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Kelly Osbourne accepts lifetime achievement award on behalf of late father Ozzy Osbourne
Celebrity News

Kelly Osbourne accepts lifetime achievement award on behalf of late father Ozzy Osbourne

by jummy84
written by jummy84

Kelly Osbourne accepted a lifetime achievement award on behalf of her late father Ozzy Osbourne at the Birmingham Awards.

Kelly Osbourne collected a lifetime achievement award on her late father Ozzy Osbourne’s behalf

The Black Sabbath legend died at the age of 76 in July and his daughter took to social media to explain how being honoured at Friday’s (17.10.25) ceremony in his home city “would have meant the world to him”.

Kelly wrote on Instagram: “Last night I had the honour of accepting my father’s lifetime achievement award on his behalf at the @birminghamawards.

“I can’t thank everyone enough for their love and support. I know that my dad was shining down on us from heaven with pride because being a #Brummy meant more to him than anything. He loved the city and he loved the people.”

The 40-year-old star added: “This honour would have meant the world to him. From the bottom of my heart thank you. #birminghamforever.”

Kelly explained last month that falconry had helped her come to terms with her father’s passing and allowed her to discover her “smile again”.

Sharing a snap of herself with one of the birds on her Instagram Stories, Kelly penned: “In all my sadness and grief, I have found something that makes me happy!

“I never thought I would find my smile again through falconry but I did. I absolutely love being with the birds.”

The star – who collaborated with Ozzy on a UK chart-topping cover of Black Sabbath’s Changes in 2003 – had described her father’s death as “the hardest moment of my life” in the aftermath of the tragic news.

She wrote on social media at the time: “The love, support, and beautiful messages I’ve received from so many of you have truly helped carry me through the hardest moment of my life.

“Grief is a strange thing, it sneaks up on you in waves – I will not be ok for a while, but knowing my family is not alone in our pain make a difference.

“I’m holding on tight to the love, the light, and the legacy left behind.”

Ozzy passed away on July 22, following a series of health problems that included a lengthy battle with Parkinson’s disease.

His family said in a statement at the time: “It is with more sadness than mere words can convey that we have to report that our beloved Ozzy Osbourne has passed away this morning. He was with his family and surrounded by love.”




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Kelly Reichardt Interview on 'The Mastermind'
TV & Streaming

Kelly Reichardt Interview on ‘The Mastermind’

by jummy84
written by jummy84

If you asked every Kelly Reichardt fan to blindly predict how the auteur would follow the 2022 release of “Showing Up,” nobody would have guessed she’d make an art heist movie set in New England. But watch a few minutes of “The Mastermind” and you’ll see that it’s a Reichardt film in every sense, even if it externally seems like a departure from the themes and locales she usually prefers.

Loosely inspired by a 1970 news story in which an art museum in Worcester, Massachusetts, was robbed while two teenage girls did homework in the gallery, the ironically titled film stars Josh O’Connor as a working-class family man who ruins his life in record time after making the impulsive decision to rip off his own local museum. Unsurprisingly, the film is far more interested in exploring the psyche of O’Connor’s J.B. Mooney than dazzling you with art heist spectacle, and Reichardt’s long, meditative takes pair beautifully with the lonely moments in which Mooney slowly realizes that he can’t go home — and wouldn’t have much waiting for him if he could.

'The Sea'

But it’s missing one major common denominator of a Reichardt film: a Pacific Northwestern setting. Save for her 1994 debut “River of Grass” (which was set in her native Florida), and her 2016 masterpiece “Certain Women” (which moved the action a whopping two states over to Montana), all of Reichardt’s previous films have been set in Oregon. But Reichardt, who spends most of her time on the East Coast due to her teaching job at Bard College in upstate New York, was itching for a change of cinematic scenery.

“I wanted to get out of Oregon for a bit and have a new landscape to look at,” Reichardt said during a recent interview with IndieWire. “Being from New York and originally from Florida, Oregon was so unique to me and so inspiring and exciting because it just was so different than flat Miami or New York City, where I lived. So that was all cool. A lot of those stories were written with Jon Raymond, and we built a little world out there to work from. And Oregon’s a really diverse state, so you have forest and desert, and we never really made use of the ocean, but I needed a change. I teach in New York on the East Coast, and I’ve lived on the East Coast for a long time, and suddenly I could sort of see the light of the East Coast, literally the light, feel the difference of it [compared to] the West Coast… You can see something when you spend time away from it.”

Josh O'Connor in 'The Mastermind'
Josh O’Connor in “The Mastermind“Mubi

“The Mastermind” moved the action to Framingham, Massachusetts, and the original newspaper story that Reichardt found about the Worcester art heist gave her a starting point to explore a story about the tragically dated concept of a small town having its own art museum. The setting catches America at a point of transition between an era of middle-class prosperity and the economic decay that was on the horizon.

“I really wanted to shoot something on the East Coast. And this size of city, the industrial town that has little museum, that the sort of middle class residents are keeping going, that’s Massachusetts to me,” she said. “That happens to be a place where I went to art school. And so that seemed right. And the Worcester Museum robbery with the young girls, that was a good jumping off point.”

