As an editor, the lion’s share of my job is about identifying the awards season’s most compelling stories and conveying them to our readers. But I do reserve a small sliver of time for the joys of advocacy, championing work that I love and hoping that converts readers into viewers, and perhaps even voters.
So, with no new issue this week, my New Year’s Eve newsletter felt like the perfect time to reflect on the movies and TV shows that moved me in 2025. And if you give them another look before you cast your awards ballots, all the better.
MOVIES
1. ‘A Little Prayer’ and ‘The Testament of Ann Lee’
David Strathairn and Jane Levy in “A Little Prayer.”
(Music Box Films)
I am not terribly spiritual myself, but I encountered transcendence twice at the movies this year. As quiet and beseeching as its title, Angus MacLachlan’s chamber drama “A Little Prayer,” about a family man (David Strathairn) navigating marital trouble between his son (Will Pullen) and his daughter-in-law (Jane Levy), uncovers varieties of religious experience in 19th century landscape painting and small, memorable kindnesses. As sweeping as the extraordinary life it depicts, Mona Fastvold’s biographical portrait “The Testament of Ann Lee,” which follows the Shaker leader (Amanda Seyfried) and her devotees from the textile mills of Manchester to the wilderness of colonial New York, carves sensuous art from the exalted song and dance of evangelical faith. But whether the scale is intimate or epic, both capture, to quote “A Little Prayer,” that rare thing: “a powerful sense of the sublime.”
2. ‘Sinners’
Michael B. Jordan in “Sinners.”
(Warner Bros. Pictures)
“Sinners” has rightly been praised for its novel twist on the vampire genre, its deep investment in African and African American music, its blockbuster box office in an era largely dominated by franchise IP. But perhaps the highest compliment I can give director Ryan Coogler may be that the Jim Crow Mississippi he conjures is so richly textured, so allergic to cant or cliche, that I’d have been just as riveted if the bloodsuckers had never shown up. That’s what it’s like to be in the hands of a master.
3. ‘Sorry, Baby’
Eva Victor in “Sorry, Baby.”
(Philip Keith / A24)
Eva Victor is not the first filmmaker to face trauma with a sense of humor, but few have done it with such a gentle, humane touch. As Victor’s Agnes moves through life in the aftermath of a sexual assault on her college campus, the writer-director-star focuses squarely on the slow, ungainly, ultimately profound work of healing — and includes some of the best gags about academia this reformed graduate student has ever seen. No apology needed: “Sorry, Baby” marks the arrival of a major talent.
4. ‘One Battle After Another’
Leonardo DiCaprio in “One Battle After Another.”
(Warner Bros. Pictures)
With elements of action, satire, political thriller and family melodrama, Paul Thomas Anderson’s wild yarn about the members of a revolutionary group — and the fallout that comes when the past catches up with them — is well-nigh indescribable. But it’s also unforgettable. Combining high-wire filmmaking with electric performances, it never relinquishes its grip on the viewer and invites multiple viewings. Which is just as well, considering that this one is going to be on the tip of our tongues all the way through the Oscars.
5. ‘Nouvelle Vague’
Zoey Deutch as Jean Seberg and Guillaume Marbeck as Jean-Luc Godard in “Nouvelle Vague.”
(Jean-Louis Fernandez)
The purest delight of the season is Richard Linklater’s mash note for the French New Wave, a zippy comedy of errors about the making of one of the most influential films of all time. As Jean-Luc Godard (the rakishly charming Guillaume Marbeck) tries to put “Breathless” together with spit, glue and attitude on the streets of Paris, “Nouvelle Vague” becomes as confident a caper as the original, with Jean-Paul Belmondo (Aubry Dullin) and Jean Seberg (a beguiling Zoey Deutch) as the French director’s oft-befuddled collaborators — and sometimes foils. To overlook a film with this much cinematic joie de vivre would be a crime.
6. ‘Sirât’
The rave sequence that opens “Sirât.”
(Neon)
The less said the better about Spain’s acclaimed Oscar submission, which takes such twists and turns as it wends its way through the Moroccan desert that it left me frozen, after my first screening, in a sort of defensive crouch. I simply suggest that you go on the journey with filmmaker Oliver Laxe as he follows a father (Sergi López) and son (Bruno Núñez Arjona) on their search for a missing loved one, beginning with a rave so lifelike it almost had me dancing in the aisles.
7. ‘Hedda’
Tessa Thompson, center, in “Hedda.”
(Matt Towers / Prime Video)
I must admit I went warily into “Hedda.” An awards-season Ibsen adaptation had, I feared, all the makings of a fusty, dour costume drama. Mea culpa, Nia DaCosta. Mea culpa. The filmmaker’s sharp, fresh take on “Hedda Gabler,” featuring mesmerizing performances from Tessa Thompson as the devious title character and Nina Hoss as her (gender-swapped) former lover, renders the play as provocatively, and vividly, for today’s viewer as it must have been for attendees at the Munich premiere in 1891 — and in the process reminds us why the original is an enduring classic.
8. ‘Sentimental Value’
Stellan Skarsgård and Elle Fanning in “Sentimental Value.”
(Kasper Tuxen)
No film this year has left me more eager for a rewatch than Joachim Trier’s delicate family drama, and I was rewarded with the sense that “Sentimental Value” is really two films, woven together so deftly that they can’t quite be unraveled. One is the story of two sisters (Renate Reinsve and Inga Ibsdotter Lilleaas) bonded by generational trauma. The other is about a filmmaker, their father (Stellan Skarsgård), recruiting a sympathetic outsider (Elle Fanning) to tell the story of his own. By the time these strands reach their conclusion, on a soundstage built to resemble the family manse, Trier’s thoughtful architecture pays off in the understanding that you really can go home again, because home is a state of mind.
9. ‘The Alabama Solution’
A still from “The Alabama Solution.”
(HBO Documentary Films)
In an especially strong year for documentaries, particularly those that appreciate, emulate or chronicle the work of investigative journalism, it seems a shame to single out just one. But from the moment of its Sundance Film Festival premiere, the movie by Andrew Jarecki and Charlotte Kaufman registered as a prime example of nonfiction storytelling’s unmatched ability to “comfort the afflicted and afflict the comfortable,” starting with its unflinching use of Alabama state prison inmates’ contraband cellphone footage of the shocking conditions they’re forced to endure. As advocacy, as exposé, as portrait of the fight for justice, no documentary has stuck with me this year quite like “The Alabama Solution.”
10. ‘All That’s Left of You’ and ‘The Voice of Hind Rajab’
Scenes from “All That’s Left of You,” left, and “The Voice of Hind Rajab.”
(Watermelon Pictures; Venice Film Festival)
One expands its tale of the Palestinian experience across continents and decades, the other condenses its saga to just 90 minutes, balanced on a knife’s edge between documentary and drama. But for all their stark stylistic differences, both “All That’s Left of You” and “The Voice of Hind Rajab” — along with films such as “Palestine 36” and “Put Your Soul on Your Hand and Walk” — urgently communicate, in specific human terms, the life-and-death consequences of a struggle for self-determination too often abstracted in the West to its “complicated” or “thorny” geopolitics. Whether the setting is Jaffa or Gaza, the subject a multigenerational family pushed to its breaking point or the fate of a single little girl, both will leave you shaken. As they should.
TV SHOWS
1. ‘Andor’
Diego Luna and Genevieve O’Reilly in “Andor.”
(Lucasfilm Ltd. / Disney)
Turning its portrait of reluctant rebel Cassian Andor (Diego Luna) into a kaleidoscopic thriller about a simmering revolution reaching the boil — and the authoritarian forces set on stopping them — “Andor’s” second season emerged, by degrees, as the year’s most astounding political allegory — on any size of screen. Aided by an ingenious structure, which divided its four-year arc into four, three-episode miniseries, it ensnared even avowed “Star Wars” skeptics, and featured both the best action set piece and the best monologue of the year.
2. ‘The Rehearsal’
Nathan Fielder in “The Rehearsal.”
(John P. Johnson / HBO)
Another sophomore step up, this iteration of “The Rehearsal” — which bordered on cavalier about its civilian subjects in Season 1 — finds impresario Nathan Fielder with more skin in the game, and so becomes a revelatory meta-comedy that lives up to its immense ambition. Come for the elaborate re-creation of American airports, stay for a surprisingly vulnerable Fielder investigating the possibility that he’s on the autism spectrum, and be wowed by the series’ real-world implications for pilot communication. Whatever aspect of “The Rehearsal” grabs you first, it’s the inimitable, inexpressible whole that makes it essential viewing.
3. ‘Adolescence’
Stephen Graham, left, and Owen Cooper in “Adolescence.”
(Netflix)
It would be easy to be jaded about “Adolescence,” which seems likely to follow in the footsteps of “Baby Reindeer” and win just about every award it’s eligible for. (It’s already notched eight Emmys.) But from the moment I first laid eyes on its extraordinary one-shots, I was persuaded that the series’ technical wizardry was no gimmick. As written by Jack Thorne and Stephen Graham and directed by Philip Barantini, in style and substance “Adolescence” captures polite society’s hold on young men spiraling out of control — and invests its central figure, Owen Cooper’s 13-year-old Jamie, with both the childishness and the menace to match.
4. ‘Elsbeth’
Carrie Preston in “Elsbeth.”
