Welcome to Screen Gab, the newsletter for everyone who is mindlessly scrolling on their phones before the futile New Year’s resolution to curb the habit begins.
In our annual year-end edition, we expand our usual “ICYMI” feature, highlighting 2025’s most-read stories about film and television. It’s a hearty mix of celebrity profiles, insightful criticism and deep dives into the most talked-about pop culture that defined the year.
And we couldn’t do it without the support of our subscribers. We know there’s an endless stream of TikToks, Reels, articles and, ahem, other newsletters competing for your attention in any given minute — not to mention, TV and movies! — so we’re incredibly thankful for the time you choose to give this newsletter each week. We hope to continue guiding you through all the exciting film and television that greets us in 2026.
Until then, happy reading and happy watching! See you in the new year!
Take care,
Yvonne Villarreal
(The writer who tries to pull this whole thing together each week, with the help of my tag-team partner Maira Garcia.)
P.S.: Shout out to my amazing colleagues who never make me grovel for contributions, even with their demanding work loads. And to the copy editors who remain the true heroes of this place.
A look at the scene outside the El Capitan Entertainment Centre, where the late-night show “Jimmy Kimmel Live!” is staged, in the wake of the show getting pulled from ABC.
ATLANTA — The Rams wanted to make the playoffs in the worst way.
Mission accomplished. They’re headed to the playoffs in the worst way imaginable.
Monday night’s 27-24 loss to the Atlanta Falcons was an abomination — you could feel that vibe in the postgame locker room — but the Rams need to study it, even if it requires contraptions to pry open their eyes.
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Gary Klein breaks down what went wrong for the Rams in their 27-24 loss to the Atlanta Falcons on Monday night.
“I think if we play the way that we did in the first half … we’re going to be at home watching everything go down in two weeks,” defensive tackle Kobie Turner said. “We’ve got to get our stuff together.”
This was one of only three times in Sean McVay’s nine seasons that his team was held scoreless in the first half, which is bad enough. But that the going-nowhere Falcons built a three-touchdown halftime lead is absurd. Not so long ago, Atlanta lost seven of eight.
The Rams looked nothing like the team that just about everyone had at the top of their power rankings for most of the season. Matthew Stafford had three interceptions. Fill-in left tackle D.J. Humphries had a pair of penalties that wiped out two huge receptions. And Atlanta’s Bijan Robinson would still be running now but decided to stop once he reached the end zone (after a 93-yard touchdown, mind you.)
Those Rams who started 9-2 (and should have won those games against Philadelphia and San Francisco) are a fading memory. Since, they have lost three of five.
Now, all the other NFC contenders are getting hot — Seattle, San Francisco, Philadelphia, Chicago — and the Rams are shuddering in an emotional ice bath.
Suddenly, their erstwhile insignificant finale against Arizona on Sunday is vitally important. They need to rediscover their rhythm rather than hoping to do so in the first round of the playoffs. They can’t change their swing in the middle of this golf tournament. They need to work out the kinks on the practice range.
Getting receiver Davante Adams back is key, and he looked good in warmups, running as if his hamstring problems are behind him. But he’s desperately needed in the red zone, and that will lift some weight off the shoulders of Puka Nacua.
Just as important, the team needs left tackle Alaric Jackson and right guard Kevin Dotson back from injuries. The Rams are getting a taste of what the Chargers have been through all season, their offensive line going through a reshuffle every week.
And the defense should benefit greatly from the return of Quentin Lake, a quarterback on that side of the ball.
Regardless, good teams overcome the loss of key players and find ways to win with backups. Every team would love to be at full strength.
Rams wide receiver Puka Nacua pulls in a long pass over Atlanta Falcons cornerback C.J. Henderson in the first half Monday.
(Brynn Anderson / Associated Press)
And while the Rams should have been in position to kick the tying field goal down the stretch — there was an unflagged pass interference against Tutu Atwell, who made a good attempt to catch a deep ball with his hand that wasn’t being grabbed — they shouldn’t have been in that predicament in the first place.
As they watched their lead evaporate, the Falcons had to be having flashbacks to their catastrophic 25-point collapse to New England in the Super Bowl. After all, the Rams outscored them in the second half, 21-6.
But all of that was cold consolation to the visitors, who couldn’t close the deal.
The Rams have lost back-to-back games, and were looking for a boost after blowing a 16-point fourth-quarter lead in Seattle. Instead, they got a slap in the face.
Rams quarterback Matthew Stafford speaks to reporters after a 27-24 loss to the Atlanta Falcons on Monday.
(Brynn Anderson / Associated Press)
It’s ultra-rare for a team to head into the playoffs on a down note yet still reach the mountaintop. The last franchise to do that was Baltimore in 2012, a club that lost four of its last five games — albeit missing a slew of injured stars — then beat in succession teams quarterbacked by Andrew Luck, Peyton Manning, Tom Brady and an in-his-prime Colin Kaepernick.
So it can be done. A bumbling team can find its way. And it looked for a moment Monday night as if the Rams had turned a corner.
Jared Verse blocked a Falcons field-goal attempt, recovered the bouncing ball and returned it for a 76-yard touchdown. As he tore past the Atlanta sideline, he glanced over and playfully raised his hand to form a G-rated gesture.
Unless a dramatic change is coming, it’s a message the rest of the playoff teams could be saying to the Rams.
DENVER — Nathan MacKinnon scored the 399th goal of his career, Brock Nelson had a goal and an assist, and the surging Colorado Avalanche won their eighth in a row, 5-2 over the Kings on Monday night.
MacKinnon added an assist to go with his NHL-leading 32nd goal this season. Jack Drury, Cale Makar and Martin Necas also scored for the Avalanche, who have won 14 in a row at home.
Colorado has points in 28 of their last 29 games and are 10-0-1 in their last 11 to continue their historic start to the season. Colorado reached 65 points in 38 games, second all-time to the 1929-30 Boston Bruins.
Corey Perry scored and Joel Armia added a short-handed goal for the Kings, who have lost seven of nine.
Drury opened the scoring midway through the first period and Perry tied it with a power-play goal 5:15 into the second period.
Necas put Colorado back in front later in the second when he tapped in a puck that was sitting on the goal line. Nelson’s snap shot beat Anton Forsberg over his left shoulder with 2:30 left in the second.
Forsberg finished with 21 saves for the Kings.
Avalanche goaltender Mackenzie Blackwood stopped 23 shots, including a save on Adrian Kempe’s short-handed breakaway late in the second period.
He couldn’t stop Armia, who skated the length of the ice and scored through the pads during a Colorado power play.
It was the NHL-leading seventh short-handed goal of the season for the Kings.
Forsberg came off for an extra skater with 2:26 remaining and MacKinnon scored an empty-netter with 1:37 remaining. Makar added another goal with 45 seconds to go to seal it.
Up next for the Kings: vs. Tampa Bay at Crypto.com Arena on Thursday.
The century-old rivalry series between USC and Notre Dame is taking a few years off, and as far as Lincoln Riley is concerned, that’s the fault of the Irish.
In his first public comments since the series was officially put on hiatus, the USC coach put the blame squarely on Notre Dame for not accepting USC’s most recent offer to continue the rivalry, which would have moved the 2026 game, usually scheduled in November, to the very beginning of the season.
“It’s pretty simple,” Riley said Monday, ahead of USC’s bowl matchup with Texas Christian. “We both worked for months to try to find a solution. Notre Dame was very vocal about the fact that they would play us anytime, anywhere.
“Jen Cohen, our AD, went back to Notre Dame roughly a couple of weeks ago with a scenario and a proposal that would extend the series for the next two years. We took Notre Dame at their word that they would play us anytime, anywhere. That proposal was rejected.
“Not only was it rejected, but five minutes after we got the call, it was announced they scheduled another opponent, which I’ll give them credit, that might be the fastest scheduling act in college football history.”
The Times reported last week that the Playoff selection earlier this month proved to be a turning point for USC’s administration in talks with Notre Dame. The realization that the Irish — by virtue of a side agreement with the College Football Playoff committee that hands them a bid if ranked in the top 12 — would have gotten into the field over Miami especially gave USC pause.
That’s when Cohen returned to Notre Dame athletic director Pete Bevacqua with an offer for the rivals to face off in the season opener. Notre Dame instead scheduled Brigham Young to fill that vacancy over the next two seasons.
Riley has been roundly criticized for his part in the rivalry’s potential demise after he suggested in August 2024 that the annual series could be in danger, if USC proved too much of a hurdle in the Trojans’ path to the College Football Playoff.
In the spring, as negotiations between the two schools stalled and the public pointed fingers at Riley and USC, Notre Dame coach Marcus Freeman said that continuing the rivalry was “pretty black and white for me.”
“I want to play them every single year,” Freeman said. “You want my opinion? I want to play them every single year. When? I don’t care. I don’t care when we play them: Start of the season, middle of the season, end of the season. I don’t care. I want to play USC every year because I think it’s great for college football.”
After initially holding firm on its intent to renegotiate terms of the rivalry year-to-year, so as to wait on changes to the College Football Playoff format, USC sent an amended offer to Notre Dame before the season that would have extended the series for two seasons. But Notre Dame wanted a longer deal.
The two schools nearly came to an agreement in October, around their final meeting in South Bend. USC had made clear that it wanted to play the game earlier in the season, but was warming up to the idea of continuing the series as is through 2027.
USC decided to dig its heels in after Selection Sunday, returning to USC with a final offer to play early in the 2026 season. Notre Dame declined.
“The fact is very, very clear, this can all be settled very quickly,” Riley said. “Had Notre Dame lived up to their word and played us anytime, anywhere, we would be playing in the next two years, and looking ahead after that, hopefully continuing the series.
“They did not follow through on it, thus we are not playing them the next couple years. We’re hopeful something can be worked out in the future. That would be fantastic. We at SC would love for the game to continue. We have no problem following through on our promises in the future.”