The role of Mooney wasn’t written for O’Connor, but Reichardt was inspired to work with him after being drawn to his “timeless face” and meeting him through a mutual friend. There was an instant chemistry on set (along with O’Connor’s co-star Alana Haim, who gives a brilliantly understated performance as Mooney’s fed-up wife trying to hold the family together amid his antics). Reichardt said that shooting “The Mastermind” was the best filmmaking experience of her life (“First Cow” is the runner-up, if you were wondering). The fact that it came after the stressful experience of filming “Showing Up” during the pandemic only added to the joy.

'The Mastermind'
‘The Mastermind’ MUBI

What does a filmmaker like Reichardt, who has spent her entire career making delicate, unapologetically uncommercial films, think about the current indie film landscape? The auteur is as stressed as any of us, but she’s not convinced that it was ever much better.

“It always feels precarious, and it feels precarious now. I mean, AI is a threat on every level. That makes life feel precarious, much less filmmaking,” she said. “Who’s going to keep financing films? When you’re putting a film out, you have to compete in this realm with films that are just cranking in so much money that it just makes the smallest film so expensive. But I have to say that’s been the story of independent filmmaking since I started. And somehow, here we are. But I don’t know, to be honest, the whole world seems so precarious. I mean, the state of independent filmmaking is probably not our biggest problem. But obviously I care because that’s what I’m into, and I hope it keeps going. But I kind of always have a feeling when I’m making a film like, ‘Well, this is probably the last one. Can’t believe we’re getting another one done.’”

Reichardt might enjoy a bit of gallows humor about her own career longevity, but she’s hoping that “The Mastermind” isn’t anything close to her last film. She doesn’t need filmmaking — her day job as a teacher is a lot less stressful — but Reichardt said that she has enough film ideas to keep her band of repeat collaborators like cinematographer Christopher Blauvelt, assistant director Chris Carroll, and production designer Anthony Gasparro busy for the rest of their lives.

“I mean, it’s a lot easier to teach than to make films, to be honest,” she said with a laugh. “Filmmaking is super, super challenging. I mean, just as far as the craftsmanship of it, of shooting and editing. And just the idea of visual storytelling is forever interesting to me. And I don’t think I could accomplish it all in one lifetime. I don’t know, you choke, you get better at things. But new challenges bring new trials. And yeah, oh, my God, we still have, if we’re allowed, we have lots we’d like to do.”

A MUBI release, “The Mastermind” is now playing in theaters.

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Drew Barrymore Wins in Upset Over Kelly Clarkson
Music

Drew Barrymore Wins in Upset Over Kelly Clarkson

by jummy84
written by jummy84

After five years of winning in at least one of her two categories, Kelly Clarkson was shut out at the 2025 Daytime Emmys. The awards were held at the Pasadena Civic Auditorium in Pasadena, Calif., on Friday (Oct. 17). Mario Lopez hosted the show.

Drew Barrymore won outstanding daytime talk series host for The Drew Barrymore Show. This is the second year in a row that Clarkson has been upset in this category (which she won the four years before that). She lost last year to Kelly Ripa and Mark Consuelos, the married stars of the syndicated Live With Kelly and Mark.

This year, Live With Kelly and Mark won outstanding daytime talk series, ending (or at least interrupting) The Kelly Clarkson Show’s four-year hold on the category. This is the second top program award for the long-running Live franchise. Live! with Regis and Kelly (when Ripa teamed with talk show legend Regis Philbin) won outstanding talk show – entertainment in 2012.

Barrymore has had a multi-faceted career, starting as a child star in E.T.: The Extra Terrestrial. In 2018 she was the subject of Bryce Vine’s Billboard Hot 100 hit “Drew Barrymore.”

The Drew Barrymore Show also won best directing team and best hairstyling/makeup, for a total of three wins. The Kelly Clarkson Show won two – best lighting direction and best live sound mixing/sound editing.

General Hospital won seven awards, tops for the night, followed by The Drew Barrymore Show, The Secret Lives of Animals and Secret Lives of Orangutans (three awards each), and Black Barbie, Days of Our Lives, Delicious Miss Brown, Disney Parks Magical Christmas Day Parade, Entertainment Tonight and The Kelly Clarkson Show (two awards each).

Entertainment Tonight won outstanding entertainment news series for the sixth consecutive year, while the host team (Cassie DiLaura, Denny Directo, Kevin Frazier, Rachel Smith and Nischelle Turner) won outstanding daytime personality – daily. But an ET-branded program remembering a TV legend, Bob Newhart: A Legacy of Laughter, An Entertainment Tonight Special, surprisingly lost outstanding daytime special to Disney Parks Magical Christmas Day Parade.

Sir David Attenborough, 99, won outstanding daytime personality – non-daily for the Netflix program, Secret Lives of Orangutans. In so doing, he set a new record as the oldest person to win a Daytime Emmy, beating Dick Van Dyke’s record by one year. Van Dyke won outstanding guest performer in a drama series last year at 98 for his performance on Days of Our Lives.

