Category: 5. Entertainment

Did you watch the first season of Netflix‘s Wednesday and come away wishing for more mystery and less humor, more of the secondary members of the Addams family and less of Jenna Ortega‘s Emmy-nominated performance, more of the supernatural world of outcasts and less of the real world for contrast?

It’s OK not to remember exactly. Wednesday premiered nearly three years ago, a duration also known as “adolescence” for most of the underaged supporting cast.

Fortunately, and conveniently, few of the specific plot details from that well-received season are all that relevant. There are enough expositional reminders here for a general catch-up, but the truth is that the new season of Wednesday is so generic that my biggest challenge was separating my memory of the first season from nearly identical dynamics that played out in The Chilling Adventures of Sabrina and Percy Jackson and the Olympians and the overall run of Harry Potter. 

Going back to my first paragraph: I think it’s completely legitimate to have had those particular preferences, in which case the first four episodes of this two-part Wednesday season will probably satisfy you. But if you found most of the appeal of the first season to be Ortega’s breakout performance, a few of the supporting turns and residual traces of Tim Burton‘s darkly comic eccentricity, this is a large letdown. It’s more of the same, only more convoluted and less Ortega-y — which, I assume, was what the busy young thespian wanted, but not what this viewer hoped for.

The Alfred Gough and Miles Millar-scripted premiere catches us up on Wednesday’s summer vacation, which involved refusing to edit her novel, mastering her psychic abilities and using them to track down a serial killer. Sure. Why not?

Autumn brings Wednesday back to Nevermore Academy, where she has become a school-wide celebrity after her killer-catching summer and all the various things that happened last season. Wednesday’s roommate and bestie Enid (Emma Myers, the first season’s other breakout) apparently spent her summer doing werewolf things and exploring new love (Noah B. Taylor as a character whose name might as well be Fresh Love Interest), but she’s happy enough with her pal’s notoriety. 

Wednesday, unsurprisingly, is less pleased to be famous and even less pleased than that to be used as a school mascot by Barry Dort (Steve Buscemi), the just-arrived Dumblebore to this Slogwarts. She’s more pleased that bodies are starting to pile up in the community of Jericho — odd things make Wednesday happy — all with their eyes plucked out by crows and most with some connection to Wednesday. 

Adding to Wednesday’s discomfort — which isn’t nearly as funny this time around — is the injection of the entire Addams clan into the Nevermore scene. Pugsley (Isaac Ordonez), who shoots electricity from his fingertips, is now an enrolled student, for whatever reason. Meanwhile, Principal Dort has decided that the key to his crucial fundraising initiative is getting money from Morticia’s (Catherine Zeta-Jones) apparently wealthy mother, and that the best way to do that is to put Morticia in charge of the fundraising committee, and the best way to do that is to put Morticia up at an on-campus cottage. Gomez (Luis Guzman) has nothing else to do, so he’s there too.

So whereas my original review of the first season praised Wednesday for having the restraint and focus to not simply become The Addams Family… Wednesday has simply become The Addams Family, complete with a recast, still underutilized, Lurch (Joonas Suotamo) and the always handy Thing (Victor Dorobantu). Only Uncle Fester (Fred Armisen) hasn’t become a full-time member of the ensemble, but he appears in the “midseason” “finale” (words have lost all meaning).

Though a bunch of key characters from last season’s murder mystery have been written out or written into guest appearances, there are lots of new additions, including Billie Piper as a music teacher; Thandiwe Newton as a doctor at a nearby asylum (with Heather Matarazzo as an administrator at the same asylum); Christopher Lloyd as a head-in-a-jar; and, in the non-stunt-casting department, wide-eyed Evie Templeton as Wednesday’s No.1 fan. 

Even if Burton hadn’t already made a movie celebrating his appreciation of big eyes, you’d know that Templeton is the director’s preferred brand of ingenue, and she stands out from the frantically overstuffed cast. Along those lines, it’s a true puzzlement that Buscemi and Burton have only worked together on 2003’s Big Fish, though this underwritten role isn’t the best fodder for collaboration.