It’ll be a while before those negotiations start up again. The next window in which USC could play Notre Dame is during the 2030 season.
Two weeks before the Alamo Bowl, USC got its best news of the bowl season: Star quarterback Jayden Maiava was forgoing the NFL draft to stay in L.A. for another year.
Two days later, TCU’s star quarterback, Josh Hoover, delivered his own announcement: He was entering the transfer portal.
Those two decisions will have the teams in drastically different places on offense. USC won’t have two of its starting offensive linemen or most of its regular receiving corps, but will have one of the Big Ten’s best quarterbacks at the helm. TCU, meanwhile, has most of its offense available, including star receiver Eric McAlister, but a backup quarterback who last started in 2023 in Ken Seals.
“Ken started 22 games in the SEC,” TCU coach Sonny Dykes said. “He’s been a great teammate, a great practice player. Now he’s going to get a chance to go perform on the big stage.”
Maiava should get plenty of chances Tuesday to show why he’ll be seen as a serious Heisman contender next season. TCU struggles to pressure opposing passers, ranks 109th in the nation in yards allowed through the air and has yet to face a passing attack this season as prolific as USC’s.
Not to mention there’s a notable calm to Maiava that wasn’t there at this point last bowl season.
“He’s just taken giant steps,” offensive coordinator Luke Huard said. “[You] just see him playing free and with a lot of confidence.”
What’s not clear is how much he’ll play, with freshman Husan Longstreet waiting in the wings and USC still hoping he’ll settle for another season sitting behind Maiava.
Wales’ craggy coastline is among the most beautiful in the world and can be enjoyed year-round
I stayed a weekend out of season in UK’s ‘best’ seaside town — I won’t go in summer again(Image: Portia Jones )
The UK’s craggy coastline is among the most beautiful in the world and can be enjoyed year-round, especially in winter when crowds disperse and prices drop. I spent an affordable winter weekend in Tenby, widely considered one of the UK’s best seaside towns — and now summer travel is officially off the list as I want to avoid the crowds and sky-high prices.
There’s a particular joy in taking a solitary coastal walk on a Tuesday in November while everyone else is stuck at their desks. Strolling around the seafront, it’s easy to see why Tenby is such a hit. With picturesque beaches just a short stroll from the lively town centre, pubs, cobbled streets, and eye-catching, brightly coloured houses, I’m not surprised that this coastal jewel consistently tops the list of the country’s “best seaside towns”.
Stepping beyond its historic 13th-century walls, you’ll find sandy beaches and dramatic cliffside vistas over the sea towards the mesmerising Caldey Island. I have visited Tenby many, many times over the years, from childhood holidays to grown-up escapes and I love it a bit more with each visit. While admittedly summer is perfect for sea swimming and long wine-filled afternoons on sun-trap pub terraces, I have come to appreciate Tenby more in winter, especially when I can bag a good accommodation deal.
Sure, the weather might not be as sunny, but this is Wales. It’s completely unpredictable, so you may as well chance a cheaper autumn visit and hope the weather gods smile upon you. I love that if you visit Tenby during the week, say, mid-January, you can escape the crowds and wander the pretty streets and sandy beaches in relative peace. Just wrap up warm, buy a hot chocolate, and watch the waves roll in from a chilled-out seaside cafe.
Where to stay in Tenby
You can get some pretty good deals in the off-season, especially if you visit midweek rather than at the weekend. One of my favourite spots is YHA Manorbier, a very affordable stay that’s a short drive from the town centre.
This budget-friendly hostel, situated on a former military installation, offers glamping and camping facilities and costs under £50 for a private en-suite room for two (YHA members pay even less). Accommodation options include affordable private rooms, unique American Airstreams, cute camping pods, and pitch-up camping.
I usually book a clean, private en-suite room for just £45 for two, and as a YHA member, I get an extra 10% off. Win! Yes, the private rooms can have limited space for large luggage, which estate agents might call “bijou” and normal people might call “compact”. However, for just over £20 each it’s a genuine bargain – especially in the pricey Pembrokeshire area. You’re here for the vibes.
A community-spirited atmosphere fostered by shared kitchens, mismatched mugs, and conversations over wine in the lounge. Want to stay closer to town? Check out autumn deals on Booking.com and book a seaside hotel for around £70 for two adults, or spoil yourself with a stay at a four-star property, the Dunes, for just £80 for a night in the off-season.
The Premier Inn Tenby Town Centre hotel costs just £48 for a night for two in January and offers a cosy stay right in the middle of all the action.
Things to do in Tenby off-season
There’s still plenty to do in Tenby after the busy summer season has ended. You can stomp along the coast path, drink craft ales in local boozers, browse boutique shops, and pick up locally made gifts. Tenby has several sandy beaches where you can take a chilly winter sea dip if you’re feeling brave or drink hot chocolate overlooking the blustery shoreline.
South Beach is a dune-backed sandy beach close to the town and has the added accolade of being a Blue Flag Beach. For food options, check out Salty’s Beach Bar and Restaurant, located right on the beach.
Nearby Castle Beach was crowned the UK’s best beach in 2019 and currently holds a 4.8 out of five rating on Google. Unlike most places in the UK, it’s just a few steps from the town centre. North Beach in the Pembrokeshire town has previously been voted the most photogenic in the UK, beating other stunning sites like Durdle Door in Dorset and Brighton seafront. Pretty Harbour Beach is the smallest but has a backdrop of colourful houses, bobbing boats, and a road leading back to town.
Autumn is also a great time to traverse the Tenby Coast Path. This scenic section of the larger Pembrokeshire Coast Path offers views of Tenby’s colourful harbour, Caldey Island, and St Catherine’s Island.
Popular routes include the four-mile walk to Saundersfoot, a moderate nine-mile loop returning inland, and a challenging 10.9-mile point-to-point path to Freshwater East.
If it’s raining, head to Tenby Museum and Art Gallery, the oldest independent museum in Wales. Established in 1878, this retro museum houses a wide-ranging collection of local geology, biology, archaeology, and maritime artefacts.
Many of the exhibits also relate to the culture and heritage of South Pembrokeshire, offering insight into local history and art. A small gift shop near the entrance also sells local books and gift items.
The museum’s admission price is £6.50 for adults and £3.50 for children. It also operates a reusable ticket scheme – all tickets are valid for one year after purchase, so you can make as many return visits as you like within that time at no additional charge.
Places to eat and drink in Tenby
There are two local breweries in Tenby for Welsh tipples. Both produce quality beers and supply local bars and restaurants. Tenby Brewing Co., which took over from Preseli Brewery, has multiple stockists in Tenby and is one of Wales’s leading craft breweries.
The award-winning brewery was born when two friends decided (over a pint) to quit the rat race and start their own brewery. The Yard is their hip venue here at the brewery, with a capacity of 150, an exciting rotating food offering from awesome pop-up food vendors, draft beer lines from their range, and some of their favourite brewers.
The newer brewery on the scene, Harbwr, is a craft brewery and taproom that brews a range of cask and bottled ales just above Tenby harbour.
Food-wise, Tenby’s cluster of tiny streets and pastel-coloured buildings hides its best restaurants and cafes down the narrowest of alleys.
One of these more secluded dining finds is Plantagenet House, with a warren of flagstone floors, exposed beams, and a 40ft medieval Flemish chimney.
If you book early enough, you can bag a table by the fireplace. A recommended dish is their vegan Thai coconut curry, featuring squash, chargrilled spring onion, spiced rice, and roasted almonds.
Links restaurant is located on the ground floor of Tenby Golf Club and is a great Michelin-recommended dining choice for gastronomes.
Led by a talented local chef, the menu features simple yet incredibly tasty dishes made with the best Welsh produce. Start your meal with their freshly baked ale bread, served with whipped Marmite butter – trust me, it’s the perfect opener.
The atmosphere is relaxed but refined, and the menu strikes the perfect balance between unpretentious and exciting. From hot-smoked salmon with cucumber and buttermilk to heritage tomatoes paired with buffalo mozzarella, there are loads of lush dishes to choose from.
For mains, enjoy locally sourced delights like Pembrokeshire beef or Cornish cod in a bisque sauce, or tuck into a tender Welsh lamb rump, served with all the right accompaniments.
And don’t forget to save room for dessert, whether it’s rich dark chocolate fondant with tarragon ice cream or tangy lemon meringue with almond cake and blueberry sorbet, you won’t go home hungry.
D. Fecci and Sons possibly serve the best fish and chips in Wales and have been serving visitors and locals since 1935. With potatoes grown up the road in Pembrokeshire and groundnut oil making haddock, cod, and calamari fantastically light, the chippy also serves fresh mackerel in the summer.
For sweet treats, pop into Môr Tenby, a swish family-run coffee shop and gift shop that sells its own blend of coffee (“Coffi Môr”), chocolate products, deli items, home fragrances, homeware, gifts, and Welsh produce.
A beloved institution in Tenby, Top Joe’s is the go-to spot for pizza lovers.
This former ’60s diner has transformed into an artisan pizzeria serving freshly-made pizza, pasta, and salads with the finest Italian ingredients. Located in the heart of this picturesque beach town, it’s a firm favourite with locals and visitors.
Chef Giovanni Recchia, recently named one of the best in the world at the Pizza World Championships, brings his expertise to the menu. He crafts pizzas with locally milled flour and top-notch ingredients, including cured meats from Trealy Farm Charcuterie.
After snapping up a room for just £50, strolling straight into pubs that are usually rammed, and demolishing fish and chips by the sea, I can honestly say winter has stolen the crown as my favourite time in Tenby.
In 2026, I fully intend to resist the siren call of summer and book another cold-weather escape, where I can wander the streets before anyone else wakes up and claim the town entirely for myself.
R.J. Prewitt has been a Ducks fan since the first puck dropped in Anaheim, so he’s known good times and bad.