Selena Gomez’s Food Network series Selena + Restaurant was nominated for outstanding culinary instructional series, but lost to Delicious Miss Brown on the Food Network. Gomez has now gone 0-3 at the Daytime Emmys, 0-5 at the Primetime Emmys and 0-1 at the Children’s and Family Emmys. (Bottom line: She is due for a win.)

Three top entertainment media brands – Billboard, Variety and The Hollywood Reporter – were recognized in the nominations (though none wound up winning). Billboard Presents was nominated for outstanding short form program. Variety Studio: Actors on Actors and Off Script With the Hollywood Reporter were both nominated for outstanding arts and popular culture program. 

Billboard Presents are the video cover profiles that Billboard produces for some of its cover artists. The specific episode submitted for the series was the cover video with conductor Gustavo Dudamel. Other Billboard Presents segments include cover videos with A$AP Rocky, Tyler, The Creator and Charli XCX. 

The In Memoriam segment included talk show pioneer Phil Donahue; game show hosts Chuck Woolery, Peter Marshall and Wink Martindale; fitness guru and personality Richard Simmons; televangelist Jimmy Swaggart; acting legend James Earl Jones; and Food Network star Anne Burrell.

The awards are presented annually by the National Academy of Television Arts & Sciences. If it seems like more than a year has gone by since the last Daytime Emmys, you’re right. Last year’s Daytime Emmys were held on June 7, 2024 the Westin Bonaventure Hotel in Los Angeles.

Unlike the past five years, when the show aired on CBS, this year’s program streamed live on watch.theemmys.tv and on the Emmys app.

Veteran broadcast journalist Deborah Norville received a lifetime achievement honor.

Here are the 2025 Daytime Emmy nominations in selected categories, with winners marked. For the full list of winners, go here.

Outstanding Daytime Talk Series

The Drew Barrymore Show, CBS Media Ventures

The Jennifer Hudson Show, Warner Brothers Television Distribution [JHUD Productions | Warner Bros. Unscripted Television | Telepictures]

The Kelly Clarkson Show, NBCUniversal Syndication Studios

WINNER: Live With Kelly and Mark, Disney Entertainment Distribution

The View, ABC

Outstanding Daytime Talk Series Host

WINNER: Drew Barrymore, The Drew Barrymore Show, CBS Media Ventures

Jenna Bush Hager, Hoda Kotb, TODAY With Hoda and Jenna, NBC

Kelly Clarkson, The Kelly Clarkson Show, NBCUniversal Syndication Studios

Mark Consuelos, Kelly Ripa, Live With Kelly and Mark, Disney Entertainment Distribution

Jennifer Hudson, The Jennifer Hudson Show, Warner Brothers Television Distribution

Outstanding Arts and Popular Culture Program

WINNER: Black Barbie, Netflix [shondalandmedia]; Executive Producers: Betsy Beers, Milan Chakraborty, Camilla Hall, Grace Lay, Sumalee Montano, Shonda Rhimes, Jyoti Sarda; Co-Executive Producers: Scott Collins, Alison Eakle, Sara Fischer; Producers: Lagueria Davis, Aaliyah Williams

Folk Americana Roots Hall of Fame, PBS [Bright Blue Media Group]; Executive Producers: Thomas Davison, Pamela Picard, Josiah Spaulding

Off Script With The Hollywood Reporter, IFC [The Hollywood Reporter]; Executive Producers: Nekesa Mumbi Moody, Elisabeth D. Rabishaw, Maer Roshan, Jason Rovou; Supervising Producer: Stephanie Fischette; Senior Producer: Lesley Corral; Producers: Jeanie Pyun, Lacey Rose, Tiffany Taylor, Curtis Thompson; Segment Producer: Chinedu Unaka

The Swift Effect, Peacock; Co-Executive Producers: Cody Broadway, Diane Petzke; Senior Supervising Producer: Meredith McGinn; Coordinating Producer: Julianne O’Hara; Producers: Pedro Iguaran, John Launchi

Variety Studio: Actors on Actors, PBS; Executive Producers: Michelle Merker, Donna Pennestri, John Ross, Andrew Russell, Ramin Setoodeh; Producers: Maris Berzins, Georg Kallert, Diana Nguyen, Rob Schroeder

Outstanding Short Form Program

WINNER: Ballin’ Out, Outsports; Executive Producers: Jim Buzinski, Cyd Zeigler; Producers: Joel Chiodi, Michael Franklin, Eric Korsh, Niq Lewis; Director: Michiel Thomas

Billboard Presents, Billboard.com; Executive Producers: Shira Brown, Leila Cobo, Dana Droppo, Hannah Karp, Christina Medina, Mike Van; Supervising Producer: Ciara Zimring; Line Producer: Mateo Vergara; Producer: Emily Fuentes

Catalyst, LinkedIn News; Executive Producers: Courtney Coupe, Enrique Montalvo; Supervising Producers: David Pond, Dan Roth, Wesley Wingo; Senior Producers: Nina Melendez Ibarra, Stephen Francisco Valdivia Duarte; Coordinating Producer: Michaela Greer; Producers: Joy Carlos, Taisha Henry, Jessica Jimenez, Julia Lull, Sarah Scully, Brandon Stefanowitz, Sujata Thomas, Rachel Wang