I can’t think of any more damning criticism for these four new episodes of Wednesday that, just two days after watching them, I legitimately can’t remember anything that Wednesday is trying to accomplish this season, nor any single withering line of dialogue. Though the one-liners were rarely as sharp as they should have been in the first season, they were reliably low-level clever and the show got tremendous mileage out of putting Wednesday in one un-Wednesday situation after another, peaking with the dance scene, one of those extraordinarily rare instances of a moment that was instantly iconic. 

The second season doesn’t attempt to immediately reproduce the dance scene, and thank heavens for that. But nothing so far has counted as the equivalent of that scene or an attempt to one-up that scene. With the possible exception of one stunt in the third episode, almost all of the “Wouldn’t it be funny if Wednesday…” brainstorming seems to have run dry. Wednesday has been reduced to a psychic gumshoe prone to seizures and crying blood (or unnamed black fluid) from the overuse of her powers. Ortega’s deadpan remains impeccable and her mournful gaze allows for viewer projection that goes beyond anything on the page, but Wednesday too often comes across as a piece of an ensemble at this point.

And as for the over-Addams-ing of the second season, I’m afraid that as much as I enjoyed Zeta-Jones and Guzman’s horny interpretations of Morticia and Gomez in their original guest turns, giving them more screen time has not, in fact, made either performance more interesting. In fact, re-contextualizing all of the Addams relatives into an exceptional world, in which what once made them creepy, kooky and altogether ooky is commonplace, drains them of any distinction at all. The family isn’t funny because they’re horror-friendly oddities; they’re funny because they’re horror-friendly oddities plunked in a mundane world. 

Contrast is funny. Season two of Wednesday has no contrast. It’s acceptably gloomy — production and costume design on the show remain top-notch — and sporadically droll, and when you’re seeing the world through Tim Burton’s eyes (he directed two of these four episodes), there will always be off-kilter treasures like the animated urban legend in the premiere. But the thing that’s most surprising about season two of Wednesday is how quickly Wednesday appears to have run out of surprises. 

Jamie Lee Curtis has opened up about her experience of filming Freakier Friday.

During an interview with ComicBook.com, the Hollywood actress candidly talked about the challenges she faced while filming the sequel.

“In Freaky Friday, it’s really easy – adult, teenager. Adults stand up like this, teenagers slump. It was so black-and-white, so clear,” she noted.

Recalling the struggle that she faced on set, she told the outlet, “In this, it’s a much more subtle shift. we had to find it with words, and language, and body behavior, and mannerisms and stuff.”

“So, that’s way more challenging because it’s not as easy to think that you’re getting it right,” Curtis added.

The sequel revolves around a body-swap storyline much like its original, Freaky Friday, but with a twist involving a blended family and looming wedding.

Referring to her on-screen character swapping the body with her step-daughter, the Halloween actress concluded, “With Donna, I knew I was getting it right because I know her. I don’t know a Lily. I really don’t, so it was harder for me to make sure I was actually getting it right.”

In the movie, Jamie Lee Curtis and Lindsay Lohan have reprised their roles as Tess and Anna Colman, who are now navigating a new chapter where Anna is mother of a daughter, Harper, and about to get married to Eric.

Freakier Friday is scheduled to be released in cinemas on August 8, 2025.

For Ellie Rowsell and her Wolf Alice bandmates, the buzz of their return has been resounding for months now.

August 22 will bring their biggest career landmark yet, as the BRIT and Mercury Prize-winning band release The Clearing, their first album for Columbia. Produced by Greg Kurstin, it stands to propel Wolf Alice to new heights. We celebrate their comeback as the quartet, completed by guitarist Joff Oddie, bass player Theo Ellis and drummer Joel Amey, star on the cover of Music Week for the first time.

Joined by Sony Music UK & Ireland chairman & CEO Jason Iley, Columbia MD Amy Wheatley, RCA US SVP, A&R Dan Chertoff and their longtime manager Stephen Taverner, Wolf Alice take us inside their world, as we discuss the making of The Clearing, their move from Dirty Hit to Columbia and their grand ambitions.

The group also have their say on the importance of artists using their platform, the need for equal representation in the music industry, the grassroots venues situation and why they will never forget their early days, when A&Rs would tell them they needed “a thing” in order to succeed, advice they have long since proven wrong.