He was there when the team won the Stanley Cup in 2007, for example, and when it took another final to a seventh game four seasons earlier. But he was also there through each of the last seven seasons, when the Ducks never placed higher than sixth in the Pacific Division and finished a combined 74 games under .500.
“It’s my team,” said Prewitt, wearing a white-and-orange Ducks’ sweater as he waited to enter the Crypto.com Arena for Saturday night’s game with the Kings. “I’m going to have faith no matter what.”
That faith is getting another stern test this month. Because after entering December atop the division standings for the first time in more than a decade, the Ducks have lost six of their last eight, with the most ignominious loss coming Saturday in a 6-1 thrashing by their neighborhood rivals and winger Alex Laferriere, who got his first career hat trick.
Ducks left wing Alex Killorn skates with the puck during a loss to Kings Saturday at Crypto.com Arena.
(Katie Chin / Associated Press)
For the Kings, the season-high six goals comes at the end of a slide that had seen them lose six of their last seven, averaging less than two goals a game over that stretch.
Laferriere scored more than that by himself Saturday.
The Kings’ first two goals, from Drew Doughty and Trevor Moore, came in the first four minutes. Laferriere got his first midway through the first period and when Quinton Byfield scored on a power play just before the intermission, the Kings took a 4-0 lead into the locker room at the break.
For the Ducks, who have been plagued by slow starts — 11 of their 21 wins came in games in which they trailed; only the Philadelphia Flyers have more — that deficit was too much to overcome.
“That’s unacceptable,” coach Joel Quenneville said. “You’re not going to make the playoffs being at that level. So we’ve got to make sure that we recapture that feeling of what it takes to be consistent.”
Ducks coach Joel Quenneville yells instructions to his players during a game against the Chicago Blackhawks on Oct. 19.
(Paul Beaty / Associated Press)
Yet despite Saturday’s loss, the Ducks and their fans still have a lot of positives to celebrate — especially given the team’s recent history.
The Ducks’ 21 wins are still most in the division; they didn’t get their 21st win until Jan. 28th last season. And their 130 goals through 38 games — an average of nearly 3 ½ a night — rank fourth in the NHL. They were in the bottom three in scoring in each of the last three seasons.
But what had been the most remarkable turnaround in the league through the first three months has suddenly hit a rough patch, challenging the narrative that new coach Quenneville had finally taken the team from pretenders to contenders.
“Well, we’ve got to prove it,” Quenneville said after Saturday’s humiliation, the Ducks’ most lopsided loss of the season. “We can talk about [how] we want to be a harder-working team this season. But the game tonight didn’t indicate that at all.
“The tenaciousness and the relentless has to go be part of our identity. But we can’t talk about it. We’ve got to prove that.”
Quenneville has been here before. In 2008, he took over a young Chicago Blackhawks team that hadn’t been to the playoffs in five seasons and guided it to the conference finals. A year later, it won the Stanley Cup.
Then in 2019, he took over a young Florida Panthers’ team and led it to the franchise’s first playoff appearance in three seasons.
Both teams had to learn to win, had to believe they could win, before they actually did so. Now Quenneville’s young Ducklings are having their beliefs tested by their worst eight-game stretch of the season.
“I’ve never been on a winning-record team in the NHL. And I’m not the only guy,” said 22-year-old center Mason McTavish, one of six Ducks younger than 23. “It’s a learning curve for sure.
“But at the same time we know how good we are. And this last six, eight games, it’s not been up to our standard. We’ve taken a huge step this year. But that’s not our end goal. We want to make the playoffs. We want to win the Stanley Cup.”
The Ducks will have to become a lot more consistent to have a chance to make that happen. Because while they’re one of the league’s top scoring teams, only the St. Louis Blues have allowed more goals than the Ducks, who have a minus-2 goal differential. And they’ve been outscored 34-19 in their last eight games.
The slump, then, is looming as a test of character and resolve. At a similar point in Quenneville’s first season in Chicago, the Blackhawks lost five times in an eight-game stretch. But they rebounded by winning nine of their next 12 and never looked back.
McTavish, who had his team’s only goal Saturday, said the Ducks have to do the same thing if they hope to show the playoffs are now a realistic goal for a franchise that hasn’t had a winning record in seven seasons.
Ducks goaltender Lukas Dostal is congratulated by Nikita Nesterenko and Mason McTavish after blocking a shot by Panthers center Evan Rodrigues to win during a shootout on Oct. 28 in Sunrise, Fla.
(Lynne Sladky / Associated Press)
“We have to come out the next game and really prove to ourselves that we can play with the top teams in the league,” he said. “And beat them.”
The Ducks long-suffering supporters are also ready for the pain of the last seven seasons to ease.
“Yes, yes, yes. I believe,” said Daniel Núñez of Bakersfield who, like Prewitt, has been a fan from the first season. “We have a good shot, I think, to win the Pacific Division. We have a really good team.”
“Whatever they’re doing,” Prewitt agreed “I’m there with them.”
Justin Herbert could glimpse at the Chargers’ “See the lighting, Feel the thunder” branding above the field-level suites as his offensive linemen pulled him up on the SoFi Stadium turf.
Herbert certainly felt the thunder against the Texans. The NFL’s top defense recorded 26 pressures as it swarmed through the Chargers’ offensive line en route to a 20-16 win Saturday.
And Herbert saw the lightning, best represented by second-string defensive end Derek Barnett’s back-to-back sacks to halt the Chargers’ first drive of the second half.
The latter of Barnett’s takedowns — part of the Texans’ five sacks and eight tackles for loss — came when he spun past Bobby Hart and brought down Herbert for a seven-yard loss.
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Sam Farmer breaks down what went wrong for the Chargers in their 20-16 loss to the Houston Texans on Saturday.
“I mean, it’s just football,” Hart said when asked if he was dwelling on Barnett’s pair of sacks or losing a one-on-one against Texans defensive end Danielle Hunter in the first quarter that left Herbert grimacing and favoring his surgically repaired left hand.
Hart added: “People make plays — defenders, guys, catch the ball. Quarterbacks might have some throws that you want back. It’s just a part of the football game.”
Coach Jim Harbaugh said he pulled Hart in the third quarter because the 31-year-old was “having trouble getting in the rhythm.”
Austin Deculus replaced Hart and Trevor Penning temporarily replaced Mekhi Becton Jr. at right guard for a drive, creating the Chargers’ 24th offensive line combination of the season. But in a game previewing the quality of defenses the Chargers could face in the postseason, the offensive line — hit hard by the losses of Rashawn Slater and Joe Alt to injury — struggled to adequately protect Herbert.
“Just too many mistakes,” right tackle Trey Pipkins III said. “Whatever it was — sacks and untimely situations — we started really slow.”
Chargers quarterback Justin Herbert walks on the field during the second half of a 20-16 loss to the Houston Texans at SoFi Stadium on Sunday.
(Eric Thayer / Los Angeles Times)
The Chargers trailed 14-3 at halftime, punting in each of its first four drives. Herbert, who had 236 passing yards along with a touchdown and an interception, capitalized on Houston penalties and standout plays to extend drives.
Late in the third quarter, Texans defensive lineman Sheldon Rankins burst past left guard Zion Johnson, and then swiftly ran by center Bradley Bozeman in help protection and grabbed Herbert by the waist. Instead of falling to the ground for the sack — a potential sixth overall — Herbert connected with wide receiver Quentin Johnston for the first down.
Moments later, rookie running back Omarion Hampton scored on a five-yard run to make it a four-point game. Outside of the touchdown run, the Chargers’ run game was close to non-existent. Herbert had a team-leading 37 rushing yards, 28 coming on a single run.
Hampton had just 29 yards on 14 carries for a career-low 2.1 yards per carry. The Texans’ downhill attack gave up just 74 rushing yards, the second fewest Houston has given up this season.
“We just shot ourselves in the foot,” said Johnson, who along with Bozeman has appeared in all of the Chargers’ line combinations. “It starts with us up front. We’ve got to protect [Herbert] better. We got to execute better in the run game. There’s too many missed opportunities.”
The Texans revealed the extent of the Chargers’ offensive line weaknesses. With the wild-card playoffs two weeks away, will they be able to figure out their protection issues?
“Learn from it,” Harbaugh said. “Some of the things that happened today, clean up, and use those to be better tomorrow.”
Red Eye season 2 premieres on 1st January 2026, with Jing Lusi and Lesley Sharp returning alongside new lead Martin Compston for the gripping thriller
Martin Compston as RSO Brody in Red Eye series two(Image: ITV)
ITV is starting the year with a bang, bringing back its popular original thriller Red Eye. Creator Peter A Dowling and director Kieron Moore are teaming up again for a fresh story that once more puts DC Hana Li (Jing Lusi) and MI5 director-general Madeline Delaney (Lesley Sharp) in serious jeopardy.
The first series centred on the spine-chilling events on an extradition flight to China, where an alleged murderer was embroiled in a complicated international conspiracy.
This latest chapter builds on those global political tensions, splitting time between a besieged US Embassy in London and a rigged flight back to the English capital.
If you’re excited to tune into Red Eye season 2 on ITV1 and ITVX, read on for everything you need to know about the show’s return.
Red Eye season 2 release date
Red Eye season 2 is set to premiere on ITV1 at 9pm on Thursday, 1st January 2026 (New Year’s Day). All six episodes will also be available on ITVX from that date, allowing fans to binge-watch ahead.
Red Eye season 2 cast: New and returning
Red Eye season 2 welcomes back Jing Lusi as DC Hana Li, who spent the first series untangling a complex conspiracy on a dangerous flight to China.
Lesley Sharp is back in action as Madeline Delaney, now the director general of MI5, who finds herself in a precarious situation on an overseas flight in season 2, mirroring Hana’s ordeal from the first series.
