and ominous events leading up to their wedding.

(Netflix)

Matt added, “Haley has such a specific sense of humor. It’s very dark, very dry, but it also feels incredibly real. Her characters talk very much in the same way that real people talk. I find that sadly rare in the scripts that you read.”

The series was filmed in Toronto in January 2025 with directors Weronika Tofilska (“Baby Reindeer”), Lisa Brühlmann (“Killing Eve”) and Axelle Carolyn (“American Horror Story”) behind the camera. Boston said she and her collaborators would often reference specific films — everything from “The Celebration” to “Uncut Gems” — as a shorthand for the tone they were hoping to strike in a given episode. “I really love a story that takes something normal and grounded and gives one twist on it that throws you into a different world and makes you see things in a different way,” Boston said.

With “Something Very Bad Is Going to Happen” poised to elevate Boston’s Hollywood profile, establishing her as one of the most exciting voices in horror, she’s already planning for her future, writing a film that she intends to direct. “I love the horror community, but it is still such a boy’s club, and I really want to infiltrate it,” Boston said.

“The genre has been so much about women, and in studying feminist theory in horror, especially back in the ’70s, the genre forced men to relate to women — you’re watching a woman survive, which is ultimately very powerful,” she added. “I find it interesting how many men are making horror movies about women. I talked about ‘Carrie.’ I love that movie, but it’s missing something. Same with ‘Rosemary’s Baby.’

“This show is such a great opportunity to begin my career in this genre — now, I want to continue my reign of terror.”

A BITTERLY fought five-year dispute between an EastEnders star, his wife and their neighbours over a dog bite on a Lord’s estate has finally ended.

TV actor and film star John Blundell and his wife Mercina were locked in a bitter legal fight with neighbouring lodge owners Alison and Andrew Girdiefski after the row over their tiny pooch Ziggy.

The Sun can now confirm that Mercina and John have finally seen a closure in their favour, with an out of court payment after bringing a civil court case.

John – who also starred in Quadrophenia and Scum – and his wife are understood to be delighted by the result.

The long-running saga dates back to 2021 at the plush Fritton Lake estate in Norfolk, a 5,000-acre retreat owned by aristocrats Hugh and Lara Crossley, Lord and Lady Somerleyton.

Lord Somerleyton, at the height of tension, even attempted to mediate between the two warring couples, The Sun understands.

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The row all kicked off when Mercina had been visiting her neighbours’ lodge to admire renovation work when she says their small hairless Chinese crested dog, Ziggy, suddenly bit her on the wrist.

The attack, they claimed, left her with a half an in inch wound that later scarred, with the actor’s wife needing hospital treatment.

With the row spiralling out of control – John and Mercina then launched a civil case at Norwich County Court seeking damages.

The Sun has now confirmed the long-running dispute has been settled out of court.

It brings to an end to years of acrimony.

Court officials told The Sun the matter was settled out of court using a Part 36 offer – a formal settlement under the law.

A source close to the couple told us: “While the couple are selling their property at Fritton they are reluctant to talk.

“It has been a very difficult few years for the Blundell’s, who really have done nothing wrong at all.”

Back in 2021, what should have been a tranquil countryside getaway quickly spiralled into a toxic feud involving police, lawyers and estate bosses.

Relations between the couples then soured dramatically.

The dispute even drew in Norfolk Police, with officers speaking to both sides.

Ziggy was added to a register of dangerous dogs, but no further action was taken due to the time elapsed.

Complaints of harassment were also investigated by Norfolk Police – but no offences were ultimately found.

Mercina also accused the pair of taunting them by singing “who let the dogs out” and filming them nearby.

Frustrated, the Blundells launched civil action – setting them for a court showdown.

The pair even recruited James McNally – known as “The Dog Bite Solicitor” who specialises in getting civil damages on dog attacks.

The Blundells said at the time they had been quoted £1,500 for a plastic surgeon to fix Mercina’s wrist – and were believed to be seeking up to £30k in costs and damages.

And the Girdiefskis had said ahead of the looming case that they found the figures “ridiculous”.