(Michael Parmelee / CBS)
I was glad to hear that CBS plans to campaign “Elsbeth” as a comedy at the Emmys in 2026, in part because it may improve Carrie Preston’s chances at a nod for her turn as irrepressible investigator Elsbeth Tascioni, and in part because the designation highlights what has always shined most in the legal universe of Robert and Michelle King. Here, it’s broader and brighter than the acerbic satire of “The Good Wife” and “The Good Fight,” and embedded in a “Columbo”-esque case-of-the-week structure, but the pair’s sense of humor — always keyed to punching up — continually works wonders, especially in a world where so much crime media is unrelentingly grim.
5. ‘The Pitt’
Noah Wyle in “The Pitt.”
(Warrick Page / HBO Max)
Given that “ER” was the first show my mom let me stay up late to watch, I wasn’t surprised to like “The Pitt.” But even with my high expectations, I was dazzled by the series’ ability to introduce such a wide array of characters in the pilot episode, and then to develop them all in a seemingly infinite variety of directions while solving one medical crisis after another. Indeed, forced by its “real-time” structure to keep the focus tight even as the stakes ratchet skyward, “The Pitt” registers as even richer, subtler and more relevant than its predecessor. May its heyday last just as long.
6. ‘Dying for Sex’
Jenny Slate, left, Sissy Spacek and Michelle Williams in “Dying for Sex.”
(Sarah Shatz / FX)
Since first seeing it in the spring, I haven’t been able to get out of my head the most hilarious moment in “Dying for Sex.” When Molly (Michelle Williams), early in a journey of sexual self-discovery prompted by a recurrence of cancer, falls victim to an online ransomware scam, she drops to the floor to escape the sight of her laptop camera — soon to be joined by her loyal but scattered bestie, Nikki (Jenny Slate), who is not much help but is great company. It had me doubled over with laughter, like so much of Liz Meriwether and Kim Rosenstock’s adaptation of the real-life story. The miniseries never pulls a comic punch despite the heavy subject matter, and is peppered with idiosyncratic choices and memorable performances that make it sing. Special shout out to Rob Delaney for turning a total slob named Neighbor Guy into one of the romantic heroes of the year.
7. ‘Forever’
Michael Cooper Jr. and Lovie Simone in “Forever.”
(Elizabeth Morris / Netflix)
The Emmy success of “The Studio” and the buzz around “I Love L.A.” may have somewhat overshadowed “Forever,” but they have given me consistent opportunities in 2025 to recommend my favorite L.A.-set show of the year. Mara Brock Akil’s warmhearted, meticulously wrought teen romance, channeling Judy Blume’s condescension-free interest in young people, paints a portrait of places in the city where those other series rarely go, and does so with uncommon sensitivity. I could watch “Forever,” well, forever. Plus, it features one of the year’s finest dramatic performances: Like the series as a whole, Karen Pittman’s protective mother transforms an archetype that could easily ring with cliches into a lived-in, multilayered portrait. Give me more, Netflix!
8. ‘The Gilded Age’
Audra McDonald, left, and Denée Benton in “The Gilded Age.”
(Karolina Wojtasik / HBO)
After two enjoyably low-stakes seasons, HBO’s New York-set spin on the upstairs/downstairs drama, created by “Downton Abbey’s” Julian Fellowes, breaks out of the (opera) box in Season 3. With ruined women, roguish men and more geegaws than you can shake a stick at — not to mention a character known to the internet as Clock Twink (Ben Ahlers) — the series remains a deliciously campy prime-time soap, but it now features moments of genuine romance, or regret, to accompany the social climbing. With Peggy (Denée Benton) finding love, Ada (Cynthia Nixon) finding fortune and conniver in chief Bertha Russell (Carrie Coon) finding herself on the outs with her wealthy husband (Morgan Spector), “The Gilded Age” has reached glorious maturity by developing a subplot for just about every taste, even one as lofty as the Van Rhijns’.
9. ‘The Paper’
Domhnall Gleeson in “The Paper.”
(Aaron Epstein / Peacock)
Call me a homer if you like for putting a show about the survival of local newspapers on this list. And when it comes to the indignities of 21st century journalism, “The Office” spin-off, from Greg Daniels and Michael Koman, certainly passes my fact-check. But more importantly, and sustainably, Peacock’s mockumentary treats the Toledo Truth Teller as the setting for a rock-solid workplace comedy, replete with a winsome editor in chief (Domhnall Gleeson), an ace reporter (Chelsea Frei) and a perfect foil, in the form of managing editor/aspiring influencer Esmeralda Grand (Sabrina Impacciatore, in perhaps the year’s funniest performance). Sure, I’m liable to root for any film of TV show that qualifies as a “love letter” to my chosen profession, but you can’t fake credibility. “The Paper” has the goods.
10. ‘Pluribus’ and ‘Paradise’
Sterling K. Brown in “Paradise,” and Rhea Seehorn in “Pluribus.”
(Disney; Apple TV)
One is full of jaw-dropping plot twists, the other meditative, often silent. One imagines the end of the world as we know it in terms of natural disaster, the other in the form of an extraterrestrial’s utopia. What Dan Fogelman’s “Paradise” and Vince Gilligan’s “Pluribus” share, though, is far more important than what sets them apart: a commitment to postapocalyptic storytelling rooted in flawed, compelling characters, not the minutia of megavolcanoes and mRNA. Indeed, as “Paradise’s” hero, Xavier Collins (Sterling K. Brown), squares off against the power-mad Sinatra (Julianne Nicholson) in an underground bunker, or “Pluribus’” Carol Sturka (Rhea Seehorn) clashes with stubborn ally Manousos Oviedo (Carlos Manuel Vesga) on an Earth overtaken by happy lemmings, what becomes clear about both series — and I mean this as a high compliment — is how ordinary they are. If you want to know how you might handle doomsday, you could do worse than starting here.
It had seemed like Arsenal were starting to wobble.
After starting December with defeat by Aston Villa, they were far from convincing as they beat Wolves, Everton and Brighton by narrow margins.
But the Gunners ground out vital results and they answered any lingering doubts over their title credentials with an emphatic 4-1 home victory over Villa on Tuesday.
It not only kept Unai Emery’s in-form side at bay in third place, it served as a powerful statement to any team hoping to derail their trophy ambitions.
Arsenal head into 2026, and the second half of the campaign, at the top of the league – five points clear of second-placed Manchester City, with Villa a further point behind.
“Arsenal doing what they did to Villa tells you where they are,” former Aston Villa striker Dion Dublin told BBC Radio 5 Live.
“It’s all going right for them because everyone is contributing – the manager, the players, the staff.”
Speaking on Match of the Day, ex-England midfielder Danny Murphy added: “Arsenal‘s performance was a big statement. It was powerful, full of quality and showed their strength in depth.”
But, with a history of letting the title slip from their grasp following three successive runners-up finishes, can Arsenal finally make it count this season and be champions for the first time since 2004?
Welcome back to this week’s Lakers newsletter, where we’re recalibrating for 2026.
The Lakers were forced to do some end-of-year soul-searching after a three-game losing streak. A productive meeting helped the team refocus on its vision board. The board featuring the Lakers’ three main resolutions reappeared in the practice gym this week: “championship habits, championship communication, championship shape.”
See, we all promise to hit the gym harder “next year.”
All things Lakers, all the time.
Two-headed monster
LeBron James and Luka Doncic pose for photos during Lakers media day on Sept. 29 in El Segundo.
(Ronald Martinez / Getty Images)
This is the pairing we’ve all been waiting for. But we haven’t seen Luka Doncic and LeBron James together all that often.
Since Doncic joined the Lakers in that blockbuster trade, he and James have played together without Austin Reaves only six times in the regular season. With Reaves now sidelined for a month with a calf injury, the two Lakers superstars are going to have to get familiar with each other again.
In lineups with Doncic and Reaves, the Lakers have a net rating of 7.3, one of the team’s highest ratings for a two-man lineup that’s played at least 100 minutes. Playing together for 452 minutes, it’s the most efficient rating for any pair of regular starters.
But lineups with Doncic and James have a -10.3 net rating in 279 minutes and the James-Reaves pairing is -6.1 in 245 minutes.
Coach JJ Redick acknowledged after the team’s three-game losing streak that the offense since James returned has felt disorganized at times. While Reaves’ injury strips the Lakers of their second-leading scorer and an important ball handler, Redick agreed that just having Doncic and James for now can make the offense easier to untangle.
Redick presented a potential solution by restructuring the substitution pattern during a win over the Kings on Sunday. He subbed Doncic out of the first quarter with about three minutes remaining instead of having him play the entire first frame. He re-entered the game with about nine minutes left in the second instead of waiting until the six- or seven-minute mark.
The plan was to let Doncic and James have more time operating the offense individually, Redick said, while not diminishing either player’s total minutes. The team still used both of them in actions together and it’s not an overarching plan to “keep them apart,” Redick stressed.
“We’re going to do this for the foreseeable future,” Redick said, “and just see how it goes.”
The Lakers were plus-12 in the 18 minutes with Doncic and James on the court against the Kings compared to -5.8 in 23.7 minutes in previous games this year. The projected starting lineup now that Reaves it out would typically feature Doncic, James, Marcus Smart, Rui Hachimura and Deandre Ayton, and that group has a -26.0 net ranking in 37 minutes together this season.
