Charli XCX has officially announced her next album. The singer revealed on 1 June that her seventh studio album, Music, Fashion, Film, will be released on 24 July. The announcement arrived alongside the album artwork, which features a black-and-white photograph of composer John Cale, fashion designer Marc Jacobs and filmmaker Martin Scorsese, reflecting the three worlds referenced in the title.

The album follows Charli’s hugely successful Brat, which became one of the defining records of 2024 and helped push the singer to a new level of mainstream success. The album artwork may be one of the clearest signs yet that Charli is entering a new creative chapter. Gone is the fluorescent green of Brat, replaced by a minimalist black-and-white image that places music, fashion and cinema legends at the centre of the frame.

So far, Charli has released two tracks from the project, “Rock Music” and “SS26”. The album title is lifted from a lyric in “SS26”, where she sings: “Nothing’s gonna save us, not music, fashion or film.” The record contains 11 tracks and runs just over 30 minutes, making it Charli’s shortest studio album to date.

Speaking previously about the album, she acknowledged that it may divide opinion, but said she was excited by the opportunity to challenge expectations and try something new. The inclusion of Scorsese on the artwork has already sparked discussion online, adding another unexpected talking point to the album announcement. It is also another sign of Charli’s growing presence beyond music, following her A24 film The Moment and her increasing influence across wider pop culture.

For CultureCues, one of the most interesting things about Charli XCX is that she rarely stands still creatively. Following an album as culturally dominant as Brat was never going to be straightforward, so it is refreshing to see her heading somewhere unexpected rather than trying to recreate the same moment twice. We are very curious to hear where Music, Fashion, Film takes her next.

Music, Fashion, Film releases on 24 July.

Nikki Murray

Nikki Murray is a UK-based writer, screenwriter and founder & editor of CultureCues, covering film, television, music and pop culture. Her work focuses on storytelling and the moments shaping modern entertainment.

<p>The post Charli XCX Announces New Album Music, Fashion, Film and Reveals Martin Scorsese Cover first appeared on culturecues.</p>

The Hawkstone Farmers Choir have been crowned the winners of Britain’s Got Talent 2026. ITV confirmed the result during the live final on 30 May, with the choir winning series 19 after capturing the public vote. Drone display act Celestial finished in second place, while Anastasiia & Salsa came third.

The choir, which was initially put together by Jeremy Clarkson, was created to support farmers around his farm in Chadlington, Oxfordshire, and raise awareness around mental health in the farming community.The group will receive a £250,000 cash prize and the chance to perform at the Royal Variety Performance.

After the result was announced, choir member Katryna Shell told presenters Ant McPartlin and Declan Donnelly that the group were the first choir ever to win Britain’s Got Talent. She also dedicated the victory to farmers, saying: “If you’re not OK, speak up.”

Before their final performance, the choir called Clarkson their “biggest cheerleader”, with the Clarkson’s Farm presenter watching from the audience. Their winning performance drew emotional reactions from the judges, with Amanda Holden visibly moved and Simon Cowell praising their original song.

For CultureCues, this is exactly the kind of Britain’s Got Talent win that works because there is a real story behind it. The Clarkson connection may have brought extra attention, but the choir’s message about farmers, community and speaking openly about mental health clearly resonated with viewers. It is also a lovely bit of BGT history. After years of singers, dancers, magicians and variety acts taking the crown, 2026 belongs to a choir of farmers. Honestly, that feels very Saturday-night-TV in the best possible way.

Britain’s Got Talent is available to watch on ITVX.

Nikki Murray

Nikki Murray is a UK-based writer, screenwriter and founder & editor of CultureCues, covering film, television, music and pop culture. Her work focuses on storytelling and the moments shaping modern entertainment.

<p>The post The Hawkstone Farmers Choir Crowned Winner of Britain’s Got Talent 2026 first appeared on culturecues.</p>

Charli xcx’s A24 film The Moment is now streaming on HBO Max in the US. The film, which began streaming on 29 May, stars Charli xcx alongside Rosanna Arquette, Kate Berlant, Jamie Demetriou, Arielle Dombasle, Hailey Benton Gates, Kylie Jenner, Trew Mullen, Mel Ottenberg, Isaac Powell, Rachel Sennott, Rish Shah, Alexander Skarsgård and Michael Workéyè. It will also debut on HBO’s linear channel in the US on 30 May at 8pm ET.

Directed by Aidan Zamiri, The Moment follows a rising pop star as she prepares for her first arena tour while navigating fame, industry pressure and the strange disorientation that comes with suddenly getting everything you thought you wanted. The film is written by Zamiri and Bertie Brandes, based on an original idea by Charli xcx. Charli also produces alongside David Hinojosa.

Set after the phenomenon of brat, The Moment plays with the idea of pop stardom in real time, following Charli through the aftermath of a career-defining summer as the machine around her tries to keep the momentum going. Rather than presenting itself as a straightforward tour documentary, the film leans into satire, fiction and self-awareness, turning the pressure of a huge cultural moment into the story itself.

For CultureCues, this is such a perfect little pop culture collision. Charli xcx, A24, Rachel Sennott, Kylie Jenner and Alexander Skarsgård in a meta film about fame, art and the business of being a pop star? That is very much our kind of strange, stylish viewing. The brat era already became a full cultural event, and The Moment sounds like the film version of asking what happens when the party is still going, but the person at the centre of it is already wondering what comes next.

The Moment is streaming now on HBO Max in the US.

Nikki Murray

Nikki Murray is a UK-based writer, screenwriter and founder & editor of CultureCues, covering film, television, music and pop culture. Her work focuses on storytelling and the moments shaping modern entertainment.

<p>The post Charli XCX’s A24 Film The Moment Is Now Streaming on HBO Max in the US first appeared on culturecues.</p>

Harry Styles is officially back, and we are trying to act normal about it. After months of anticipation, outfit predictions, setlist theories and fans collectively losing their minds, Harry Styles kicks off his Together, Together Tour tonight (16 May) at the Johan Cruijff Arena in Amsterdam.

The opening night marks the beginning of a huge 2026 world run, with Harry set to play 67 shows across seven locations, including Amsterdam, London, São Paulo, Mexico City, New York, Melbourne and Sydney. The tour comes just months after he released his fourth studio album Kiss All The Time. Disco, Occasionally. in January, a brilliant record that gave fans some of his most beautiful songs yet and plenty of moments that already feel made for a stadium crowd. The whole thing already feels like a full-scale Harry takeover.

Ahead of tonight’s opening show, behind-the-scenes rehearsal images shared from inside the Johan Cruijff Arena gave fans an early glimpse at the scale of the production, with Harry and his band gathered onstage inside the huge Amsterdam venue as preparations wrapped up for night one of the Together, Together Tour. Naturally, that was more than enough to send fans into full countdown mode.

Outside the stadium, the front of the Johan Cruijff Arena has also been given a Harry-style makeover, with a huge “Ajax All The Time. Disco, Occasionally.” banner nodding to the album title and the venue’s football home. It is a tiny detail, but exactly the kind of thing fans will notice, screenshot and scream about immediately. Not speaking from experience, of course.

Harry Styles Amsterdam Stage Times

According to venue information, tonight’s schedule is expected to run as follows:

• Doors: 17:00
• Robyn: 19:30
• Harry Styles: 20:45
• Show ends: 22:45

Fans attending the opening night are advised to arrive early, particularly with large crowds expected around the venue, but camping outside the arena is not permitted.

A Record-Breaking Wembley Run

Following Amsterdam, Harry heads to Wembley Stadium for a historic 12-night residency beginning on 12 June, surpassing Coldplay’s previous record of 10 Wembley shows in a single year. The run also breaks Taylor Swift’s record for the most Wembley Stadium performances by a solo artist during one tour run.

The Together, Together Tour will see Harry play seven locations around the world in total, with shows in Amsterdam, London, São Paulo, Mexico City, New York, Melbourne and Sydney. Support acts across the run include Shania Twain, Jorja Smith, Jamie xx, Fousheé and more.

What Could Be on the Setlist?

Harry has not yet confirmed the full Together, Together Tour setlist, but fans are expecting a mix of new material and career favourites following his March 2026 One Night Only show in Manchester. That performance included “Aperture”, “American Girls”, “Ready, Steady, Go!”, “The Waiting Game”, “Golden”, “Watermelon Sugar”, “As It Was” and “Sign of the Times”.

For CultureCues, the excitement around Together, Together also comes from the fact that Harry has had proper time away. After the enormous scale of Love On Tour, which wrapped in 2023, a break felt not only understandable, but needed. Still, three years later, fans are more than ready for Harry tour season to begin again. Yes, One Night Only in Manchester gave everyone a little taste of the new era, but this is the full return: multiple nights, major venues, seven locations around the world and a fan community that has been waiting to come back together. There may well be nerves in stepping back onto a stage of this scale, but once Harry is back in front of a crowd, it is hard to imagine him doing anything other than settling into the joy of it.

