Nathan Smith, 27, known professionally as DJ Young Slade, was music producer, artist, engineer and NYU graduate

American rapper Lil Jon said on Friday that his son, Nathan Smith, has died, the record producer confirmed in a joint statement with Smith’s mother after police found a body in a pond north of Atlanta, Georgia.

“I am extremely heartbroken for the tragic loss of our son, Nathan Smith. His mother [Nicole Smith] and I are devastated,” the statement said.

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Carey was the big draw at Milan’s San Siro, but she was outweighed by pop-classical artists – and a sizeable dollop of kitsch

The Winter Oympics opening ceremony arrived shrouded in mystery. There wasn’t a lot of advance publicity about what might happen, beyond a list of musical performers, heavier on popular classical names including Andrea Bocelli and Lang Lang than pop stars – and a quote from the event’s creative lead and executive producer, Marco Balich, that it would eschew “hi-tech and bling”.

Anyone desperate for intel might alight on a tabloid live stream that proffered the news that “it could last THREE hours” – it wasn’t entirely clear whether this was meant as enticement or warning – and a news report suggesting the International Olympic Committee were concerned that Team America might be booed, the legendary charm of the Trump administration having done so much to spread goodwill towards the US over the last 12 months. In fact, what the president of the IOC said was: “I hope that the opening ceremony is seen by everyone as an opportunity to be respectful of each other” – so there was always the chance she was concerned the crowd might take against Denmark, but it didn’t seem likely.

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Opalite video reunites host and guests including Domhnall Gleeson and Lewis Capaldi from Swift’s October chatshow appearance

Graham Norton’s chatshow has long been an object of fascination to American stars, wowed by its combined star wattage, glasses of wine and Norton’s own quick-witted, lightly saucy repartee – and Taylor Swift has now taken that fandom to another level.

Norton has been cast in the music video for Opalite, the second single from her album The Life of a Showgirl to receive music video treatment after The Fate of Ophelia. Not only Norton, in fact, but the stars from the guest lineup who sat alongside Swift when she appeared in October 2025: actors Domhnall Gleeson, Greta Lee and Jodie Turner-Smith, and fellow chart-topping musician Lewis Capaldi.

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This documentary about Nato’s readiness for war seems intended to provoke a mix of terror and arousal in the goggling, flag-hugging viewer. It’s terminally dull stuff

It is the world’s largest military alliance but, in reputational terms at least, Nato is currently vulnerable. For an organisation so dependent on US stability and generosity, Donald Trump’s shredding of the so-called “rules-based order” is a potentially existential threat. So Nato could use an easy PR win right now and, with Frontline: Our Soldiers Facing Putin, Channel 4 tries to provide one.

This two-parter’s premise is that, after four years of war in Ukraine, we must plan for what comes next. If Russia is emboldened by the outcome of that conflict, it might invade another ex-Soviet border state, Estonia – which is a longstanding Nato member, so Nato would be at war. Are we prepared? Any worries about which side the present US administration would cheer for are put aside, as the results of exclusive behind-the-scenes access to Nato’s past year of manoeuvres are, breathlessly, presented. The answer to the question about Nato’s readiness is a stern affirmative. Putin ought to think on.

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Project, following disgraced cyclist, reportedly sparked bidding war, with Conclave’s Edward Berger set to direct

Oscar-nominated actor Austin Butler is scheduled to take on the role of disgraced cyclist Lance Armstrong in a buzzy new biopic.

According to Deadline , the package has caused a “frenzied” bidding war in Hollywood with Conclave director Edward Berger at the helm and King Richard’s Zach Baylin set to write the script.

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His first Oscar nomination, for Hamnet, is testament to the German-born British composer’s chameleon-like adaptability

The German-born British composer Max Richter had never been nominated for an Oscar until this year, though he may – unintentionally – have once scuppered someone else’s chance of winning one.

In 2016, the Academy of Motion Picture Arts and Sciences disqualified Jóhann Jóhannsson’s score for the film Arrival on the grounds that viewers would find it impossible to distinguish the late Icelandic composer’s soundtrack from the bought-in piece of music that book-ended Denis Villeneuve’s alien invasion psychodrama: Richter’s soaring, maximalist-minimalist On the Nature of Daylight.

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Israeli airstrikes in Gaza, ICE protests in Los Angeles, Snoop Dogg at the Winter Olympics and Storm Leonardo – the past seven days as captured by the world’s leading photojournalists

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Renny Harlin’s thankless trio of movies, taking a simple story and extending it for no creative reason, is at least finally over

If you’re wondering how this shrug-along horror series has got this far, Renny Harlin shot all three back-to-back in Bratislava in late 2022; reshoots followed the indifferent response to the first chapter in 2024, which didn’t much alleviate the even more indifferent response to last year’s second . We’re getting them whether we wanted them or not: the modest resources had been spent, and so we now arrive at the last knockings which comprise this year’s most dutiful carnage. The mistake is to expand a morally gloomy universe that was better off self-contained; the more light Harlin and collaborators let in, the more their set-up presents as generic runaround, hopelessly out of place amid the recent horror renaissance.

We’re deep into Strangers lore now, but last girl standing Maya (Riverdale graduate Madelaine Petsch, who surely hoped this was her Neve Campbell moment) continues to scurry about a devout woodland community like a bloodied fieldmouse with resting iPhone face; the masked thrill-killers – previously three, now two – have now gained ulterior motives for pursuing her. Also present: tatted survivor Gregory (Gabriel Basso, who must have been hoping for more to do) and ever-shifty Sheriff Rotter (Richard Brake), whose link to the killers is finally made explicit. New blood arrives in the form of Maya’s sister Debbie (Hollyoaks alumna and recent short-film Oscar-winner Rachel Shenton) who comes to town seeking answers, only to be drawn into another round of humdrum stalk-and-slash.

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This BBC series hasn’t made the same the splash as Adolescence. But its reflections on men in prison are valuable

Dennis Kelly, the author of the BBC’s six-part drama Waiting for the Out – now on iPlayer, with its final episode to be broadcast on Saturday – told an interviewer that fear is the secret hidden inside his latest series. The drama, about a man who takes a job teaching philosophy to a group of men in a prison, is based on Andy West’s memoir The Life Inside, which describes his real-life experiences teaching in prisons. Visiting jails for his research, Kelly picked up echoes of the debilitating shame that marred his own youth and early adulthood.

In his thirties, Kelly tackled his alcohol addiction, and began to write and recover. He is now the author of highly regarded TV series including Utopia and Pulling, and won a Tony award for his script for the smash-hit musical version of Roald Dahl’s Matilda.

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