Sir David Jason has discovered he has a 52-year-old daughter and grandchild he knew nothing about.
The Only Fools And Horses actor has spoken of his joy at discovering he is a father to actress Abi Harris and grandfather to Charlie, 10, saying he has welcomed them into his family and is making up for lost time.
Sir David, now 83, thought he had become a father for the first time at the age of 61 in 2001. At that time, his then partner and now wife, Lady Gill Hinchcliffe, gave birth to their daughter, Sophie Mae.
However, unbeknownst to him, he was also father to Abi, who was born in 1970 following a brief relationship between Sir David and her actress mum Jennifer Hill, who appeared in the James Bond film Octopussy.
The pair have been brought together after Abi started to suspect the TV star might be her real father and wrote to him to explain.
Sr David told The Mirror: “To say it was a surprise to find out I had a daughter from years ago is an understatement.
“However, on settling with the news, I am delighted that I am now able to get to know Abi and so we meet up when we can.
“My wife, Gill, and daughter, Sophie, have been very supportive and understanding and have embraced Abi and welcomed her and her young son into her now wider family.”
Image: Sir David was the star of Only Fools And Horses, alongside Tessa Peake-Jones, Nicholas Lyndhurst and Gwyneth Strong
It started with a letter
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Sir David and Jennifer’s relationship began at the start of 1970, when they were both starring in the Dylan Thomas play Under Milk Wood in London. Abi was born in October that year.
She and Sir David, who is also known for TV shows including The Darling Buds Of May and A Touch Of Frost, have crossed paths several times since but he had no idea they were related.
Abi’s mother Jennifer was married to Shakespearean stage actor Geoffrey Davion, who also appeared in Miss Marple and The Stars Look Down, and she believed he was her biological father until his death in 1996.
‘I am starting to piece together my identity’
In 2008, Sir David and Jennifer were reunited for a reprisal of Under Milk Wood, in which Abi also starred.
After conversations with her mum in the years that followed, and comments about similarities in their looks, Abi started to suspect the truth about her heritage and eventually wrote to the star, who agreed to take a paternity test.
“In discovering my father’s identity, I am starting to piece together my own,” she told the Mirror.
“Of course, I am tickled pink and incredibly proud but, frequently, completely overwhelmed with sorrow for the years we have lost.
“After a measured start, now I hope we can consciously make time to see each other more often, so that I can master the art of being the best big sister and build a meaningful father-daughter relationship in its truest sense.”
Several bands have pulled out from the Victorious music festival just hours before their scheduled performances, following claims by Irish folk group The Mary Wallopers that they were “cut off” for displaying a Palestinian flag.
The Last Dinner Party, Cliffords, and The Academic announced on Saturday that they would no longer be performing at the annual music festival in Portsmouth following Friday’s incident.
The organisers, who said the band’s set was cut short for using a “discriminatory” chant, have since apologised and promised to make “a substantial donation to humanitarian relief efforts for the Palestinian people”.
Rock band The Last Dinner Party said they are “outraged” by the incident and would boycott the festival.
“We are outraged by the decision made to silence The Mary Wallopers yesterday at Victorious. As a band we cannot cosign political censorship and will therefore be boycotting the festival today,” they said in a statement shared on their Instagram page.
“As Gazans are deliberately plunged into catastrophic famine after two years of escalating violence, it is urgent and obvious that artists use their platform to draw attention to the cause.
“To see an attempt to direct attention away from the genocide in order to maintain an apolitical image is immensely disappointing.”
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Image: Abigail Morris, Emily Roberts, Georgia Davies, Lizzie Mayland and Aurora Nishevci of The Last Dinner Party. File pic: Reuters
The Last Dinner Party said that throughout the summer, they have used their performances to encourage their audiences to make donations to a medical charity supporting Palestinians and urged their fans “more than ever to do the same”.
The band said they are “devastated to be put in this position” and apologised to those who were hoping to see them perform.