Eat This With Yara, The Chef Preserving Gaza’s Cuisine Amid a Genocide, AJ+; Executive Producer: Shadi Rahimi; Senior Producers: Dylan Bergeson, Yara Elmjouie

Live Like a Champion, Healthline [Lucky Tiger Productions]; Executive Producers: Brendan Anderer, Tracy Stickler; Supervising Producers: Tom Placke, Sam Sabawi; Producer: Marc Lesser

Outstanding Music Direction and Composition

Mysteries of the Terracotta Warriors, Netflix; Original Music Jerry Lane

National Parks: USA, National Geographic [Stronghold Studios, LLC]; Composer Colin Clark

The Secret Lives of Animals, Apple TV+ Composer Kyle Rodriguez

WINNER: Secret Lives of Orangutans, Netflix [Silverback Films]; Composer: David Mitcham, Score Co-Producer: Michael Whight

Secrets of the Neanderthals, Netflix [BBC Studios]; Composer: Anže Rozman; Additional Music: Enzo Hwang, Kara Talve; Score Producer: Russell Emanuel; Score Supervisor: Greg Rappaport

Outstanding Entertainment News Series

Access Hollywood, NBCUniversal Syndication Studios

E! News, E! Entertainment

WINNER: Entertainment Tonight, CBS Media Ventures

Extra, Warner Brothers Television Distribution [Warner Bros. Unscripted Television | Telepictures]

Outstanding Daytime Personality – Daily

WINNER: Cassie DiLaura, Denny Directo, Kevin Frazier, Rachel Smith & Nischelle Turner, Entertainment Tonight, CBS Media Ventures

Scott Evans, Zuri Hall, Kit Hoover & Mario Lopez, Access Hollywood, NBCUniversal Syndication Studios

Star Jones, Corey Jovan, Divorce Court, FOX

Whitney Kumar, Kevin Rasco, Sarah Rose & Judge Judy Sheindlin, Judy Justice, Amazon Prime Video [Amazon MGM Studios | Sox Entertainment]

Outstanding Daytime Special

Bob Newhart: A Legacy of Laughter, An Entertainment Tonight Special CBS

Dinner Party Diaries with José Andrés, Amazon Prime Video [Film 45 | Amazon MGM Studios | José Andrés Media]

WINNER: Disney Parks Magical Christmas Day Parade, ABC [Film 45 | EverWonder Studio | Yellow Shoes Studio]

98th Annual Macy’s Thanksgiving Day Parade, NBC [Silent House Productions]

Shelter Me: The Cancer Pioneers, PBS [Steven Latham Productions]

Outstanding Daytime Personality – Non-Daily

WINNER: Sir David Attenborough, Secret Lives of Orangutans, Netflix [Silverback Films]

Brad Bestelink, Living With Leopards, Netflix [Wild Space | Natural History Film Unit Botswana | Freeborne Media | Netflix]

Andi Sweeney Blanco, Courtney Dober, Rob North & Kirin Stone, The Fixers, BYUtv

Anthony Mackie, Shark Beach with Anthony Mackie: Gulf Coast, National Geographic [Nutopia]

Martha Stewart, Martha Gardens, Roku [Marquee Brands]

Outstanding Culinary Instructional Series

Be My Guest With Ina Garten, Food Network [Pacific Productions]

WINNER: Delicious Miss Brown, Food Network

Emeril Cooks, Roku [Marquee Brands]

Lidia’s Kitchen, PBS [Tavola Productions]

Selena + Restaurant, Food Network [July Moon Productions | Sony Pictures Television’s The Intellectual Property Corporation (IPC)]

Outstanding Culinary Cultural Series

BBQ High, Magnolia Network [Hit + Run]

WINNER: Chasing Flavor With Carla Hall, HBO | Max [Max | Fremantle’s Original Productions]

Ingrediente: Mexico, Amazon Prime Video

TrueSouth, ESPN | ABC | SEC Network [Bluefoot Entertainment]

Outstanding Culinary Host

WINNER: Kardea Brown, Delicious Miss Brown, Food Network

Joanna Gaines, Magnolia Table with Joanna Gaines, Magnolia Network [Blind Nil]

Ina Garten, Be My Guest With Ina Garten, Food Network

Emeril Lagasse, Emeril Cooks, Roku [Marquee Brands]

Michael Symon, Symon’s Dinners Cooking Out, Food Network

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bitchy | Amal Clooney wore a pink Tamara Ralph to the LFF ‘Jay Kelly’ premiere
Celebrity News

bitchy | Amal Clooney wore a pink Tamara Ralph to the LFF ‘Jay Kelly’ premiere

by jummy84
written by jummy84

The BFI London Film Festival has been humming along for the past week. There have been some good premieres, but weirdly, most of the premiere fashion has kind of sucked. This is my justification for not covering most of the premieres, my bad. But these days, you can always count on Amal Clooney to bring some showgirl glamour. Amal’s showgirl aesthetic predates Taylor Swift’s by a good eight years, in fact. In any case, here are some photos from the big Jay Kelly premiere at the BFI LFF. I’m also including photos of Noah Baumbach (the writer-director) and Greta Gerwig, who wore an incredibly unfortunate suit. Sidenote: it’s very funny to see this film making the rounds at film festivals, because it looks like the dreck that came out of a dying studio with six screenwriters. They’re seriously pushing George for Best Actor, I guess. I predict a Golden Globe nomination and nothing else.