“I don’t want to create the narrative of ‘me and Luka,’” James said. “It’s five guys on the floor and seven guys that come off the bench. It needs to be all of us. It’s important that we set the tone.”
More than just the production on the court, the Lakers will look to their superstars for leadership during this next stretch. Redick acknowledged that Doncic and James have a responsibility to set the tone for the Lakers, especially at the beginning of games.
The Lakers were minus-28 in first quarters during their three-game losing streak. Doncic said after the Christmas Day debacle that everybody had to give “better effort, starting with me.”
Then he backed up his words with his play, scoring nine points with two assists and three rebounds in the first quarter. He had two steals and a block in the first half.
“He’s the head of the snake,” forward Maxi Kleber said of Doncic before the game. “We all follow him, so it’s good for us to see him also step up in that sense, and take ownership, because it will help everybody else do the same and focus especially with that effort on every possession.”
LeBron vs. Father Time (OT)
Lakers forward Lebron James drives in front of Kings guard Demar Derozan (10) as center Maxime Raynaud (42) watches Sunday at Crypto.com Arena.
(Jessie Alcheh / Associated Press)
When James released his LeBron XX sneakers, he battled Father Time in a series of commercials that pitted actor Jason Momoa, dressed in purple robes with gray hair and a long beard, against James in a plank contest, karaoke and ultimately one-on-one basketball.
Three years after James blocked Father Time’s shot in the commerical series’ “final round,” James is still competing against the opponent everyone says is undefeated.
“I’m in a battle with him,” James said Sunday, two days before his 41st birthday. “And I would like to say that I’m kicking his ass on the back nine.”
James then walked out of his postgame interview with a smile on his face after his final game as a 40-year-old.
James, who celebrates his 41st birthday Tuesday, is not the same force that he was in his late 20s or even 30s, but he is still accomplishing feats never seen in the NBA. James is averaging 20.5 points, 4.9 rebounds and 6.7 assists in his record 23rd NBA season. Only five players have ever averaged double-digit scoring during or after their Year 40 season. None averaged better than Kareem Abdul-Jabbar’s 14.6 points per game in 1987-88.
How LeBron James and Kareem Abdul-Jabbar compare in their 40s.
(Thuc Nhi Nguyen / Los Angeles Times)
“Unbelievable,” 21-year-old guard Nick Smith Jr. said of James’ performance at this stage of his career. “Him and my dad [are] the same age, and my dad hasn’t played in like 10 years. So the stuff he do is incredible. Yeah, he’s not normal.”
James knows his clock is ticking. He has recognized multiple times this season that he is cherishing what could be the final moments of his career. He acknowledged great road crowd receptions in Philadelphia and Toronto and spoke wistfully about how he’ll never be able to recapture the feeling of entering a packed arena.
It’s why moments like his three dunks against the Kings that fired up the home crowd Sunday are still meaningful, even if he’s not jumping as high as he once did.
“It is remarkable,” said Redick, who turned 41 in June this year and last played in 2021. “I have trouble getting out of bed in the morning and got to get an injection on my knee. My body is old and broken.”
A day after James rocked the rim with a reverse dunk against the Kings, Redick was happy to report he can “still barely touch the rim.”
On tap
Dec. 30 vs. Pistons (24-8), 7:30 p.m. PST
Detroit is one of the biggest surprises of the NBA season, emerging from a first-round playoff exit last year to now lead the wide-open Eastern Conference. But the Pistons have lost two in a row, including a stunning loss to the Clippers and Kawhi Leonard, who dropped 55 points on Sunday.
Jan. 2 vs. Grizzlies (15-17), 7:30 p.m. PST
Grizzlies star guard Ja Morant is back from a sprained ankle that cost him four games, but the team is still missing center Zach Edey, who has been sidelined with an ankle injury since Dec. 11. Memphis is 4-4 without Edey (13.6 points, 11.1 rebounds) after going 7-4 with him. He missed the beginning of the season after surgery on the same left ankle.
Jan. 4 vs. Grizzlies (15-17), 6:30 p.m. PST
This game wraps up a four-game homestand for the Lakers, who have 10 of their 16 games in January on the road.
Status report
Jaxson Hayes: Left ankle soreness
Hayes missed two games after reaggravating an ankle injury against Phoenix on Dec. 23 but is expected to return on Tuesday against Detroit.
Rui Hachimura: Left calf soreness
Hachimura missed practice Monday, but Redick doesn’t expect Hachimura to be out for long as the forward is “just a little banged up.” Hachimura is out for Tuesday’s game against Detroit.
Austin Reaves: left calf strain
Reaves will be out for at least a month. He is not scheduled to be reevaluated until around Jan. 26.
Gabe Vincent: Lumbar back strain
Vincent has missed four games and had no status change after his initial reevaluation date of Dec. 25.
Favorite thing I ate this week
Bun mang, Vietnamese bamboo shoot noodle soup.
(Thuc Nhi Nguyen/Los Angeles Times)
I spent Christmas Day with my Lakers beat family at Crypto.com Arena then Boxing Day with my extended family in Orange County. My aunt made bun mang — Vietnamese bamboo shoot noodle soup — for the holiday and saved me a bowl.
It’s more traditionally served with duck, but my aunt prefers chicken. I told her I’d never had this dish before because I don’t think my mom ever made it. She explained that it takes three days of soaking, rinsing and boiling the bamboo shoots, so now I understand why my mom never made it. But it was worth my aunt’s effort.
In October, Taylor told BBC Sport that he was unsure how long he would continue refereeing, adding that he was “quite old for somebody to be operating at this level, running around after people a lot younger than you”.
Taylor said that the main focus was to have “two refereeing teams at the World Cup”.
Prior to 2018, 2013-14 was the previous time England had three elite officials: Atkinson, Mark Clattenburg and Howard Webb.
The elite list of referees take charge of tournament and Champions League games. The first list is for the Europa League and Conference League. The second list is for Conference League games and qualifying ties.
Germany continues to lead the way with four referees in the elite category. Kavanagh’s promotion finally puts England on a par with France, Italy and Spain, who all have three.
England still lags behind across the two key categories, elite and first, with fewer officials than all the other top leagues.
John Brooks is the only English referee on the first list, meaning there are four in total. Germany has seven, with France and Spain on six and Italy five.
The Premier League has six referees on the second list: Stuart Attwell, Sam Barrott, Darren England, Jarred Gillett, Rob Jones and Andy Madley.
Meanwhile, Emily Heaslip has been promoted to the women’s first list. England has been unrepresented on the elite list of the women’s game since Rebecca Welch retired at the start of the 2024-25 season.
ADAM Peaty has been spotted for the first time since blocking his family from his wedding day.
The Olympic swimmer revealed he is yet to jet off on honeymoon with new wife Holly Ramsay as he was seen arriving at his father-in-law Gordon Ramsay‘s home.
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Adam Peaty was spotted for the first time since blocking his family from his wedding dayCredit: Ray CollinsAdam arrived back at Gordon Ramsay’s home in London after his marriage to Ramsay’s daughter HollyCredit: Ray CollinsAdam Peaty’s dad Mark was spotted taking the dog for a walk todayCredit: Andy Kelvin / Kelvinmedia
The Trans-Siberian Railway is a series of train routes in Russia, Mongolia and China that connect remote parts of the world and offer holidaymakers ‘absolutely incomparable landscapes’
The world’s longest train route crosses 8 time zones to connect 3 countries(Image: unikatdesign via Getty Images)
The Trans-Siberian Railway in Russia is the longest railway journey, traversing three countries and two continents, taking holidaymakers to some of the world’s most secluded spots. The train links Russia, Mongolia and China on a continuous journey across eight time zones.
The classic Trans-Siberian journey takes seven days, connecting Moscow to Vladivostok over a distance of 9,258km (6,152 miles).
Other routes include the six-day Trans-Manchurian trip from Moscow to Beijing, a five-day journey to Ulan-Bator, and the shortest route, the Trans-Mongolian, which runs from Moscow to Beijing via Mongolia.
Ticket prices range from roughly $120 (£88) for a standard ticket to $1,000 (£740) for first class travel.
Russian Train stated: “As soon as it was built at the beginning of the 19th century, the Trans-Siberian Railway was proclaimed the finest of the diamonds on the crown of the Russian Empire and became famous to the whole world.
“Since then, it has been attracting many travellers striving to see the miracle of engineering and to experience the peculiar way of journey.
“At the same time, the Trans-Siberian regular trains are mostly used by locals for their commuting needs, so it is an excellent way to meet the real people and feel the pure soul of the country.”
The Trans-Siberian Railway presents holidaymakers with “absolutely incomparable landscapes”, making the journey a truly unique adventure.
One traveller reviewed the train trip on Tripadvisor as a “unique, unforgettable journey”, while another described it as a “fascinating experience”.
“My wife and I crossed off our list one of these ‘must-do in our lifetime’ items, which was the Trans Siberian Railway. Time flies on the train, I barely read one book in four days, the rest of the time stared out of the window; Russia by train is fascinating!”
It’s impossible to sum up the full impact that Gabriel has had on generations of Mexicans and Mexican Americans. It’s more than the songs or the stage persona or the me vale attitude to what you thought about his sexuality. It’s the fact that for many of us he’s a connection to our families (raise your hand if your mom made you clean the house while blasting his music), to our homeland and to our culture. He gave us a shared language that affords us the opportunity to rejoice or grieve as a community.