Other familiar faces include Jemma Moore (Lockwood & Co.) reprising her role as Hana’s sister Jess, a fearless journalist, and Robert Gilbert (Bergerac) returning as her boss, Superintendent Simon O’Brian. Notably missing is Richard Armitage as Dr Matthew Nolan, with Line of Duty’s Martin Compston stepping in to fill his shoes as Lusi’s male co-lead, playing US Embassy security chief Clay Brody.
In summary, here’s an overview of the Red Eye season 2 cast:
Jing Lusi as Detective Hana Li
Lesley Sharp as Madeline Delaney
Martin Compston as Clay Brody
Jemma Moore as Jess Li
Robert Gilbert as Supt. Simon O’Brien
Cash Holland as Ruth Banks
Jonathan Aris as John Tennant
Steph Lacey as Megan Campbell
Nicholas Rowe as DSEC Alex Peterson
Trevor White as US Ambassador Ronald Tillman
Isaura Barbe-Brown as DCM Cece Redding
Danusia Samal as Captain Sarah Wright
Guy Williams as Air Marshal John Johnson
Red Eye season 2 plot: What is it about?
Red Eye season 2 once again divides its attention between another endangered flight and events unfolding on the ground, but this time around, Hana Li is grounded while Madeline Delaney is trapped thousands of feet in the air.
The synopsis reads: “Inside the US Embassy, the celebrations for a newly appointed US Ambassador to London are shattered when a call, threatening to blow a British plane out of the sky if anyone leaves, triggers an immediate embassy lockdown, trapping guests and staff inside.
“And that’s when the murders begin, landing Hana Li, as a British cop, in a political and jurisdictional nightmare. Compelled to join forces with the Head of Embassy Security, Clay Brody, played by Martin Compston, a former colleague who once screwed her over, Hana has to see her way past her distrust of him and focus on the investigation.
“Because this time it’s personal: The plane that will be blown up is a government jet, and Director General Madeline Delaney is onboard.”
Red Eye season 1 is available to stream on ITVX. Season 2 premieres on New Year’s Day 2026.
**For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website**
No. 1 Indiana booked its ticket to the College Football Playoff quarterfinals on Dec. 6 after defeating Ohio State 13-10 in the Big Ten championship game. With such a long gap before its New Year’s Day matchup against No. 9 Alabama in the Rose Bowl, Indiana offensive lineman Carter Smith said the Hoosiers are seeking a balance in preparing while still practicing with intensity.
“It’s all about keeping the speed of the game,” Smith said Saturday. “The biggest thing for us in the offensive line room has been going like it’s a game, every single breath, because we know that being away from the game for so long can affect that.”
The first two weeks of preparation were lighter workouts as the Hoosiers recovered from the season, tight end Riley Nowakowski said. Without knowing their opponent, the Hoosiers didn’t want to overwork older players. Instead the coaching staff gave younger players opportunities to get reps during practice.
But after Alabama punched its ticket to the Rose Bowl, the mentality changed.
“We really got into game prep and I think that’s kind of how you do it. … You start to really lock in and get back into normal game-speed stuff and game type of practices,” Nowakowski said. “I think it’s important to stay locked in mentally.”
Even with the bright lights of the Rose Bowl, Indiana offensive coordinator Mike Shanahan said the pressure will not be overwhelming.
“There might be a slight adjustment early in the game, but I feel like our guys will be ready to go and the experience within our group will help us there as well,” he said.
The Kings and Ducks backed into Saturday’s rivalry game at Crypto.com Arena.
The Kings came out of the NHL’s three-day holiday break having lost six of their last seven, scoring just 11 goals over that span. Only two teams in the Western Conference have been worst in December.
The Ducks hadn’t been much better, though, having won just two of their last seven to give up their lead in the Pacific Division. But the league rules said somebody had to win Saturday and that proved to be the Kings, who rode a four-goal first period and Alex Laferriere’s first career hat trick to a dominant 6-1 victory that wasn’t nearly as close as the final score indicated.
Drew Doughty put the Kings in front to stay just three minutes after the opening faceoff, finding open ice on the edge of the crease, where he took a pass from Quinton Byfield and deflected it past Ducks goalie Lukas Dostal. The second assist on the goal went to former Duck Corey Perry.
Trevor Moore doubled the lead less than a minute later, redirecting in a feed from Brian Dumoulin in the left circle. Ducks coach Joel Quenneville responded by calling a 30-second timeout in an effort to settle his team.
That didn’t work, with Laferriere blasting a one-timer by Dostal from just outside the crease to make it 3-0 with 9:39 left in the first period. When Byfield scored on a power play in the final minute, the Kings had their first four-goal period of the season and their first four-goal game in nearly three weeks.
After being booed off the ice at the end of their last game, a 3-2 loss to Seattle on Wednesday, the Kings left to cheers for the first intermission.
The Ducks finally got on the board when Mason McTavish scored on the power play midway through the second period. They worked hard for that goal, outshooting the Kings 12-1 in the period, yet coming away with just the one score.
Laferriere wound up matching that less than five minutes into the third period, scoring on a breakaway to give him the third multi-goal game of his career and his first this season. Dumoulin and Anze Kopitar both got their second assists on the goal.
And Laferriere wasn’t done, scoring his 10th goal on a one-timer from the high slot at 13:15 of the final period. The six goals for the Kings matched their season high and was one short of what they had scored in their last four games combined.
On Boxing Day, three fresh chapters were released, titled ‘Shock Jock,’ ‘Escape from Camazotz,’ and ‘The Bridge’. This batch revealed that the Upside Down isn’t another dimension like the gang originally believed, it is actually a wormhole.
Viewers also discovered that Dr. Kay (Linda Hamilton) wants to create more super-powered children, like El (Millie Bobby Brown) and Kali (Linnea Berthelsen). But she needs Henry’s (Jamie Campbell Bower) blood, which is in El’s system.
As we go into episode eight, titled ‘The Rightside Up’, fans are concerned that El will sacrifice herself to prevent the creation of more psychic children. The future of Hawkins is also still up in the air, but luckily the Duffer Brothers have a feature-length finale episode that should tie up all the loose ends.
The creators recently confirmed that the series finale will have a runtime of 2 hours and 8 minutes, instead of the previously reported length of 2 hours and 5 minutes.
Welcome to Screen Gab, the newsletter for everyone who would rather reflect on the year in pop culture than look at their current bank statement.
Santa wasn’t the only one making lists this year. As the final days of the year come to a close, we’ve gathered several of our key year-end TV and film lists for 2025 in one handy place for easy browsing while you wait in return lines, prepare to board flights or zone out on the couch.
We also threw in some other recent lists, unbound to 2025 but still useful this time of year when our brains need all the help they can get to winnow down viewing choices.
Enjoy!
From left, Tessa Thompson in “Hedda”; Benedict Cumberbatch and Olivia Colman in “The Roses”; Michael B. Jordan and Miles Caton in “Sinners.”
(Photo illustration by Josep Prat Sorolla / For The Times; photos from Amazon Prime, Searchlight Pictures and Warner Bros. Pictures )
The 10 best movies of 2025 — and where to find them: The best movies of 2025 include “Sinners,” “Hedda,” “One Battle After Another,” “Eddington” and “The Naked Gun,” according to our critic Amy Nicholson.
The 12 best needle drops of 2025: These songs made their scenes indelible, from classic rock and dance pop to old-timey blues and thrash. There’s even a former Beatle on here.
Best of 2025: Television — from left, Anna Lambe in “North of North,” Ethan Hawke and Michael Hitchcock in “The Lowdown,” “Women Wearing Shoulder Pads.”
(Photo illustration by Josep Prat Sorolla / For The Times; photos by Netflix, FX and Warner Bros.)
The best TV shows of 2025: The TV series on this list delivered real surprises with new directions and original formats, while others just had good old-fashioned storytelling, according to our critic Robert Lloyd.
The 16 best documentaries of 2025: The documentary films and series that captured our attention this year feature famous people and ordinary people, as well as new ideas and perspectives.
The best reality TV of 2025: Scandals, competitions and breakups are par for the course on reality shows, but this year also brought some tender moments that made for must-see TV.
The 33 best comedy specials of 2025: Specials by Frankie Quiñones, Andrew Schulz, Jordan Jensen, Sebastian Maniscalco, Bill Burr, Atsuko Okatsuka and Gabriel Iglesias make our list.
15 must-watch British crime drama series: Whether with an old-fashioned one-case-per-episode or a more sprawling multistrand story, quaint or violent, historic or modern, the birthplace of Agatha Christie understands that we all need stories that make sense of seemingly senseless acts.
Lakers coach JJ Redick points and direct his team during the fourth quarter of a loss to the Rockets on Thursday at Crypto.com Arena.
(Katelyn Mulcahy / Getty Images)
When the Lakers were climbing up the Western Conference standings, improbably winning games with LeBron James and Doncic injured and celebrating Austin Reaves’ 51-point performance and ascent into stardom, the vibes were high. Players jumped off the bench to cheer for each other. They championed team bonding exercises such as slideshow presentations that introduced themselves to each other and a field trip to a Porsche driving experience. It all felt surprisingly easy, especially for a team that had several new additions.
“We had it,” Redick said wistfully Thursday. “We had it. I always say this about culture, I always say this about a good team being a functioning organism.”
Redick snapped his fingers.
“It can change like that,” he continued. “We don’t have it right now.”
All three of the Lakers’ most recent losses have been blowouts. With an average margin of defeat of 20.7 points, their total point differential has dropped to minus-15 on the season, which ranks 16th in the NBA.
Forward Jake LaRavia said in the locker room that there felt like a “disconnect” on the team, but couldn’t verbalize more about how things had turned so suddenly. The team’s seven-game winning streak at the end of November feels like a distant memory, although it should serve as a constant reminder of how a team shouldn’t let its guard down, especially when it was collecting wins off teams with losing records.