Plus, because this is Wolf Alice and few bands can combine serious discussion with humour and self-deprecation like they can, there’s plenty of hummus chat and the admission that they are “the most boring band in the world”.

Not long before Music Week went to press, the news broke that Ozzy Osbourne had passed away, shortly after playing for the final time with Black Sabbath at Villa Park. We pay special tribute to the Prince Of Darkness, looking back at the all-conquering, colourful and chaotic career of an inimitable character who impacted the music industry like no other. 

Also part of a stellar September line-up is Guy Moot, co-chair and CEO of Warner Chappell Music, who talks exclusively to Music Week about his vision for the future of the publishing powerhouse. In a blockbuster edition of The Music Week Interview, the executive also talks big changes at Warner Music Group, AI, A&R and what he learned from his days driving a Ford Fiesta 900 around the UK.

Alex Hannaby is another executive at the top of her game, and we meet the UK head of Big Machine Label Group to celebrate 10 years of the country stable’s UK incarnation, not to mention two decades of the main US operation. Leading an all-female team, Hannaby charts her industry story so far, analyses the strides country has taken in recent years and sets out her vision for where it goes next.

Also this month, we meet Dari Samuels, head of BBC Radio 1Xtra, as he prepares to celebrate his first year in the hot seat at a station where he’s been a fixture since its very early days. He shares his thoughts on the state of Black music in the UK, the talent pipeline and the ingredients you need for a perfect radio show.

Finally in September’s features section, we welcome the return of an icon, as Sophie Ellis-Bextor makes her grand return to pop. With new album Perimenopop due on Decca, co-presidents Tom Lewis and Laura Monks, plus the singer’s manager Derek MacKillop, join Ellis-Bextor as she lays down the law on the genre she loves and talks Saltburn, success and more.

This month’s Big Story examines the bombastic return of Ed Sheeran, as we sit down with Atlantic co-president Ed Howard to look ahead to his upcoming album Play. Also in the news section, we analyse the state of play in vinyl consumption, with key executives backing the format despite a drop in sales figures.

Sombr stars in Hitmakers as the LA-based musician tells the story of how his smash record Undressed morphed from its initial incarnation as a drum groove into a streaming monster.

The latest edition of The Aftershow finds Craig David reflecting on the 25th anniversary of his landmark debut Born To Do It, which he is celebrating by releasing Commitment, his ninth album. The Southampton singer also remembers presenting The Strat to Kanya King at the Music Week Awards and explains why he’d be nowhere were it not for chocolate.

Rhea Pasricha stars in Mentor Me, as the head of A&R at Prescription Songs delves into her wealth of experience to serve up her top career tips. Rounding off a packed issue are G Flip, this month’s On The Radar act, DIMA CEO & president Graham Davies, who takes on Spotlight, Alison Goldfrapp, who introduces her new solo album in Incoming and rising R&B talent Nippa, who is our Making Waves act.

Lastly, in our expanded monthly charts section, we present the Top 75 Singles and Albums of the previous month, accompanied by revamped analysis pages, plus a host of new listings. These include specialist genre Top 20s for Americana, Classical, Hip-Hop & R&B, Jazz, Country, Dance, Folk and Rock & Metal. The issue is also home to streaming, compilations and vinyl charts.

The new issue of Music Week is available from August 12. 

For subscription information please visit musicweek.com/subscribe.

MasterChef has returned to TV screens with both of its sacked co-hosts, Gregg Wallace and John Torode, in it.

The pair were both sacked last month after a report into conduct on the cooking show upheld allegations against them.

The BBC decided to still show this year’s amateurs series – filmed last year – saying it was “the right thing to do” for the chefs who had taken part.

But it faced a backlash from some groups, including the broadcast union Bectu which said bad behaviour “should not be rewarded with prime-time coverage”.

Both presenters appear within the first minute of the new series but there are fewer jokes than usual, and less chat between them and the chefs.

One of the chefs has also been edited out after asking for the new series not to be broadcast following claims against the two hosts.

The first three episodes of the new series were released on iPlayer on Wednesday morning, with the show starting on BBC One later at 20:00 BST.

In previous years, Wallace and Torode have been a near-constant presence throughout the episodes.