“The sort of money you would expect to be paying somebody who has had their face ripped off by a dog, not this mere 1.2cm cut,” said Alison in July 2025.

Speaking at the time, she added: “From day one, we have accepted responsibility.

“Our Ziggy did bite Mercina and we have never denied this.”

But the dramatic court clash never happened after the Girdiefskis agreed to settle.

A court spokesperson said: “This case was settled out of court by way of accepting a Part 36 offer, therefore there is no final order or settlement details to provide.

“Both sides had solicitors so in the end the court was not involved.”

John said the retreat, meant to be a peaceful escape, had instead become “a living nightmare”.

Both couples are now trying to sell their lodges on the exclusive estate.

The Girdiefski’s and Blundells have been approached for comment.

The Sun have also contacted Lord Somerleyton.

Call The Midwife bosses will replace the much loved festive episode with a prequel show of the historical BBC drama series as it attempts a ‘temporary pause’

Call The Midwife bosses have decided to shake up the Christmas schedule by removing the much loved historical drama from the winter TV schedule. Now, viewers will be treated to a prequel episode titled Sisters In Arms which is said to be replacing the coveted prime time slot.

The prequel is set in the period of World War II and it seems it will feature the younger versions of the older characters, who have become fan favourites. The characters may include Fred Buckle, Dr Turner, Sister Julienne, Sister Evangelina and Sister Monica Joan.

It has been speculated that the prequel could also focus on Nurse Trixie Franklin’s story, who is played by the highly acclaimed actress Helen George. In the upcoming show, Helen George’s character will be played another actress reportedly in her teens or early twenties.

READ MORE: Miranda Hart’s ‘secret talks for Strictly Come Dancing job’ after huge reshuffleREAD MORE: Inside Call the Midwife prequel from release window to plot as three nuns return

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The show creator and writer Heidi Thomas confirmed plans of the shake-up, according to The Sun. She previously said: “No, there won’t be a Christmas special this Christmas, not in the traditional mould.” She added: “This is really just a very temporary pause in the usual pattern.”

Showrunner Heidi previously explained: “The opening of new doors at Nonnatus House feels profoundly emotional, and yet just right. I have never run out of stories for our midwives, and I never will.”

She added: “But having wept, laughed, and raged my way from 1957 to 1971, I found myself yearning to delve into the deeper past. The Blitz years in the East End were extraordinary – filled with loss, togetherness, courage and joy.”

Heidi continued: “The bombs fell, the babies kept on coming, and the Sisters kept on going. There will be so much in the prequel for our wonderful, loyal fans, including the appearance of some familiar (if much younger!) faces.

Series 15 of the show took viewers on an emotional journey as Sister Monica Joan died. The character was played by Judy Parfitt since the show first aired in 2012. The plot follows the lives of a group of nurses and midwives in East London, who made it their mission to care for the people of the East End.

Not only is there a prequel to be aired later this year but the hit show will also become a film, set overseas in 1972. However, a release date for the movie has not yet been confirmed.

Speaking to the Radio Times, Heidi said the film is about “strong women above all else.” She then admitted: “Everything changes and nothing changes,” she observed, recognising its connections to the most recent series.”

Like this story? For more of the latest showbiz news and gossip, follow Mirror Celebs on TikTok, Snapchat, Instagram, Twitter, Facebook, YouTube and Threads.

VICTORIA Beckham has shared a sweet message for Geri Horner as they spend time together after the Spice Girls reunion was cancelled.

Geri, 53, showed up to support Victoria’s son Cruz and his band The Breakers at their final gig in London on Friday night.

Victoria, 51, appreciated her pal’s support as she took to her Instagram stories to share a snap of the two of them.

In the picture, the two women are seen smiling while twinning in white t-shirts mid gig.

Posh Spice wrote across it: “Last night! @cruzbeckham @itsthebreakers. Love you @gerihalliwellhorner.”

The longtime pals also posed for a photo with Victoria’s other half David as they watched Cruz sing his heart out on stage.