“This [has] kind of been the trending thing even when we were winning,” forward Jarred Vanderbilt said. “Obviously wins kinda shadow a lot of stuff. But it’s been the same pretty much all year of how we finished games, lose games: transition defense, rebounding and stuff like that. It’s been a trend all year.”
LeBron James, who played in his 13th game this season after missing the first 14 because of sciatica, had 18 points and five assists but declined to speak with reporters after the game, along with Marcus Smart (six points, two rebounds) and Rui Hachimura (zero points, two assists).
To further exasperate the lingering injury bug, Reaves left the game after the first half because of left calf soreness. It was the same calf that sidelined him for three games last week.
While the swirl of chatter around Travis Kelce on Christmas Day was on whether he plans to retire at the end of the season, the 11-time Pro Bowl tight end quietly moved up to No. 9 on the NFL all-time receiving list.
Kelce’s fifth and last catch in the Kansas City Chiefs’ 20-13 loss to the Denver Broncos was No. 1,077, pushing him past Anquan Boldin. With two more receptions in the Chiefs’ regular-season finale, Kelce will surpass Terrell Owens in the No. 8 spot.
Statistics were seemingly the last thing on Kelce’s mind as he walked off the Arrowhead Stadium field on Thursday, perhaps for the last time. The Chiefs finish the season on the road next week against the Las Vegas Raiders.
Kelce’s recent years are inextricably linked to his fiance Taylor Swift. Was this the last time the music megastar would grace the Kelce family luxury suite to watch her beau rack up the receptions? (If so, let the record show that Swift wore a red bomber jacket from the Frankie Shop.)
Kelce, 36, admitted he was feeling reflective afterward.
“A whole lot of emotions,” he told reporters. “You’ve got everybody in the world watching you. You get to go out there with the young guys on prime-time television. Young guys getting an opportunity to taste what this NFL life is like.”
For Kelce, the NFL life has been fulfilling. He’s won three Super Bowls and is all but certain to be inducted into the Hall of Fame. And he’s played his entire 13-year career with the Chiefs.
So while he sorted through emotions and memories after the game, he basked in the adulation beforehand.
“You only get a few of those where you get to stand there and appreciate 70,000 Chiefs fans cheering for you,” he explained. “I always embrace that moment.
“You feel the generations of happiness and the love [the fans] have. It’s a beautiful thing, man.”
For a decade, Kelce was a regional sports figure, revered in the Midwest as a hard-nosed, consistent producer on the field. His profile began to change ahead of the 2022 season when he and his brother, Jason, launched an immediately popular podcast, “New Heights.”
Kelce and Swift began dating ahead of the 2023 season, and a year later, the Kelce brothers signed a three-year, $100-million podcast deal with Amazon’s Wondery. Then in August, Kelce and Swift announced their engagement.
Tight ends, with their three-point stances and proximity to tackles and guards, traditionally don’t seek or attract attention. But Kelce is now a full-fledged national celebrity.
Just don’t allow that to obscure his numbers. Kelce has 73 catches for 839 yards in 2025, putting him alongside Jerry Rice as the only players in NFL history to eclipse the 800‐yards receiving mark in 12 consecutive seasons. Kelce also is the only tight end to exceed 90 catches for seven seasons in a row, a streak that will end this year.
Rice, the former San Francisco 49ers great, is the NFL‘s all-time leading receiver with 1,549 catches. Larry Fitzgerald is next with 1,432. Then come the only tight ends with more catches than Kelce: Tony Gonzalez (1,325) and Jason Witten (1,228).
Should Kelce decide to play another season, he almost certainly would climb to No. 5, passing Marvin Harrison (1,102), Cris Carter (1,101) and Tim Brown (1,094) in addition to Owens.
Kelce may have already decided whether this is the right time to retire. He just isn’t ready to say so, indicating he will let the Chiefs know soon after the season ends.
“I’ll let that be a decision I’ll make with my family, friends and the Chiefs organization when the time comes,” he said.
Following on from part one, which ended with Will (Noah Schnapp) discovering he had super powers, the three new episodes shed light on Henry’s (Jamie Campbell Bower) long-term plans.
It turns out the Upside Down isn’t an alternate dimension like the gang originally believed. It is actually a wormhole that was created during Dr Brenner’s experiments on Eleven (Millie Bobby Brown), and it connects Hawkins to another world called The Abyss.
Henry plans to use the children he has abducted to increase his powers so he can merge the Abyss, which the gang named after Dungeons and Dragons, with Hawkins. As far as we know, this other world is where the Mind Flayer and demogorgons are really from.
Episode 7 ended with Henry sitting around a table with all the children he has stolen and seemingly starting his master plan. So when can Netflix viewers dive back into the action?
Watch Stranger Things on Netflix for free with Sky
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Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan.
This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows like Stranger Things.
When does Stranger Things season 5, episode 8 come out?
Stranger Things season five, episode eight (aka the series finale) is set to release on New Year’s Eve (December 31) for US audiences, and in the early hours of New Year’s Day for UK viewers.
If you’re keen to catch the episode as soon as it drops, it will be available to stream in the UK on Thursday, January 1st from 1am GMT.
How long is the Stranger Things finale?
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The series finale has a huge runtime of 2 hours and 8 minutes. Co-creator Ross Duffer confirmed the final runtime ahead of volume two’s release and fans had mixed reactions.
Considering how much ground the show still has to cover, some viewers aren’t convinced two hours will be long enough. But we’ll have to hold on and see how it unfolds.
After almost a decade on our screens, Stranger Things will be coming to an end with this episode.
Stranger Things Season 5, Episode 8 comes out on January 1st.
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Untold riches awaited Adrian Kempe as one of the NHL’s top unrestricted free agents next summer.
Mitch Marner, among last summer’s top targets, got $12 million a season from Vegas in a sign-and-trade deal with Toronto hours before he would have hit the open market. With more goals than Marner over the last four full seasons, how much could Kempe — in his prime at 29 — have demanded?
We’ll never know. Because whatever amount it might have been, Kempe decided it wasn’t worth more than his happiness. So last month he signed an eight-year contract extension worth a reported $85 million with the Kings that figures to keep him with the only organization he’s ever known for the rest of his career.
“There’s probably some teams that would have given me offers. But I never really got to the part where that was something that I wanted,” he said. “I’m really happy here. Always have been. Family-wise, the same.
“So there was never anything else in my mind.”
That’s a mind that is apparently at ease now that Kempe’s hockey future has been determined. With 13 goals and a team-high 17 assists, he leads the offensively challenged Kings with 30 points and seven of those goals have come in the 17 games since he signed his extension.
But that’s done little to lift the team, which has lost six of their last seven heading into Saturday’s game with the Ducks. The last time the Kings had a seven-game stretch this bad it cost coach Todd McLellan his job.
“I’m not happy, but I really believe in this group,” said winger Kevin Fiala, who shares the team goal-scoring lead with Kempe. “I really believe this is a great team, great players. We just have to kind of find the game. And not just for some minutes, not even for one game, 60 minutes.
“We have to go for a stretch here, get some wins in a row. Start feeling good, start playing good.”
That might be tough given how the Kings will finish 2025. After Saturday’s home game with the resurgent Ducks, the team travels to Colorado to face the Avalanche, who lead the NHL in points.
If the Kings are to turn things around, they will have to jump start an offense which is second-to-last in the NHL, averaging 2.52 goals a game, and a power play that has converted on less than 14% of its chances, also 31st in the 32-team league. And the responsibility for making that happen probably will fall to Kempe, who has scored as many goals over the past four full seasons as Sidney Crosby and has just six fewer assists than Alex Ovechkin, keeping the Swedish Olympian in heady company.
Kings forward Adrian Kempe shoots during a win over the Winnipeg Jets on Nov. 4.
(Harry How / Getty Images)
“Adrian is a bit of a streaky scorer,” coach Jim Hiller said. “A lot of his recent goals are goals that we’ve seen him score before, where he’s either beating someone with speed, a nice deke.
“So to me it’s the type of goals he’s scoring right now that’s got me encouraged.”
That’s not all that’s encouraging. Kempe, a quick and physical two-way forward, is averaging a career-high 19:18 of ice time per game and is on pace to score 30 goals and top 68 points for a second straight season.
With captain Anze Kopitar retiring at the end of the season and defenseman Drew Doughty in the penultimate year of his contract, re-signing Kempe, the team’s future leader on and off the ice, was at the top of Ken Holland’s to-do list when he took over as general manager last spring. And while the length of the contract he offered Kempe never wavered, the price did.
In the end, media reports said Kempe blinked first, telling agent J.P. Berry to lower his salary demands to get a deal done, eventually accepting an average annual value of $10.625 million beginning next season. That nearly doubles the $5.5 million he’ll earn this season and makes him the fifth-best-paid Swede in the NHL, according to the Sweden Herald. But it’s less than he would have gotten on the open market.
“I think it says two things,” Hiller said of the deal. “What it says about the franchise is that the player was known, was drafted here, was developed here.”
What it says about Kempe, he continued, is that he values that loyalty more than money.
Kings forward Adrian Kempe against the Tampa Bay Lightning on Nov. 18.
(Chris O’Meara / Associated Press)
“I think he probably appreciates the time and energy spent on his career, getting him to where he was,” Hiller said. “Now it’s his choice and he says, ‘You know what? I want to stay in place.’”
He’s not alone. A number of the Kings’ recent cornerstone players — among them Dustin Brown, Kopitar and Doughty — spent their entire NHL careers with the team. If he avoids serious injury and a major dropoff in play, Kempe will almost certainly rank among the top five in franchise history in games, goals and points when his contract runs out.
That’s the long-term return on investment Holland and the Kings are hoping for. For the time being, however, they’re counting on Kempe to save a season that seems in danger of spiraling.