The stage has always seemed like one of the places where he is happiest. Now, Together, Together looks ready to bring that feeling back on a huge scale. Wembley, we are emotionally preparing.

Harry Styles’ Together, Together Tour continues in Amsterdam through to 5 June before moving to London’s Wembley Stadium, where the run begins on 12 June.

Nikki Murray

Nikki Murray is a UK-based writer, screenwriter and founder & editor of CultureCues, covering film, television, music and pop culture. Her work focuses on storytelling and the moments shaping modern entertainment.

<p>The post Harry Styles Is Back: Together, Together Tour Starts Tonight in Amsterdam first appeared on culturecues.</p>

There is always a risk with arena support slots that the crowd treats them as background noise. People are still finding their seats, still queueing for drinks, still waiting for the artist they came to see. But watching ADMT open for Louis Tomlinson in both Manchester and Glasgow, it became obvious very quickly that this was not going to be one of those situations.

From the first song, there were fans at barricade singing the lyrics back to him, and by the second or third track, that energy had started to move through the rest of the room too.

The Doncaster singer-songwriter, whose real name is Adam Taylor, walked out onto stages he had dreamed about playing his whole life and somehow managed to make rooms of more than 20,000 people feel personal. Warm acoustic moments sat beside huge singalong choruses, while his openness around mental health, loneliness and self-worth cut through instantly with an audience already deeply connected to emotional honesty in music. His songs carry that same quality: direct, human and unafraid of sitting with the difficult stuff.

It felt like the perfect match of artist and audience. Louis Tomlinson’s fans have built a reputation for embracing authenticity, and across Manchester’s Co-op Live and Glasgow’s OVO Hydro, there was genuine warmth towards ADMT from the second he stepped on stage. By the end of each set, it no longer felt like fans politely welcoming a support act. It felt like people discovering an artist they were ready to take with them.

That reaction has continued online too, with fans sharing clips, streaming his music and connecting with the story behind his debut album, From Good To Bad And Then Back Again, which arrives tomorrow, 15 May, via BMG. After the arena run opened him up to a new wave of fans, ADMT now heads into release week with that support behind him and a much bigger room ready to listen.

Following the response to CultureCues’ recent Louis Tomlinson feature, ADMT spoke to us about supporting the tour, the emotional impact of those arena shows, the way Louies embraced him so quickly, and why this next chapter feels bigger than anything he has experienced before. It arrives just as his debut album prepares to meet the audience he has been building towards.

What was it like stepping out in front of Louis Tomlinson’s arena crowd each night?

“I’ve been blessed enough to have some pretty sick experiences in my life, but that’s a high I cannot explain. It’s pure energy. Everyone was so cool, just so much love from those guys, man.”

What stood out in Manchester and Glasgow was how naturally ADMT balanced the size of the room with the intimacy of the songs. He could let the bigger choruses fill the arena, then pull everything back into something more conversational when he spoke about mental health, loneliness and finding your way through difficult days. That genuineness carried off stage too, from meeting fans outside the venue before the show to coming down to barricade after his set, taking photos, chatting properly and making the whole thing feel personal.

You described the tour as the most incredible experience of your life. What made it feel that way?

“I think it’s that full circle moment relived each night. Those stages I’ve dreamt of playing my whole life. Call it manifestation, praying, whatever you like, but that’s what I dreamt of, you know? And every night I went out there with imposter syndrome and every night those guys made me feel like I belong.”

That feeling of belonging sits at the centre of a lot of ADMT’s music. Before the arenas and sold-out tours, he spent years busking across Manchester, Sheffield and Leeds during the pandemic, building a following through emotionally open performances. His music later exploded online after his striped back acoustic cover of 50 Cent’s “Best Friend” went viral, eventually earning praise from the rapper himself. But even with the growing audience, the Louis Tomlinson tour felt like a genuine turning point.

How did Louis’ fans respond to you from the stage?

“Honestly I didn’t expect as much love as I felt, maybe that’s my own insecurities, I don’t know. But as cliché as it sounds, it felt like family, like I’d known those guys forever. I heard Louis fans were some of the best fans in the world and honestly they were just that. Pure love every single night regardless of where we were in the world. That’s what humanity should be, I feel. Just good humans giving good energy.”

That sense of community was something CultureCues explored heavily in our original Louis Tomlinson feature, and hearing it reflected back from somebody standing on stage every night only reinforces it further. There is a reason Louis’ tours resonate so emotionally with people, and part of that comes from how openly both artist and fans embrace vulnerability, loyalty and connection.

Did Manchester or Glasgow have any particular moments that stood out?

“Honestly, the Scots always give the best mental energy whenever I’ve played there in the past and it was just that in Glasgow. They’re nutters, haha, I love em. Manchester being so close to home for me just felt something special. I’m a proud northerner so being back there was mint.”

Both Manchester and Glasgow had immediate live energy, but Manchester carried something slightly different for ADMT. Being so close to home gave the set an extra sense of northern pride, the same feeling that runs through “North”, where he sings about Yorkshire, mates who will sort you out and the kind of place that stays with you wherever you go. Watching somebody from Doncaster stand in an arena that size, clearly taking it all in, gave the performance another layer. Glasgow, meanwhile, brought its usual full-force chaos from the floor. The Hydro crowd gave him plenty to work with, and he clearly loved every second of it.

What would you say to fans who discovered your music through this tour?

“I guess all I can say is thank you, yano. Thank you for welcoming me with open arms. I speak about mental health a lot and just seeing people’s love and reactions during and after the shows has given me a lot of happiness, a lot of peace. That’s something you can’t buy. I’m just mad grateful.”

That gratitude makes sense when you see how central those conversations are to his work, both in the songs themselves and in the way he speaks to a crowd. During the tour, one of the most emotional moments came with “Overboard”, when ADMT took time to speak directly to the crowd about mental health and the importance of removing some of the stigma and silence that still surrounds it, particularly for working-class people and young men. He did not present himself as somebody with all the answers, or fall back on neat clichés about everything magically getting better. Instead, he spoke honestly about struggling himself and wanting people to feel less alone in those thoughts.

That same care runs through the song itself. “Overboard” does not speak about mental health from a distance, but from the middle of it: “I been there, I been on my knees too / I’ve done my time alone in the dirt.” Later, he captures the quiet isolation of trying to keep going while feeling invisible: “I know how it feels to be see-thru / To fade away, get lost in the crowd.”

Inside rooms filled with thousands of people, “Overboard” still felt deeply personal. You could feel the crowd listening closely, not just to the music, but to what he was trying to say underneath it.

With your debut album out on 15 May and sold-out headline dates coming up, what does this next chapter feel like for you?

“Honestly, it feels like I’m truly blessed and forever grateful to be living my truth and being accepted for it too and it’s all thanks to the people who dedicate their time and energy into supporting what I do. Also feels like I may even be able to afford to move out of my mum’s place at this rate! All jokes aside, it just feels like a happiness that I’ve spent a long time trying to find.”

For all the vulnerability in ADMT’s music, and all the seriousness of the issues he writes and speaks about, he never seems defined only by the difficult parts. You can feel the weight of those experiences when he sings, but on stage and afterwards with fans, he comes across as warm, cheeky, grateful and genuinely joyful to be there. That joke about finally being able to move out of his mum’s place says a lot. Even in the middle of a huge career moment, he still sounds like himself.

That next chapter is already moving quickly. ADMT’s debut album From Good To Bad And Then Back Again arrives tomorrow, 15 May, featuring tracks including “Turn The Page”, “Homeless” and “Cover To Cover”. The record explores love, mistakes, mental health and resilience, with ADMT previously describing it as “growth, making mistakes, feeling everything a bit too much and not always knowing where to put it.”

Alongside the album release, his entire We Made It This Far 2026 headline tour has now sold out, while tickets for his biggest tour to date, the 2027 From Good To Bad And Then Back Again UK and Ireland tour, are already on sale here. The run will see him return to Manchester and Glasgow, while also heading to London, Newcastle, Leeds, Dublin, Belfast and more.

For CultureCues, what feels exciting is how much of this momentum still seems rooted in real connection. ADMT has gone from busking through city centres during lockdown to standing in front of thousands of people in arenas, but the heart of it still feels close enough to reach. The honesty is still there. The gratitude is still there. So is the cheeky northern warmth that makes fans want to root for him.

Online, plenty of Louies have already joked that he has been adopted into the family now, which feels about right. The Louis Tomlinson support run may have introduced ADMT to a much wider audience, but the response suggests many of those fans are not just passing through.

With From Good To Bad And Then Back Again, ADMT steps into an era that feels genuinely promising. He has the songs, the live presence and the kind of sincerity people want to hold onto. Judging by the reaction inside those arenas, plenty of fans are ready to carry that next chapter with him.

From Good To Bad And Then Back Again is released tomorrow, 15 May, and is available to pre-save now.

