Lewis Cope is speaking out about becoming the first contestant on this year’s Strictly Come Dancing line-up to get a perfect score from one of the judges.
The former Emmerdale star and his professional partner Katya Jones received the highest score of the series for their Paso Doble routine inspired by The Mask Of Zorro during Saturday night’s Movies Week live show.
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While Craig Revel-Horwood, Shirley Ballas and Anton Du Beke each gave the duo nine points, Motsi Mabuse was the first member of the panel to reach for her “10” paddle this year.
However, during an appearance on spin-off show It Takes Two, host Janette Manrara pointed out that Lewis’ reaction to this score “almost seemed a little bit muted”.
“I think I was probably just a bit in shock,” he responded. “I couldn’t kind of believe my own eyes. I wasn’t expecting it that early on.”
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Lewis Cope his official Strictly Come Dancing press portrait
Strictly Come Dancing bosses are hitting back at claims that a “feud” has broken out among the judging panel this year.
Earlier this week, The Sun published an article alleging that an on-screen disagreement between Craig Revel Horwood and Shirley Ballas during last week’s live show was actually a symptom of “behind-the-scene[s] tension between the pair”.
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Citing an undisclosed “source”, the tabloid alleged that the recent decision for alternating judges to have the deciding vote in dance-offs each week, rather than the responsibility falling solely to Shirley, had led to a “change in the power dynamic” and made things “awkward” between the Head Judge and long-serving panellist Craig.
However, the BBC has dismissed this outright as “absolute nonsense”.
“This story is absolute nonsense and it’s clear that the anonymous ‘source’ quoted in it has no inside knowledge of Strictly,” a spokesperson insisted in a statement issued to Metro.
“Our judges are all on great terms and, while the casting vote is now shared between them, Shirley remains Strictly Come Dancing’s Head Judge.”
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The Strictly Come Dancing judges pictured together ahead of this year’s series
The Sun previously claimed that Strictly’s new tweak, allowing a different member of the panel to have the final say over which celebrity goes home in a tie-break situation, was to “protect” Shirley.
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So far, two celebrities have been sent home from Strictly, with 13 pairs still in the competition ahead of Saturday night’s live show.
This week will see both Ellie Goldstein and Jimmy Floyd Hasselbaink performing Couple’s Choice routines, while Amber Davies is set to deliver the first Argentine Tango of the series.
Strictly Come Dancing continues on Saturday night at 6.30pm on BBC One.
We now know him best for his work in hit shows and films like The Crown, Challengers and the upcoming Knives Out movie Wake Up Dead Man, but Josh O’Connor has revealed that long before he was an international name, there was one major role he missed out on.
During a new interview with Radio Times, Josh revealed that his first ever audition was for the role of Marius in the film adaptation of the musical Les Misérables, which arrived in cinemas in 2012.
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“They were auditioning everyone! But I didn’t know that,” the Emmy winner recalled. “I don’t have any actors in my family, so everything was new to me.”
Having never seen Les Mis on stage at the time, Josh swotted up on Marius’ song Empty Chairs At Empty Tables, and was told afterwards: “Josh, we would love you to come back”.
He continued: “I got a recall, which was good, but I’m very dyslexic, so I didn’t read the full email. I just read, ‘We want you to come back!’.
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“A week later, I’m on my way, walking through central London to go to my recall and I bump into a friend of mine who was doing the play Richard II with Eddie Redmayne. He’s like, ‘Where are you going?’. And I was like, ‘I’m really nervous. I have a recall to be in the movie of Les Misérables’. And he said, ‘My friend Eddie is playing Marius!’.
“I then realised my recall was for a very minor role, but I hadn’t learned the song … I didn’t even know the song. And it was awful. I didn’t get that part.”
Eddie Redmayne as Marius in 2012’s Les Misérables
Working Title Films/Kobal/Shutterstock
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Eddie Redmayne did, indeed, get to play Marius in the Les Mis film, which wound up being a breakthrough moment for the British actor, who won his first Oscar just a few years later.
It wasn’t all bad news for Josh, though.
He, in fact, did end up playing Marius himself, albeit in a BBC drama based on Victor Hugo’s book Les Misérables, which also featured the likes of future Stranger Things star Joseph Quinn and his on-screen mum Olivia Colman, as well as David Oyelowo, Adeel Akhtar and Dominic West, who would take on the role of Prince Charles in The Crown when Josh stepped down at the end of season four.