As for Amal’s showgirl look, this is Tamara Ralph Couture. Amal surprisingly loves pinks, and while this paler pink doesn’t look bad on her, she definitely looks better in a more saturated color. I’m not crazy about the tiered skirt, but that’s not specific to this look (I just don’t like tiered skirts). I also feel sorry for tall women – they should be able to wear feathers without anyone making a Big Bird comment. But yeah, the feathers are very Big Bird. Also: Amal recently took eight inches off her hair (according to Vogue). It looks SO MUCH healthier.

Meanwhile, George recently confirmed that everyone is on board for Ocean’s 14, the fourth film in a franchise which most people forgot about. Back in the day, I liked Ocean’s 11. I remember thinking Ocean’s 12 had a terrible script, and I remember very little of Ocean’s 13. Well, George claims that Julia Roberts, Matt Damon and Don Cheadle are all on board for the fourth film, and that they have a “great” script. He also said: “We just got the budget approved at Warner Bros. and we’re trying to set up. It’s just scheduling, so it’s just setting a start date for us. Probably start in about nine or 10 months, shooting.” Oh, good. Brad Pitt the (credibly accused) domestic abuser, back together with George Clooney the ratf–ker.

PS… Someone pointed out that George has been wearing lifts these days and now I can’t unsee it.

Photos courtesy of Avalon Red.

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Catch Up on All the Creative Director Debuts From Spring 2026 Fashion Month
Fashion

ICYMI: Recapping Spring 2026's Creative Director Debuts, Paris Fashion Week's Top Trends & Kelly Bishop's Favorite Fashion Finds

by jummy84
written by jummy84


In case you missed them, we’ve rounded up our most popular stories of the week to help you stay in the loop. No need to thank us — just toast a white chocolate mocha in our honor when you’re discussing who did what over your scrambled eggs. Homepage photo: Launchmetrics Spotlight Fashionista’s …

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Celebrity birthdays for the week of Aug. 31-Sept. 6 | Hollywood
Bollywood

George Clooney pulls from personal experience to play filmstar in ‘Jay Kelly’ 

by jummy84
written by jummy84

By Hanna Rantala

George Clooney pulls from personal experience to play filmstar in ‘Jay Kelly’ 

LONDON, – Two-time Oscar winner George Clooney drew from his own life to play a Hollywood legend in his new movie “Jay Kelly.”

The comedy-drama stars Clooney as ageing global superstar Jay Kelly and combines humour with contemplation on the cost of celebrity and fame.

“There are elements certainly about the experience that I’ve had, but not so many regrets, which I think is ‘thank God’,” Clooney, 64, said while attending the movie’s London Film Festival premiere on Friday.

“It’s personal, but I’m not as unhappy as that guy. I have a family that I love and kids who I think still love me. They’re eight, there’s time to screw it up. And I have friends that I don’t pay.”

Directed by Noah Baumbach, who co-wrote the screenplay with actress Emily Mortimer, “Jay Kelly” sees the titular character reflect on his past and present as he travels to Europe with his large entourage.

As the group, including his publicist Liz, played by Laura Dern, and hair and makeup artist Candy , slowly disintegrates along the journey. Kelly’s loyal manager Ron, portrayed by Adam Sandler, stays by his side and takes stock of his own life.

“You see somebody who, when they make a movie, it takes a lot of time away from your family. I’ve always tried to bring family around as much as possible,” said Sandler. “And like anyone who works for a living, you’re away from some stuff you wish you weren’t missing. It’s dealing with that pain and finding out the best balance.”

Baumbach, whose previous films include “Marriage Story” and “White Noise” and who co-wrote the hit movie “Barbie” with his wife Greta Gerwig, said he set out to make a movie about an actor in crisis.

“I think it was a way to tell a story about all of us in some way,” said Baumbach. “An actor was a kind of stand-in for all of us who are trying to figure out the gap between how we present ourselves to the world and who we may actually be, and as we get older, also how we contend with that.”

“Jay Kelly”, which features a starry supporting cast including Billy Crudup, Riley Keough, Louis Partridge, Isla Fisher, Jim Broadbent and Gerwig, receives a limited theatrical release in November and starts streaming on Netflix on December 5. Netflix Inc

This article was generated from an automated news agency feed without modifications to text.

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Kelly Moran: Don’t Trust Mirrors Album Review
Music

Kelly Moran: Don’t Trust Mirrors Album Review

by jummy84
written by jummy84

The record’s five earliest pieces (the first four tracks, plus “Reappearing”) date from 2019 and 2020, when Moran wanted to take the prepared piano to the dancefloor. It’s easy to imagine album opener “Echo in the Field” blasting out over a late-night festival stage: A repeating synth line introduces buzzing bass chords, with the chiming piano carrying a clear melody over the top. Don’t Trust Mirrors isn’t really a dance record, though, and this club-friendly feel disappears quickly as Moran focuses on the timbral character of the prepared piano. “Prism drift” and “Sans sodalis” are built on spacious, ringing harmonics, not likely to move bodies, but to leave them stock-still and blissfully overwhelmed. These versions were later reworked into their more subdued partners, “Hypno” and “Sodalis (II),” for Moves in the Field, and their effect here is like seeing a familiar stage play shot in IMAX, with small, expressive gestures made grandly cinematic.