Following The Mary Wallopers’ set, a spokesperson for Victorious said: “We spoke to the artist before the performance regarding the festival’s long-standing policy of not allowing flags of any kind at the event, but that we respect their right to express their views during the show.
“Although a flag was displayed on stage contrary to our policy, and this was raised with the artist’s crew, the show was not ended at this point, and it was the artist’s decision to stop the song.”
The Mary Wallopers claimed the festival had released a “misleading statement to the press claiming they cut our sound because of a discriminatory chant, and not the band’s call to Free Palestine”.
The band said their video “clearly shows a Victorious crew member coming on stage, interfering with our show, removing the flag from the stage and then the sound being cut following a chant of ‘Free Palestine'”.
“The same crew member is later heard in the video saying ‘you aren’t playing until the flag is removed’,” the band added.
Rock band The Academic have also pulled out of the festival, saying they could not “in good conscience” perform at “a festival that silences free speech”, while Irish band Cliffords said they “refuse to play if we are to be censored for showing our support to the people of Palestine”.
After the bands’ announcements that they were pulling out of the festival, the organisers released another statement, saying that they did not handle “the explanation of our policies sensitively or far enough in advance to allow a sensible conclusion to be reached”, and issued an apology.
The creator of a new movie about the aftermath of sexual assault says comparisons with stars including Phoebe Waller-Bridge and Michaela Coel are flattering, but “aren’t ultimately helpful”.
Eva Victor, who rose to fame after creating viral comedy videos on X, wrote and directed their debut feature – Sorry, Baby – as well as playing the lead role.
They were encouraged to both write and then direct the movie by Oscar-winning filmmaker Barry Jenkins, after he saw Victor’s videos online.
Image: Eva Victor, who first gained attention for their viral comedy videos, has released their first feature, Sorry, Baby. Pic: A24
The film was warmly received at Sundance and Cannes, and its creator was hailed a “superstar”. But along with such accolades come inevitable comparisons.
Victor told Sky News: “The thing that that moved us so much about [Fleabag star Phoebe Waller-Bridge] and about Michaela Coel and about Greta Gerwig and those people is that it’s just a true voice.”
Image: Phoebe Waller-Bridge in 2024. Pic: PA
They admit “that part of the comparison means everything”, but go on: “I’m non-binary, so I use ‘they’ and ‘she’ pronouns and I think it’s interesting that we feel pretty binary about comparisons.
“People are pretty interested in putting me in a category of women. I mean, Denzel Washington directed himself. Albert Brooks directed himself. Jodie Foster directed after acting.
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“It’s an interesting conversation, and I think maybe comparisons aren’t ultimately so helpful. But also, I’m very honoured because they’re people I desperately look up to. Overall, it’s a very, very fine comparison.“
Image: Pic: A24
‘The bad thing’ at the heart of the movie
A triple threat, Victor studied acting and playwriting at Northwestern University, Illinois, before moving to New York in 2016 where they worked on the feminist satirical website Reductress. They later landed a role in Showtime drama series Billions.
A black comedy, Sorry, Baby tells the story of Agnes, a twenty-something New England literature student – and later academic – who is sexually assaulted by her college tutor.
Dubbed “the bad thing” in the movie, the assault – which occurs off camera – is a catalyst for the movie’s storyline but never becomes its focus.
Victor has called the writing of the project, “my soul on the page” – without speaking directly about whether any real-life experience inspired it – telling Sky News: “The process you go through privately, you’re exercising something very soul-forward. It’s very exposing.”
The impact of sexual assault around the world is something Victor calls “a big, big societal tragedy”. One in four women in England and Wales experiences sexual assault in their lifetime, according to the Office for National Statistics.
Victor says: “The reason I made the film was to try to make a film about an attempt at healing and much less about a kind of violence.”
They explain: “As someone who wanted to explore the intimate feelings of recovery from something like this, the only way through for me was to really think about Agnes and what is truthful to her story.”
Image: Pic: A24
‘Less about violence, and more about love’
Several instances in the film show the system failing to effectively deal with or even fully acknowledge the abuse – first a hospital, then a university – and those scenes are handled with a lightness of touch not always applied to trauma-based stories.