And in the first episode of the new series, both presenters appear from the outset and throughout.

They welcome the new contestants, introduce the challenges, interview the chefs while they cook, announce when “time’s up”, and taste the dishes.

But there are fewer jokes, with the usual banter between the presenters and the chefs appearing to have been reduced.

It is thought there would have been limitations on how much Wallace and Torode could be edited out, but that the focus would be placed on the contestants.

Six chefs feature in the first episode, with the next episodes set to introduce a new set of contestants.

This year’s series is starting much later than usual, in August, compared with the last few years which began in April, which could have an impact on viewing figures.

The series runs for three days a week until the finals.

Last week, one of the contestants on the new series of MasterChef said she was edited out after asking for it not to be broadcast.

Sarah Shafi told BBC Newsnight that “in an ideal world, what would have happened is that it would have been axed” out of respect to those people whose complaints had been upheld.

Her comments came as the BBC faced mounting pressure to reconsider airing the series.

Bectu said that freelancers whose complaints had been upheld would “undoubtedly be triggered” by the decision to air the series, while a leading women’s rights charity warned many people would feel “deeply uncomfortable” to see the show on their TV screens.

Some of the women who made allegations against Gregg Wallace have also told BBC News that they didn’t think it should be aired, with one saying it showed “a blatant disregard for the people who have come forward”.

The BBC previously said it had not been “an easy decision” to run the series, adding that there was “widespread support” among the chefs for it going ahead.

“In showing the series, which was filmed last year, it in no way diminishes our view of the seriousness of the upheld findings against both presenters,” it said.

“However, we believe that broadcasting this series is the right thing to do for these cooks who have given so much to the process. We want them to be properly recognised and give the audience the choice to watch the series.”

The controversy over MasterChef started last year, when BBC News first revealed claims of misconduct against Gregg Wallace.

In July, a report by the show’s production company Banijay revealed that more than 40 complaints against Wallace had been upheld, including one of unwelcome physical contact and another three of being in a state of undress.

He has insisted he was cleared of “the most serious and sensational allegations”.

The upheld complaint against Torode related to a severely offensive racist term allegedly used on the set of MasterChef in 2018.

The presenter said he had “no recollection” of it and that any racist language is “wholly unacceptable”.

Additional reporting by Emmanuella Alausa.

Venezuela holds two world records: the most international beauty crowns and the largest proven oil reserves in the world – two apparently unrelated titles that in fact are closely aligned. In the minds of Venezuelans, beauty and oil are tied to the idea of progress, modernity and our relationship with power, especially since the oil boom of the mid 20th century transformed us from a rural country to the richest nation in Latin America in the 1970s.

During this time Miss Venezuela epitomised the nation’s aspirations. Even in the midst of the hardest economic and political crisis in our history, the pageants continue.

Growing up in Caracas in the 90s, every year the country was essentially paralysed when Miss Venezuela occurred. As part of my ongoing project Reinas, there are times when I’ve been to five or six pageants in a week. Women of all ages, the queer community, are all involved.

This photograph was spontaneous. I was attending a pageant for young girls and they were rehearsing. I saw this little girl with her pink dress going up the stairs by herself, delicate and feminine, as if she’s walking towards a dream, but then you see the reality around it. They don’t match up.

I know how damaging pageants can be for Venezuelan women as they impose heteronormative beauty standards, yet participants tell me they feel the most liberated in this character they have created.

For Venezuelan women living through political and economic turmoil, beauty pageants are a platform for their personal progress and a possible way out of poverty. The majority of students I’ve met in the escuelas de reinas [queen schools), are from low-income families, despite the high costs involved. Winning smaller titles can open the way to bigger ones, and with them, public figure status. This can lead to jobs in modelling, the media or entertainment industry – even politics.

Irene Sáez, Miss Venezuela 1981 and Miss Universe, became the mayor of Chacao and later ran for the presidency in 1998 against Hugo Chavez. The connection of beauty with power isn’t just symbolic.

In 2002, a national strike took place. The whole country came to a standstill, schools were shut, everything was closed. I missed three months of school. Part of this strike was halting oil shipments. The largest oil tanker that had anchored in Lake Maracaibo refusing to move, was named after the beauty queen Pilín León. She became the face of this political fight.