In the second half of Don’t Trust Mirrors, Moran largely works in the opposite direction, translating those songs written for Disklavier into pieces for prepared piano and synth. These tracks stand out from their originals through textural variety rather than compositional complexity. “Systems,” for example, is recognizable as Moves in the Field’s “Superhuman,” but it finds new force in the prepared piano’s clanging strings. At times, it sounds more like gamelan and with a bit of subtle synth, it becomes quietly sinister. The more variable sound of Moran’s electronics can completely alter a track, too: “Leitmotif,” a delicate little thing that unfurls like a rose petal on Moves in the Field, is big and airy and resonant as “Cathedral,” with tinkling notes spilling into an ambient wash of synth and disappearing in the cavernous distance.

Companion albums are nothing new for Moran, who released the improvisatory rush that became Ultraviolet later, unedited, as the Origin EP. But the relationship between Don’t Trust Mirrors and its predecessor is different, more involved, and ultimately more illuminating: Neither of these albums could exist without the other; neither is a first draft, though they each started where the other left off. Hold them up next to each other and you can see Moran reflected more accurately than in either: a picture of the artist becoming herself.

All products featured on Pitchfork are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.

Kelly Moran: Don’t Trust Mirrors

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Kelly McCreary Returning to 'Grey's Anatomy' for Season 22 (VIDEO)
TV & Streaming

Kelly McCreary Returning to ‘Grey’s Anatomy’ for Season 22 (VIDEO)

by jummy84
written by jummy84

Maggie is back again! After the consequential Season 22 opener for Grey’s Anatomy took away one full-time, it looks like the second episode of the season will welcome back a familiar face in Kelly McCreary‘s Maggie Pierce.

Maggie’s return was foreshadowed in the post-episodic teaser, which promised to follow the fallout of the premiere episode’s fatal loss, as Amelia Shepherd (Caterina Scorsone) reels from the death of Dr. Monica Beltran, who died after being crushed in an equipment collapse due to the explosion caused by the events of the Season 21 finale.

McCreary first left Grey’s Anatomy in Season 19 after nine seasons on the show. She previously returned for the Season 20 finale, briefly, to sign divorce papers with her then-husband Winston Ndugu (Anthony Hill).

Grey’s showrunner Meg Marinis teased that fans should expect some familiar faces to grace the halls of Grey Sloan Memorial in Season 22. She also indicated that Amelia in particular would bear the brunt of the loss of Dr. Monica Beltran (Natalie Morales), telling TV Insider, “This will have a drastic impact on Amelia.”

Grey’s Anatomy‘s next episode marks the series’ 450th episode, and it’s titled, “We Built This City.” The description for the episode tells us, “The team at Grey Sloan navigates a chaotic first day of surgical rotations amid hospital renovations. Meanwhile, Meredith spends time with Amelia.”

It looks like Meredith won’t be the only one pitching in to give Amelia an assist right now, as her sister-in-law-ish Maggie will also be on hand to do some much-needed damage control.

Interestingly, her return coincides with a question mark surrounding Ndugu’s potential future with Jules Millen (Adelaine Kane). The two have had a very “will-they-or-won’t-they” type of relationship thus far, but when Monica died after guiding Jules through a surgery post-explosion, Jules rushed into the arms of Ndugu, which seemed to elevate the chances that they might finally go there and give their chemistry a chance at coupledom. We’ll have to wait and see whether and how Maggie’s return to Seattle might affect that when next week’s episode airs.

Elsewhere in the teaser, it looks like Atticus “Link” Lincoln (Chris Carmack) is still not completely in the clear after the near-catastrophic injuries he sustained in the explosion incident. The preview, embedded above, shows him and Jo (Camilla Luddington) dealing with his limitations after the accident. Plus, the case of the day looks gnarly as a patient deals with a forklift piercing his abdomen. In other words, it’ll be another day at Grey Sloan when the show returns next week!

Grey’s Anatomy, Thursdays, 10/9c, ABC

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Alan Partridge writers on "awful" Katherine Kelly role in How Are You?
TV & Streaming

Alan Partridge writers on “awful” Katherine Kelly role in How Are You?

by jummy84
written by jummy84

For Alan, life is something of a mixed bag at the moment, having lost his cushty BBC presenting gig (see This Time), but finding companionship with new girlfriend Katrina (Kelly).

Speaking at the press launch of the series, How Are You? co-writer Neil Gibbons explained that the team has moved on from the era of Alan as a “kicked puppy”, as seen in the travel tavern days of I’m Alan Partridge.

But they’ve found a “new flavour” of torment for the character from Katrina.