Read Josh O’Connor’s interview in full in the new issue of Radio Times.
The Grammy-nominated singer is currently in the UK as part of her ongoing Lifetimes Tour, which most recently made a stop in London for a show at The O2 Arena.
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During the show, she told the British crowd that she was impressed with their energy, enthusing: “You’re like this on a Monday night after a whole day at work and a whole day at school?”
“No wonder I fall for Englishmen all the time,” she quipped, referring to her past relationships with Russell Brand and Orlando Bloom.
“But not anymore,” she then added, in an apparent nod to Trudeau.
Justin Trudeau
via Associated Press
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She and the ex-prime minister first found themselves at the centre of dating rumours when TMZ published pictures of the unlikely duo out for dinner together at a restaurant in Montreal.
The US gossip site claimed at the time that the two had been seen “sipping cocktails” and “sharing several dishes”, while security monitored them from a table close by.
Bridgerton bosses have revealed that fans’ next trip to The Ton is mere months away.
It’s now been over a year since the latest instalment of the Netflix period drama, which broke from the order of the original novel series in order to bring fans the love story between Colin Bridgerton and Penelope Featherington, played by fan-favourites Luke Newton and Nicola Coughlan.
On Monday morning, Netflix shared an exciting preview video for season four, which revealed some good news and bad news for Bridgerton devotees.
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First, the good news: Bridgerton will be back on our screens early next year.
Unfortunately, not all of the news is positive however, with Netflix once again making the decision to split the season in two, the first part of which will arrive on Thursday 29 January 2026, followed by a second drop four weeks later, on 26 February.
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It was previously confirmed that the new batch of episodes will focus on Benedict Bridgerton, portrayed in the first three seasons by Luke Thompson.
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While Benedict has previously taken a somewhat more fast-and-loose approach to romance, the new season will see him falling in love with a new character, played by Yerin Ha, who meets him at a much-hyped masquerade ball.
An official Netflix synopsis previously teased: “The fourth season of Bridgerton turns its focus to bohemian second son Benedict. Despite his elder and younger brothers both being happily married, Benedict is loath to settle down – until he meets a captivating Lady in Silver at his mother’s masquerade ball.”
Unsurprisingly, the third season of Netflix’s controversial Monster anthology was faced with backlash from the get-go.
Ryan Murphy’s latest creation depicts the life and crimes of real-life serial killer Ed Gein, following previous seasons’ equally-controversial dramatisations of Jeffrey Dahmer and the Menendez brothers’ crimes.
Joey Pollari as Anthony Perkins and Tom Hollander as Alfred Hitchcock in Monster: The Ed Gein Story
As well as taking viewers into the bowels of Gein’s depravity, Monster highlights that his crimes influenced many iconic horror films like Texas Chainsaw Massacre and Alfred Hitchcock’s aforementioned Psycho, depicting Perkins (played in the show by Joe Pollari) being cast as the infamous fictional killer Norman Bates by Alfred Hitchcock (as portrayed by Tom Hollander).
However, viewers have pointed out that Monster makes some dangerous and “tasteless” links between Gein and Perkins, because of the latter’s decision to keep his sexuality private.
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“Ryan Murphy is so tasteless to me, man. If you’re going to do a Anthony Perkins biopic, do a Anthony Perkins biopic and give him the respect he deserves,” wrote one viewer. “But you comparing Ed Gein being a closeted killer to him being a closeted gay man is homophobia”.
Another criticised the show for implying that “Anthony Perkins had a special connection and understanding of Gein because Gein being a murderer is just like being a closeted gay man”.
Meanwhile others called Murphy’s Perkins subplot “disrespectful” and accused the show of “pushing” false narratives about Hitchcock casting Perkins in Psycho because of his sexuality and a perceived connection to Gein.
Ryan Murphy is so tasteless to me man. If youre going to do a Anthony Perkins biopic, do a Anthony Perkins biopic and give him the respect he deserves.