Nikki Murray

Nikki Murray is a UK-based writer, screenwriter and founder & editor of CultureCues, covering film, television, music and pop culture. Her work focuses on storytelling and the moments shaping modern entertainment.

<p>The post ADMT on Supporting Louis Tomlinson, the Fans and His Debut Album: “Those Guys Made Me Feel Like I Belong” first appeared on culturecues.</p>

Camp Rock 3 is officially heading back to Disney Channel and Disney+ this August, with Disney revealing the release month in a newly shared poster for the long-awaited threequel.

The new image shows a leather jacket with the Camp Rock 3 logo, confirming that the next chapter in the beloved Disney Channel Original Movie franchise will premiere later this summer. Until now, Disney had only confirmed a summer 2026 release window.

The film brings Joe Jonas, Nick Jonas and Kevin Jonas back as Connect 3, with the Jonas Brothers also executive producing alongside Demi Lovato. While Lovato is not currently listed as returning on screen, her involvement as an executive producer gives the project a full-circle connection to the original films, even if teenage us are still quietly holding out hope for a Mitchie Torres cameo somewhere along the way.

Camp Rock 3 picks up when Connect 3 lose their opening act for a major reunion tour and return to Camp Rock to find the next big thing. As a new generation of campers compete for the chance to open for the band, friendships are tested, tensions rise and, because this is still Camp Rock, there will naturally be revelations, romances and at least one emotionally dramatic musical number.

The new cast includes Liamani Segura as Sage, Hudson Stone as Desi, Malachi Barton as Fletch, Lumi Pollack as Rosie, Casey Trotter as Cliff, Brooklynn Pitts as Callie and Ava Jean as Madison. Sherry Cola also joins the franchise as Lark, while Maria Canals-Barrera returns as Connie.

Directed by Veronica Rodriguez and written by Eydie Faye, the film is produced by Disney Branded Television, with choreography by Jamal Sims. Tim Federle, best known for High School Musical: The Musical: The Series, also executive produces.

The original Camp Rock premiered in 2008, followed by Camp Rock 2: The Final Jam in 2010, with both films becoming major Disney Channel favourites and compulsory viewing for anyone who once forced their entire family to sit through them on repeat (definitely not speaking from experience). More than 15 years later, the franchise is returning with a new class of campers, a reunion-tour hook and enough nostalgia to send an entire generation straight back to their Disney Channel era.

For CultureCues, the August reveal is the real update here, but let’s be honest, the poster alone is enough to activate every dormant Camp Rock lyric stored somewhere in the back of our brains. Returning to camp? This is real. This is exactly where we’re supposed to be. Ready to rock? Very much so. Let’s go rockers!

Camp Rock 3 premieres this August on Disney Channel and Disney+.

Nikki Murray

Nikki Murray is a UK-based writer, screenwriter and founder & editor of CultureCues, covering film, television, music and pop culture. Her work focuses on storytelling and the moments shaping modern entertainment.

<p>The post Camp Rock 3 Confirms Premiere Date as Disney Drops New Poster first appeared on culturecues.</p>

Prime Video has released the first trailer for Every Year After, its upcoming summer romance series based on Carley Fortune’s bestselling novel Every Summer After.

The eight-episode Amazon Original series will premiere on 10 June, with all episodes dropping at once on Prime Video. And yes, for anyone who has already cried over this book, packed an imaginary lake bag and emotionally relocated to Barry’s Bay, we are absolutely seated.

Set across six years and one week, Every Year After follows Percy and Sam, childhood best friends whose summers together grow into a complicated love story shaped by first love, heartbreak, distance and the choices that stay with them long after the season ends.

Sadie Soverall stars as Percy, with Matt Cornett playing Sam. The trailer sees Percy return to Barry’s Bay, where old feelings quickly rise back to the surface as she reunites with Sam and Charlie Florek. Between lake days, unresolved tension and the specific ache only a nostalgic summer romance can deliver, the series looks set to lean fully into the pull of finding your way back to someone who never really left.

The trailer is already leaning into the kind of lines that romance readers will absolutely not be normal about. “You came home,” Sam tells Percy early on, before later admitting: “When I’m with her, I don’t think.” Percy is also heard saying: “Love can be hard to find, so if you’re lucky enough to find your person, never let go.”

Cries. Immediately.

The cast also includes Aurora Perrineau, Abigail Cowen, Michael Bradway, Joseph Chiu and Elisha Cuthbert. Amy B. Harris serves as showrunner and executive producer, with Fortune also executive producing alongside Lindsey Liberatore, Amy Rardin, John Stephens and Grace Gilroy.

Fortune’s Every Summer After became a major BookTok-era romance hit after its 2022 release, selling more than one million copies and spending 16 weeks on the New York Times Bestseller list. The series continues Prime Video’s growing investment in book-to-screen romance, following a wave of adaptations aimed directly at readers who know exactly how dangerous a childhood-best-friends-to-lovers story can be.

For CultureCues, this is peak summer viewing: lake town yearning, second-chance romance, unresolved history and the kind of trailer that makes you want to cancel your plans and move to Barry’s Bay immediately.

Every Year After premieres on Prime Video on 10 June.

Nikki Murray

Nikki Murray is a UK-based writer, screenwriter and founder & editor of CultureCues, covering film, television, music and pop culture. Her work focuses on storytelling and the moments shaping modern entertainment.

<p>The post Every Year After Trailer: Prime Video Turns Carley Fortune’s BookTok Favourite Into a Barry’s Bay Summer Romance first appeared on culturecues.</p>

Nine years ago today, Harry Styles officially stepped into his solo era with the release of his self-titled debut album, Harry Styles. Released on 12 May 2017 through Columbia Records and Erskine Records, the 10-track record marked the first full solo project from the former One Direction star and quickly became one of the most talked-about pop debuts of the decade.

Led by the soaring and theatrical “Sign of the Times”, which reached number one in more than 80 countries, the album introduced a very different side to Styles than many fans expected. Instead of chasing straightforward radio pop, Harry Styles leaned into soft rock, Britpop and classic singer-songwriter influences, pulling inspiration from artists including David Bowie, Fleetwood Mac and Elton John.

Tracks like “Kiwi”, “Sweet Creature”, “Woman”, “Meet Me In The Hallway” and “Two Ghosts” helped define the album’s identity, moving between big rock influences, softer emotional moments and the kind of theatrical drama that quickly became part of Harry’s solo style. Even now, nearly a decade later, many of the songs remain staples of Styles’ live shows and fan favourites across his catalogue, still streamed, still cried to and still screamed back by fans who have cherished the album from the very beginning.

At the time, the album arrived with huge pressure attached. Styles was stepping out from one of the biggest pop groups in the world, and curiosity around what his own sound would become was intense. Rather than recreating the polished pop of One Direction, Harry Styles felt intentionally different from the beginning, both musically and visually.

The era introduced many of the creative elements that would later become closely associated with Styles as a solo artist: vintage-inspired fashion, arena-sized rock influences, emotional lyricism and a playful unpredictability that set him apart from many of his pop contemporaries. It also hinted at the live-show culture that would later become part of the Harry experience, where feather boas, heart sunglasses and suspicious amounts of sequins are basically part of the ticket price.

For CultureCues, Harry Styles still stands as one of the defining solo debuts to emerge from the boyband era, not because it rejected Harry’s past, but because it felt completely confident in stepping into something new. Nine years later, fans are still screaming every word to “Kiwi”, getting emotional over “Sign of the Times” (we will never recover from Wembley night four, SOTT in the rain) and returning to the album with the same affection they had for it in 2017.

It was the beginning of an era that reshaped Harry Styles as an artist in his own right, and with Fine Line, Harry’s House and now Kiss All the Time. Disco, Occasionally. following in its footsteps, that debut feels even more special. Happy birthday to the album, the era and the first chapter of Harry’s solo story.

Harry Styles was released on 12 May 2017 and is available on streaming platforms now.

Nikki Murray

Nikki Murray is a UK-based writer, screenwriter and founder & editor of CultureCues, covering film, television, music and pop culture. Her work focuses on storytelling and the moments shaping modern entertainment.

<p>The post 9 Years Of Harry Styles: The Album That Changed Everything first appeared on culturecues.</p>

The BAFTA TV Awards 2026 air tonight, with Adolescence, A Thousand Blows, Andor, Trespasses, The Celebrity Traitors and Amandaland among the major nominees hoping to win on one of the biggest nights in British television.

Hosted by Taskmaster star Greg Davies, the ceremony takes place at London’s Southbank Centre’s Royal Festival Hall and will be broadcast on BBC One and BBC iPlayer from 7pm on Sunday 10 May.

A total of 124 programmes received nominations across this year’s BAFTA Television and Television Craft Awards, reflecting a wide field that stretches across drama, comedy, factual, entertainment, news, children’s programming and international television. Netflix’s Adolescence leads the overall nominations with 11, followed by Disney+ drama A Thousand Blows with seven, while Andor and Trespasses each have six. BBC One reality hit The Celebrity Traitors follows with five, continuing a huge run for the format as attention already turns to the next celebrity series.