Victor says: “Humour in those scenes is used as a way for punching up people in power. And these institutions that create a really difficult, painful time for people.”
In the current climate, as convicted sex offender Harvey Weinstein faces his third trial, and music star P Diddy awaits sentencing – where does Victor think the MeToo movement stands now?
Despite the movie’s themes, Victor is reticent to become a mouthpiece for the movement.
Measuring their words carefully, Victor offers a note of optimism in their answer – much like the message of the movie – looking to the future with hope, albeit in an imperfect world.
“Ithink there’s rehabilitation that is necessary for everyone, and I’m less interested in violence and punishment and much more interested in finding love and trying to hold each other.”
Sorry, Baby is in UK cinemas now.
Anyone feeling emotionally distressed or suicidal can call Samaritans for help on 116 123 or email jo@samaritans.org in the UK. In the US, call the Samaritans branch in your area or 1 (800) 273-TALK.
Bridgerton creator Shonda Rhimes says filming the drama and its spin-off Queen Charlotte in England has prompted her to consider relocating to the UK.
The US producer, who is behind some of the most popular TV dramas of the past two decades, told Sky News working in Britain had been a “really welcoming experience”, adding: “I’ve been spending a little bit more time over here and I’m going to try to spend even more if I can swap my kids into a British school.
“I’m trying to figure that part out, but I do really love being here and it’s always been such a great experience.”
Image: Rege-Jean Page and Phoebe Dynevor as Simon Basset and Daphne Bridgerton in Bridgerton. Pic: Netflix
Rhimes’ vast contribution to television has been recognised at this year’s Edinburgh TV festival, where she was given its inaugural fellowship award for the global impact of her shows.
Her first huge hit was Grey’s Anatomy. The medical drama, which began in 2005, is now in its 22nd season.
Image: Shonda Rhimes created Grey’s Anatomy. Pic: ABC/Kobal/Shutterstock
But finding an abandoned novel in a hotel room would motivate her to write Bridgerton, the drama that has become the biggest show on Netflix.
While its steamier scenes are often what garner most attention, she says after reading the books, she came to see it as a “workplace drama”.
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“These are women in their workplace because, in a world in which they have no power, they have no ability to do anything else; their only value is who they marry and their only worth is focused into that,” she adds.
‘Bizarre’ criticism
Image: Rhimes says she is thinking about moving to the UK
Rhimes agrees there is something inherently condescending about the way critics use terms like “guilty pleasure” to describe her dramas.
“There are certain people for whom the world of women will never be considered as serious or as complex or as interesting as the world of men,” she says.
Rhimes says she finds some of the reaction to her decision to reflect a diverse range of actors in Bridgerton’s cast “bizarre” after critics accused the show’s makers of “pandering to woke culture”.
Image: Bridgerton has been one of Netflix’s most popular shows. Pic: Netflix
She said: “The idea that I am writing the show looking like I look, that it wouldn’t occur to me that there should be more people in the show who look like me, I feel like that’s an obvious point. Why would I write something that doesn’t include me in any way?”
Given the thousands of episodes of drama she’s written over the years, she’s all too aware that it’s likely artificial intelligence is probably being used to scrape her scripts.
“There’s a danger of AI learning from my episodes, maybe it will learn to be better at what it does, but, most importantly, I don’t think that there’s any substitute for that germ of creativity that comes from a human imagination, I really don’t.”
As for what she enjoys watching on TV, her eyes light up when I mention having heard she’s a massive fan of a certain British sci-fi classic.
“Oh my God, I’ve loved Doctor Who forever! Forever!” she says, describing writer Russell T Davies’ work as “amazing”.
She adds: “For a while, people were like ‘what’s wrong with you?’ because they didn’t know the show. I fell in love with the David Tennant years, and I haven’t been able to let it go because of the writing.”
I ask if she’s ever considered a crossover episode.
She laughs: “I don’t know if there’s a Bridgerton meets Doctor Who…, but I would work with Russell at any time.”