In Venezuela, the culture of pageants goes far beyond beauty. The archetype of the beauty queen is deeply political.

As told to Kristi Greenwood

Avalon Penrose has just pulled off what is bound to go down in history as one of the messiest auditions ever seen on America’s Got Talent to date.

Appearing on the Tuesday (Aug. 5) episode, Penrose likely seemed an unsuspecting figure as she appeared before the judges, explaining how her musical journey had begun as a child opera singer before quitting at age 14 due to frequent panic attacks.

“Now after 14 years, I’ve kind of decided I want to try and find my voice again,” she explained. “Maybe [I can] be an inspiration to other kids who suffered through stage fright, who think that maybe they can’t do it. I want you to know that you can.”

Beginning her rendition of Andrea Bocelli and Sarah Brightman’s “Time to Say Goodbye,” impressed applause was replaced by confusion from the judges as a number of individuals brought myriad objects onto the stage. 

As Penrose sung the chorus, a pair of assistants took on the task of splashing her with paint and confetti – all without skipping a beat. A pie to the face saw the performance come to a close, before an explosion of more confetti served as a strong finale.

Receiving a standing ovation from judge Simon Cowell as Sofia Vergara commented that Penrose “ruined something beautiful,” Mel B questioned if the performer before them really was an opera singer. Penrose explained that she was only able to adequately perform by employing such a theatrical take to it all.

“But you don’t need this with that voice,” Vergara offered. “This is what makes it special,” countered Howie Mandel. “This is why you’ll remember her.”

As Cowell requested another song, Penrose invited Cowell and Mandel to take part in the messy antics as she worked through a rendition of Georges Bizet’s “Habanera.”

Soon, the America’s Got Talent stage descended into pure chaos, with Cowell and Mandel showcasing their innate mischievousness before the latter turned his attention toward his fellow judges.

As Mandel takes a pie to the face, even host Terry Crews gets into the action, throwing water balloons at Cowell before Mel B takes up a paint-filled watergun for protection.

Almost forgetting they have to vote, the judges resume their positions to pass Penrose through with a clean sweep. “Well, we have to say goodnight, believe it or not,” Cowell soon quips to the mystified audience. “That’s kind of a strange way to end, isn’t it?”

America’s Got Talent airs on NBC at 8 p.m. Tuesdays and streams on Peacock the next day.

View Avalon Penrose’s chaotic performance of “Time to Say Goodbye” below.

Actress Kelley Mack, known for her appearance in post-apocalyptic zombie drama “The Walking Dead,” has died. She was 33.

Mack, who was born Kelley Klebenow, “passed away peacefully” in her hometown of Cincinatti on Saturday after battling glioma of the central nervous system, according to a statement posted on the social networking site CaringBridge. A glioma is a type of tumor that affects the brain or spinal cord.

“It is with indelible sadness that we are announcing the passing of our dear Kelley. Such a bright, fervent light has transitioned to the beyond, where we all eventually must go,” read a post on Mack’s Instagram on Tuesday alongside a photo of the actress.

Condolences have poured in from colleagues, friends and fans remembering her as “talented” and a “sweet soul.”

“What an incredible human. So proud to have fought alongside her in our final episode together,” wrote Alanna Masterson, who also starred in “The Walking Dead.”

Mack held 35 actress and five producer credits during her career, according to the statement posted to CaringBridge. She was best known for playing Addy in season 9 of “The Walking Dead,” and Penelope Jacobs in season 8 of “Chicago Med” and on FOX’s “9-1-1.”

She also did commercial and voice-over work, appearing in commercials for Dr. Pepper, Ross stores, Dairy Queen and Chick-fil-A, among others. Her love for storytelling flourished after she received a mini video camera as a birthday gift at a young age. She began acting in commercials as a child.

“Kelley was known for her warmth, creativity and unwavering support for those around her,” the statement said. “Her infectious enthusiasm and dedication to her work inspired countless others in the industry and beyond.”

Mack graduated from Hinsdale Central High School and earned a bachelor’s degree in cinematography from Chapman University’s Dodge College of Film and Media Arts in Orange, California.