But you comparing Ed Gein being a closeted killer to him being a closeted gay man is homophobia,
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But you comparing Ed Gein being a closeted killer to him being a closeted gay man is homophobia,— Jane Doe (@AdhdBarbiee) October 3, 2025\n\n\n","options":{"_maxwidth":{"label":"Adjust width","placeholder":"220-550, in px","value":""},"_theme":{"value":"","values":{"dark":"Use dark theme"}}},"provider_name":"Twitter","title":"Jane Doe on Twitter / 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Ryan Murphy is so tasteless to me man. If youre going to do a Anthony Perkins biopic, do a Anthony Perkins biopic and give him the respect he deserves.
But you comparing Ed Gein being a closeted killer to him being a closeted gay man is homophobia,
the Ryan Murphy Ed Gein show saying that Anthony Perkins had a special connection and understanding of Gein because Gein being a murderer is just like being a closeted gay man pic.twitter.com/iZnTtIegVt
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ryan murphy portraying hitchcock telling anthony perkins that he’s perfect for the norman bates role because he shares ed gein’s sexual deviancy because of his homosexuality… perkins family estate we ride at dawn
i refuse to believe Anthony Perkins was walking around catatonicslly depressed telling people: \"I am Ed Gein forever\" lmao. we need to end the Murphy serial killer extended universe. it’s made the true crime genre hit its nadir fr
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i refuse to believe Anthony Perkins was walking around catatonicslly depressed telling people: “I am Ed Gein forever” lmao. we need to end the Murphy serial killer extended universe. it’s made the true crime genre hit its nadir fr
I expected Ryan Murphy’s MONSTER: The Ed Gein Story to be trashy (liked the Dahmer season, the Menendez season was awful) but my god to have Anthony Perkins calling himself a “monster” in conversion therapy….? This has got to be the most ridiculous garbage I’ve ever seen
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This has got to be the most ridiculous garbage I’ve ever seen— shay 🪦 (@astronomonov) October 4, 2025\n\n\n","options":{"_maxwidth":{"label":"Adjust width","placeholder":"220-550, in px","value":""},"_theme":{"value":"","values":{"dark":"Use dark theme"}}},"provider_name":"Twitter","title":"shay 🪦 on Twitter / 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I expected Ryan Murphy’s MONSTER: The Ed Gein Story to be trashy (liked the Dahmer season, the Menendez season was awful) but my god to have Anthony Perkins calling himself a “monster” in conversion therapy….? This has got to be the most ridiculous garbage I’ve ever seen
In another Monster scene, Perkins is seen undergoing so-called “conversion therapy”, while elsewhere Hollander’s Hitchcock muses about “urges”, “secrets” and a “sickness”, telling Perkins: “I had to cast you, Anthony. You’re like him.”
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While Psycho was loosely inspired by Gein, the writer of the novel on which the film was based has also stressed that he was interested by the idea of a solitary figure in a small town where everyone knows each other’s business.
The original Tron, released in 1982, has gone on to become a veritable cult classic of the sci-fi genre.
Unfortunately, the same can’t be said for its most recent iteration, Tron: Ares, if critics’ reviews are anything to go by.
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Starring Jared Leto, Greta Lee, Evan Peters and Gillian Anderson, the new sequel has been heavily panned in early reviews, with some going as far as describing it as one of 2025’s worst big-screen offerings.
Here’s a selection of what the critics have had to say about Tron: Ares…
“The worst film of the year and a new low for Disney. The music’s great, but this Jared Leto vehicle is otherwise an ethically dubious, horribly written nadir in franchise slop.”
“The matrix of pointlessness is reloaded in this mind-bendingly dull sci-fi, more a screensaver than an actual film […] Tron: Ares (almost) comes to life just once – when Evan Peters gets a smack in the face from Gillian Anderson playing his mum, in an old-fashioned bit of analogue reality. That’s a bit of firm parenting you might feel like handing out to every producer involved in this film, and it’s sad to see the estimable Greta Lee and Jodie Turner-Smith being made to look so lifeless.”
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“So bad it makes you wish AI would hurry up and destroy Hollywood. [Tron: Ares is] a shambolic film populated by some of the most aggressively charmless characters ever seen in a blockbuster.”
