Kevin Spacey has denied new allegations of inappropriate behaviour from men who feature in a Channel 4 documentary released next week.

In an interview with journalist Dan Wootton posted on X, the double Oscar winner said he will “no longer be speechless”.

Last year, Spacey was found not guilty by a jury of nine sexual offences alleged by four men between 2001 and 2013 after a trial in London.

He also won a US civil lawsuit in October 2022, after being accused of an unwanted sexual advance at a party in 1986.

The Channel 4 documentary titled Spacey Unmasked is said to feature testimony from men “regarding events they say took place between 1976 and 2013, and relate to what they describe as unwanted sexual behaviour” from Spacey, according to an email shown during the interview.

‘I wasn’t in on the deal’

The two-part series, produced by Roast Beef Productions, is set to air on Monday and Tuesday next week.

“I take full responsibility for my past behaviour and my actions, but I cannot and will not take responsibility or apologise to anyone who’s made up stuff about me or exaggerated stories about me,” the 64-year-old US actor said.

“I’ve never told someone that if they give me sexual favours, then I will help them out with their career, never.

“…I’ve clearly hooked up with some men who thought they might get ahead in their careers by having a relationship with me.

“But there was no conversation with me, it was all part of their plan, a plan that was always destined to fail, because I wasn’t in on the deal.”

‘Clumsy passes’

During the interview, he denied accusations of any illegal behaviour, but did say he had made “clumsy passes” at people in the past.

“Were there times when I would flirt with some of the people who were involved in those programmes who were in their 20s? Yes,” he said.

“Did I ever hook up with another actor? Yes. Did I make a clumsy pass at someone who wasn’t interested as it turned out? Yes.

“But I was not employing them, I was not their boss, I was often times just swimming in for an hour here or there as a well-known actor to lend support… to answer questions.

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“That may not have been the best decision, and it is not one that I would do today, but it happened.

“It wasn’t illegal, and nor has it ever been alleged to have been illegal.”

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The Usual Suspects and House Of Cards star said he has struggled to get work after being acquitted of all criminal charges, branding his experience a “life sentence”.

Spacey was one of the most recognised faces in Hollywood when allegations of sexual misconduct were made in 2017, leading streaming giant Netflix to cut ties with the actor.

Sky News has not been able to verify the latest allegations.

Like all good (just about) millennials, my Instagram algorithm knows me better than anyone else.

Who and what do I spend my scroll time with? Dogs, mainly. Celebs in the ’90s, holiday cabins that are all floor-to-ceiling glass and breathtaking views and eyewatering prices. More dogs.

But over the past few months, something else has crept in: bare faces with swatches of different coloured fabric draped across their chests like rainbow napkins, their features brightening or dulling as the bibs are changed with a flourish by a stylist.

Pictures of celebrities with rainbow borders framing their faces fill my feed, sometimes with before and digitally altered “after” images side-by-side, showing how different our favourite stars might look with, say, a slightly warmer blonde tone to their hair, or in a silver dress rather than gold.

Welcome to the world of colour analysis – the science, the stylists say, behind the clothes that make you look good.

Like Avon parties, shoulder pads and blancmange, knowing your colour season was de rigueur in the 1980s, before the 1990s ushered in a more laidback approach, followed by instructions on What Not To Wear and How To Look Good Naked, focusing on body shape, in the noughties.

But colour styling is back.

In the past year or so, the trend has exploded on social media thanks to demand from millennials and Gen Zs who have discovered the power of knowing your season – search for #colouranalysis or #coloranalysis and you’ll find around 300,000 posts on Instagram alone, with similar numbers on TikTok.

Colour stylists say that not only is it a fun way to look at fashion, it’s also sustainable and a cost-saver – the idea being that if you know your colours, you’re not going to waste money on items that don’t optimise your looks.

What is colour styling?

The idea is that every single person’s features can be classified into a set of shades associated with spring, summer, autumn or winter – broken down further into 12 sub-seasons such as “true spring” or “bright winter” – and from this palette you can take guidance on the colours that suit you best, not just for clothing but also for make-up and hair.

Winters look great in jewel tones such as emerald green, or neon brights, while autumns suit the colours you associate with the season – mustard, cinnamon, dark moss green. Springs are warm, bright and clear, summers more soft and subtle. But your season is not just about how you look on the outside, and some might surprise you.

Watching the switching of colour drapes, or scrolling through the digital equivalent, can feel like a magic trick; a glow-up without a hint of highlighter or hair dye. Stylists assure this is #nofilter and there is no digital trickery going on here; the wrong colours will wash you out, but the right colour on the right person could well make your eye bags and wrinkles all but melt away.