There are profiles written about the man that are worth your time — I recommend this one published in The Times in 1999 — but for this newsletter we turned it over to our community to tell us how El Divo de Juárez forever changed their lives.
Juan Gabriel and the LGBTQ community
Juan Gabriel when asked if he was gay: “Lo que se ve no se pregunta”
(Julio Salgado / For The Times)
Luis Octavio remembers the first time he saw Gabriel. He was sitting with his family and the singer was about to perform on the weekly Mexican variety show “Siempre en Domingo.”
But all he could focus on was the sequins Gabriel was wearing.
“It gave me a little bit of hope that maybe my jotería would be accepted just the way my abuela, my abuelo, the tíos and everybody else who saw him on that screen accepted his and saw past his flamboyance,” said Octavio, co-founder of the drag bar El Place and one of the organizers of Boyle Heights’ first pride event.
Gabriel’s sexual orientation has always been an open secret. It has always been assumed that he was gay, but it was rarely discussed, with one glaring exception.
During a 2002 interview with news program “Primer Impacto,” reporter Fernando del Rincón asked Juanga point-blank if he was gay. With daggers in his eyes, Gabriel responded with “Lo que se ve, no se pregunta.” What is seen is not asked.
Octavio told me this interview always stood out for him — he described it as iconic, which, yeah, it is — because it told Mexican queer people that being who they were was more than enough and that you didn’t owe anything to anyone.
It’s a sentiment that Nomi B, a drag queen who hosts “Noche de Gringaderas” at El Place, certainly relates to.
“We all knew he was a sister,” she said.
“I admire that he kept his life private and he was like, ‘I don’t care what you think or say about me. I’m going to keep my life private and you’re going to enjoy my music no matter what.’”
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‘Abrázame que el tiempo es malo y muy cruel amigo’
In 2000, Juan Gabriel released “Abrazame Muy Fuerte,” an operatic banger that makes the case that time is cruel, unforgiving and finite for humans. Because of this, he begs his subject to pend much of that time embraced in each other’s arms. The song was a huge hit and was used as the theme song for a telenovela that shared the same name.
A few years later, it also became my parents’ song.
Around that time, my mom developed a brain tumor. The doctors didn’t know yet if it was malignant, but my family assumed the worst. The prospect of losing our anchor became very real. My dad took it the hardest, and because he is the embodiment of the closed-off macho who tries very hard not to emote, he didn’t have an outlet to let out what he was going through.
So he did what any Mexican would do: He turned to Juan Gabriel.
I was away at college when this happened, but my sister would tell me that he’d play the song nonstop, sometimes sitting next to my mom on the couch with his eyes closed in prayer. It must’ve worked because the tumor ended up benign. Decades later, my mom is the healthiest she’s ever been.
During the pandemic, that song took on an added meaning for me. It was late last year and my parents and I decided to take a road trip. “Abrazame Muy Fuerte” came on. All three of us started singing along, and it wasn’t long before we started bawling. The painful memory came back, but with it came the realization that we still had time and we were spending it together.
That’s the thing about Juan Gabriel’s music. These aren’t just songs. They’re memories. They’re feelings we can’t express, and even if we could, why would we when Juanga’s already done it better?
When I decided to write about Gabriel, I knew that I wanted others to share some of their favorite songs. I asked friends and colleagues to contribute a song for this Spotify playlist and to write a few lines about why they picked that tune.
Artist Julio Salgado: “I wanted to illustrate a mom teaching her son to clean while listening to Juan Gabriel. I totally took this from my own experience as my mom had no tolerance for boys just sitting around and not cleaning when we were growing up.”
(Julio Salgado / For The Times)
“Querida”— He’s just so dramatic! Like, “Yes, b—!” (Nomi B, drag queen)
“Amor Eterno” — If there’s a song that defines who Juan Gabriel is, it’s “Amor Eterno.” Since he wrote the song for Rocio Durcal, it’s Juan Gabriel as a song writer. As a singer, his emotion has made it the quintessential Mexican song about heartbreak, regret, and ultimately, trying to make sense out those emotions. With the song’s lyrics and emotions — along with Juan Gabriel being from the Juárez-El Paso borderland — it’s little wonder why “Amor Eterno” was played and sang everywhere in the days following the El Paso massacre. (Roberto José Andrade Franco, writer-at-large at Texas Highways)
“La Frontera” — When I first moved to the U.S. I felt like I didn’t belong here because I didn’t speak perfect English and nobody could pronounce my name. Listening to that song and how he talked about how everybody’s happy at the border and how everyone’s different, it made me feel safe. (Luis Octavio, co-founder of Boyle Heights drag bar “El Place”)
“Inocente Pobre Amigo” — Juan Gabriel was the first poet in my life, a staple at my parents’ home in South Gate, California. My mother owned all of his albums. And when I went away to study literature at the University of Chicago, I took them with me.
I was back in California, walking around in Boyle Heights, when he passed. I got the news alert. Then, all along César E. Chávez Avenue, shop owners blasted his songs. Juan Gabriel wrote hundreds. I know all of them.
For beginners, I recommend “Inocente Pobre Amigo,” which recounts a heartbreaking disillusion but, above all, is a song about valuing yourself. Go on YouTube. Find the version that was recorded during Juan Gabriel’s first concert in Mexico City’s Palace of Fine Arts. Watch him perform with his hands on his hips, glistening in black and gold sequins. Hear him crack jokes with the audience and watch the mariachis on stage try to muffle their laugh. Recall that some elitists thought his work was too lowbrow for the venue.
When Juan Gabriel passed in 2016, his ashes were taken to that same place. For hours on end, hundreds of thousands of people poured in to pay their last respects. I wish I’d been one of them. (Julia Barajas, Los Angeles Times staff writer)
“El Noa Noa”— It’s a song about a place where you can go and be who you are. The ambience of the bar might be different than what people are used to, but it’s about everyone being welcomed and letting them feel like they can be happy. (Melissa Befierce, Mother of Haus of Befierce and events coordinator at El Place)
“No Tengo Dinero”— For me, Juan Gabriel’s songs are tied to memories of me riding on my grandfather’s truck with my aunt and my grandmother on the roads of Campeche where we lived for a few years. Juan Gabriel’s “No Tengo Dinero” is one of his iconic songs because for many it’s always a struggle to have money, but if at least we have love, we know we’ll be alright. (Denise Florez, Los Angeles Times multiplatform editor)
“Have You Ever Seen the Rain? (Gracias al Sol)” — My mom and tías have always been huge Juan Gabriel fans. I grew up in El Paso and he of course has immensely close ties to Juárez, where his career took off. His music is the soundtrack of my childhood. There was a brief time when it was around so much, it annoyed me. But when I moved away from home, that soundtrack became so powerful and comforting. It instantly connected me with my family. My sister, mom and I have sung (poorly) along to “Querida” hundreds of times at this point. But that’s going to be almost everyone’s favorite song. It’s just kind of perfect JuanGa. But the one I’ll choose for this playlist is what I believe is the only cover he ever did: “Have You Ever Seen the Rain? (Gracias al Sol).” In the video, he’s wearing amazing rainbow-colored pants and having so much fun. He brings joy to his work and it’s infectious. He’s also a great singer, so it stays on my playlist along with the much older hits. (Iliana Limón Romero, Los Angeles Times deputy sports editor)
“Hasta Que Te Conocí” — Later brilliantly covered by Ana Gabriel, it is the perfect song about love gone sour, heightened by lyrics that are pure melodrama. (Carolina Miranda, Los Angeles Times columnist)
“Así Fue” — He was never more brilliant, more heartbreaking, more JuanGa than in that song. (Gustavo Arellano, Los Angeles Times columnist)
“Costumbres” — Here’s an extremely on brand story: During one of my family’s chaotic Christmas parties, we were all doing what we usually do—drinking tequila and singing along to a playlist of Juan Gabriel, Rocío Durcal, Alejandro Fernández and, well, you know the vibes. As always, “Costumbres” comes on, the Rocío version, and my trash-talking sister starts to sing loudly, drunkenly, and off-key: No cabe duda que es verdad que la costumbre es más grande que el amor. She looks at me and says, “That’s f— real, dude. La costumbre really is más grande que el amor.” She then scowls at her husband across the room and screams over the music, “F— you, [name redacted]!”
That is the power of “Costumbres.” That’s actually the power of 99.9% of songs written by Juan Gabriel. However, “Costumbres” is god-tier in his canon of songs that have an unbelievable ability to drag your soul. We dance to “Noa Noa,” weep to “Amor Eterno,” raise our arms up to “Querida,” and strongly consider divorce to “Costumbres.”
“Costumbres” is sung from the perspective of a person telling their partner their love has been replaced by resentment, but habit and the comfort of a warm, familiar body keeps them together no matter how many times they try to walk away. Juan Gabriel’s love songs have an uncanny ability to swim in the thick nuances of romance, its brutal pains and exhilarating joys, and as is the case with “Costumbres” the harsh realities of committing your life to someone. He seemingly had a direct line to our deepest fears about love, and expressed poetically something even as mundane as being over it but staying anyway. To quote my sister, that’s f— real, dude. And it’s why “Costumbres” along with so many other songs he penned are elevated to a place of cultural veneration and soundtrack of the most affecting moments of our lives. (Alex Zaragoza, senior culture writer at Vice)
Fernandomania @ 40: El Campeón.