“On the face of it, he sort of has everything. He’s got quite a good house, he’s got quite a good car. He’s getting a lot of low-level, but quite lucrative work,” continued Neil, who co-writes with brother Rob Gibbons and Coogan himself.

Steve Coogan plays Alan Partridge in How Are You? It’s Alan (Partridge) BBC / Baby Cow / Ollie Upton

“And he’s got a girlfriend who’s younger than him, who’s beautiful, who’s quite a figure in the community. But [she’s] just an awful, awful woman. And as the series goes on, you do see Alan struggling with what – on paper – is clearly a good deal for him souring quite badly.”

Coogan added that they were looking to create a female character who would be able to easily deflect Alan’s misogynistic tendencies and challenge him in ways neither Lynn (Felicity Montagu) nor ex-girlfriend Sonja (Amelia Bullmore) ever could.

“Alan bullies Lynn quite a bit, although Lynn does actually get the better of Alan sometimes,” explained Coogan. “But we wanted someone who would have Alan on the back foot in a way he’s not with Lynn.

“We wanted someone who ‘wore the trousers’ and who he was obviously attracted to, but she was mercurial to him [and] he couldn’t quite understand who she was.”

Coogan went on to praise his modern Partridge collaborators, Neil and Rob Gibbons, for their work transforming Alan from a fairly broad comedy character to a more “three-dimensional” figure.

“Rob and Neil are really, totally comfortable with poignancy or pathos,” he concluded.

“Alan evolved under their stewardship to be more three-dimensional. So sometimes you can actually feel sorry for Alan, feel compassion for him and that is a much more humane execution of the character. That’s given it longevity.”

How Are You? It’s Alan (Partridge) premieres on BBC One and iPlayer on Friday 3rd October 2025.

Check out more of our Comedy coverage or visit our TV Guide and Streaming Guide to find out what’s on. For more TV recommendations and reviews, listen to The Radio Times Podcast.

Add How Are You? It’s Alan (Partridge) to your watchlist on the Radio Times: What to Watch app – download now for daily TV recommendations, features and more.

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Noah Baumbach and Adam Sandler at the Venice Film Festival for the world premiere of their movie Jay Kelly
TV & Streaming

Deadline interview with Noah Baumbach and Adam Sandler On ‘Jay Kelly’

by jummy84
written by jummy84

Although Adam Sandler has forever been known as a comedic force in movies, most recently in the long-awaited Netflix sequel to Happy Gilmore, his performances in such films as Hustle, Paul Thomas Anderson’s Punch Drunk Love, Noah Baumbach‘s The Meyerowitz Stories and the Safdie Brothers’ Uncut Gems have proven this is a star with serious dramatic acting chops. Now he is getting major Oscar buzz (again) for his role as Ron, the ever-loyal but conflicted manager to George Clooney‘s major movie star going through an existential crisis of identity in Jay Kelly. It has brought Sandler critical raves (and so has the film for Baumbach who directed it) after its Venice and Telluride launches, and now tonight premieres at the New York Film Festival.

While in Telluride I sat down with Sandler and Baumbach to talk about their second teaming together and just what made Sandler perfect for this role.

DEADLINE: So after working with Adam in The Meyerowitz Stories what inspired this reunion on Jay Kelly?

NOAH BAUMBACH: Emily [Mortimer] and I were writing the character, I wanted it to be Adam, because, you know, I’d gotten to know Adam, and we’re very close, and our families are claiming we’re in love.

ADAM SANDLER: Yeah.

BAUMBACH: Adam has such generosity of spirit and such love and such loyalty to the people he works with, you know, the way he takes care of his family, it’s just really remarkable to me. I think we share that, this love of life and movies and having the people you love to be there in the movie, because you love your movie, and you want to love the people in them and I always use my friends, either depending on their abilities or the roles, I use people in my movies who I’ve known my whole life, or you know, I bring my own family into it. But I felt like with Ron, it would be a way for Adam to sort of play something that I feel is actually quite close to him, but in a character that actually isn’t that close to him. Adam obviously, lives Jay Kelly’s life in reality.

SANDLER: At times.

BAUMBACH: I mean in terms of, like, being a worldwide movie star, and so you know, it’s something exciting to me that he would be playing something that was kind of close to him, but in disguise in a way.

DEADLINE: Why did you decide to do this very industry showbiz centric story now?

BAUMBACH: It uses the movie business, the sort of notion of the movie star and all the people around them. All of that’s compelling and fun, and it’s a world I know really well. Making a movie about an actor is making a movie about persona and performance and identity and choices and all the things that are inherent in that. In a way I feel like it’s one of the most universal stories I’ve told, even though it actually takes place in a kind of somewhat rarified world, but it’s rarified only in terms of where Jay Kelly exists in the culture. I mean, as we actually discover Jay Kelly was a kid from Kentucky with no money whose dad worked for the John Deere corporation. And you see Ron is dealing with all the sort of ordinary work-life questions that could be in any profession, right?…The story of success is the same story as the story of failure. It’s like it’s a barrier between you and who you might actually be, and in the case of a movie star, it’s such a specific thing. It’s like his name means something different than what his name meant when he was young. So, it’s like he lost his name, and I think that’s such an interesting way to explore how we all sort of deal with this gap between who we present ourselves as, and who we might actually be, and as we all get older we’re all hopefully getting closer to ourselves.