Adolescence heads into the night as one of the clear frontrunners, with nominations including limited drama and acting recognition for Stephen Graham, Owen Cooper, Ashley Walters, Christine Tremarco and Erin Doherty. The series is also nominated for the publicly voted P&O Cruises Memorable Moment Award for Jamie snapping at the psychologist.

Elsewhere, A Thousand Blows is up for drama series, with Erin Doherty also recognised in the leading actress category. Channel 4’s Trespasses is nominated for limited drama, while Apple TV’s Andor is among the year’s strongest craft performers. In comedy, Amandaland is firmly in the mix, with Lucy Punch, Philippa Dunne and Jennifer Saunders all nominated in the actress in a comedy category.

The leading acting categories are competitive, too. Aimee Lou Wood is nominated for Film Club, Sheridan Smith is recognised for I Fought The Law, and Erin Doherty, Jodie Whittaker, Narges Rashidi and Siân Brooke complete a strong actress field. In leading actor, Colin Firth, Ellis Howard, James Nelson-Joyce, Matt Smith, Stephen Graham and Taron Egerton are all in the running, making it one of the night’s harder races to call.

The entertainment categories are stacked. Claudia Winkleman is nominated for entertainment performance, while Alan Carr’s Celebrity Traitors win is shortlisted for memorable moment. Prime Video’s Last One Laughing appears in entertainment, with Bob Mortimer nominated for entertainment performance.

For CultureCues, this year’s BAFTA TV Awards feel like a proper snapshot of what British audiences were actually watching and arguing about, from prestige streaming drama to reality TV moments that completely took over the group chat. If Adolescence has a huge night, it will not come as much of a surprise, but with A Thousand Blows, Amandaland, Trespasses, The Celebrity Traitors and several major international shows in the race, there is still room for a few very satisfying curveballs.

The BAFTA TV Awards 2026 air tonight at 7pm on BBC One and BBC iPlayer.

Full BAFTA TV Awards 2026 Nominees

Actor in a Comedy

Jim Howick, Here We Go
Jon Pointing, Big Boys
Lenny Rush, Am I Being Unreasonable?
Mawaan Rizwan, Juice
Oliver Savell, Changing Ends
Steve Coogan, How Are You? It’s Alan (Partridge)

Actress in a Comedy

Diane Morgan, Mandy
Jennifer Saunders, Amandaland
Katherine Parkinson, Here We Go
Lucy Punch, Amandaland
Philippa Dunne, Amandaland
Rosie Jones, Pushers

Drama Series

A Thousand Blows
Blue Lights
Code of Silence
This City Is Ours

Limited Drama

Adolescence
I Fought The Law
Trespasses
What It Feels Like for a Girl

Leading Actor

Colin Firth, Lockerbie: A Search for Truth
Ellis Howard, What It Feels Like for a Girl
James Nelson-Joyce, This City Is Ours
Matt Smith, The Death of Bunny Munro
Stephen Graham, Adolescence
Taron Egerton, Smoke

Leading Actress

Aimee Lou Wood, Film Club
Erin Doherty, A Thousand Blows
Jodie Whittaker, Toxic Town
Narges Rashidi, Prisoner 951
Sheridan Smith, I Fought The Law
Siân Brooke, Blue Lights

Supporting Actor

Ashley Walters, Adolescence
Fehinti Balogun, Down Cemetery Road
Joshua McGuire, The Gold
Owen Cooper, Adolescence
Paddy Considine, MobLand
Rafael Mathé, The Death of Bunny Munro

Supporting Actress

Aimee Lou Wood, The White Lotus
Christine Tremarco, Adolescence
Chyna McQueen, Get Millie Black
Emilia Jones, Task
Erin Doherty, Adolescence
Rose Ayling-Ellis, Reunion

Scripted Comedy

Amandaland
Big Boys
How Are You? It’s Alan (Partridge)
Things You Should Have Done

Entertainment

The Graham Norton Show
Last One Laughing
Michael McIntyre’s Big Show
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Nikki Murray

Nikki Murray is a UK-based writer, screenwriter and founder & editor of CultureCues, covering film, television, music and pop culture. Her work focuses on storytelling and the moments shaping modern entertainment.

<p>The post BAFTA TV Awards 2026 Air Tonight: How to Watch and Full Nominations first appeared on culturecues.</p>

Across Manchester’s Co-op Live and Glasgow’s OVO Hydro, Louis Tomlinson’s How Did We Get Here? tour proved what has defined this UK and European run: his greatest live strength is not just the songs, the production or the arena scale. It is the community he has built with the fans who have never stopped showing up.

There are artists with fans, and then there is Louis Tomlinson with the Louies.

That may sound dramatic to anyone outside the world he has built, but spend one night inside a Louis Tomlinson crowd and it starts to make perfect sense. The queues form early. The signs are handmade. The flags are held high. There are fans comparing tour dates, swapping stories, handing out bracelets, organising projects and casually mentioning they have already followed him across half of Europe, because for many Louies, showing up for Louis in whatever way they can has become part of the culture. Whether it is one show or five, the feeling is the same.

At a Louis show, the audience does not just arrive, watch and leave. They come prepared to be part of it, whether that means learning the fan projects, holding up signs, screaming every lyric back at him or understanding that the night works because the energy goes both ways. Louis knows that too, and it is part of what gives his shows their real spark: the sense of an artist not just performing to his audience, but sharing the night with the people who have helped carry him here.

That relationship has become one of the defining features of his solo career. You can see it in the way the room moves with him, in the lyrics tattooed on arms, the signs raised at just the right moments and the fan projects that turn arenas into shared statements of love and support. You can see it too in those pauses between songs, when Louis looks out at the crowd as though he is still letting the scale of it sink in, before giving that feeling straight back.

Across Manchester’s Co-op Live on 24 April and Glasgow’s OVO Hydro on 27 April, his How Did We Get Here? World Tour made that connection feel bigger, louder and more visible than ever.

The live show is strong in every obvious way, with a packed setlist, a production that has clearly stepped up, a brilliant touring band and a new album that sounds built for rooms this size. Still, the real story is what happens between Louis and the people in front of him, because that is where these shows move beyond a standard arena gig and become something far more personal.

A solo career built on graft, gratitude and a fanbase that does not quit

Louis Tomlinson’s solo journey has always carried a sense of earned momentum. After One Direction went on hiatus, Louis did not step into an easy new chapter where everyone instantly understood who he was as a solo artist outside the band. He had to build it, slowly and often under the weight of other people’s assumptions, one show at a time.

Walls arrived in 2020, emotional and reflective, reaching Number 4 in the UK. Faith In The Future followed in 2022 and gave him his first UK Number 1 solo album, with a clearer, more confident guitar-led sound. Then came How Did I Get Here? in January 2026, his second UK Number 1 album and the record now sitting at the heart of this tour.

For some artists, those numbers would be the whole headline. With Louis, they are only part of it.

What has always stood out is how quickly he turns success back towards the fans. A Number 1 is never just his. A sold-out show is never just his. A tour moment, an award, a chart win, a room full of people screaming his lyrics back at him, all of it becomes a shared achievement. He says “we” often, and with Louis, the word never comes across as a neat bit of branding. It sounds genuine, because his solo career has always been built around that sense of shared loyalty.

That is why his live shows have such a strong emotional charge. The fans have not just followed his career from a distance, they have actively helped push it forward. Through streaming campaigns, vinyl sales, fan projects, travel, social media support and sheer stubborn loyalty, they have made themselves part of the story. Louis, to his credit, has never acted as though he got here alone.

Manchester was more than another arena date

Manchester was always going to feel special. This is the city tied to the beginning of Louis’ X Factor story, the place where the audition eventually led him into One Direction and changed the course of his life. More than fifteen years later, he walked onto the stage at Co-op Live as a solo artist, headlining one of the biggest indoor arenas in Europe under his own name. That matters.

Yes, Louis has played stadiums before, both with One Direction and since. Yes, he has known levels of fame most artists will never come close to. But there is a different kind of power in watching him command a room like that with his own catalogue, his own band and a fanbase that has stayed with him through every reinvention, frustration and victory.

From the floor, the size of the room was ridiculous. Turning around mid-show and seeing the whole arena lit up, packed from the standing crowd to the people in seats, it was difficult not to feel proud. With Co-op Live sold out at around 23,500 fans, Manchester did not just feel big. It felt like a statement. That is the thing with Louis. His success has a strange way of making the fans feel involved, as though every huge room is a collective “look how far we’ve come” moment. Fittingly, those words appeared across fan signs too, capturing exactly what so many in the room seemed to be feeling: look how far he has come, and look how far they have come with him.

Louis seemed to understand the significance of it too. “It’s a special show tonight, but I always knew it was gonna be,” he told the crowd. “Thank you for bringing the vibes.” Later, visibly taking in the scale of the arena, he looked out at the room and said: “Look at this f***ing room. Rooms like this just blow my mind, every single time. Look at what we’ve created.”