GIRL POWER

Emma Bunton poses with Holly Willoughby after Spice Girls reunion was cancelled

FEELING SPICY

Mel B brushes off failed Spice Girls reboot as she channels Scary Spice

Their reunion comes after The Sun exclusively revealed that the Spice Girls’ 30th anniversary reunion has been cancelled as they failed to pull their plans together in time.

Victoria and Geri as well as Mel C, Mel B and Emma Bunton had been in talks to reunite for a string of concerts to mark three decades since the release of their debut single Wannabe.

The Sun understands they failed to reach an agreement and plans for a comeback tour in 2026 have been ditched.

Confirming the news during an interview on The Smallzy Show on Australia’s KIIS Radio, Mel C, 52, said: “No, there is no reunion.

“We are communicating all the time. We want to do something – who knows when.

“But I still feel very optimistic and I keep my fingers crossed that you will see the Spice Girls together at some point in the future.”

The Sun told last April how Geri was back in touch with the band’s former manager Simon Fuller and had flown out to Miami to try and agree on a deal.

As recently as January, Mel C had insisted they were still in active discussions about celebrating the milestone.

And even Victoria had prompted hopes she could return to the group, saying she “loves” the idea of a residency at Las Vegas venue Sphere.

She said in October of the prospect: “It would be tempting. But could I take on a world tour? No I can’t. I have a job…

“How good would the Spice Girls be at the Sphere! I love the idea of it. I mean I don’t know if I could even still sing, I mean I was never that great!”

However, in recent weeks, plans have fallen apart, with just a collectible coin from the Royal Mint being announced to mark the anniversary.

A planned Netflix drama based on the group was shelved last month amid reported tensions in the group.

The Spice Girls have not performed together as a five-piece since the London 2012 Olympics closing ceremony.

They last reunited without Posh in 2019 for a sold out 13-date stadium tour of the UK and Ireland, selling 700,000 tickets and making £4.4m each.

The six-part hostage drama is based on a “must-read” novel.

Netflix’s latest thriller was inspired by a story hailed “quite brilliant in its twists and turns”.

Fans of political thrillers are in for a treat as Netflix has announced a brand new drama from the creators of Humans and the author of House of Cards.

The series, which will be led by British actor and entrepreneur Damson Idris and is one of Netflix’s many hit thrillers, centres around a “nightmare scenario” which sees the government of the United Kingdom taken hostage.

Parliament is now enemy territory and ex-spy Harry Jones (Idris), is the perfect man to save the government if it were not for one problem – he is also a convicted traitor.

The title of the new series is The Lords’ Day, and it is based on the book by Michael Dobbs, who also happens to be a member of the House of Lords.

Netflix promised the thriller will be “an electrifying ride through England’s halls of power.”

The synopsis reads: “On the State Opening of Parliament, British spy Harry Jones finds himself inside the Palace of Westminster amid a lockdown.

“As a hostage siege escalates, loyalties are tested and selfless sacrifices are made, leading to a desperate fight for survival where not everyone will emerge alive.

“Can Harry use his skills and training to be the country’s saviour?”

Actor Idris, 34, is best known for his roles in Snowfall, Outside the Wire and F1, and he is the only casting announced so far. Production will begin soon in the UK.

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This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows like Stranger Things and The Last of Us.

Fans of the original source material took to Goodreads to share their thoughts, with one commenting: “A must read book by Michael Dobbs that was equally as good as the Francis Urquart series!”

Another shared: “Excellent read, I was engrossed with every page. Again, Harry Jones at his best.”

A third called it “fascinating”, adding: “Quite brilliant in its twists and turns and details. Utterly plausible in it’s plot and characterisation. I have found a new favourite author.”

Another reader shared: “A real page turner. Never a dull moment with plenty of action and political intrigue. Edge of the seat thrills and twists.”

The book reviews suggest the TV adaptation will be one of Netflix’s most gripping thrillers.

The Lords’ Day will air on Netflix

EMMA Bunton has been spotted beaming alongside pal Holly Willoughby at a Disney launch after the Spice Girls reunion was cancelled.

The singer, 50, attended the press day of Disney Adventure World and World Of Frozen at Disneyland Paris in France on Saturday.