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Having watched this content from various colour stylists over the past few months, I have learned a lot about seasons, palettes and contrast, and undertone v overtone, warm v cool, clear v muted. I have learned that you might share the same eye, skin and natural hair colour as someone else and still be in a different season. That your colour season is not about skin colour or even tone.

And that, apparently, despite black being a go-to or a comfort blanket for many, it’s only – brace yourselves – those in the winter palette who truly suit it.

So now, in the interest of journalism, I’m finding out for myself.

Anyone who knows me will know my wardrobe is on the brighter side. I think I’m a spring. I hope I’m a spring. Am I a spring?

Have I been wearing the ‘wrong’ colours all my life?

I have my colours done by Francesca Cairns, a UK stylist of 10 years who says she has seen her Instagram following grow from about 10,000 to 500,000 across two accounts in the past 12 months or so, all thanks to colour analysis.

“It’s boomed, especially in the last year,” she says. “Gen Z want to learn about what works for them so they can create wardrobes that are sustainable. People are obsessed with it, it’s everywhere.”

Francesca works online, with clients internationally as well as in the UK, so needs photos. No make-up, natural lighting, standing in front of a window. I take about a million selfies before I find a couple that are vaguely passable and send them over, along with older pictures of myself over the years and some information: natural hair colour, (dark blonde/ mousey), eye colour (grey-green, a bit non-descript), how easily I tan (not bad) and my jewellery preference (silver; but, if I’m honest, this could well be a legacy from my frugal youth).

Rather than draping with material in person, she surrounds your face with colour digitally, the style equivalent of Tinder, swiping yes on the shades that work, relegating the ones that don’t, to see a pattern.

It’s mainly about undertone – not skin colour (overtone), she says. The tricky thing? You can’t necessarily see it.

“When I look at someone, I’m putting silver and gold next to them, or very warm versus cool colours,” Francesca says. “I’m seeing which looks best next to their features, which one’s not overpowering them.”

The aim of wearing your best colours is to see your face first, before everything else, she says. The right colour will enhance your features, bring out your eyes. “You don’t want a dress to wear you,” Francesca says. “When you walk into a room, you want people to see your face and your features before your outfit. You want it to all be in harmony rather than overpowering you.”

Her process usually takes 48 hours, but Francesca has my results over to me the next day.

I am, it seems, not a spring.

According to Francesca’s workings, I am a soft summer, just like Rihanna, Sarah Jessica Parker and Rachel McAdams. I have a neutral undertone which leans cool, she tells me, with muted and soft colouring, subtle rather than high contrast. Baby blue, pine green, lavender, sage and taupe are on the list of recommended clothing colours, while ash brown and cool blonde are suggested for my hair (not too far off, but my highlights are probably on the warmer side).

I do own a fair bit of light blue denim, which is good, but I’m looking at all the bright greens, oranges and pinks in my wardrobe. This isn’t about my favourites, though, it’s about the ones that harmonise with my features best.

“It’s colour science,” Francesca says. “If someone’s got a warm undertone, nine out of 10 times they’re probably going to be in the spring or autumn seasons because they look better with a lot of warm tones most of the time. But if you’re neutral, you can border both the seasons.” As I’m neutral, she says some of the spring colours would work – but winter is too high contrast and cool-toned.

Someone with a high contrast – pale skin, dark hair, bright eyes, for example – can pull off high contrast colours such as cobalt blue and fuchsia pink. “But they might overpower someone who’s got softer features,” she says.

Celebs in – and out – of season

It’s important to note that colour analysts don’t always agree. Some put Margot Robbie as a summer, for example, while others, including Francesca, say she’s a spring. Some say you have to do the analysis in person to be certain, while others say photos taken in the right conditions are enough.

I take an online colour quiz for a second opinion and it puts me as a spring, but this is without photographic evidence; I can’t help but think the result is probably something to do with the questions being mainly about the colours I’m drawn to and how I see myself.

Francesca is confident in my summer analysis, but says I can lean into the spring palette. And this isn’t about throwing away an entire wardrobe, but potentially making tweaks.

“Colour analysis isn’t about restriction,” she says. “I’m an autumn. People ask me all the time if I still wear black? Yes, because 90% of my wardrobe before I did this was black. I’ll always wear black, but I’ll make it work for me better by wearing my make-up in my colours, or accessories round my face, wear black lower down or with a lower neckline.