That “we” is important. It runs through the whole Louis Tomlinson live experience, from the way fans organise projects before the lights go down to the way he stops, listens and lets the crowd carry a song back to him. During the acoustic version of “Defenceless”, he paused to hear the arena sing, hand over his heart, and for a few seconds it became one of those rare moments where Louis could feel it, the crowd could feel it, and everyone seemed to be taking it in together.

By the time “Silver Tongues” arrived, the lyric “there’s nowhere else that I would rather be” hit with extra force. In Manchester, it seemed to sum up the whole feeling of the night: nobody in that room would have chosen to be anywhere else. And honestly, you could feel every bit of it.

The setlist works because the fans have lived with these songs

The How Did We Get Here? setlist is built around Louis’ solo identity, and that is important. There is nostalgia in the room, of course, because there always will be, but this tour is not leaning on the past to do the heavy lifting. It is a celebration of where Louis is now.

Opening with “Lemonade”, the lead single from How Did I Get Here?, gives the night an immediate rush. It is bright, confident and instantly alive on stage, with the crowd jumping in from the first beat. By the end, yellow confetti cannons explode from the front and back of the arena, covering the room in a burst of colour. And yes, I was still finding bits of it in my clothes days later. “On Fire” keeps the energy moving before “Written All Over Your Face” brings one of those fan reactions that feels almost physical. The song already had bite on record, but live, with Michael Blackwell’s guitar powering through it, it becomes a proper arena moment.

The first section of the show moves through “Out Of My System”, “Bigger Than Me” and “Saturdays”, which remains one of the most quietly powerful songs in Louis’ catalogue. For many fans, that track is personal. The lyric “my heart might be broken, but I won’t be broken down” has become a kind of promise, one that plenty of people have carried through difficult periods of their lives and still hold onto now. Hearing an arena sing it back does something to the room.

It turns individual pain into a shared release.

What also comes through clearly is how well Louis’ voice suits this era. He sounds most at home when the songs are loud, guitar-led and a little rough around the edges, but the quieter moments prove just as important. He does not try to over-polish the emotion. He lets the feeling sit in his voice, and that honesty is exactly why so many of these lyrics land as deeply as they do.

One of the night’s most emotional moments comes with “Dark To Light”. Widely understood by many fans as a song shaped by grief and connected to Liam Payne, his former One Direction bandmate and friend, it is performed with real vulnerability. Louis lets his guard down here. There are tears in his eyes, but he does not look away from the feeling or try to hide it from the crowd. He lets the room see him in that rawness. It says a lot about the connection he has built with his fans that he can stand there so open in his grief and know the crowd will hold that space with him.

“Broken Bones” follows, before the acoustic “Defenceless”, performed with Isaac Anderson, brings another kind of closeness. It is already one of Louis’ most beautiful songs, but stripped back like this, it takes on a new kind of tenderness. Louis’ voice and Isaac’s harmonies sit together beautifully, letting the emotion of the song come through without overworking it. Even in a room as large as Co-op Live, it somehow feels intimate. That is partly down to the song, partly down to the performance, and partly down to the way Louis’ fans know how to listen when the moment asks for it. They can scream louder than anyone. They can also fall completely still.

The Louies are part of the production now

One of the most striking things about Louis’ live shows is how much the fans shape the visual identity of the night. The official production has levelled up hugely on this tour, with lasers, smoke jets, confetti cannons, punchy screen design, incredible lighting and a question mark-shaped stage that ties neatly into the How Did We Get Here? era. The whole show feels bigger than previous tours, with more confidence in its scale, movement and overall ambition.

The LED screens behind the stage are huge and constantly shifting, moving through bold abstract designs that give the show a brighter, more expansive feel without overwhelming the performance. Swirls of pink, green, blue and yellow bleed into each other, while other moments move into deeper reds or cooler blue and white lighting, depending on the mood of the song. It all suits this era perfectly: colourful, confident and built for rooms this size.

But some of the most memorable moments still come from the crowd. During “Lazy”, fans in Manchester held up giant “LA LA LA” letters for the chorus, turning the song into a playful exchange between stage and floor. “Sunflowers” brought, well, you guessed it: sunflowers, flags and colour across the crowd. “Lucid” became one of the night’s clearest fan-project moments, with orange lights around the arena and signs reading “LOOK HOW FAR WE’VE COME.”

In Glasgow, the “YOU ARE OUR SUN” project filled the Hydro with posters carrying those words, turning the arena into a huge, heartfelt show of love from a fanbase that has always known how to make a moment feel massive. These projects matter because Louis notices the effort behind them. He points out signs, smiles at the fans holding them, gives thumbs up, acknowledges the projects and folds those little moments into the show rather than treating them as background decoration. That is why fans keep doing it: because they know he sees the effort, feels the love behind it and never lets that care go unnoticed.

Louis’ shows feel like safe spaces because the crowd makes them that way

There is also something deeply inclusive about the atmosphere at Louis’ gigs. From the outside, people often reduce his fanbase to one easy stereotype, but being in the room tells a very different story. Louis’ crowd is far more mixed than some might assume: different ages, different backgrounds, different genders, different lives, all connected by the same feeling. Rainbow flags appear throughout the crowd. Fans look out for each other. Strangers become temporary best friends in queues, seats and standing sections, and sometimes those temporary friendships become lifelong ones, stretching across cities, countries and time zones.

That is part of what makes the space feel so special. It does not matter how old you are, where you have travelled from or how long you have been here. In that room, people feel allowed to be emotional, loud, silly, proud and completely themselves.

Louis has always had a fanbase with a strong queer following, and his shows reflect that. The flags are not hidden away. They are held high. For many fans, especially those who have grown up with him from the One Direction years into adulthood, these gigs are not just nights out. They are places of belonging, escapism and a rare chance to step away from real life for a while.

One of the loveliest details of the tour happened before fans even entered the venues. Outside the shows, fans began creating “How Did You Get Here?” chalk tallies, with travel options like walk, bus, plane, train and cycle marked out for others to add their own answers. The idea reportedly began in Hamburg, where Louis himself joined in by adding a mark for “tour bus”, a small moment that says a lot about the playful back-and-forth between him and the fanbase. From there, the trend continued across the tour, with fans adding where they had travelled from and turning the pavement into its own little map of the fandom: Scotland, Wales, Argentina, Spain, Italy, Brazil, Canada, the Netherlands, France, Mexico, Venezuela, China, India and more. It was playful, but it also said something real. Louis’ fans travel, gather, build community and quite literally leave their mark.

That kind of community cannot be manufactured by clever tour branding. It comes from years of trust between artist and audience, and from the culture fans have built around him. Louis often says that he needs the fans and the fans need him. At these shows, that does not come across as a throwaway line or something said just to please the room. It feels true, because it is.

The band help turn the songs into arena moments

The connection between Louis and the fans may be the heart of the tour, but the band deserve real credit for giving the show its drive. Michael Blackwell on lead guitar and vocals, Isaac Anderson on guitar and vocals, Matt Dinnadge on bass and vocals, Zak Craner on keys, and Joe Clegg on drums and musical direction give the set a proper live-band identity. They are not tucked away behind him. They are part of the world of the show. What comes through, especially up close, is how much Louis clearly enjoys being on that stage with them. There is a genuine warmth between him and the band that is visible from the floor, and it gives Louis the freedom to be so present with his fans. The band are the foundation that lets everything else happen.

That is especially true of Blackwell and Anderson, both incredible musicians, singers and songwriters in their own right, who bring their own presence to the stage while still serving the show around Louis. Blackwell’s guitar work is a highlight throughout. When he gets a solo, he absolutely shreds, making those moments feel genuinely electric without ever pulling focus for the sake of it. In fact, there are moments when fans are so locked on Louis that he has to point them back towards Michael, as if to say: no, seriously, watch this.

That matters because Louis’ solo music thrives when it feels physical. “Written All Over Your Face”, “Out Of My System”, “Kill My Mind”, “Silver Tongues” and “Palaces” all hit harder live, powered by driving drums, heavy guitar lines and the full-band energy that makes these songs feel built for arenas. The stripped-back sections work just as well, with the musicianship becoming softer and more spacious, giving songs like “Defenceless” and “The Answer” room to breathe.

Manchester had “No Control”, and the arena collectively forgot how to behave.

Manchester’s biggest eruption came late in the night with “No Control”. Fans had been chanting for it all evening. Louis teased that he was not playing it, fully aware of the anticipation he was building, before giving the crowd exactly what they wanted anyway and the room lost it.

The reaction was absurd. Proper protect-your-ears screaming. For long-time fans, “No Control” is not just a One Direction song. It is part of fan history. It is tied to campaigns, nostalgia, teenage obsession, group chats, Tumblr-era devotion, late-night voting missions and the kind of collective memory that makes thousands of adults suddenly regress in the best possible way.