The latest installment of our multi-part documentary series “Fernandomania @ 40” is out today. You can watch here.
When Fernando Valenzuela took the mound in Game 3 of the 1981 World Series, the New York Yankees had a commanding 2-0 lead over the Dodgers and Tommy Lasorda’s crew was facing the real possibility of a third World Series loss in five years to their East Coast rivals. In the end, the Dodgers won the game, 5-4, largely due to the gritty performance of their rookie left-hander. Valenzuela gave up nine hits and seven walks in a 146-pitch complete-game, spurring the team to a World Series victory and cementing his pitching legacy in Los Angeles.
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Yesterday was the MLS vs. Liga MX All Star Game at the Banc of California Stadium near downtown Los Angeles, but the most important soccer match that took place that day happened hours earlier at a park in Pasadena. That’s where members of the #LigaMXEng community got together to celebrate the beautiful game (and come to terms with how out of shape many of us actually are).
What’s #LigaMXEng? It’s a Twitter hashtag where podcasters, reporters, and fans from around the country congregate to talk about Liga MX, the most popular soccer league in the United States. More importantly, it’s entirely in English, the primary language for many of us. It’s that last part that does it for me.
A funny thing about this year’s best films: Half of them are adaptations. As a movie lover who’s always hunting for new talent, new ideas and new stimuli, I used to view that as creative inertia. But 2025 has changed my mind.
Now I see artists drawing inspiration from the past to show that Hollywood should trust the sturdy bones that have kept it running for over a century: good yarns, bold casting, films that don’t feel made by focus groups or doomsaying bean-counters (or, God help us, AI), but by blood and sweat.
Our picks for this year’s best in arts and entertainment.
From original tales to radical reworkings of classics both high-falutin’ and raucously lowbrow, these 10 filmmakers all know that the most vital part of the storytelling business has stayed exactly the same. They have to wow an audience. And they did.
1. ‘Sinners’
Michael B. Jordan as twins Smoke and Stack in the movie “Sinners.”
(Warner Bros. Pictures)
A period-piece-vampire-musical mashup could have been discordant, but writer-director Ryan Coogler confidently makes all three genres harmonize. In “Sinners,” Coogler double-casts his longtime collaborator Michael B. Jordan as twin bootleggers Smoke and Stack, then pits them against a pack of banjo-picking bloodsuckers helmed by a roguish Jack O’Connell. We’re expecting a big, bloody brouhaha and we get it. Underneath the playful carnage, however, the question at stake is: Why suffer the daily indignities of the Jim Crow-era South when you could outlive — and eat — your oppressors? “Sinners” is the most exciting film of 2025, both for what it is and for what it proves: that fresh blockbusters still exist and people are eager to gobble them up.
The stage’s iconic mean girl glides from 1890s Norway to 1950s England in this vibrant and venomous adaptation of Henrik Ibsen’s “Hedda Gabler.” Tessa Thompson stars as the restless housewife who needs to secure her milquetoast husband (Tom Bateman) a promotion and has a nasty habit of playing with guns. Keeping pace with her manipulative anti-heroine, writer-director Nia DaCosta (“Candyman”) makes a few calculated moves of her own, including gender-swapping Hedda’s ex into a curvaceous career woman (a haughty Nina Hoss) whose drab and geeky new girlfriend (Imogen Poots) irritates their hostess’ insecurities. As a capper, “Hedda” stages its brutal showdown at an all-night vodka-and-cocaine-fueled mansion shebang with a live jazz band, a lake for skinny-dippers and a hedge maze where former lovers are tempted to canoodle. The original play is over a century old, but every scene feels screamingly alive.
Joaquin Phoenix, left, and Pedro Pascal in “Eddington.”
(A24)
No film was more polarizing than Ari Aster’s COVID-set satire about a mask-hating sheriff (Joaquin Phoenix), a sanctimonious mayor (Pedro Pascal) and the high-tech cabal that benefits when these two modern cowboys come to blows. “Eddington” immortalizes the bleak humor and lingo of May 2020 (think murder hornets, Antifa and toilet paper hoarders). More stingingly, it captures the mental delirium of a small town — make that an entire planet — that hasn’t yet realized that there’s a second sickness seeping in through their smartphones. Everyone’s got a device in their hand pretty much all the time, aiming their cameras at each other like pistols in a Wild West standoff. Yet no character grasps what’s really going on. (I have a theory, but when I explain the larger conspiracy, I sound cuckoo too.) This is the movie that will explain pandemic brain to future generations. With distance, I’m pretty sure the haters will come around.
Leonardo DiCaprio in the movie “One Battle After Another.”
(Warner Bros. Pictures)
Every shot in Paul Thomas Anderson’s invigorating nail-biter is a banger: sentinels skateboarding over rooftops, caged kids playing catch with a crumpled foil blanket, Teyana Taylor’s militant Perfidia Beverly Hills blasting an automatic rifle while nine months pregnant. It’s the rare film that instantly imprints itself on the viewer. On my second watch, I was shocked by how much of “One Battle After Another” already felt tattooed on my brain, down to the shudder I got from Sean Penn’s loathsome Col. Lockjaw licking his comb to tidy his bangs. Riffing from Thomas Pynchon’s “Vineland,” the central drama follows flunky anarchist Bob (Leonardo DiCaprio) fumblingly attempting to rescue his daughter (Chase Infiniti) from Lockjaw’s clutches. But he’s not much help to her, and as the title implies, this is merely one skirmish in humanity’s sprawling struggle for freedom that has, and will, drag on forever. Anderson’s knack for ensemble work stretches back as far as “Boogie Nights,” yet here, even his unnamed characters have crucial roles to play. His world-building has never before felt this holistic and inspirational.
(“One Battle After Another” is now playing in theaters.)
5. ‘Kiss of the Spider Woman’
Jennifer Lopez and Tonatiuh in the movie “Kiss of the Spider Woman.”
(Roadside Attractions)
The backstory behind this stunner couldn’t be more baroque: Director Bill Condon (“Dreamgirls”) boldly revamped a Broadway musical of an Oscar-winning drama (itself taken from an experimental novel) about two inmates in an Argentine cell who mentally escape into the movies. Each incarnation has doubled down on the sensorial overload of what came before. If you know “Kiss of the Spider Woman’s” lineage, you’ll be impressed by how Condon ups the fantasy and stokes the revolutionary glamour with more Technicolor dance showcases for Jennifer Lopez’. (She’s doing her best Cyd Charisse, which turns out to be darned good.) If this is your first taste of the tale, give yourself over to the prickly but tender relationship between prisoners Luis and Valentin, played by feisty new talent Tonatiuh and a red-blooded Diego Luna. This is go-for-broke filmmaking with a wallop. As Luis says of his own version of “Kiss of the Spider Woman” playing in his head, “Call it kitsch, call it camp — I don’t care, I love it.”
Thai director Ratchapoom Boonbunchachoke’s Cannes Grand Prix winner opens with a haunted vacuum cleaner. From there, it gets even more surprising. Ghosts have infested a wealthy widow’s factory and are possessing appliances, seducing her son and cozying up to the prime minister for favors. Some of these people have died by accident, some by corporate neglect or worse. This droll spook show bleeds into romance and politics and, to our shock, becomes genuinely emotional. (It helps to remember that the military killed over 80 Bangkok protesters in 2010.) But why vacuum cleaners, you ask? The conceit is more than a sticky idea. Ordinary people can get crushed but the anger they leave behind lingers like fine dust.
(“A Useful Ghost” opens Jan. 16, 2026, in theaters.)
7. ‘The Roses’
Olivia Colman and Benedict Cumberbatch in the movie “The Roses.”
(Jaap Buitendijk / Searchlight Pictures)
Technically, “The Roses” is rooted in the 1980s hit novel and subsequent blockbuster “The War of the Roses,” which starred Michael Douglas and Kathleen Turner as an estranged couple who attack each other with lawyers, poison and chandeliers. In spirit, however, this redo is pure 1930s screwball comedy. Leads Benedict Cumberbatch and Olivia Colman are skilled verbal ninjas who hurl razor-sharp insults at each other’s egos, and although their characters’ divorce happens in California, director Jay Roach lets the actors keep their snippy British accents. The script by two-time Oscar nominee Tony McNamara (“The Favourite,” “Poor Things”) adds a cruel twist to the original: This time around, the marrieds truly do try their damnedest to love and support each other. And still, their walls come tumbling down.
Ye and Elon Musk in the documentary “In Whose Name?”
(AMSI Entertainment)
Nico Ballesteros was a high schooler with an iPhone when he entered Kanye West’s orbit in 2018. Over the next six years, the Orange County kid shot over 3,000 hours of footage as Ye (as the artist legally became known in 2021) jetted from Paris to Uganda, Calabasas to the White House, meeting everyone from Kenny G to Elon Musk on a quest to fulfill his creative and spiritual goals while incinerating his personal life and public reputation. Ye gave the documentarian full access with no editorial oversight, besides one moment in which he tells the camera that he wants the film to be about mental health. This riveting tragedy definitely is. We see an egomaniac whose fear of being beholden to anything motivates him to go off his meds, a billionaire provocateur who believes he can afford the consequences of his bigotry and, above all, a deeply flawed man who nukes his entire world to insist he’s right.