She appeared to put her band’s woes to one side as she posed for pictures with her longtime friend Holly, 45.

Baby Spice got into the spirit of things by donning a pair of Mickey Mouse ears as well as a tie with the famous character on it.

She looked chic in a white shirt tucked into a pair of straight leg jeans and a cream wool coat.

Emma wore her blonde locks straight and opted for a subtle make-up look.

GIG-A-GIG AH

Geri Horner joins David & Victoria Beckham as they support son Cruz

FEELING SPICY

Mel B brushes off failed Spice Girls reboot as she channels Scary Spice

Meanwhile, Holly wore a black t-shirt tucked into jeans with a black coat and some brown boots.

She too got into the Disney spirit with a set of ears as the two put on their widest smiles for photos.

The two women have been firm friends for several years and are often spotted socialising with their group of friends, including Melanie Blatt and Christine Lampard.

Emma’s appearance comes after The Sun exclusively revealed that the Spice Girls’ 30th anniversary reunion has been cancelled after they failed to pull their plans together in time.

Emma, as well as Mel C, Mel B, Victoria Beckham and Geri Halliwell-Horner had been in talks to reunite for a string of concerts to mark three decades since the release of their debut single Wannabe.

The Sun understands they failed to reach an agreement and plans for a comeback tour in 2026 have been ditched.

Confirming the news during an interview on The Smallzy Show on Australia’s KIIS Radio, Mel C, 52, said: “No, there is no reunion.

“We are communicating all the time. We want to do something – who knows when.

“But I still feel very optimistic and I keep my fingers crossed that you will see the Spice Girls together at some point in the future.”

The Sun told last April how Geri, 53, was back in touch with the band’s former manager Simon Fuller and had flown out to Miami to try and agree on a deal.

As recently as January, Mel C had insisted they were still in active discussions about celebrating the milestone.

And even Victoria, 51, had prompted hopes she could return to the group, saying she “loves” the idea of a residency at Las Vegas venue Sphere.

She said in October of the prospect: “It would be tempting. But could I take on a world tour? No I can’t. I have a job…

“How good would the Spice Girls be at the Sphere! I love the idea of it. I mean I don’t know if I could even still sing, I mean I was never that great!”

However, in recent weeks, plans have fallen apart, with just a collectible coin from the Royal Mint being announced to mark the anniversary.

A planned Netflix drama based on the group was shelved last month amid reported tensions in the group.

The Spice Girls have not performed together as a five-piece since the London 2012 Olympics closing ceremony.

They last reunited without Posh in 2019 for a sold out 13-date stadium tour of the UK and Ireland, selling 700,000 tickets and making £4.4m each.

KIM Kardashian has been accused of editing her sister Khloe’s face by fans as the family enjoy a trip to Japan.

The sisters have been living their best lives in Tokyo over the past week, along with Kim’s children, Saint, Psalm and Chicago and Khloe’s daughter True.

The Skims founder, 45, took to Instagram on Saturday to share a photo dump of their trip but soon came under fire for allegedly using editing tools to change the appearance of hers and Khloe’s faces.

In one snap, the pair are seen standing in front of a toy claw machine, as Khloe, 41, holds a stuffed toy in her arms.

The sister duo look flawless with their skin glowing and their make-up on fleek, but fans think she may have altered the pictures.

One person commented: “The amount of facetuning on khloe gaadammmm.”

Another social media user expressed: “We saw you at the Oscar party. We know you don’t look anywhere close to this. Nor does your sister.”

Somebody else said: “Ya’ll do not look like this in person. Kim embrace your age and imperfections. Especially Khloe.”

Yet another penned on Reddit: “Why does khloe look photoshopped in. It looks like she’s been pasted in and resized to be around Kim’s height lol.”

While a fifth added: “I hope those Instagram filters get overtime pay cuz they be working hard af.”

Kim’s new man Lewis Hamilton was spotted with the group in Tokyo earlier this week, before the start of the Japanese Grand Prix.

Things appear to be heating up for the pair as she introduced him to three of her children.