“If you love a colour that’s not in your season it doesn’t mean you can’t wear it, it just means that you wear your colours with it or make it work for you in a different way. And when I post celebrities against different [background] colours, it can be quite subjective.”

Because being groomed and beautiful means stars often look good against all sorts of different shades.

“People might prefer them in a different [colour to their season] and that’s their opinion. But when it comes down to the trained eye and you know what you’re looking for, you see straight away why one palette works better than another.”

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Kim Kardashian (winter), Kate Middleton (summer) and Hailey Bieber (autumn) are celebrities you will usually find wearing their colour palettes, she says.

But wearing colours out of your season can pack a punch – think Taylor Swift‘s platinum white hair and dark lipstick look during the height of the Kim and Kanye feud in 2016, or Beyonce‘s current platinum look for the release of Cowboy Carter. Swift is a spring, apparently, while Beyonce is autumn.

“But I’m always training my eye, even now after years,” says Francesca. “You’ll always find that someone’s colours will always surprise you. And there’s no rule book – it’s all about having fun.”

At a time when jukebox musicals dominate London’s West End, some of theatreland’s stars argue the success of original shows is proof “audiences are ready to take a risk”.

From Motown to Michael Jackon, Tina Turner to the Jersey Boys, the past two decades have seen an exponential rise in offerings based around songs most of us will already know the words to.

Back in 1999, the runaway success of staging Mamma Mia! – based on ABBA’s extensive back catalogue – proved to be a game-changer.

It resulted in several investors believing they’d stumbled across a magic formula – the combination of chart hits with nostalgia being an easier sell to a guaranteed audience who like to know what they are getting.

While there’s no escaping their popularity or dominance, they’re not the shows that critics are getting really excited about.

Two Strangers (Carry A Cake Across New York) is an original offering with brand new music that most people won’t have heard of, yet the millennial rom-com is losing count of the five-star reviews it has picked up within a matter of weeks.

Sam Tutty – who plays Dougal in the two-hander – says writers had to “fight tooth and nail” to bring it into the West End.

The actor, who previously won an Olivier for playing the lead in Dear Evan Hansen, explained: “To be at the place it is now is because they were allowed a foot in the door somewhere along the way.”

Dujonna Gift stars alongside him as Robin in a story that follows how two twentysomething strangers meet ahead of a wedding.

“Fringe theatre is kind of where it’s at right now,” she explains, “and supporting and championing these writers to believe that there is space in the market for their work will do great things.”

Gift, who’s previously starred in Hamilton and Motown: The Musical, says: “As someone who has done jukebox musicals before there’s always a market for that but right now… it’s really important that we create the spaces for these new writers.”

The success of Operation Mincemeat is proof of how word of mouth can get just as many punters through the door as casting a pop star.

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The musical, which is based on the true story of the secret mission that won Britain World War Two, has extended its run eight times to keep up with demand.

While it recently won Best New Musical at the Oliviers, before writing the hit its creators – sketch troupe SpitLip – had come close to quitting theatre for good.

“When we first started making theatre you could get grants,” actor and writer Natasha Hodgson tells Sky News.

“It’s just really hard to be a creator without an enormous pot of cash in your bank right now.

“The whole theatre ecosystem is very aware of how difficult it is for theatre makers to get work off the ground, and everyone’s doing everything they can in terms of supporting new work and trying to get commissions over the line, but it is difficult, we have to keep banging the drum of how the arts is in our blood in this country.

“I do think that this show and others like this are proving that actually audiences are ready to take a risk, they’re ready to come and support new stuff.”

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While harnessing the power of well-known musical property is more widely considered a safe bet for producers, Two Strangers producer Tim Johanson says it has meant truly original offerings are a harder sell.

“Surprising familiarity is a phrase I’ve heard a lot,” he explains.

“You need to have heard of X, or it’s a stage version of this artist’s work, or it’s this book or film, and all of those can make really great shows.”

But, rather than bring fans of existing musicians into the theatre, Johanson says they appear to be amassing an army of their own.

“People have seen the show 15, 16, 17 times already, they’re the ones who are talking about it online and driving other people to come and see it, driving the millions of music streams that we’re heading towards.”

So, while jukebox musicals might be everywhere, Johanson isn’t too worried.

“Operation Mincemeat, Six, those are the two that blazed the trail and genuinely, in my career, this feels like the best time to write new British musicals.”

Two Strangers (Carry a Cake Across New York) is at the Criterion Theatre until 31 August. Operation Mincemeat is at the Fortune Theatre, London until 16 November.