An image from the movie “Sirāt,” directed by Oliver Laxe.
(Festival de Cannes)
The techno soundtrack of Oliver Laxe’s desolate road thriller has rattled my house for months. Lately, I’ve spent just as much time contemplating the movie’s silence — those hushed stretches in which this caravan of bohemians speeds across the Moroccan desert looking like the only free people left on Earth. A father, Luis (“Pan’s Labyrinth’s” Sergi López), and his 12-year-old son team up with this band of tattooed burnouts in the hope of finding the boy’s runaway sister. Before long, Luis is just hoping to make it to safety, assuming anywhere safe still exists. Static on the radio warns that World War III might be underway. These outsiders click off the news and crank up the music. The paradox of “Sirāt” is that I’m dying to talk about it more but I’ve got to keep my mouth shut until people experience its dramatic twists for themselves.
(“Sirāt” returns to theaters on Feb. 6, 2026.)
10. ‘The Naked Gun’
Pamela Anderson and Liam Neeson in the movie “The Naked Gun.”
(Frank Masi / Paramount Pictures)
Liam Neeson needed this pummeling pun-fest. So did everyone else in 2025. Director Akiva Schaffer’s continuation of the “Police Squad!” franchise let the 73-year-old “Taken” star poke fun at his own bruising gravitas. Playing the son of Leslie Nielsen’s Lt. Frank Drebin, Neeson kept us in hysterics with a stupid-brilliant barrage of surreal wordplay and daffy slapstick. The casting was as odd — and perfect — as rumors that he and his co-star Pamela Anderson started dating on set. This fourth sequel didn’t try to outsmart the classic Zucker, Abrahams and Zucker template. It simply told the same old story: Cop meets babe, cop and babe canoodle with a magical snowman, cop drops his trousers on live TV, this time minus the blimp. Goodyear? No, the worst — which made Neeson our hero.
Since I’m all jazzed-up about great movies, here are 10 honorable mentions very much worth a watch.
“The Ballad of Wallis Island” A kooky millionaire strong-arms his favorite mid-aughts folk duo into playing a reunion show on his Welsh island. Sounds cutesy, but it’s the movie I recommended most — to everyone from my mailman to my mother. They all loved it. Join the fan club.
“Bunny” This East Village indie by debut director Ben Jacobson is a scummy gem. A gigolo’s birthday goes very wrong. But all the characters racing up and down the stairs of his uber-New York walk-up hovel are a howl.
“If I Had Legs I’d Kick You” Rose Byrne excels equally at comedy and drama. This audit of a breakdown smashes both together and cranks the tension up to eleven. Playing a high-stress working mom of an ill child, her try-hard heroine leans in so harrowingly far, she goes kamikaze.
“Lurker” Today’s celebrity might be viral on Instagram and unknown everywhere else. Alex Russell’s stomach-churning psychodrama stars Archie Madekwe as an L.A.-based singer on the brink of genuine fame and Théodore Pellerin as the hanger-on who endures — and exploits — the fledgling star’s power moves and hazy boundaries.
“Magic Farm” Filmmaker Amalia Ulman’s rascally farce stars Chloë Sevigny and Alex Wolff as clickbait journalists who fly to Argentina to shoot a viral video about a singer in a bunny costume and wind up looking twice as ridiculous.
Keke Palmer, left, and SZA in the movie “One of Them Days.”
(Anne Marie Fox / Sony Pictures)
“One of Them Days” Keke Palmer and SZA play broke Baldwin Hills roommates who have nine hours to make rent. I’d happily watch their stoner high jinks in real time.
“The Perfect Neighbor” Pieced together primarily from police body-camera footage, Geeta Gandbhir’s documentary unfurls in a Florida cul-de-sac where a community — adults, kids and cops — agrees that one woman is an entitled pill. The problem is she thinks they’re the problem. And she has a gun.
“Sisu: Road to Revenge” If Buster Keaton were alive, he’d hail this grisly, mostly mute Finnish action flick as a worthy successor to “The General.” It even boasts a thrilling sequence on a train, although director Jalmari Helander also brazenly poaches from “Die Hard” and “Mad Max: Fury Road.”
“Train Dreams” Trees fall in the woods and a 20th-century logger (Joel Edgerton) plays an unheard, unthanked but beautiful role in the building of America.
“Wake Up Dead Man: A Knives Out Mystery” Detective Benoit Blanc (Daniel Craig) teams up with a soul-searching priest (Josh O’Connor) to solve a perplexing church stabbing. From deft plot twists to provocative Catholic theology, Rian Johnson’s crowd-pleasing murder mystery is marvelously executed.
Happy Valley star Siobhan Finneran has discussed her relationship with Death in Paradise actor Don Gilet, explaining their decision to maintain separate homes in different cities
Siobhan Finneran and Don Gilet met on ITV series The Loch(Image: ITV)
Happy Valley star Siobhan Finneran, 59, has offered a rare glimpse into her relationship with Death in Paradise actor Don Gilet, 58, revealing why the pair have chosen to maintain separate households.
The duo initially crossed paths whilst working together on ITV’s crime drama The Loch, where Siobhan played DCI Lauren Quigley and Don took on the role of forensic psychologist Blake Albrighton.
Despite the geographical gap between them, Siobhan insists she and the DI Mervin Wilson actor manage perfectly well, noting that Don spends most of his time abroad anyway, filming Death in Paradise in Guadeloupe.
Speaking to The Times, she said: “That’s just the way it is, isn’t it? That’s how it’s always been. And he’s out of the country for seven months a year doing Death in Paradise anyway.”
Siobhan also disclosed that she’s made the journey to the French Caribbean island, which she calls an “amazing place”, to see Don whilst he’s working.
The Protection actress was swift to reject any notion that they’re a “power couple”, confessing they can be “hopeless” when attempting to organise themselves, joking: “I’ve not heard that one before.”
She continued: “We are both off the telly. Other than that we’re pretty normal. You wouldn’t think we were a power couple this morning, both running around trying to get out of the house on time. Hopeless.”
After months of rumours, Siobhan first hinted at her romance with Don when she lovingly called the actor “my fella” during a chat with The Guardian.
Before this revelation, the couple had been photographed holding hands at various showbiz gatherings prior to making their relationship official.
Don is set to return to television screens as DI Mervin Wilson for the Death in Paradise Christmas Special.
He will be joined by guest stars Josie Lawrence, Kate Ashfield, Pearl Mackie and James Baxter for the festive episode.
The Death in Paradise Christmas Special airs on Sunday 28th December at 8.30pm on BBC One and iPlayer.
For the latest showbiz, TV, movie and streaming news, go to the new Everything Gossip website.
One of the most frustrating things I encountered when working as a hotel receptionist was guests asking for a room upgrade – but I finally have a solution to this common complaint
(Image: Getty Images)
Before embarking on my journalism career, I spent several years behind the desk as a hotel receptionist. During this time, I honed my skills in anticipating guests’ needs.
We were always more than willing to accommodate any request, no matter how peculiar or extravagant, but there was one that consistently got under my skin.
Regardless of the type of room a guest had reserved, more often than not, they’d be angling for an upgrade. And I completely understand why.
Who wouldn’t want to add a touch of luxury to their stay without parting with a single extra penny? However, one question from guests that never failed to irk me was, ‘Can our room be upgraded?’ Of course, there’s no harm in asking, but it’s generally frowned upon for good reason.
There were countless instances when I’d be on the blower with someone booking a standard room, only for them to immediately follow up with, ‘Can our room be upgraded?
‘ The response was invariably, ‘We don’t provide upgrades until the day before arrival’, but internally I’d be thinking, ‘If you’re after a larger room, book a larger room’.
I worked at a high-end hotel and spa with 35 rooms, where upgrades were typically set aside for those celebrating a special occasion, such as a birthday or anniversary. Furthermore, we’d only upgrade rooms the night prior to a guest’s arrival, ensuring we knew exactly which rooms were free – we wouldn’t bump someone up to a superior room before it could have been booked online.
It’s astonishing how many guests inquire about an upgrade, even when larger rooms are readily available for booking. The second most irksome time to request such a privilege is post 3pm on a Friday evening, during the peak check-in period and when all rooms have already been assigned.
There were countless instances when a guest would bluntly ask me at check-in if their room had been upgraded, as though it was a given. That said, it doesn’t mean we wouldn’t consider giving you an upgrade.
We’re more inclined to offer an upgrade to those who haven’t explicitly asked for one. After all, we’re only human, and we’d much prefer to surprise someone with an upgraded room who will truly appreciate it, rather than someone who feels entitled to it or demands it.
Informing the hotel that you’re celebrating a special occasion is the top strategy to secure an upgrade, just ensure you do so prior to your arrival. Alternatively, checking in early is another clever tactic to help bag an upgraded room, and here’s why.
While upgrades are usually organised for the next batch of guests the night before, with key cards already allocated, situations can change. If we’re feeling particularly magnanimous, and the hotel is buzzing, we might spontaneously offer you an upgrade, even if that means downgrading someone else’s previously upgraded room.