“It’s more than just a casual connection. It takes a lot to capture Kim’s interest and she’s definitely intrigued,” an insider told People.

“He’s just an easygoing guy with great energy.

“Her family likes him and Kim’s very into him. They are both busy with their careers, but see each other as much as possible.”

On Sunday, Kim and Lewis took a stroll around the streets of Tokyo before being sighted by fans.

Surrounded by security, Kim waved back as she walked in a full-body grey dress.

Linking arms with BF Hamilton, the American offered some PDA for those watching on.

Kim’s romance with Lewis became public knowledge after The Sun revealed she flew in from Los Angeles on her £100million private jet to spend an evening with him.

On January 31, the couple enjoyed a brief stay at the exclusive Estelle Manor in the Cotswolds, with insiders saying they had the spa to themselves, before enjoying a meal in a private room.

A source told The Sun: “It all appeared to be very romantic. Kim and Lewis made use of all the facilities on offer.

“She had two bodyguards with her and Lewis had a close protection officer but they remained in the background.

“Two of the three stood guard outside the door to their room, so no one could disturb them.”

Lewis was friends with her ­rapper ex Kanye West, who she divorced in 2022.

A source added: “They had a couple’s massage booked in and had full use of the facilities for just the two of them.

“It was all kept very quiet – they clearly wanted to have some time for just the two of them.”

They hard-launched their romance at the Super Bowl last month, when they were spotted in the stands alongside her sister Kendall Jenner.

The streamer’s latest true crime offering tells the harrowing story of Manuel Blanco Vela.

Netflix’s dark new documentary has left viewers reeling. It has just added a new series to its extensive library of true crime offerings, which delves into a case that evaded justice for many years until one survivor spoke out.

The Netflix series recalls a woman’s fight to expose Manuel Blanco Vela, a Spanish tour guide who ran student trips and abused the trust of young women by assaulting them.

Blanco Vela, who ran Discover Excursions, a travel company offering trips across Spain, is the main subject of The Predator of Seville.

Viewers learned of how between 50 and 100 women may have accused Blanco Vela of assaults or attempted assaults over time, although only a small number of cases were prosecuted.

Taking to X, formerly Twitter, to share their thoughts on the new crime documentary, one viewer said: “That Manuel Blanco documentary is horrifying.”

Another praised the survivors, sharing: “What a brilliant and brave woman you are. He massively underestimated the collective power of women.”

On IMDb reviews, one viewer expressed their shock, sharing: “How could this go on for so long?

“It’s disgusting to see how long Manuel was able to get away with this abuse and how difficult it seems to be to actually convict someone like that. Incredibly brave of all the women who have shared their stories.”

Another shared: “It is a very interesting story on Manuel’s serial behaviour. It’s sad to hear it took so long to be recognised. The woman starting the story seems to have been healing well and hope she continues on doing so.”

A third added: “Every woman that was affected by this guy, I am so happy that you stood up for yourself, the fact that he was running away for so long honestly mind-boggles me.”

A fourth shared: “Unbelievable that that man got away with it for so long. A confronting story for parents and young girls. Let it be a lesson that young girls should never go out alone, no matter where in the world.”

The synopsis for the limited series reads: “A sexual assault by a Spanish tour guide sparks a surge of similar claims from multiple US students. This documentary follows their fight for justice.”

The trailer for the series sees a group of women explaining how Blanco Vela took advantage of their vulnerable state until one survivor set up an online investigation to expose him.

The Predator of Seville is on Netflix

INFLUENCER Charlotte Greedy has left fans confused by revealing she and her partner Harriet are trying for another baby, months after they almost split.

The couple already share daughter Phoebe together, while Charlotte is a mum to sons Enzo and Brody from a previous relationship.

Charlotte, known as ‘missgreedyshome’ online, has over half a million Instagram followers, while her wife Harriet boasts over 100K and shares fitness content.

After tying the knot in October 2024, the couple of eight years almost split up last summer – with Charlotte even sharing a split statement before quickly retracting it.

At the time, the influencer said she was “left with no choice” due to “disrespect” in the relationship.