Hearing Louis bring it back in Manchester felt like a reward for the fans who had been begging for it all night. It was a reminder of where so many first found him, while also giving newer fans who love the song a chance to celebrate that part of his history too. Crucially, it did not pull focus from the solo show around it. If anything, it made the full journey feel even clearer. The night still ended with “Palaces”, one of the strongest songs from How Did I Get Here? and a perfect closing number for this era. Big, bright and full of release, it sent the room out on Louis’ present rather than his past, with one final burst of red confetti filling the arena for good measure.

Glasgow from the photo pit felt like a full-circle moment

Glasgow was personally special in a different way. The OVO Hydro was packed, and I was there in the photo pit for CultureCues, photographing Louis professionally from right at the stage. As someone who has supported him since The X Factor days, through One Direction, Walls, Faith In The Future and now How Did I Get Here?, that was a slightly surreal experience.

Professionalism was maintained, obviously. Mostly. There may have been a small internal malfunction when Louis smiled and pointed in my direction, but that is between me, my camera and whatever higher power protects fangirls in press spaces.

Near the end of the show, when he comes down towards the barricade, that relationship becomes almost physical. Fans reach for him, hold onto him, sing with him, and he leans right into that excitement with complete trust, making the whole exchange feel safe. There are not many artists who can make an arena feel that personal from the very front to the very back. Louis can.

A tour that proves why this fanbase is different

The phrase “dedicated fanbase” gets thrown around a lot in music, but Louis’ fans are operating on a different level. There are fans who attended show after show across Europe and the UK, travelling between cities, booking hotels, queuing for hours and doing the whole thing again the next day. For some, this tour was not a one-night event. It was a chapter of their lives.

That might seem excessive from the outside, but inside the fandom it makes emotional sense. Louis shows feel different depending on where you are. At barricade, the show becomes intense, immediate and almost surreal, with every look, point and smile feeling magnified. The back of the pit gives you room to dance and take in the scale of the crowd, while seats offer the full view of the fan projects, the lights and the arena moving as one. Every night has its own mood, its own jokes, its own signs and its own tiny moments that only the people in that room will fully understand.

That is why fans keep coming back. Louis makes the shows feel specific, leaving space for the crowd to shape the night even within a full-scale arena production, and that is rare.

CultureCues Standout Moment

The standout moment is not one song, although “No Control” in Manchester made a very convincing case for itself. The real standout is the way Louis looks at his fans. He looks at the room with gratitude, amusement, disbelief and pride. He looks at the fan projects as though he understands the hours behind them. He looks at the barricade as though he recognises familiar faces. He looks at the full arena as though every person in it has helped put him there.

That is the emotional centre of the How Did We Get Here? tour.

The production is bigger. The songs are stronger. The confidence is obvious. But the thing that makes the show feel so powerful is still the same thing that has carried Louis through his solo career: the bond between him and the people who refuse to let him be underestimated.

Final thoughts

The How Did We Get Here? World Tour is Louis Tomlinson’s strongest live era so far, but its real success lies in how clearly it understands the audience in front of it.

While this review is rooted in Manchester and Glasgow, the wider UK & Ireland run told the same story on an even bigger scale. Across Manchester, Birmingham, Glasgow, Leeds, Dublin, Brighton and London, Louis brought How Did We Get Here? to some of the biggest rooms on this run, closing the UK, Ireland and European leg with a sold-out night at The O2 in London in front of around 20,000 fans. Through the clips, photos and fan reaction that poured out of other shows, the message felt clear: this tour has not just grown in size, but in confidence and connection.

These shows are built around a rare kind of mutual loyalty. Louis gives the fans his gratitude, his humour, his vulnerability and his trust. The fans give him their voices, their time, their creativity and a level of devotion that most artists would dream of having for one album cycle, never mind more than a decade. These shows proved that Louis Tomlinson is not simply surviving as a solo artist after one of the biggest bands in the world. He is thriving on his own terms, with a catalogue that now fills arenas and a fanbase that turns every show into a collective celebration.

So, how did we get here?

Through the songs, yes. Through the albums, the tours, the Number 1s and the confetti-covered finales. But mostly through loyalty. Through fans who kept showing up, and an artist who never forgot to thank them for it, every step of the way.

The UK and European arena run of Louis Tomlinson’s How Did We Get Here? World Tour may have wrapped, but the era is far from over. Louis continues with a Mexico City date on 16 May, before returning to the UK for BBC Radio 1’s Big Weekend in Sunderland on 23 May. From there, the tour heads across North America throughout June and into July. The spaces may keep getting bigger, but at the centre of it all, the connection still feels personal.

Correction: An earlier version of this article incorrectly stated that the “How Did You Get Here?” chalk tallies were created by Louis and his team. The idea was fan-led. The article has been updated to reflect this.

Nikki Murray

Nikki Murray is a UK-based writer, screenwriter and founder & editor of CultureCues, covering film, television, music and pop culture. Her work focuses on storytelling and the moments shaping modern entertainment.

<p>The post Louis Tomlinson Live Review: How Did We Get Here? Tour Proves His Shows Are Built On Loyalty first appeared on culturecues.</p>

Harry Styles has released the music video for “Dance No More”, the latest single from his chart-topping album Kiss All the Time. Disco, Occasionally. Directed by Colin Solal Cardo, the video arrives ahead of Styles’ huge Together, Together residency tour.

Despite the title, there is very little “no more” dancing happening here.

The video opens in what looks like a school gym before quickly spiralling into something much bigger, with Styles leading a crowd of dancers through tightly choreographed routines as the space transforms into a full disco party. There are flashing lights, synchronised movement, live-band energy and, eventually, mass snogging across the dancefloor. Very Harry Styles, really.

Decked out in tiny red gym shorts and white trainers, Styles throws himself fully into the performance, continuing the dance-heavy approach fans first saw during live performances of “Aperture” and his appearance on Saturday Night Live earlier this year. Fans have also been quick to spot a familiar little shoulder shimmy that feels wonderfully reminiscent of his X Factor days, and yes, I noticed too. While previous singles from the album leaned into cinematic storytelling and large-scale visuals, “Dance No More” feels more carefree, full of joy and cheek that has already sparked plenty of fan discussion. It is playful, flirtatious and a lot of fun.

That energy sits at the centre of Kiss All the Time. Disco, Occasionally., which marked another major shift for Styles. Released in March, the album pushed further into electronic textures, pulsing rhythms and immersive production, pairing euphoric tracks like “Dance No More,” “Pop” and “Ready, Steady, Go” with more reflective moments such as “Carla’s Song” and “Season 2 Weight Loss.” The record debuted at Number One and became Styles’ fourth consecutive chart-topper.

A disco era built for stadiums

The release also ties neatly into the launch of Styles’ Together, Together tour, which begins on 16 May in Amsterdam. The run is less a traditional world tour than a series of major residencies, with 10 shows in Amsterdam, 12 nights at Wembley Stadium, 30 shows at Madison Square Garden, and further dates in Brazil, Mexico, Melbourne and Sydney.

Earlier Harry Styles eras often played with softness, nostalgia and classic singer-songwriter influences, but Kiss All the Time. Disco, Occasionally. pushes him further into collective release and full-scale pop performance. The album takes disco away from the polished revival trend that dominated pop a few years ago, favouring feeling over perfection.

That makes “Dance No More” a surprisingly fitting title. The whole video plays like a refusal to sit still, even when the lights should probably be coming up. Move it side to side, indeed.

CultureCues Final Thoughts

“Dance No More” might be one of the clearest statements of this Harry Styles era so far. The choreography is bigger, the production is looser and the whole thing feels completely committed to the joy of letting go in public. Also, somewhere between the tiny red shorts, the synchronised dancing and the shameless amount of hip action, it is difficult not to respect the commitment. Never mind us, we are just pressing play again for research purposes.

“Dance No More” is available now on streaming platforms.

Nikki Murray

Nikki Murray is a UK-based writer, screenwriter and founder & editor of CultureCues, covering film, television, music and pop culture. Her work focuses on storytelling and the moments shaping modern entertainment.

<p>The post Harry Styles Turns Up the Choreography in ‘Dance No More’ Video first appeared on culturecues.</p>

The BBC has confirmed the full line-up for The Celebrity Traitors series two, with Claudia Winkleman set to welcome 21 famous faces to the Scottish Highlands later this year.

The RTS and BAFTA Craft Award-winning celebrity spin-off will return to BBC One and BBC iPlayer in 2026, with a new cast heading into The Traitors castle to play the ultimate game of deception, betrayal and suspicious side-eye. Made by Studio Lambert Scotland, the 10-part series will once again see celebrities compete for a cash prize of up to £100,000 for a charity of their choice.

The confirmed line-up: Amol Rajan, Bella Ramsey, James Acaster, James Blunt, Jerry Hall, Joanne McNally, Joe Lycett, Julie Hesmondhalgh, King Kenny, Leigh-Anne Pinnock, Maya Jama, Michael Sheen, Miranda Hart, Myha’la, Professor Hannah Fry, Richard E. Grant, Rob Beckett, Romesh Ranganathan, Ross Kemp, Sebastian Croft and Sharon Rooney.