Our guests weren’t made aware of any upgrades until their arrival, so if there were any changes, they’d be none the wiser, and we’d rather get you settled into your room. However, from my experience, these were reserved for guests who would least anticipate an upgrade, not those who impolitely demanded one.
Have you got a hotel secret to share? Email us at webtravel@reachplc.com
Crespi’s basketball team is starting to gain notice just in time for the start of Mission League play next month.
The Celts (11-4) advanced to the semifinals of the toughest division of the Classic at Damien with a 70-67 victory over Northern California power Richmond Salesian on Saturday.
Carter Barnes finished with 16 points and five assists. Jasiah Williams had 15 points. And, in a big development for the Celts, 6-foot-10 transfer student Rodney Mukendi, who became eligible on Friday, had nine points and eight rebounds in 13 minutes as he continues to gain playing time and makes the transition to blending in.
Crespi will face the winner of St. John Bosco-Phoenix Sunnyslope in the Platinum division semifinals on Monday.
Crean Lutheran 61, Texas Sandra Day O’Connor 60: Nick Giarrusso had 17 points and 12 rebounds to help Crean Lutheran earn a spot in the Platinum division semifinals.
Rolling Hills Prep 61, Arizona Mesa 47: Nick Welch Jr. had 25 points and 14 rebounds to advance Rolling Hills Prep (12-2) to the Gold Division semifinals at Damien.
Eastvale Roosevelt 65, Utah American Fork 61: Sloane Harris had 26 points for Roosevelt.
Mayfair 55, Palisades 49: Josiah Johnson finished with 27 points for Mayfair.
Campbell Hall 75, Washington Prep 69: Ean Britt finished with 23 points for Campbell Hall.
St. Pius X-St. Matthias 67, De La Salle 64: In double overtime, the Warriors prevailed. Kayleb Kearse scored 23 points and Dominic Gallardo had 16.
Crossroads 65, California 58: Shalen Sheppard, cleared by the Southern Section after transferring from Brentwood, scored 19 points for Crossroads.
Sherman Oaks Notre Dame 85, St. Augustine 47: NaVorro Bowman had 17 points for 10-4 Notre Dame. Josiah Nance added 15 points.
St. Anthony 64, Tesoro 55: Jamil House had 24 points and seven rebounds for St. Anthony.
Calabasas 76, Menlo 53: JR Hughes had 24 points and 14 rebounds for Calabasas.
Viewpoint 62, Palo Verde 43: Solomon Clanton Jr. finished with 21 points for 10-2 Viewpoint.
Girls basketball
Windward 68, Bishop Montgomery 50: Angelina Habis scored 37 points, including eight threes, for a Windward team that got better after the sit-out transfer period ended Friday. Charis Rainey added 21 points, 11 rebounds and eight assists.
Sierra Canyon 72, San Juan Hills 22: Emilia Krstevski finished with 16 points and Payton Montgomery had 12 rebounds for 11-1 Sierra Canyon.
Bill Plaschke writes, “If the Trojans truly want to return to greatness, being selected for the CFP is the goal. Not beating Notre Dame. Not even beating UCLA.” That’s 100% wrong.
As a USC alum (1965) and longtime fan, those are the only things that do matter. I have often said that if USC beats UCLA or Notre Dame, the coach deserves another season. To give up this grand tradition in pursuit of the arguably artificial and profit-driven CFP would be an unforgivable sin.
Noel Park Rancho Palos Verdes
A USC national football championship without playing Notre Dame rings hollow — an asterisked title, a meal that never satisfies, a taste you can’t quite wash away. It may shine in the record books, but it will always feel unfinished to those who know what real college football tradition demands. Earth to Lincoln Riley: an undefeated season is still a loss without playing the Fighting Irish. What’s next? If UCLA becomes competitive, then there will be no crosstown game?
Jeff Black Los Angeles
So the Fighting Irish own a series edge of 53-37, have won 3 in a row, 7 of the last 8, and 11 of the last 15 games. Yet Bill Plaschke now claims that Notre Dame is running away from the series and is afraid of “Ole SC.” To paraphrase the late, great Jim Healy, Plaschke is on the Leonard Tose highway!
Jerome M. Jackson El Segundo
Notre Dame is the Burger King of college football — always having it their way. From backdoor deals with the corrupt [CFP] guaranteeing a playoff spot if they finish ranked in the top 12 to refusing to join a conference so that they can pocket all bowl game money, the Irish are treated like college football royalty. Glad USC told the Irish toddlers they can’t have ice cream for breakfast!
Mark S. Roth Playa Vista
“USC and Notre Dame recognize how special our rivalry is to our fans …” A joint statement by the athletic directors of the two schools. Really? Fake news!
Wayne Muramatsu Cerritos
No USC-Notre Dame football game! Who’s next to be cut from the Notre Dame football schedule, Navy? Oh wait, the Irish can’t afford to drop Navy. That might hurt their chance$ at a playoff berth.
Lakers guard Austin Reaves will miss at least a month with a grade 2 strain in his left calf, the team announced Friday, one day after he left the game against the Houston Rockets at halftime.
Reaves, averaging career highs in points (26.6), assists (6.3) and rebounds (5.2), had already missed three games with what the team called a “mild” calf strain. He returned off the bench while playing on a minutes restriction against Phoenix on Dec. 23 and reprised his starting role on Christmas Day in a loss to the Rockets. But after scoring 12 points in 15 minutes in the first half, he was ruled out for the second half with “left calf soreness.”
Calf injuries have been major concerns across the NBA since three stars — Tyrese Haliburton, Damian Lillard and Jayson Tatum — suffered Achilles tears during last year’s playoffs. Haliburton and Lillard have previously dealt with calf injuries.
Lakers star guard Luka Doncic suffered a calf injury on Christmas Day last year while with the Dallas Mavericks and missed two months, during which he was traded to the Lakers.
“I know how it is to go to a calf injury. It’s not fun at all,” Doncic said Thursday after the game. “[I’ll] just be there to support him. Take your time. Calves are dangerous so take your time.”
The Lakers (19-10) are losing their second-leading scorer at a critical time of the season. They have lost three consecutive games, their only losing streak of the season, and their defense in the last 15 games has been among the worst in the league.
After the third consecutive blowout loss, coach JJ Redick questioned how much his players cared. He promised an “uncomfortable” film session and team meeting at practice on Saturday before the Lakers face Sacramento at Crypto.com Arena on Sunday.
After a difficult stretch of the schedule that included eight out of 10 games against teams with winning records, the Lakers have four of their next five against teams in the bottom of the Western Conference standings. Outside of a home game against the Eastern Conference-leading Detroit Pistons on Tuesday, the Lakers play the Sacramento Kings, the Memphis Grizzlies (on Jan. 2 and 4) and at New Orleans on Jan. 6.
Reaves’ absence could extend until the beginning of the Lakers’ Grammy road trip that begins on Jan. 20 against Denver.
Twisting and tying shoelaces into a knot became a formidable task for Justin Herbert in the days following hand surgery.
Every time the Chargers quarterback leaned over to tie his shoes, his cast would nudge in the way, complicating a once-menial task.
For Herbert, it became a constant reminder of the broken bone he suffered during a 31-14 victory over the Las Vegas Raiders on Nov. 30 — a helmet-to-hand hit from Raiders safety Jeremy Chinn that required surgery on his non-throwing hand the next day.
And while the 27-year-old, who earned his second Pro Bowl honor Tuesday, has been far from perfect since the injury, the Chargers (11-4) have managed to win four consecutive games, including two against last season’s Super Bowl teams.
“The days went on, and as I got better and more mobility with (the left hand), I think it’s become more normal, and it feels a bit better, so that’s also a positive,” Herbert said earlier this week.
Eking out wins against the Philadelphia Eagles and Kansas City Chiefs, Herbert increased his yards-per-pass attempt from 5.3 yards to 7.2 yards. His completion percentage improved from a season-low 46.2% against the Eagles to a respectable 65.5% against the Chiefs.
Against the Dallas Cowboys, Herbert recorded a 132.8 passer rating, his best since December 2021 in Week 14 against the New York Giants. He passed for 300 yards and three touchdowns in a 34-17 win over the Cowboys that led to the Chargers clinching a playoff berth Monday with San Francisco’s win over Indianapolis.
“To me, that’s just a test of the type of person, type of player he is,” said wide receiver Quentin Johnston, who made a spectacular, one-handed touchdown catch and finished with 104 receiving yards against Dallas. “I mean, shoot, still playing and executing at a high level — I’m really happy to be on the team with him. I would rather be with nobody else but him.”
The Houston Texans (10-5) on Saturday at SoFi Stadium will allow Herbert the chance to build on his impressive season, and exorcise at least some of his playoff demons.
Herbert’s nightmare performance against the Texans in the wild-card playoffs last season remains seared into his memory. He threw a career-worst four interceptions in a 32-12 defeat that dropped him to 0-2 in career playoff games.
“No one felt worse than I did,” Herbert said. “I think it’s important to continue to move forward and realize that it’s what happened, and it would be crazy of me to deny the truth of what happened and to live in this reality where, if I tried to block it out, I don’t think that’s gonna be any good.”
