Musical artist is the alter ego of New Zealand TV star KJ Apa

Alex Scott admitted that she once "ghosted" Louis Theroux after he complimented her television work.

‘It could not be more obvious what was happening,’ one fan said of Will, Mike and Robin scene

New twist is shaking up ITV series

‘A straight-up jaw-dropping TV moment,’ one astounded viewer wrote

Author tells high court her public support for group means her books could disappear from UK stores altogether

The Irish author Sally Rooney has told the high court she is highly unlikely to be able to publish new work in the UK while the ban on Palestine Action remains in effect because of her public support for the group.

On the second day of the legal challenge to Palestine Action’s proscription, the effect on Rooney, who said her books could disappear from UK stores altogether, was held up as an example of its impact on freedom of expression.

Irish actor, who had first amputation after football injury, reveals new wheelchair in TikTok video

The actor and The Celebrity Traitors star Ruth Codd has announced that she is recovering after a second leg amputation operation.

The 29-year-old Irish performer had her first amputation six years ago after injuring her foot playing football as a teenager, which led to years of surgeries and chronic pain.

Tognetti/Australian Chamber Orchestra
(ABC Classic)
Under Richard Tognetti the ACO has established itself as world-class and this 50th anniversary live recording of these two great concertos are a wonderful souvenir of a remarkable group

Over the past quarter of a century the Australian Chamber Orchestra has become a regular visitor to Europe, establishing itself as one of the world’s foremost chamber bands. The group was founded in 1975, and this pairing of perhaps the two greatest violin concertos in the repertory is being released to mark the ACO’s 50th birthday. The soloist and conductor in both works is Richard Tognetti, who has been the orchestra’s leader and artistic director for the past 35 years.

Both recordings are taken from concerts given in Sydney’s City Recital Hall, the Beethoven concerto in 2018, the Brahms last February. The close recorded sound very faithfully reproduces the intensely involving approach of the ACO when heard in the flesh, with its amalgam of modern playing techniques with the use of historical instruments (gut strings, period wind). For both concertos the orchestra’s permanent core of 20 players was more than doubled with guest instrumentalists from other Australian orchestras, but the suppleness and coherence of its textures are as persuasive as ever.

The Canadian electroclash icon on No Lube So Rude, her first album in a decade, the state of global politics, the ‘punk energy’ of the older generation and her love of ping-pong

Why is your forthcoming album your first in over a decade and who is/are the “you” in comeback single Not in Your Mouth None of Your Business? k4ren123
I’ve been very busy – touring, working with dance troupes, performance art, sculptures, playing the lead role in a production of Bertolt Brecht’s The Seven Deadly Sins in Stuttgart, and on and on. Then, finally, I started on new music. The “you” in the single are people who feel they have the right to have autonomy over other people’s bodies and make it unsafe for people to be who they want to be. I’m especially talking about queer and mostly trans rights. The song’s like a mantra or chant, a way to empower people in only a few sentences.

As a fan of your concert costume design as much as your music, what can we expect from the upcoming tour? Kelechica
I was thinking about sustainability and went to a costume sale at the Berlin opera and bought a bunch of opera costumes. I’m working with Charlie Le Mindu, who is transforming them into weird new creations. In the video for Not in Your Mouth, I’m wearing my sister’s leather jacket. It’s just been the fifth anniversary of her passing, and I wanted to keep something of her, so I kept her leather jacket that she wore the crap out of since the 90s. So, in a way, she’ll be in the show.

In his new book The World in a Phrase, author James Geary shares aphorisms from David Byrne, James Baldwin and more that speak to the modern day

When it comes to aphorisms, the biggest hits are familiar: “a penny saved is a penny earned”, “a picture is worth 1,000 words”, the one about why teaching fishing is better than fish donations. These phrases have been around so long they can feel as old as language itself.

But aphorisms aren’t just historical artifacts. People regularly come up with new ones, and even if they haven’t come from the pen of Confucius or Emily Dickinson, they can shed light on the modern human experience with just a few words. In fact, “the aphorism is, in some ways, perfectly suited to the digital age: the oldest form of literature finds its ideal vehicle in the most modern short modes of communication,” writes James Geary in The World in a Phrase: A Brief History of the Aphorism.

Andy Serkis revels in his narration of the first murder mystery from the author of This Is Going to Hurt, which showcases Kay’s signature pitch-black humour

Dr Eitan Rose is stark naked in a gay sauna when he is called upon to perform CPR on an elderly man and fellow patron who is having a heart attack. When arriving paramedics ask Eitan for his details, he declines to give his real name, instead giving them the name of his work supervisor and nemesis, Douglas Moran. Eitan is a hard-partying consultant rheumatologist who has just returned to work after several months off following a mental health crisis, and who uses liquid cocaine secreted into a nasal inhaler to get through the working day.

When Moran dies in unexpected circumstances, Eitan suspects foul play and sets about finding the culprit. Soon he is performing illicit postmortems and impersonating a police detective so he can cross-examine a suspect. But when he tries to blow the whistle, his colleagues and the police decline to take his claims seriously. Eitan may work among medical professionals, but they are not above stigmatising a colleague diagnosed with bipolar disorder and taking his outlandish claims as evidence of his instability.

(London)
The delicate experimentation of the band’s debut may not have chimed with the post-punk 1980s, but its durability makes this deluxe reissue thoroughly deserved

The Durutti Column’s debut album does not have an auspicious origin story. The band whose name it bore had split acrimoniously just before they were supposed to record it. Their guitarist Vini Reilly was so poleaxed by depression that he was virtually unable to leave his house: 12 different attempts were made to section him over the course of 1979. Believing that Reilly was “going to die”, Factory Records boss Tony Wilson intervened, buying him a new guitar, then suggested he visit a studio with the label’s troubled but visionary producer Martin Hannett as “an experiment”. The sessions were a disaster. Hannett ignored Reilly in favour of tinkering with a vast amount of cutting-edge electronic equipment he had brought with him. Reilly fitfully played something on the guitar, but eventually stormed out with the words: “I’m fucking sick of this.” He did not return.

Unaware that he was making an album, Reilly was “mortified” when Hannett handed over a finished product, and “absolutely hated” what he heard. The solitary upside, as he saw it, was his sense that it would never find a wider audience. The music on 1980’s The Return of the Durutti Column bore no relation to the workmanlike post-punk that the original band had contributed to the label’s compilation EP A Factory Sample, put together the previous year. (Although Reilly thought they were “complete and total rubbish”, too.) Grasping for comparisons, the music press likened it to the atmospheric jazz of the German label ECM and Reilly’s guitar playing to that of Mike Oldfield and the Grateful Dead’s Jerry Garcia – neither of them having much musical cachet in the post-punk world of 1980. Even a positive review in the NME suggested listeners would consider The Return of the Durutti Column “hippy noodling”.

Scrubs, la fameuse sitcom des années 2000, qui nous plongeait dans le quotidien d'un hôpital, va connaître un revival dans les prochains mois. Casting, date de sortie, bande-annonce, histoire... Voici tout ce que l'on sait déjà sur le retour de la série culte, pour une saison 10.

Face au vieillissement de ses acteurs, Stranger Things a dû rajeunir numériquement certains comédiens, afin de conserver une cohérence lors de flashbacks. Une technique déjà utilisée dans la saison 4, à nouveau mobilisée dans les épisodes dévoilés sur Netflix ce 27 novembre 2025.