Like Fiala, Kempe believes in the Kings.
“If I weren’t happy here, obviously I would consider not playing here,” Kempe said. “We have a good core. We have a good group of younger guys coming up. I think we’re in a good spot.
“Obviously you have to take that in consideration, too, when you sign a new deal. You want to play on a good team, you want to win cups.”
Netflix treated Bridgerton fans to the season four trailer on Christmas Day but viewers have noticed a major flaw
The trailer for Bridgerton Season 4 has finally dropped but fans are furious about two characters ‘missing’ from the teaser.
The beloved period drama is set to return to screens on January 29th with four episodes, with another four instalments set to release on February 26th.
Netflix unveiled a two-minute teaser for the upcoming season on Christmas Day, and it focuses on Benedict Bridgerton (Luke Thompson) and Sophie Baek’s (Yerin Ha) romance.
Based on Julia Quinn’s third book in the series, An Offer from a Gentleman, the trailer reveals the couple’s Cinderella-style meeting at the Bridgertons’ masquerade ball.
Sophie is shown working as a maid and envying members of high society who get to attend endless parties. So she disguises herself as a ‘lady’ and attends the ball.
However, she must return home at midnight.
Benedict bumps into her and asks for a dance and later tells her: “You are perhaps the most intriguing person I’ve ever met.”
But the couple are separated when Sophie runs home, leaving only her glove behind. Benedict then goes on a mission to find the owner of the glove, hoping he can spark a real connection with her.
Throughout the trailer, viewers see various members of the Bridgerton family including Colin (Luke Newton) and Francesca (Hannah Dodd). However, fans are furious that Anthony (Jonathan Bailey) and his wife Kate (Simone Ashley) are excluded from the teaser.
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Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan.
This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows like Stranger Things and The Last of Us.
Taking to X, formerly Twitter, one penned: “Clearly we understand Kathony [Kate and Anthony] had their season… but it truly doesn’t make sense that the VISCOUNT and VISCOUNTESS Bridgerton, the literal HEADS of the household are nowhere to be seen Imao.”
Someone else chimed in with: “Are you aware large parts of this season are at the home of the Viscount and Viscountess? Where are they?”
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While a third agreed: “The absurdity of this production writing Kate and Anthony out of Part 1 yet being too cheap to relocate the Bridgertons to a new residence so you have everyone & their mothers hosting balls and living it up at K & A’s house while the viscount & viscountess are nowhere to be seen.”
Yet another unimpressed viewer wrote: “Another Polin [Penelope and Colin] scene in carriage but ZERO seconds of Kanthony,” and a final viewer quipped: “Kate and Anthony going on their eighth honeymoon so that others can live in their house (masterminds behind this show).”
Bailey and Ashley will be in the new season, but it’s unclear how much screen time they will each have. If season three is anything to go by, they may only appear in a few episodes.
Bridgerton season four part one premieres on Thursday, January 29 on Netflix
This article contains spoilers from Season 5, Vol. 2, of “Stranger Things.”
What could be more gulp-inducing than trying to defeat a nightmarish vine-covered villain and wipe out an eerie and horror-filled alternate dimension? Maybe writing a satisfying conclusion to a mega-popular TV show built on that idea.
Ross and Matt Duffer, the sibling masterminds behind Netflix’s “Stranger Things,” are closer to finding out if they’ve achieved that in the eyes of the show’s fans. On this morning in early December, the duo are in their own alternate dimension limbo with the show’s final season release — Vol. 1 is out and they’re bracing for impact with Vol. 2.
“The day that [Vol. 1] was released, I paced around all day,” Matt says. “I did absolutely nothing, just waiting for reactions to come in and reviews to come in because you really never know how people are going to react. There’s pros and cons to the show growing in size in the way it did — people just take it apart to an insane degree. It’s scary, always scary. You never really get used to it.”
But the self-doubt keeps them sharp, he says. “It forces you to not get lazy.”
“It’s a balance between feeling very confident, then it swings to being very insecure about it — and it’s hard to keep sight,” Ross adds. “You watch these episodes dozens and dozens of times over and over again. And the strange thing about this show is that a very small group of people had seen the episodes, a really small circle, then suddenly you’re just blasting it out to millions of people all at the same time.”
The pair are sitting on a couch in the office they share — “E.T.,” “Alien” and “Batman Returns” posters adorn the walls — at their facilities, Upside Down Productions, in Los Angeles. While they were able to revel in fan reaction for a few days after the release of Vol. 1, they’re back in work mode. At this point, they still have to finalize sound and color, as well as some visual effects, on the series finale.
“Very boring visual effects,” Matt quips. “If I have to look at one more shot of spores and fog, I’m going to lose my mind.”
Nancy Wheeler (Natalia Dyer), Jonathan Byers (Charlie Heaton), Steve Harrington (Joe Keery) and Dustin Henderson (Gaten Matarazzo) in Season 5 of “Stranger Things.”
(Netflix)
For now, the drip-drop release around the year-end holidays continues, with Vol. 2 (Episodes 5 through 7) now streaming. The episodes contain some of the season’s bigger emotional beats, including one of TV’s most amicable breakups between teenagers, a mended friendship and a character finally living his true self openly. The Duffers discussed that and more in this edited conversation.
Let’s start with those final 10 minutes of Episode 7. Will [Noah Schnapp] shares a part of himself that he’s kept secret for a long time. He realizes that if he wants to be successful in defeating Vecna, he can’t feel afraid about this part of myself. How did you decide Will’s coming out would be revealed?
Matt: It’s something that we’ve been planning to do for a really long time. Initially, it was planned for Season 4, and we just felt it was unearned by the end of it. We wrote that scene with him in the back of the van and him talking to Jonathan [Charlie Heaton]. But I like the idea of Will slowly building to this moment. He has a breakthrough in Episode 4 in a major way, but he has this one final step to take in order to really unlock his full potential. Something we really wanted to do with the show is tie his emotional growth with these powers that he’s developed.
Ross: Putting it at the penultimate [episode] ultimately made sense because what we’re trying to do with the second volume is get our characters in a place where they all felt confident in themselves. Will being one of the major character arcs that carries through the season, but also with Dustin [Gaten Matarazzo] and Steve [Joe Keery] and Nancy [Natalia Dyer] and Jonathan — we wanted to get people, before they go into this final battle, having dealt with their internal fears and doubts.
Matt: Because that’s what Vecna weaponizes against you. If you don’t have that self-hatred or self-doubt or those insecurities, then he can’t hurt you. When Will purges himself of that, he becomes unstoppable — or that’s the hope.
1
2
1.Noah Schnapp as Will Byers, the show’s central character.2.With his mother, Joyce (Winona Ryder). In Season 5, Vol. 2, Will comes out to her and his friends. “It’s something that we’ve been planning to do for a really long time,” says creator Matt Duffer.(Netflix)
What did you want that moment to be? What didn’t you want it to be?
Ross: We were nervous about it because you want to get it right, particularly working with Noah, who had recently come out himself. When he read it and we got his blessing, we felt really, really good about it. For us, it clicked writing it when we started talking about, “What are Will’s actual fears here in the future?” When the show really works for us is when we can combine both our mythology and the supernatural with the emotional. In this case, it’s going: Vecna is taking these fears and weaponizing them against Will, so Will actually talking to the group about these fears, as opposed to keeping them to himself — that’s when the scene really clicked.
The original plan was for him to come out to Joyce [Winona Ryder], and we started writing it and it felt really wrong because if he’s really going to be confronting these fears, he has to open up to to his friends as well. Once we did that, and we put the group in there, and we had him talk about what he saw in his future, that’s when the scene felt, as a coming-out scene, like something very unique to this show.
Matt: It’s the scene we spent the longest on this season because we were so anxious about it and getting it right. It was the most important scene of the season. I can’t emphasize enough how much the actors influence the characters, and their journeys as people really feed into what we’re writing and how we write those characters. You’re trying to channel Noah and what he went through and his growth, which we’ve watched as a person, as he’s found himself. Most of what is in the show is the first take, the first close-up that we did of Noah. It was incredible to watch because it’s one of those moments where Noah was not acting. Those words were real that he was saying. It was very emotional. It felt so real to Noah, so truthful to him. Hopefully the scene feels like that to other people because a lot of kids are watching. You feel a certain responsibility, especially with scenes like that. You can’t be careless about it.
Shipping is a hallmark in every fandom. There’s a moment where Will mentions a crush he’s harbored. He doesn’t directly state it’s Mike, but Mike knows. The viewer knows. How would you describe their dynamic?
Ross: There is a lot of shipping that’s going on with this show. In terms of all the relationships — this goes with the Will storyline, it goes with Jonathan and Nancy — for us and the writers, what’s interesting is not who ends up with who. What’s interesting to us is, how are our characters growing as people? And most of the time, the answer to that is them finding strength within themselves as opposed to finding strength with someone else. When we were talking about Will, those are the conversations that we have. How do we get Will in a place that he feels confident and strong? And that, ultimately, is him confronting these fears and exposing himself to everyone, including Mike.
Matt: When we were growing up, shipping was not a thing. This is a new thing and it gets intense. Part of me likes it because it shows how passionate people are for the show. I don’t mind people interpreting things however they want. Obviously, Ross and I have what we intended. Ross touched on it thematically — in [Episode] 4, when Will finds his power, what we were intending was not that his love for Mike gives him these powers, but his love for himself and tapping back into how he felt when he was younger — that was the key to unlocking his full potential.
Ross: It’s more of an important message to put out to younger viewers. When I’m thinking about my younger self and our struggle growing up, to put out a message that’s “It’ll all be right if this secret crush you have works out” versus “You don’t need that.” Even if it disappoints some people, it’s the more important message to put out into the world.