DEADLINE: Adam it looks like you just slipped into this role, like you knew this guy. So, what do you base it on, besides their script?

SANDLER: I base it on conversations with Noah and talking about my own teams, my own people that I’ve seen throughout the years, Noah’s people that he’s seen throughout the years and just that sense of a person who’s so dedicated to one person or all his clients and how much damage that can cause at home, just because of the amount of time that takes to be dedicated to someone, and the arts. 3AM in the morning, things can come to that person’s mind that is very important to them, and you have to be there for them. So, yeah, it’s about kind of giving away any privacy and just being okay with that, and I thought that was fun to be a man like that, to be a guy that said, ‘hey, even though it pains me right now, you guys know the drill. This guy comes first.

BAUMBACH: It’s also like, to be good at your job…But to be good at your job in that instance means that you’re dedicating yourself and your time and your life, If you’re younger and you love it you’re happy to devote all day long to it, but then, as you start to have a life and a family, but you’re still doing it….You know, when I was starting, I would edit seven days a week. I still love editing as much as I ever did, but you know, I want a weekend with my family, and I want to knock off at six and go have dinner with the kids and do all that. Liz (Laura Dern’s publicist character) even says it to Ron. ‘In the beginning, it was fun. You know, he was our baby, and we take care of him, but now we have real babies’.

SANDLER: It’s a heartbreaking scene on the tennis court, just how much my daughter needs me there, how important it is, and just it’s out of my control. Something’s going on with the man I’m dedicated to, and I’m going to Europe with him, and you can’t talk me out of it, because I know what’s best.

BAUMBACH: Ron is like Jay’s shadow. I mean, the opening of the movie, when, you know, we make our way through the set, and Jay actually is a shadow when we first see him in the tent, and Ron and the shadow move together and then kind of converge. It was sort of a way to tell that story right off the bat… Jay’s having a sort of existential dark night of the soul, and Ron’s having the more ordinary version of ‘I’m away from my family. I’m trying to do a good job at work. I’m also trying to be a good parent, and how do I do this? And this is what I chose, or I need to re-choose this or not’.

DEADLINE: This wouldn’t have worked if we didn’t believe the relationship between Ron and Jay. Adam, you and George Clooney go back decades, don’t you?

SANDLER: Yes. We knew each other, George and I were always nice to each other, but we spent a lot of time on and off the set, and I’ll tell you what, no one was pulling for me like George every scene. Every scene, he was so excited about the stuff we’d do together and so excited…he was so quick to, on hearing cut, compliment what I did, and I would say, ‘well, do you just know how great you are and how easy it is to do this with you?’ And he doesn’t like compliments. He’s just like, ‘no, no, no, no, no, it’s okay, thank you, but what you’re doing’. He’s such a nice, giving actor, and we did have a nice time on set. When Noah was setting up a shot, we’d sit with each other, George and I, and just talk and get close and run scenes or just talk about life and talk about our families, and we’re very kind to each other.

George Clooney as Jay Kelly and Adam Sandler as Ron Sukenick in 'Jay Kelly'

George Clooney as Jay Kelly and Adam Sandler as Ron Sukenick in ‘Jay Kelly’

Peter Mountain/Netflix

DEADLINE: You’re running away with the reviews in this, if you read them.

SANDLER: Just so you know, I don’t read them, but I’ll take it. Thank you.

DEADLINE: There’s major awards buzz around your performance. How does that feel?

SANDLER: It’s really nice, man. I get to talk about it…I don’t know what a right answer to that is, you know, but it’s just all exciting. I do have to say, whatever compliment comes my way goes back to my man Noah. I’m proud to be this man but I know it came from Noah, and I’m really thankful that he gave me this part that had so many different things to do and ways to think.

DEADLINE: And it’s not the first time. Obviously, Uncut Gems and Punch-Drunk Love put you in the conversation, and on and on.

SANDLER: Man, I’m so happy. Noah called me, it was probably two years ago, and said he has an idea, and he wants to include me, and so, right away, you say, well, that’s big, because Noah’s writing, and how serious and how hard he works, you know there’s going to be something there that, as an actor, you say, ‘okay, man, this is the big time’, and you don’t want to waste a word of it. Then I got to read it, and then I said, ‘okay, this is something that I will never forget. I’m diving in deep and trying to be this guy, and I’m going to love being this guy’, and you don’t think of the other stuff. Others have brought stuff up while we were shooting, to me, and I would say, ‘I don’t think I want to talk about anything but how great this movie could be’, and so, that’s where you land. I just love Noah. I know that everything I did in this movie is where he led me. When I make my movies, I work hard on them, and I feel the pride in everybody’s performance, and I have the same feeling about this movie. I know I follow what Noah told me to do, and I would always be happy when Noah would say we got it. On a particular take, I’d say, ‘all right, if Noah’s happy, then we’re doing something right’.

Jay Kelly opens in select theatres November 14 and begins streaming on Netflix December 5.

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