But soon after, Charlotte – who suffers from Borderline Personality Disorder – returned to social media to say she regretted posting the “sharp and impulsive” statement.

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Since then, Harriet and Charlotte have shared several posts about their relationship and how they have battled through its ups and downs.

And now seemingly in a much stronger place, the couple are once again expanding the family.

Sitting down for a new video, they told the camera: “We’re going to try for another baby.”

Charlotte- who had a tummy tuck last year – went on the explain that having more children is something the couple have been thinking about for a while.

She said: “We’ve been talking about this for a few months. Harriet has been set on it and I’ve kind of been on the fence, leaning back off the fence, and now I’ve fallen frontwards off the fence.

“We just love being mums, and, I think, the boys are growing up; Enzo is nearly 13, Brody is 10 and Phoebe is now two.

“I can’t stand the thought of not having another one. You guys sent an incredible quote to me the other week saying that you’ll never regret the baby you have but you will regret not having that baby.

“And, it just, kind of cemented it for us, didn’t it?”

Charlotte went on to explain that they were only going to have another child if they could use the same sperm donor they previously used to have Phoebe.

Adding that it was “meant to be”, Charlotte said the couple were successful in reserving the same sperm and are set to undergo IUI (Intrauterine Insemination), as opposed to IVF.

They are set to begin the first round in May, with the couple assuring they are set to take fans with them throughout the journey.

While the comment section of the post was filled with friends and fans congratulating the couple, some were also confused about the massive switch up from their previous split woes.

One Instagram user commented: “I say this with respect, but I can’t help thinking about the posts you shared not long ago about you and Harriet splitting up and going through marriage counselling.

“Bringing a baby into the situation is a huge step, and I just hope it’s coming from a place of real stability rather than trying to fix things. A child deserves a secure and settled environment.”

Giving her side of the story, Charlotte replied to the comment: “We have been together nearly 10 years and had many a blip like others I’m sure, we already have 3 kids who have ‘stability’ but thank you for your message.

“I’m sure it doesn’t come from a bad place, our blip was over a year ago now & we share real life and real life will always have its ups and downs.”

AI is coming. AI is here. AI is a bubble. AI is the future we want. AI is the end. AI is the path to a better us (at least the ones who survive it).

A big topic, this artificial intelligence, with a lot of different ways to think about it. To grapple with AI is a worthy endeavor for any filmmaker. (And by grapple, I don’t mean asking AI to make the film for you.)

Daniel Roher, the man behind the Oscar-winning “Navalny,” has, along with co-director Charlie Tyrell, attempted a nonfiction primer of sorts on the biggest technological, societal and existential challenge of our time with “The AI Doc: Or How I Became an Apocaloptimist,” a title boasting a hybrid coinage Roher picks up from one of his interviewed experts — one of too many, it turns out. “The AI Doc” is a well-intentioned but aggravating soup of information and opinion that wants to move at the speed of machine thought.

Roher’s approach is understandable for a mainstream doc. He assumes many of us are tech-competent, anxious and confused as to what AI even is to begin with. In his pursuit of answers, Roher employs a cloying framework: his loving wife occasionally narrating as if this were a storybook and Roher the protagonist of a scary adventure. The fable construct extends to a frenetic visual scheme of handmade art and animation that interrupts our absorption process as if we were kids needing stimulation between all the talking heads.

As for the AI itself, the experts — a mix of tech founders (such as Sam Altman and Anthropic’s Amodei siblings), historians, scientists and assorted champions and skeptics — come to Roher’s home, because he wants to foreground a key question as an expectant father: Should he be bringing a child into this world?

Perhaps more urgently, should Roher have made an AI doc that treats us like children? First, he parades all the safety doomers, seeming to believe their warnings that an unfeeling superintelligence is upon us and we can’t trust it. Then, sufficiently disturbed, he hauls in the AI cheerleaders, a suspiciously positive gang who can envision only medical miracles and grindless lives in which we’re all full-time artists.

Only then, after this simplistic setup where platitudes reign, do we get the section in which the subject is treated like the brave (and grave) new world it is: geopolitically fraught, economically tenuous and a playground for billionaires.