Matt: Not one crush of mine worked out. It hurts you, though, right? If you feel feelings and it’s unrequited, it feels like an attack on you or makes you feel unwanted. So much of the show is two things: just our love for the supernatural in the movies that we grew up on, and the other part of it is dealing with all the feelings that we had growing up. The best thing for me in the world is when younger people come up to us, the very few that recognize us, and tell us how it helped help them through a difficult time in their lives. Even Robin’s speech to Will, giving him the confidence to come out, that makes it all worth it.
“To write them being back together and friends again was just such a relief,” says Ross Duffer of Dustin, left, and Steve.
(Netflix)
I want to move on to Dustin and Steve. The strain on their relationship comes to a head in these episodes, but also reaches a reconciliation. That moment between them on the collapsing stairwell —
Matt: It’s a very short moment, but incredibly emotional. We were really moved by Gaten and Joe’s performance. It wasn’t hard for them to get into that spot. They’re very close, they have a very sweet friendship that’s not entirely dissimilar from their friendship on the show. The one frustrating thing about the show being split in the way it is, is we didn’t put out a season of the show in Volume 1 — that’s half of a show. I’m excited for people to see Volume 2, mostly for the Steve-Dustin resolution.
Ross: It was hard even writing it, keeping them apart. We felt it was right, emotionally, but to write them being back together and friends again was just such a relief because we’ve missed them, and hopefully the audience has too.
And I love that Steve gets to have his a-ha moment where he comes up with what may be the plan that ends all this.
Ross: It’s funny, we’ve joked about this; he’s very convenient for us as writers because he’s always confused. He doesn’t know what’s going on. Dustin dings him for that in Episode 5, and it was so satisfying to have Steve come up with the final plan, or the linchpin for the final plan. That was such a thrill to write to finally give Steve a moment because the brainstorming almost always goes to Dustin.
Nancy and Jonathan, at one point, are bracing for imminent death and find themselves having this touching and tender moment, sharing confessions and hard truths. What was the lay of conversation for what you wanted from that moment — there’s the acknowledgment of their trauma bond and a slightly romantic unproposal?
Matt: It’s not dissimilar, in some ways, to the Mike-Will stuff. These are people who do love each other very much; it’s just a question of, “What does that mean? What does the future look like for them?” Whenever we talked about Jonathan-Nancy — there’s got to be this feeling that they feel like they must be together because of what they’ve been through, and how could you ever connect with somebody else who hadn’t been through the same thing? But are they right, in the long run, for each other? We wanted to express that as best as we can.
Ross: It was a challenging idea. We’ve been building to it, but to get it across in five-ish minutes, it’s a complicated thing. It’s not just a soap opera where it’s shipping and who’s going to end up with who. I’ve been through experiences similar to this, when you’re with someone for a very long time, you grow so close and you go through so many things together, and it reaches a point where you go, “Well, how could someone else understand?” But at the same time, is that suffocating to your own self-growth? So when we were talking about Nancy and Jonathan, and where do they go from here, it felt like for Nancy to really grow, it’s not about Steve, it’s not about Jonathan, it’s about giving herself the space.
Matt:And for Jonathan. They both felt the same way, they just weren’t expressing it. Especially when you’re young, you have trouble understanding or expressing those feelings. We wanted to put them in a life-or-death situation where it’s their last opportunity to confess. The reference for that scene was “Almost Famous,” when the plane’s about to crash and everybody, in the moment of near-death, tells everybody everything. And then the plane doesn’t crash and it’s awkward. This is the opposite.
Matt, left, and Ross Duffer are closer to releasing the “Stranger Things” series finale. Is it a happy ending? “Even in victory, it’s not confetti and dance parties,” Ross says.
(Jason Armond / Los Angeles Times)
To return to this idea of the characters wrestling with what life looks like after this is over, if it’s ever over — is a happy or triumphant ending possible? Do you even think of it in those terms?
Matt: It’s weird because we didn’t realize until we had finished writing it, how much was a reflection on the show itself. Everybody had a tricky year emotionally; it was a real roller-coaster in terms of dealing with the fact that something we had been putting everything into for 10 years was coming to an end. Ultimately, the show is more about childhood, coming of age and leaving that behind for a new part of your life. It’s not really a question of a happy ending versus a not-happy ending. It’s just a question of capturing what it feels like to move on. It’s a bittersweet thing, but I think it’s something that everybody goes through.
Ross: Even in victory, it’s not confetti and dance parties. It’s a little more complicated than that. I remember “Lord of the Rings,” reading it and watching the films as a kid — there’s that moment when they’re just back in the Shire, and there’s bit of like, “How can you understand? And how do you move on from this?” I remember at the time, when I was younger, feeling a bit of disappointment. I was like, “Can’t they just come back and everyone just celebrate and there’s a party and then we fade out?” But watching it older now, there’s something so much more resonant about it. That’s why we talk so much over the course of this season about “Even if we are able to defeat Vecna, what does that look like for all of us?” Because this Vecna and the evil in the Upside Down brought all these people together.
Matt: In terms of the parallels to the show ending, that’s really a complicated and confusing mix of emotions. Everybody’s sad to move on, but then there’s that sense that you have to move on. We try to capture that feeling.
I need you to tell me what the workflow is like on a show like this. It’s lore, science and nerd-heavy. What are the checks and balances of making sure you’re not messing things up?
Matt: The challenge, especially as the lore and mythology has gotten too complicated, is to ensure that it’s not weighing down the show and that there’s enough room for the characters. That is more important than anything. What we’ve been trying to do as much as possible with this season, because there is so much mythology, is tie it into characters and their growth.
Ross: For instance, the Jonathan-Nancy scene — the melting lab was not an idea we had and then thought, “Oh, we could put Jonathan and Nancy in the situation.” We know we want this conversation with Jonathan and Nancy. How do we get there? Then going, “Oh, what if the dark matter makes the lab unstable?” Most of the time, you’re starting character first, and then we’re adjusting the mythology in order to make those character moments work.
Matt: But also, a melting lab is cool! Everybody was super enthusiastic about that — Netflix, our production designer.
Ross: Other dimensions, everyone was fine with the wormholes. But when we suddenly go, “The lab is going to melt,” everyone was like, “Excuse me?” No one knew how to do it.
Matt: We had to fight for that melting lab, from a production and cost standpoint.
I thought we were going to have a “Titanic” situation.
Ross: Oh, “Titanic” was a reference. But we wanted them both on the table.
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1.Max Mayfield (Sadie Sink), left, and Holly Wheeler (Nell Fisher).2.Jamie Campbell Bower as Vecna.(Netflix)
There’s a massive culture of forecasting and dissecting — it can be overwhelming to me as a viewer because I feel like I’m not watching closely enough. But I also love seeing how people interpret things.
Ross: Especially with the superfans, the tiniest of detail is picked up on. I think it’s fun for them because they’re rewatching this over and over again, so every little minute thing is seen as something significant even when that wasn’t our intention — not that we don’t plant things for later and do Easter eggs, but 99.9% of the writers’ room is just talking about these characters in the story they’re on. That is hopefully how you’re going to be watching the show because it can get overwhelming when you see this stuff online. But at the end of the day, we’re having people engage with a long-form story, so it makes us generally happy.
Matt: But you hit on something important, which is everybody experiences the show very differently. Sometimes I go, “What show are you watching?” Whatever show they’re watching is a completely different show than the show we thought we wrote. Then sometimes, some are on exactly our wavelength. And you see this with debates over the season. Season 3 is either the best season ever or the worst season ever. This is why you can’t write to fans, because which fan are you writing to? It would be impossible. Ross and I just try to write what we think is cool and what our writers think is cool.
There are so many theories out there about how the show is ending. Has there been one where the person got it or close to it?
Ross: I remember Season 4 someone early, very early, before we’d even released it, had figured out the Henry-Vecna-One thing, which was pretty impressive. This season, though, I have not seen anyone get the ending correct, which is, hopefully, a good thing.
Matt: I think it’s good. We’ll find out. I like that the ending is not obvious to people.
My understanding is the final scene of the series is one you’ve had in mind for about seven or so years. In the end, did you reach it the way you thought you would?
Matt: Yes. The show changed a lot in the course of seven years, so aspects of it certainly changed. But I think the fundamental state, more or less, the scene is what we always thought it was going to be.
Ross: I would say there was a key idea that we came up with, breaking [Season] 5, that wasn’t in there seven years ago. There was one element that we changed, but generally it is what we always hoped it would be. After the finale is out, we’ll be happy to tell you.
Matt: It didn’t change the scene, it just added something that I think was really important.
You spoke earlier about the circle of people that you share episodes with. How do you know you’re on the right path?
Ross: It’s such a small group. It really comes down to just our group of writers. What I love about our writers’ room is, even with Matt and I, people are very happy to tell us that an idea is not working. It’s usually everyone building off of each other, and then someone synthesizes those ideas, pitches it out to the room, and you feel this collective relief and excitement within that room. And when that happens, we go, “That’s it. That’s the idea.”
Matt: This is how we’ve always worked, once the draft is written, Ross and I will do multiple passes to the point where we’re really happy and confident. We don’t like turning in anything even remotely rough to Netflix. But the final episode, that was actually weird. We didn’t get any notes from Netflix or the producers. It is that first draft that we turned in. We did multiple drafts of it, but once we turned it in, that was it.
Were you on time with that draft?
Matt: We’re never on time, as you can tell with the gaps between seasons. Ross and I are not the fast. We were actually writing it in the midst of shooting, which was not a great idea. But Ross and I do the best work when we have a gun to our heads.
Ross: There’s not a single finale of the show that wasn’t written in the midst of production, but we like it because it allows us to get a sense of what the season is, what’s working, how the actors are performing, and we can really write to that. If you look at our season finales, generally, they’re some of our better episodes, part of it because the story is culminating, but also because we’ve learned over the course of the season what this season really is, what is really clicking. Then you can lean into that.