","type":"video","meta":{"author":"Disney","author_url":"https://www.youtube.com/channel/UC_5niPa-d35gg88HaS7RrIw","cache_age":86400,"description":"Watch the brand-new trailer for Tron: Ares and experience it in theaters, filmed for IMAX, October 10.\n \nTron: Ares follows a highly sophisticated Program, Ares, who is sent from the digital world into the real world on a dangerous mission, marking humankind’s first encounter with A.I. beings. The feature film is directed by Joachim Rønning and stars Jared Leto, Greta Lee, Evan Peters, Hasan Minhaj, Jodie Turner-Smith, Arturo Castro, Cameron Monaghan, with Gillian Anderson, and Jeff Bridges. Sean Bailey, Jeffrey Silver, Justin Springer, Jared Leto, Emma Ludbrook and Steven Lisberger are the producers, with Russell Allen serving as executive producer.\n\nGrammy®-award winning rock band Nine Inch Nails composed the score for “Tron: Ares,” and today, the band dropped \"As Alive As You Need Me To Be\" —the soundtrack album’s first single and the first official music from the band in five years. Listen to \"As Alive As You Need Me To Be” and view the visualizer: https://nineinchnails.lnk.to/AAAYNMTB. The track is featured in the new trailer for “Tron: Ares.”\n \n“Tron: Ares (Original Motion Picture Soundtrack),” featuring all original music by Nine Inch Nails, will be released on September 19 via Interscope Records. The release marks the first-ever film score by the pioneering band, although bandmates Trent Reznor and Atticus Ross have composed 20 scores under their own names, winning two Oscars®, three Golden Globes®, a GRAMMY® and an Emmy® in the process.\n \nALBUM: https://NineInchNails.lnk.to/TRONAres\nSINGLE: https://NineInchNails.lnk.to/AAAYNMTB\nLYRIC VIDEO: https://youtu.be/-Sj-FmI5JfA\n\n► SUBSCRIBE to the channel to get notified when new Disney videos are posted: https://www.youtube.com/user/DisneysShows?sub_confirmation=1\n\n► SUBSCRIBE to Disney+ to stream all of your favorite Disney shows and movies: https://www.disneyplus.com/\n\nFollow on social media to get the latest news and announcements from Disney:\n\nTikTok: https://www.tiktok.com/@disney\nInstagram: https://www.instagram.com/disney/\nFacebook: https://www.facebook.com/Disney/\nX: https://x.com/disney\nWebsite: https://www.disney.com/\n\nExperience more stories by subscribing: \n\n/ @marvel\n/ @StarWars\n/ @pixar\n/ 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“Tron: Ares will make you want to log off. Gillian Anderson should have known better than to appear in this uninspired sequel. [The film’s title character, Ares is] a dead-eyed digital super-soldier played by the bearded charisma vacuum and scene-wrecking super-plank Jared Leto (and you thought he was bad in Morbius).”
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“Tron: Ares is not a film. It’s an absolutely brilliant soundtrack by Nine Inch Nails with some visual elements getting in the way. The music is loud, aggressive, adventurous, soaring, gritty and emotive, everything the actual movie is not.”
“Like lead actor Jared Leto’s high-def cheekbones, it looks great, but the movie is saddled with callbacks to the earlier film (and the 1980s at large) that suggest it’s aimed more at Gen X than the Alpha kids who could launch the property into the future.”
Not all of the reviews for Tron: Ares have been negative – but the more forgiving ones are few and far between
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“Without giving too much away, there is room for a Jeff Bridges appearance, and also a nostalgia-driven sequence that fans of the original Tron will love. What a pity the script itself flounders, hampered by the fact Hollywood has churned out numerous AI stories of late. Certainly, this lacks the cheekiness of, say, M3GAN. With the exception of an amusing riff about Depeche Mode (better than Mozart, according to Ares), it requires a much-needed humour injection.”
“Tron: Ares [is] a franchise entry that honours its roots while taking significant steps forward. It’s no sci-fi insta-classic, but there are worse things to be than a surprisingly entertaining post-summer popcorn bucket.
Tron: Ares arrives in UK cinemas on Friday 10 October.
Several countries have now said they will pull out of Eurovision unless Israel is banned, but during a new interview, chancellor Friedrich Merz made it clear he supports the opposite view.
Asked by German broadcaster ARD if he’d back calls to boycott Eurovision in the event that Israel is not allowed to return, Merz responded: “I would support this. I think it’s a scandal that this is even being discussed. Israel has a place there.”