It is a properly stacked mix of actors, comedians, presenters, musicians, broadcasters and internet personalities, which this format thrives on. Michael Sheen feels like an inspired choice for a game built on theatrical suspicion, while Maya Jama brings the kind of confident presence that could make her one to watch round the table. After handling years of Love Island re-couplings, betrayals and dramatic fire pit reveals, a few cloaked Traitors might not scare her too much. There is also plenty for TV fans to get excited about, from My Mad Fat Diary star Sharon Rooney, giving us a Scottish contestant to root for, weeheey, to Miranda Hart, whose warmth and comic timing could make her either the most trusted faithful or the perfect secret Traitor. Add in Heartstopper actor Sebastian Croft, former Little Mix star Leigh-Anne Pinnock and screen legend Richard E. Grant, and the line-up has something for everyone regardless of which era of telly you grew up with.

It also gave us Alan Carr at his most brilliantly Alan Carr, which frankly should count as its own national television event. The fourth series of The Traitors, which aired in January 2026, also delivered huge numbers, averaging 12.5 million viewers per episode.

For CultureCues, this second celebrity series looks like one of the biggest TV events of the year. With this many big personalities crammed into one castle, the paranoia is going to be off the charts before the first round table even starts. If series one taught us anything, it is that there are few things more entertaining than watching celebrities attempt to lie with a straight face. And when it all unravels, as it always does, those banishment scenes are going to be television gold. Cloaks at the ready, because this castle is about to get very interesting.

The Celebrity Traitors series two will air on BBC One and BBC iPlayer later in 2026.

Nikki Murray

Nikki Murray is a UK-based writer, screenwriter and founder & editor of CultureCues, covering film, television, music and pop culture. Her work focuses on storytelling and the moments shaping modern entertainment.

<p>The post Full Celebrity Traitors Series 2 Line-Up: BBC Reveals All 21 Stars first appeared on culturecues.</p>

The update follows a recent Instagram post in which Malik thanked fans for their support after a period of recovery. “Thank you so much for all the support and love you’ve shown me on the album release and more importantly your love, prayers, and well wishes for my health. I’ve felt it, and it’s meant the world,” he wrote. He added that he has been recovering at home and is “doing well and will be better and stronger than before.”

Malik explained that he had to “take another look” at his schedule, confirming he will scale back the tour while still hoping to perform for as many fans as possible. “I want to make sure I still get out and see as many of you as I possibly can. I’m really looking forward to playing these shows for you,” he said, signing off with “Big Love, Z.”

The revised tour will now begin later in May, with UK dates in London and Manchester still set to go ahead, alongside international shows later this year. Refunds for cancelled dates are expected to be issued automatically via ticket providers.

For fans, especially those who had tickets for Glasgow, Dublin, Birmingham or the US dates, it is understandably disappointing news. At the same time, Malik’s health has to come first, and his message makes it clear that this is not a decision he has taken lightly.

Here at CultureCues, we’re wishing Zayn a speedy recovery and hope he takes the time he needs to rest, recover and return to the stage when he’s ready.

Nikki Murray

Nikki Murray is a UK-based writer, screenwriter and founder & editor of CultureCues, covering film, television, music and pop culture. Her work focuses on storytelling and the moments shaping modern entertainment.

<p>The post Zayn Malik Cancels UK and US Konnakol Tour Dates After Health Update first appeared on culturecues.</p>

Nicola Coughlan hosting Saturday Night Live UK was always going to be a moment, but she still managed to exceed expectations.

Back on the show after appearing in its very first episode, the Bridgerton and Derry Girls star stepped into the role like she’d been waiting for it, which, judging by her monologue, she pretty much had. Coughlan joked that she had been waiting her whole life for something like this, and honestly, it showed in the best way. Her opening monologue was already landing well before Jimmy Fallon suddenly appeared to remind her that SNL is, in fact, live. “It’s SNL royalty Jimmy Fallon,” she laughed, playing up the shock, before he dragged her into a full-on tour of the studio to demonstrate the “power” of being host. “You can do whatever you want… you can go wherever you want,” he told her,as they wandered straight into the audience, messed about with unsuspecting guests and even met “Sir Paul McCartney”, who was very much not Sir Paul McCartney. At one point she tried to regain control with, “Can I just get back to hosting?”, only for Fallon to double down on the chaos. It was silly, fast and genuinely funny, and she matched him the whole way through.

That sense of play carried into the sketches, with Coughlan throwing herself into everything, from a Take A Break!-style agony aunt casually confessing to having sex with her neighbour’s ghost to a hilarious flight attendant sketch. After Coughlan’s monologue, the show moved straight into a spoof of The Magical Faraway Tree, the film she stars in, which was released in UK cinemas on 27 March 2026. In the sketch, she pitches a promotional rap and music video to a group of very confused studio executives, only for it to quickly become far more explicit than anyone was expecting. It leans into the contrast between the wholesome source material and the completely inappropriate promo, and Coughlan commits to it so fully that it ends up being one of the funniest moments of the night.

Alongside Coughlan, the SNL UK cast were on top form, giving the episode plenty of momentum beyond the host sketches. Weekend Update was particularly strong, with Emma Sidi’s segment as a “woman who can’t be ignored” getting some of the biggest laughs of the night. Asked how other women could avoid being ignored, her advice involved wearing big hats and doing “loud farts”, which she delivered with total commitment. Ania Magliano and Paddy Young were also great value, taking on heavier topics without making the segment feel awkward or strained. It was one of their most entertaining runs of the series so far.

The standout sketch, though, had to be the plane crash landing scenario, where every man on board is convinced he can land it. It is such a painfully accurate idea that the joke practically writes itself, but the sketch keeps pushing it further, with George Fouracres getting some of the biggest reactions of the night thanks to a brilliantly ridiculous twist. Totally hilarious, and definitely one of the episode’s best bits.

No sketch dragged, no one felt like they were trying too hard to steal focus, and the whole thing had the kind of rhythm that can be hard to pull off on a live sketch show. Coughlan brought such a fun, fearless energy as host, and with the excellent cast around her, the whole episode became proper comedy gold.

For CultureCues, this is exactly what you want from a host. Nicola Coughlan was completely up for it, clearly having a great time, and it made the whole episode better for it. Fans absolutely loved it too, with social media full of people saying they were laughing from start to finish and calling for Coughlan to come back and do it all again. Honestly, same. I was in stitches the whole way through, which, for a comedy show, says everything it needs to.

SNL UK continues next week, with Aimee Lou Wood set to host the next episode.

Nikki Murray

Nikki Murray is a UK-based writer, screenwriter and founder & editor of CultureCues, covering film, television, music and pop culture. Her work focuses on storytelling and the moments shaping modern entertainment.

<p>The post Nicola Coughlan Hosts Saturday Night Live UK and Completely Steals the Show first appeared on culturecues.</p>

Tom Cruise is officially returning for Top Gun 3, with Paramount confirming the long-awaited sequel during its CinemaCon presentation in Las Vegas. After months of speculation, the next chapter in the blockbuster franchise is now firmly in motion, with producer Jerry Bruckheimer also back on board.

A follow-up to Top Gun: Maverick has been quietly developing since 2024, with writer Ehren Kruger, who co-wrote the previous film, attached once again. While details remain under wraps, the confirmation alone is enough to signal that Paramount sees the franchise as far from finished.

Following One of Modern Cinema’s Biggest Success Stories

Any sequel arrives with high expectations, especially after Top Gun: Maverick became one of the defining cinema hits of the last decade. Released in 2022 at a time when theatres were still recovering, the film went on to gross around $1.5 billion worldwide, proving that large-scale, big-screen storytelling still had a powerful draw.

The film also reintroduced audiences to Pete “Maverick” Mitchell, now mentoring a new generation of pilots, while revisiting the emotional legacy of the original through Miles Teller’s Rooster. Alongside Cruise and Teller, a fresh ensemble helped carry the story forward, blending nostalgia with something that felt new.

What Could Come Next

While Cruise is confirmed to return, there has been no official word yet on which other cast members might join him. Given how central the new recruits were to Maverick, there is clear potential for their stories to continue, though the direction of the next film is still being shaped. Bruckheimer has previously said that a story has already been pitched to Cruise, but as ever, the actor is taking his time. It is a familiar approach, considering it took decades for Maverick to materialise, and that patience arguably paid off.

There is also the question of how the franchise evolves. Whether it continues to focus on mentorship, pushes further into new technology, or finds a different angle entirely, the next instalment has room to expand while still holding onto what made the previous film resonate.

CultureCues Final Thoughts

Top Gun 3 may still be in its early stages, but after the scale and success of Top Gun: Maverick, its return feels entirely expected. There is clearly still a strong appetite for these stories, particularly when they deliver the same mix of spectacle, emotion, and big-screen appeal that made the last film such a hit.