Why couldn’t the complexity have been the dialogue from the beginning, instead of the play-dumb cartoon “The AI Doc” feels like for so long? Maybe Roher believes this is what our increasingly gullible, truth-challenged citizenry needs from an explanatory doc: a flashy, kindhearted reminder that we’re the change we need to be.

But if you thirst for a sober-minded investigation into this ominous tool — one with an approach that treats you like the intelligent being you are — you’ll have to wait for AI doc 2.0.

The anti-nuclear artists collective whose work is on display at Pitzer College in Claremont never predicted a nuclear proliferation crisis would break out in the Middle East during their exhibit, or how grimly topical their work would quickly become as a result.

“Atomic Dragons,” wrapping April 4 with a closing-day symposium of nuclear experts, is the work of SWANS, which stands for Slow War Against the Nuclear State. The group is made up of artists, activists and academics with ties to the nuclear industry, including children and spouses of nuclear industrial complex workers — putting a new spin on the “nuclear family.”

The show examines the environmental and human cost of the atomic era through an artistic lens, tracing present day nuclear risk back to its Cold War roots.

The SWANS’ warning call has always been clear, but ”Atomic Dragons” took on a whole new meaning when the United States and Israel launched a joint assault on Iran over its illicit stockpile of nuclear materials Feb. 28, three weeks after the show opened.

“We’re at the start of what will be an exceedingly dangerous period in terms of the Iranian nuclear program,” nuclear policy expert Scott Sagan, who co-directs Stanford’s Center for International Security and Cooperation, said. “We’re likely to have a major, major conflict over this.”

In a time of acute nuclear anxiety, SWANS is an outlet through which the artists process the fear and gravity of our atomic reality.

Fiona Amundsen, “Yoshino Cherry Tree, Sanyo Buntokuden, Hiroshima (lovingly held),” 2025, from the series, “The Trees are Leaking Light,” 2024-25, 4 x 5 inch negative processed using seaweed, gathered from the ocean current of the Fukushima wastewater release, inkjet washi photograph.

(Chloe Shrager)

“My maybe-naive hope is that the artworks help to provide an avenue into that understanding of the severity of what it means to play with the nuclear,” said Fiona Amundsen, whose arresting film photography of three trees in Hiroshima that survived the 1945 nuclear bomb was developed using contaminated seaweed growing in the Fukushima wastewater release line.

The resulting images are dotted with delicate white flares: trace amounts of radioactive tritium that transferred to the film from the nuclear effluent during the chemical processing, bearing physical witness to the usually invisible effects of radiation.

Amundsen’s work is in keeping with the rest of the show, which fills two halls at the liberal arts school with visual and multimedia works that probe the persistence of radioactive materials. Artifacts from the birth of the nuclear age are also featured, including items recovered from postwar Hiroshima and a letter from the father of the nuclear bomb, Robert J. Oppenheimer.

The artworks are as likely to unsettle as they are to move.

Elin o’Hara slavick labored over an expansive series of photochemical drawings of every above-ground nuclear test — 528 in total, a selection of which are featured in the exhibit— on salvaged darkroom paper from Caltech, the institution that played a role in developing the detonators for the U.S. nuclear bombs dropped on Japan under the top secret Project Camel.

elin o’Hara slavick, selection from “There Have Been 528 Atmospheric Nuclear Tests to Date,” 2022, photo-chemical drawings on outdated and fogged silver gelatin paper.

(Chloe Shrager)

Slavick said she found the abandoned silver-gelatin paper, which was fogged despite being stored in closed boxes, in the basement of the university near a door labeled “Radiation Science,” which led her to believe radiation exposure from Caltech’s Manhattan Project past distorted the photographic paper.

SWANS seems to double as a support group for families impacted by the nuclear industry. Many members believe they’ve lost loved ones to radiation, or were themselves likely impacted by early-life exposure as children of Manhattan Project engineers. The tension between the anti-nuclear artwork and its artists’ familial ties to the production of the very technology they reject is an enticing dance of its own.