It’s worth pointing out that Germany is one of Eurovision’s “Big Five” countries, meaning they contribute the most financially, and are therefore allowed to pass straight through to the final each year without taking part in earlier stages of the contest.
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German Chancellor Friedrich Merz
via Associated Press
The other countries in the “Big Five” are the UK, France, Italy and Spain, the latter of which has already said it will not return to Eurovision in 2026 if Israel is allowed to compete again.
Official discussions among competing Eurovision broadcasters about Israel’s involvement were first held over the summer, though no consensus was reached at that time.
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Around this period, it was reported by Israel’s N12 News that the national broadcasters for Germany and Italy had threatened to pull out of Eurovision if Israel is not permitted to return to the event in 2026.
Responding to these rumours, a spokesperson from Germany’s Südwestrundfunk (SWR) told HuffPost UK in July: “The Eurovision Song Contest is a major musical event that has brought people across Europe and beyond together for decades – diverse and respectful, regardless of origin, religion, or belief.
“The ESC is a music competition organised by EBU broadcasters, not governments. The Israeli broadcaster KAN adheres to applicable regulations and has been an integral part of the music competition for more than 60 years. We affirm their membership and the core values of the ESC.”
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Germany’s culture minister Wolfram Weimer previously issued a statement of his own condemning calls to boycott the event next year should Israel remain part of it.
“Eurovision was founded to bring nations together through music. Excluding Israel today goes against this fundamental idea and turns a celebration of understanding between peoples into a tribunal,” he said in a statement.
“It’s precisely because Eurovision was born on the ruins of war that it should not become a scene of exclusion. Eurovision is based on the principle that artists are judged on their art and not on their nationality. The culture of cancellation is not the solution — the solution is diversity and cohesion.”
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Austrian singer JJ is the reigning Eurovision Song Contest champion, with next year’s event due to take place in Vienna following his win
via Associated Press
A Eurovision spokesperson previously told HuffPost UK: “We understand the concerns and deeply held views around the ongoing conflict in the Middle East. We are still consulting with all EBU Members to gather views on how we manage participation and geopolitical tensions around the Song Contest.
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“Broadcasters have until mid-December to confirm if they wish to take part in next year’s event in Vienna. It is up to each Member to decide if they want to take part in the Contest and we would respect any decision broadcasters make.”
Dutch comedian Eline Van der Velden, the head of AI production studio Particle6, which developed Tilly, said she wants the AI character to be the next Scarlett Johansson.
But not if the rest of Hollywood has its way.
After Van der Velden announced what she calls “the world’s first artificial intelligence talent studio” at a film festival and said Tilly had talent agents hoping to sign her, this news of potential representation sparked widespread Hollywood backlash.
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Multiple actors’ unions havereleased statements condemning Tilly. Actors have also accused Tilly’s makers of stealing real people’s images to make the AI-generated character.
“And what about the hundreds of living young women whose faces were composited together to make her?” actor Mara Wilson posted on social media. One Nashville-based musician even claims that Tilly is her doppelganger.
The company behind Tilly denies that the character was created with stolen images.
“Tilly was developed entirely from scratch using original creative design,” Particle6 said in a statement to HuffPost. “We do not and will not use any person or performer’s likeness without explicit consent and fair compensation.”
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After outcry, Van der Velden said Tilly was “not a replacement for a human being, but a creative work – a piece of art” in a social media statement.
But no matter how original or creative you believe Tilly to be, she is definitely drawing from tired old tropes about women and raising unsettling implications for real working people, AI experts caution. Here’s what you need to know.
Tilly reinforces more of the same tired beauty standards for women
Tilly Norwood is not real, but the AI character is causing a real debate over how women’s images get used. Above are images from Tilly’s Instagram account.
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For one, Tilly replicates a narrow idea of what generative AI thinks a woman should look like.
In a Washington Post investigation of three of the leading AI image tools, the Post found that generative AI thinks beautiful women should look thin, young and white – which is exactly how Tilly looks.
Particle6 did not answer HuffPost’s questions about Tilly’s appearance.
What we see on social media – including the accounts set up for Tilly on TikTok, Facebook and Instagram – might have long-term effects on how people view their own real bodies.
Safiya Noble, a professor at the University of California, Los Angeles, and the author of the book Algorithms of Oppression, said Tilly is a continuation of the kind of distortions that social media photo filters cause people.