Nikki Murray

Nikki Murray is a UK-based writer, screenwriter and founder & editor of CultureCues, covering film, television, music and pop culture. Her work focuses on storytelling and the moments shaping modern entertainment.

<p>The post Top Gun 3 Confirmed: Tom Cruise Set to Return to the Skies first appeared on culturecues.</p>

Niall Horan has announced a UK and European tour for autumn 2026, taking his upcoming album Dinner Party to arenas across the UK, Ireland and Europe. The run will follow the release of Horan’s upcoming fourth solo album, Dinner Party, which arrives on 5 June and marks his first full-length record since 2023’s The Show. The new record appears to be built around intimacy, reflection and the kind of life-changing moment that begins somewhere ordinary, which makes the title feel perfectly in step with Horan’s warm, heartfelt solo lane.

The UK dates begin at Birmingham’s Utilita Arena on 22 September, before Horan heads to Newcastle, Manchester, Glasgow and Sheffield. He will then play London’s O2 Arena on 2 October, before taking the tour across Europe with shows in Hamburg, Berlin, Copenhagen, Cologne, Amsterdam, Barcelona, Milan, Bologna, Munich, Krakow, Antwerp and Paris.

The tour will close with Irish dates, including two nights at Dublin’s 3Arena on 9 and 10 November, followed by a final show at Belfast’s SSE Arena on 15 November.

The announcement comes after Horan shared the album’s title track, which he described as being inspired by a happy, significant moment in his life. With longtime collaborators Julian Bunetta and John Ryan involved, Dinner Party looks set to pair Horan’s familiar warmth with a slightly bigger, more cinematic feel, which should work perfectly for the arena shows ahead. We’re definitely looking forward to seeing how this chapter comes together live, especially as Horan has always had a way of making big rooms feel surprisingly intimate.

Tickets go on general sale on 2 April at 9am local time, following presale access from 31 March at 10am local time. In the UK, £1 from every ticket sold will be donated to LIVE Trust, supporting grassroots music across the country.

Niall Horan’s Dinner Party tour begins in Birmingham on 22 September 2026.

Nikki Murray

Nikki Murray is a UK-based writer, screenwriter and founder & editor of CultureCues, covering film, television, music and pop culture. Her work focuses on storytelling and the moments shaping modern entertainment.

<p>The post Niall Horan Announces 2026 UK and European Dinner Party Tour first appeared on culturecues.</p>

When Saturday Night Live UK was first announced, it was hard not to feel a little nervous about the whole thing. The American original is such a specific beast, built around live sketches, topical jokes, celebrity hosts and the kind of chaotic broadcast energy that can either feel thrilling or deeply awkward depending on the night. Translating that to a British audience was always going to be a risk, especially when UK sketch comedy on television has felt oddly quiet in recent years.

Thankfully, the first episode is much stronger than the most cynical predictions suggested. It is not perfect, and like all sketch shows, it has its hits and misses, but there is enough confidence, weirdness and genuine comic spark here to suggest Saturday Night Live UK could become a really exciting home for new British comedy talent.

Her opening monologue works as both a welcome and a gentle introduction to what this UK version is trying to be, with surprise appearances from Nicola Coughlan, Graham Norton, Michael Cera and Regé-Jean Page adding just the right amount of first-night sparkle.

The episode opens with a political cold open, with George Fouracres playing Keir Starmer as he is coached through a call with Donald Trump. It is a solid start, with funny touches in the idea of a deeply British, deeply awkward prime minister trying to handle a global crisis through polite panic. Still, the episode really finds its rhythm when it leans into the stranger, more specifically British sketches that give SNL UK its own flavour.

That is where the debut really starts to work. The best sketches tap into a slightly darker, more surreal British comic sensibility, whether through a disastrous Paddington-themed experience, a very committed spoof cosmetics advert, or a version of Shakespeare who returns from London with some deeply questionable new energy. There is also a lovely silliness to the way the show plays with familiar British references, from TV nostalgia to public figures to the general oddness of national life, because truly, we are not a normal country. When it hits, it feels less like a remake and more like a proper UK comedy show that happens to be borrowing the SNL structure.

The clearest highlight is Weekend Update, hosted by Ania Magliano and Paddy Young. The pair have that lovely live-TV energy where half the fun is watching them try not to laugh, and their chemistry gives the segment a real lift. It is easily one of the debut’s most confident sections, mixing topical bite with a bit of looseness and a sense that anything could go slightly wrong at any second.

The cast as a whole make a strong first impression, especially given the pressure of launching a live sketch show with this much attention on it. Some sketches work better than others, and a couple could probably be tighter, but that is also part of the strange joy of live television. You want a bit of unpredictability. You want the odd moment where everyone seems about two seconds away from bursting out laughing. The show already has great energy, and there is something genuinely exciting about watching a new group of comic performers find their rhythm in real time.

For a first episode, this is a promising start. There are a few rough edges, but there is also personality, confidence and a clear willingness to get a bit weird with it. More importantly, it does not come across like a copied-and-pasted American format with a few British references thrown on top. At its best, Saturday Night Live UK is funny, silly and properly British, with enough standout moments to make the whole experiment feel worth it.

If the show keeps trusting its own voice, backing its cast and letting the weirder sketches breathe, Sky could have something really fun here. Overall, the first episode delivered plenty of laughs, and more than enough reason to tune in again next week.

Saturday Night Live UK airs on Saturdays at 10pm on Sky One in the UK.

Nikki Murray

Nikki Murray is a UK-based writer, screenwriter and founder & editor of CultureCues, covering film, television, music and pop culture. Her work focuses on storytelling and the moments shaping modern entertainment.

<p>The post Saturday Night Live UK Review: A Funny, Weird and Promising UK Debut first appeared on culturecues.</p>

London’s Odeon Luxe Leicester Square is feeling a little more magical tonight, as the cast of The Magic Faraway Tree gather for the film’s official premiere. With a story rooted in childhood wonder, it feels only right that the red carpet carries that same spirit.

Andrew Garfield was joined by co-stars Claire Foy and Nicola Coughlan, each bringing their own take on soft, fantasy-inspired styling. Coughlan opted for a flowing off-the-shoulder gown in a soft green tone, with delicate detailing and subtle embellishment that gave the look a light, fairy-like feel. It felt right at home in the world of the film, with just enough sparkle to hint at something a little more magical.

Foy, meanwhile, went in a more structured direction. She paired a layered shirtdress with a tailored jacket, blending softer textures with sharper tailoring. The look still nodded to the film’s dreamy, woodland tone, but with a more grounded, understated edge, finished with darker boots that kept everything feeling effortless rather than overly styled.

A reunion on the red carpet

Also in attendance was Andrew Garfield, who stars alongside Foy in the film. The pair reunite on screen for the first time since Breathe, and Garfield was quick to praise working with her again, describing it as “the best” and calling Foy both “an incredible actor and an incredible person”. That warmth translated easily onto the red carpet, where the cast appeared relaxed and genuinely excited to be there. Foy shared the same feeling, speaking about how much she enjoyed returning to work with Garfield, especially within a completely different kind of story. Garfield kept things easy in a forest green knit cardigan and tailored black trousers, understated but effortlessly put together.

Bringing a classic story to a new generation

Based on Enid Blyton’s beloved book series, The Magic Faraway Tree follows a family who leave city life behind for the countryside, only to discover a magical world hidden within an enchanted tree. From there, the story unfolds into a series of imaginative adventures, with new lands and characters waiting at the top.

Directed by Ben Gregor, the film brings together a wide-ranging cast, including Jessica Gunning, Rebecca Ferguson, Nonso Anozie and Jennifer Saunders, alongside Coughlan, Garfield and Foy. With a mix of familiar names and fresh energy, it is clearly aiming to introduce the story to a new generation while keeping its original charm intact.

A premiere that reflects the film itself

What stood out most about the night was how much it reflected the feel of the film. There was a sense of playfulness throughout, from the styling to the overall atmosphere, without it ever feeling over the top. It is not an easy balance to get right, but The Magic Faraway Tree seems to be aiming for it. There is a clear sense of nostalgia, but also an effort to make the story feel fresh, especially at a time when audiences are leaning more towards feel-good, escapist family films.

CultureCues Final thoughts

With its London premiere setting the tone, The Magic Faraway Tree looks set to be a warm and inviting addition to this spring’s cinema releases. The cast chemistry is there, the world feels like one you want to step into, and there is just enough curiosity around how this classic story has been re-imagined. If nothing else, it feels like the kind of film that lets you switch off for a couple of hours and escape somewhere a little more magical.

The Magic Faraway Tree arrives in cinemas on 27 March 2026.

Nikki Murray

Nikki Murray is a UK-based writer, screenwriter and founder & editor of CultureCues, covering film, television, music and pop culture. Her work focuses on storytelling and the moments shaping modern entertainment.

<p>The post The Magic Faraway Tree Premiere: A Touch of Magic in London first appeared on culturecues.</p>