Matt: The only weird thing to have is because we were behind, and this has never happened before, is the Holly sequences that are in Henry’s mind, that’s in summer, so we couldn’t wait to shoot those. We were shooting any scene in the woods with Holly before the script was done. That was odd because we were handing actors scripts and scenes when they hadn’t even finished the episode. But it worked out quite well.
But now, I don’t know if it’s because of us, but Netflix won’t start shooting a season of anything until all the scripts are written. I do think they’re missing out on something because … like the sense of discovery that it allows. That’s the nerve-racking thing to me about doing a movie next, is we won’t have that ability to have it evolve.
What was the reaction at the table read for the series finale that stood out to you?
Matt: As nervous as we are of how the audience is going to react, it will never match the nerves we had in terms of how the actors were going to react to it. They’ve been in it with us since the beginning and they’re so invested in these characters. I think everybody was crying. Noah started crying first, then it just spread from there.
How do you feel you’ve changed since starting the show?
Matt: It’s hard to know. You have to try to remember back to how we were 10 years ago. We were really green. We had only directed one movie before. And we never directed television before. We’ve become, hopefully, better leaders and more confident and better at communicating. Ross and I, because we’re twins, we were really good at communicating with each other, but not with other people, and I think we’ve gotten a lot better at working with a large group of people, and hopefully we’ve evolved as as filmmakers.
Ross: There was a lot of fear making that first season. It was almost out of panic and fear both, if we get this wrong — our first movie was a failure — if we mess up, we’ll never be able to tell a story again. And the lack of experience, especially in terms of production. Production was scary because our production on the movie was such a challenge and it was a traumatic experience. Now, we know so much more. We keep making it hard for ourselves because we keep raising the bar in terms of the scale of the production [and] the number of people we’re hiring. But at this point, we can walk into a set, we’re much more flexible now if actors are coming in with ideas that are different from what we had planned, there’s a lot more ability to explore.
Caleb McLaughlin, left, Finn Wolfhard, Millie Bobby Brown and Gaten Matarazzo when they were much younger in “Stranger Things.”
(Netflix)
To expand on the learning curve, there was a recent report that said Millie Bobby Brown had filed a complaint of bullying and harassment against David Harbour. As first-time showrunners, how was it helming a show with young actors and figuring out how to balance the responsibility of making sure they feel safe and cared for on set?
Matt: Ross and I just love working with kids, and it was fun this season to go back to that, in terms of bringing in a new generation of kids. Mostly what we try to do is treat them respectfully and listen to them and listen to their ideas. I think you just get so much better work out of them that way. We’ve become very close because we got to know them when they were really young. It feels less parental and more like an older brother situation, and we try to make it very relaxed so they’re not nervous around us, and they certainly are not. I think what’s been challenging, and mostly challenging for the kids, who are no longer kids anymore, is when the show became bigger and [dealing with] social media. I think if something’s been damaging, it’s social media. I saw it happening with Jake [Connelly], who plays Derek this year.
Ross: And Nell [Fisher, who plays Holly], as well. That is something you feel more helpless about. But what has been beneficial for them, for Jake and Nell, [is] the kids that have been through it can help them through this more. Millie’s been through it. Finn’s been through it.
Matt: That’s the thing — yes, they have us, but they also have each other to get through this. I always think that that’s the key in terms of how they all turned out as grounded as they are. We were with all of them on this press tour, and I’m constantly impressed by how level-headed and grounded they are, and how ego-less they are; that they’re not broken by what they’ve been through. It’s been great with Jake to see it completely turn around. But that doesn’t excuse what people were doing before. It’s disgusting. I wish they had gone through this without social media.
A big talking point in Hollywood right now has been the bidding war for Warner Bros. Discovery. You have forged relationships with both Paramount and Netflix, the companies vying for it. How are you feeling about this moment and where things seem to be headed?
Matt: It’s just so hard to know what things are going to be like. It’s hard to say anything right now. Ross and I have been pretty open about wanting to make sure that the theatrical experience is preserved. For as long as stories have been told, it’s often in front of a group. There’s something about the communal experience and I just don’t want people being isolated. But as long as things are getting in theaters, I think it’s going to be OK. I’m trying to be optimistic about it.
Ross: I think the two fears are, with whatever happens, is you want to try to protect theatrical, which is in not the best state right now. And if you keep shrinking these windows, it just continues to de-incentivize people to go to the theater. That is not something we want to see. It’s a reason why we’re making a movie for theaters next; we believe in it and want to fight for it. The other is you need competition for artists because that’s the whole reason “Stranger Things” exists in the first place. If it’s too much consolidation, then shows like this are just going to become increasingly extinct.
Was it an easy sell, getting Netflix on board with releasing the series finale in theaters?
Matt: Yeah, actually. This is where the internet can frustrate me because something starts as a rumor and then goes around, then it’s fact. We pitched the idea to Netflix marketing — it was mine and Ross’ idea, then [Chief Content Officer Bela Bajaria] called us — it was only about five days [later] and [she] said, “Yeah, let’s do it.” We’re really grateful for them for supporting us. I cannot wait to go sneak into some theaters and watch it.
Williams was selected for this summer’s British and Irish Lions tour, but having impressed in a pre-tour warm-up match against Argentina, he was forced to return home after suffering a hamstring injury in the first game on Australian soil against Western Force, having scored two tries.
“Tomos Williams will depart Gloucester Rugby at the end of the 2025-26 season,” a statement on 16 December had said.
“After impressing at Kingsholm, Williams was offered a new deal to stay at the club beyond the end of the season, but has instead opted to pursue a new challenge elsewhere.
“The Welshman will depart with the best wishes of everyone at the club when the time comes, but in the meantime, is entirely dedicated to ending his time at Gloucester Rugby on a high.”
Gloucester also announced at the same time that former academy graduate Dan Robson, 33, is to return to Kingsholm next season, 10 years on from his departure in 2015.
The scrum-half previously made 80 appearances for Gloucester, where he started his senior career, before leaving for Wasps and spent seven years there until their demise in 2022. He has been with French Top 14 club Pau for the last three seasons.
PHOENIX — It’s not the lineups, the injuries or necessarily the system. The cause of the Lakers’ defensive demise is a thousand little decisions gone wrong.
“It comes down to just making the choice,” coach JJ Redick said after the Lakers gave up 132 points in a blowout loss to the Phoenix Suns on Tuesday. “It’s making the choice. There’s shortcuts you can take or you can do the hard thing and you can make the second effort or you can sprint back or you can’t. It’s just a choice and there’s a million choices in a game, and you’re very likely not gonna make every choice correctly. But can you make the vast majority of ‘em correctly? It gives you a chance to win.”
Coming off back-to-back losses for the first time this season, the Lakers (19-9) are ranked 28th in defensive rating in the last 14 games entering a Christmas Day showcase against the Houston Rockets at 5 p.m. PST at Crypto.com Arena.
The Lakers, without any individual shutdown defenders, need a perfectly executed team defense to compete. But 15 different starting lineups in 28 games has delayed some of the team’s ability to build continuity. The Lakers have had their full complement of 14 standard contract players for two games.
Forward Rui Hachimura (groin) and Luka Doncic (leg) could return Thursday. Guard Gabe Vincent, one of the team’s top defensive options on the perimeter, will miss his fourth game with lower-back soreness. Center Jaxson Hayes tweaked his left ankle in the second quarter of Tuesday’s loss and didn’t return.
The Rockets (17-10) limp into the Christmas Day blockbuster with their own struggles. The team thought to be one of the few who could challenge Oklahoma City in the West has lost five of its last seven games. Three of the losses were in overtime and four came against teams currently out of the play-in picture, including Tuesday’s loss to the Clippers.
Led by Kevin Durant’s 25.2 points, the Rockets are a statistical anomaly in the sped up, possession-maximizing modern NBA. They have the third-ranked offense in the league despite being one of the slowest. They shoot the fewest three-pointers per game, but make them at a 40% clip that ranks second, and dominate the glass with NBA-leading 48.7 rebounds and 16.1 offensive rebounds per game.
Houston’s physicality and expertise on the boards could be especially worrisome for a team that still has to consciously choose defense on a possession-by-possession basis instead of consistently living up to a standard of playing hard.
“There’s really no defense, no scheme we can do when we’re giving up offensive rebounds in crucial moments like we are, our [opponents] are getting wherever they want on the court,” guard Marcus Smart said after Tuesday’s loss. “And there’s no help, there’s no resistance, there’s no urgency. … It’s on us.”
The Suns grabbed 12 offensive rebounds against the Lakers on 35 missed shots, an offensive rebounding rate of 34.3%. After the Suns scored a three-pointer by twice grabbing offensive rebounds off tipped balls, Lakers players had an animated discussion in a timeout with Smart was gesturing toward center Deandre Ayton about tipping rebounds. Ayton, who finished with 10 rebounds and 12 points, and Smart ended the timeout with a high-five.
“[I need to] just continue to talk to guys, even though sometimes they might not want to hear it,” said Smart, a free-agent addition the Lakers coveted for his leadership and tenacity on defense. “Especially when we losing, nobody wants to hear it, myself included, but also understand that it’s integral for us to hear those things, to see and to be able to talk to one another and figure it out as players on the court, because we’re the ones out there.”
Redick intentionally built in moments for players to connect and communicate during every timeout this season before coaches speak. The strategy was meant to encourage players to take a larger leadership role. “Championship communication” was one of the team’s three pillars.
Lakers center Jaxson Hayes, left, foulds Clippers guard James Harden on a layup during their game Saturday.
(Gina Ferazzi / Los Angeles Times)
Along with “championship shape,” Redick also asked his team to build “championship habits.” Living up to the mantras is easier said than done.
“It’s not the easy choice,” Redick said. “It’s human nature. … We do it on a daily basis. We make easy choices cause it’s comfortable. Comfortable doesn’t win.”