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“Those distortions, even though they are seemingly unreal, they circulate so much in our culture that then are celebrated and … liked and hearted,” Noble said. “And that certainly has a psychological and emotional toll on us.“
A 2022 study on Instagram found that browsing how other people looked on the popular social media platform was linked to “detrimental outcomes” around body dissatisfaction in young women.
Tilly’s obedience might be the most unsettling part about “her”
Above all, Tilly reveals a lot about how corporations value women’s work.
Alexandra Mateescu, a researcher with Data & Society’s Labor Futures program, said what she found most interesting and unsettling about Tilly’s existence came from a line in a Particle6 video where she appears in her first role.
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In an AI-generated comedy sketch from Particle6, Tilly gets cast to be in a TV show. A man then states, “She’ll do anything I say; I’m already in love.”
That line suggests “this vision of this feminine, docile, cute, young actress who won’t talk back or complain about working conditions or anything,” Mateescu said.
That’s why, for Mateescu, her biggest worry with Tilly is “more about these kinds of marketing exercises being used as a cudgel, particularly for actors at the bottom of film industry hierarchies, to discourage them from demanding better working conditions under this threat of potentially being replaced”.
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Mateescu said she has seen this power dynamic in other creative industries, like modelling. She recently co-authored a paper on how generative AI is making it easier for companies to use a model’s image and measurements and alter them without a model’s knowledge or compensation.
In her research, “people at the top of the industry, both photographers and top models, they could view AI as this creative tool in their arsenal to be able to enhance their creative practices,” Mateescu said. But struggling models doing profit-driven e-commerce catalogs were more negatively impacted. “And I think that’s sort of the same pattern we see across industries.”
In this sense, Tilly might represent a bigger existential threat to vulnerable, newer actors who do not have the same power and networks as A-list stars.
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In Noble’s view, Tilly’s existence normalises “controlling women’s images” and the idea that it’s OK to “make women do what we want them to do. That culture is prevalent all around us”.
Avoiding “AI personhood” might be the best way to deal with Tilly
Tilly is not real, but it’s normal if you’re confused over what to call her. That might be by design.
Noble pointed to the character saying, “I may be AI generated, but I’m feeling very real emotions right now” in a post appearing on her Facebook page as an example of the kind of misrepresentation this AI-generated actor perpetuates.
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“The more kind of anthropomorphised they are, the more misleading and deceptive they are to the public,” Noble said. “This is why these technologies are so incredibly dangerous.”
One way to resist is to be more careful about how you talk about AI-generated projects like Tilly.
Instead of seeing Tilly as an “actor,” as her profile describes her, or as the next Scarlett Johansson, as her creator hopes her to be, experts suggest you should see her for what she really is – a marketing product.
That’s why Noble suggests against calling Tilly art and instead categorising Tilly as the latest example of low-quality, spam-like “AI slop”.
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And try to avoid referring to Tilly as an actor. “We should call it ‘it,’” Noble said. “We should talk about it like a machine learning model.”
“The notion of AI personhood is a marketing exercise and a legal manoeuvre that I don’t think we should buy into,” Matreescu said. “Tilly is not an actress any more than, like, Sid the sloth from the ‘Ice Age’ movies is an actor. It’s just a digital likeness.”
George Michael’s estate has heaped praise on the new Taylor Swift album, which features an interpolation of one of the late singer’s signature hits.
On Friday morning, the Grammy winner unveiled her new album The Life Of A Showgirl, including the song Father Figure.
Earlier this week, the writing credits for this track were revealed to include George’s name, leading many fans to speculate that Taylor’s recording would incorporate the former Wham! star’s song of the same name.
Upon the song’s release, this was confirmed to be the case, with George’s successors posting a statement in support of Taylor’s new album on Instagram.
“We were delighted when Taylor Swift and her team approached us earlier this year about incorporating an interpolation of George Michael’s classic song Father Figure into a brand new song of the same title to be featured on her forthcoming album,” they said. “When we heard the track we had no hesitation in agreeing to this association between two great artists and we know George would have felt the same.”
“A forever thank you goes out to my mentors and friends Max [Martin] and Shellback for helping me paint this self portrait. If you thought the big show was wild, perhaps you should come and take a look behind the curtain…”