Judith Dancoff, “The Milk Pathway (still),” 2023, video, briefcase, antique milk bottles, and tempera.

(Chloe Shrager)

Writer Judith Dancoff links her hyperthyroidism and long-term reproductive issues from a pituitary gland tumor to childhood radiation exposure during a summer spent at the Oak Ridge uranium enrichment site in Tennessee where her father worked as a student of Oppenheimer. Her father died young of cancer, and the story is woven into her featured SWANS work.

One of the largest pieces on display at “Atomic Dragons” is Nancy Buchanan’s interactive full-wall exhibit of documents her father brought home from his government work as a Manhattan Project physicist, alongside material from the FBI file on his mysterious death, on display for viewers to read under looming red letters spelling out “SECURITY.”

Nancy Buchanan, “Security,” 1987, installation with file folders, photos, map pins, and documents.

(Chloe Shrager)

The current crisis in Iran has sent memories bubbling to the surface for the collective, and chills down the spines of viewers.

Many have expressed fears of an Orwellian-style forever war, or worse, the use of the atomic weapon invented “to end all wars” in a twisted attempt to do so, poisoning the region as a byproduct. But nuclear policy expert Sagan said the likelihood of the conflict escalating to involve nuclear weapons is “exceedingly low,” even if Iran has the capability to build them.

Iran possesses enough 60% highly-enriched uranium to build about 10 nuclear weapons if further enriched to 90% weapons grade, he said. This could take a matter of weeks to complete depending on the state of Iran’s enrichment centrifuges, which Trump claimed to have “obliterated” during air strikes in June.

Iran could also craft a primitive nuclear device out of minimally enriched materials for an offensive attack (“60% could actually create an explosion, it just wouldn’t be a very efficient one,” according to Sagan), but George Perkovich, senior fellow for the Carnegie Endowment for International Peace’s Nuclear Policy Program and author of “How to Assess Nuclear Threats in the 21st Century,” points out that “you have to build more than one for it to be useful,” especially under the wrath of a nuclear-armed West’s expected response.

What is more likely, and probably more dangerous, experts say, is the now-heightened long-term risk of global proliferation. “This war is going to suggest to some countries that if they want to secure their sovereignty, they need nuclear weapons,” Sagan said.

elin o’Hara slavick, selection from “There Have Been 528 Atmospheric Nuclear Tests to Date,” 2022, photo-chemical drawings on outdated and fogged silver gelatin paper.

(Chloe Shrager)

Since 1968, the world nuclear order has rested on the delicate architecture of the Nuclear Non-Proliferation Treaty, enforcing the international norm that countries without nuclear weapons won’t try to get them, and countries with nuclear weapons won’t help arm their allies. Now, experts say the rulebook has been thrown out.

“What this does is it breaks the old system that was based on the non-proliferation treaty,” said Perkovich, who has worked on nuclear issues for 44 years. “It’s now ‘might makes right,’ everybody’s on their own, friends versus enemies. I think the terms now change, and we’re not bargaining.”

Though the timing of the military operation in Iran with the “Atomic Dragons” exhibit could not be described as kismet as much as brutally ironic, slavick said the “sick and sad thing” is that “it’s always topical when you’re an American.”

“We do this. We wage wars. We are the leading nuclear country,” she said, speaking to the heart of the SWANS message: In a world where nuclear materials exist, it is not a matter of if humans will be harmed, but when.

There is a historic relationship between visual art and nuclear war, said Jim Walsh, a senior research associate at the MIT Security Studies Program on nuclear weapons risk issues in Iran and North Korea, who is also a speaker at the exhibit’s closing symposium. As the world enters a “more disruptive period” after the post-Cold War cooling of nuclear tensions, he expects to soon see “a flowering of artistic projects,” as nuclear risk reaches a local peak. “It’s a super powerful thing involving life and death, the planet, the entire environment, love and hate,” he said.

“Atomic Dragons,” which also features work created decades ago, highlights questions that are as relevant today as they were at the dawn of the nuclear era: Can we make the world safe enough so we can once again dream? Is the strength of a country found in its military rather than its culture? Is fear our gross national product?