The actress is survived by her parents, Kristen and Lindsay Klebenow; sister Kathryn and brother Parker; grandparents Lois and Larry Klebenow; and her boyfriend Logan Lanier.

“Kelley’s legacy will live on through her contributions to film and television, and in the hearts of those who loved her. She will be deeply missed by forever remembered for her talent, kindness and vibrant spirit,” according to the statement.

As Wednesday Season 2 prepares to debut on August 8, audiences are eager to revisit the supernatural world of Nevermore Academy.

Season 1 follows Wednesday Addams (Jenna Ortega) as she joins Nevermore, a school for outcasts, after being expelled for defending her brother. There, she uncovers dark secrets while investigating a series of murders in the nearby town of Jericho. Her psychic visions and connections to her ancestor Goody Addams reveal a prophecy that hints she may destroy Nevermore.

Wednesday’s strained relationships soon evolve into alliances. She befriends her werewolf roommate Enid, clashes with siren Bianca, and attracts the attention of Xavier.

Her bond with normie Tyler grows, but her visions reveal he’s the Hyde, a murderous creature controlled by Laurel Gates—posing as teacher Ms Thornhill. Together, they plan to resurrect Jericho’s founder, Joseph Crackstone, using Wednesday’s blood.

In the season finale, Goody helps Wednesday survive a fatal wound, and she, alongside Bianca and Enid, defeats Crackstone, Tyler, and Laurel. Principal Weems is killed during the conflict.

The season ends on a cliffhanger as Xavier gifts Wednesday a phone, and she immediately receives threatening texts from a stalker.

With classes suspended and unresolved mysteries looming, the stage is set for Season 2. The new season will reportedly explore deeper threats and emotional stakes, including the fate of Enid.

Wednesday Season 2 will be released in two parts on Netflix, with the first half dropping on August 6 at 12 am PT/ 3 am ET and the second on September 3. 

Johnny Vegas: Art, ADHD and Me

9pm, Channel 4
Johnny Vegas (and his “longsuffering personal assistant” Bev) is hugely endearing in this two-parter following his public art project. The comedian graduated from art college 25 years ago and is committed to making a sculpture that gives something back to his beloved home town of St Helens – a welcome departure from other recent celebrity art exhibitions. His journey was filmed over four years; along the way, we see him navigate a diagnosis of attention deficit hyperactivity disorder. Hollie Richardson

MasterChef

8pm, BBC One
The BBC has made the surprising decision to air the new series of the long-running cooking competition, despite the judges Gregg Wallace and John Torode having been sacked. Fans and contestants – although not Sarah Shafi, who has been edited out after telling the show’s producers she did not want it to be broadcast – may argue that their enjoyment shouldn’t be ruined because of the action taken. HR

Destination X

9pm, BBC One

Rob Brydon’s competition blindfolds contestants, sends them on a bus around Europe and asks them to guess where they are at the end of each episode. With so many red herrings and impossibly hard clues, applying logic feels futile. Still, it’s weirdly addictive. HR

The Moors Murders: A Search for Justice

9pm, BBC Two
Nearly 60 years have passed since Ian Brady and Myra Hindley were tried and convicted, but the remains of a 12-year-old victim, Keith Bennett, are yet to be found. The second episode of this documentary continues to analyse new evidence and leads in the hope of finally bringing the case to a close. Ellen E Jones

The Fortune Hotel

9pm, ITV1
If Jet2 holidays did The Traitors … Stephen Mangan returns as a trickster Caribbean hotel manager who gives each team of two guests a suitcase – most of them empty, one with an “early checkout card” in it and another holding a £250,000 prize. Before they start guessing and swapping, they need to get into the hotel – but there isn’t room for everyone. HR

Air India Crash: What Went Wrong?

10pm, Channel 4
A quick turnaround enables this documentary to assess, two months on, why a London-bound Air India jet hit buildings in Ahmedabad just after takeoff, killing 260 people. Experts sift through theories involving pilot error and failures of software and electrical systems. Jack Seale

Live sport

The Hundred cricket: Manchester Originals v Southern Brave 3pm, Sky Sports Main Event. The women’s game is followed by the men’s at 6pm.