Plenty remains at stake for the Chargers. They remain in the hunt for the AFC West title and the AFC’s top playoff seed. If the Chargers beat the Texans and follow with a win over the Denver Broncos in Week 18, they’ll win the division. The Chargers need to win out and hope the Jacksonville Jaguars and New England Patriots both lose at least once to secure the No. 1 seed.
While coach Jim Harbaugh says the team is approaching the next two weeks one game at a time, the Chargers’ defense — inspired by Herbert’s efforts — sees the path to continuing their red-hot run.
“It’s a hell of a statement he’s making throughout the building, and everybody can feel it,” outside linebacker Khalil Mack said.
In a revamp of the 1973 mixed singles match, Aryna Sabalenka will play Nick Kyrgios on Sunday in Dubai.
Who: Aryna Sabalenka vs Nick Kyrgios What: “Battle of the Sexes” exhibition tennis match Where: Coca-Cola Arena in Dubai, United Arab Emirates When: Sunday at 7.45pm (15:45 GMT) How to follow: We’ll have all the build-up on Al Jazeera Sport from 13:00 GMT in advance of our live text commentary stream.
Women’s world number one Aryna Sabalenka will take on Australian maverick Nick Kyrgios in a “Battle of the Sexes” exhibition tennis match in Dubai on Sunday.
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Sabalenka, 27, will face the 30-year-old former Wimbledon finalist in a modern rendition of tennis icon Billie Jean King’s 1973 showdown with fellow American Bobby Riggs, which turned out to be a watershed moment for both tennis and the women’s movement.
Here is all to know before their much anticipated showdown:
How did the Sabalenka-Kyrgios match come about?
Kyrgios, who was ranked as high as 13 in the world in men’s singles, threw down the gauntlet to Sabalenka during the US Open in September, saying in an interview he would easily dispatch the Belarusian without having to try “100 percent to win”.
He said women cannot return professional men’s serves and claimed he would defeat the world’s top-ranked female player.
Sabalenka responded by saying she was ready to “kick a**”, which eventually led to Evolve, the marketing agency that represents both players, organising this weekend’s matchup.
Aryna Sabalenka hits a backhand in the women’s singles final of this year’s US Open, which she won against Amanda Anisimova on September 6, 2025 [Mike Frey/Imagn Images via Reuters]
What’s the history behind the ‘Battle of the Sexes’?
The original “Battle of the Sexes” took place in 1973 between King, then 29, and Riggs, 55, at the Houston Astrodome.
King, a 12-time singles Grand Slam champion, made history when she defeated the former men’s world number one amateur player 6-4, 6-3, 6-3 in a matchup that drew an estimated 90 million TV viewers worldwide.
King’s straight-sets victory was considered a pivotal moment for women’s sport at the time and solidified her status as a sports and feminist icon of her generation.
What are the rules for ‘Battle of the Sexes’?
Sabalenka, speaking on the Piers Morgan Uncensored YouTube show on December 9, said it would be “really tough” to compete against a male player of Kyrgios’s standard using a full court and standard rules.
As a result, there are several rule modifications for this match:
The players will be limited to just one serve instead of two.
Sabalenka’s side of the court will be 9 percent smaller than a normal tennis court.
It will be a best-of-three-sets contest – with a 10-point tiebreaker in the final set if required.
What has Sabalenka said about the match?
“I’m proud to represent women’s tennis and to be part of this modern take of the iconic Battle of the Sexes match,” Sabalenka said in a news release.
“Dubai is my home, and I know this city loves big, entertaining events. I have a lot of respect for Nick and his talent, but make no mistake, I’m ready to bring my A-game.”
What has Kyrgios said about the match?
Kyrgios said he’ll defeat the four-time Grand Slam champion without having to try hard.
“I think she’s the type of player who genuinely thinks she’s going to win,” Kyrgios said.
“She is not gonna beat me. Do you really think I have to try 100 percent? I’m gonna try because I’m representing the men’s side. I’d say like 6-2 maybe.”
“I think I’m going to be OK. I’m going to go there, and I don’t want her to win. That’s for sure,” he added.
Nick Kyrgios, right, finished runner-up to Novak Djokovic at the 2022 Wimbledon men’s final [File: Peter van den Berg/USA Today Sports via Reuters]
Is oft-injured Kyrgios planning a return to professional tennis?
Kyrgios will compete at next month’s Brisbane International after receiving a wildcard entry, organisers said on Sunday, as he works towards a potential return to the 2026 Australian Open.
His career has been ravaged by injury over the past couple of years, and he played only five singles matches in 2025, the most recent at the Miami Open in March.
Kyrgios, the 2018 Brisbane champion, is now ranked 673rd in the world with no protected ranking and will also need a wildcard to compete at Melbourne Park.
How to watch the ‘Battle of the Sexes’
The match is being broadcast live and free in the United Kingdom on BBC 1 and streamed on BBC iPlayer.
Please check local guides for access in other countries.
Al Jazeera will provide live text commentary of the match.
The Chargers have never won five in a row under coach Jim Harbaugh, but they have a chance to do so Saturday. It won’t be easy against this Houston Texans defense, ranked No. 1 in the NFL.
Now, the Texans are riding a seven-game winning streak and haven’t dropped a game since a three-point home loss to Denver at the beginning of November.
The Chargers clinched a playoff berth this week but are looking for more than a wild-card spot. If they win Saturday, the AFC West title — and at least one more game at SoFi Stadium — is within reach. Even the AFC’s No. 1 seed is in play.
How the Texans can win: Houston’s defense can hold up against the run and has the secondary to challenge Herbert, but the Texans offense has been one of the league’s worst in the red zone. The Texans need to convert those opportunities into touchdowns. C.J. Stroud is at his best throwing between the numbers when protection holds, although he has a suspect offensive line, and the Texans will lean on short passes to compensate for a shaky running game. Forcing a turnover or two is critical. Houston thrives when it shortens the field and avoids asking the offense to sustain long drives. Field goals alone won’t be enough.
How the Chargers can win: Control the game with balance and patience. Houston’s defense is opportunistic and excellent at forcing turnovers, but it can be stressed if Herbert has time and the Chargers stay committed to the run. That won’t be easy if Kimani Vidal is out. Even modest success on the ground forces the Texans to respect play-action fakes and opens throwing lanes, particularly over the middle. Herbert’s ability to escape pressure and run, especially up the middle against man coverage, could be a hidden weapon late. If the Chargers protect the ball and finish drives instead of settling for field goals, they can keep Houston from dictating the tempo.
Trading sports cards is a game of negotiation for Greg Petikyan. Within seconds, he talked to multiple vendors at Frank and Son Collectible Show last month offering the same card: a 2025 Panini Donruss Saquon Barkley Downtown.
The first deal consisted of a 3-for-1 exchange, with an additional couple of hundred dollars to sweeten the deal or a straight purchase for $460. As the vendor looked through his phone for the value of the cards he asked for, Petikyan told him he’ll circle back.
Instead, the entrepreneur offered it to Eric Mitchel, another booth owner, across the aisle and sold it. A rectangular cardboard collectible with the Super Bowl-winning running back in front of the Philadelphia skyline sold for $300.
What about the other deal?
“Too late,” Petikyan said. “I’ll still buy those cards I asked for.”
Customers browse and shop for cards at vendor Eric Mitchel’s booth at Frank and Son Collectible Show.
(Ronaldo Bolanos / Los Angeles Times)
Nothing personal, just business.
Trading and collecting cards, an industry valued at $14.9 billion in 2024, is estimated to reach $52.1 billion within the next decade, according to Market Decipher report. The sports memorabilia business, as a whole, is estimated to reach a value of $271.2 billion by 2034.
E-commerce platforms like Fanatics Live and Whatnot have turned business transactions involving the cards of sports legends into entertainment and helped grow the market. Heritage Auctions sold the most expensive card in August. The collectible known as the “holy grail” by basketball collectors was a 2007-08 Upper Deck Exquisite Collection Dual Logoman Autographs Michael Jordan and Kobe Bryant card.
The one-of-one sold for $12.932 million, a sum that topped a Mickey Mantle card that went for $12.6 million in August 2022. The Jordan-Bryant card is the second-most expensive sports collectible of all time, trailing Babe Ruth’s 1932 World Series Jersey, which he wore when he called his shot, that cost $24.12 million.
Last Friday, Heritage Auctions set a sales record for the year by crossing the $2 billion mark. The cards sold that day included a 2003 Upper Deck Exquisite Collection Dual Logoman Jordan-Bryant card for $3,172,000 — this one was not autographed.
The trading card business has grown so much, the ecosystem has created specialized markets within it. Collectors can chase a specific team; stick to vintage cards; complete a set of prints with mistakes; chase specific relics of their favorite team; or even just buy cards to resell them for the sole purpose of buying more to flip.
“I know for a fact, a lot of men like to show off their collection,” Adam Campbell, sports cards specialist with Heritage Auction, said. “People love to have good, cool collections,” he added.
The type of chase can change the direction of a business transaction, said George Peña, 53, another booth owner at Frank and Son, an old Sam’s Club that now houses more than 200 vendors selling and showcasing collectible merchandise three days a week.
Kids go into his booth and negotiate with him. Most of the time he doesn’t necessarily need a card from them but engages with them to give them the experience.
“Family members get all excited for them,” Peña said.
But when dealing with people like Petikyan, the stakes change.
“Negotiations are a little different with those kinds of people because they want to make money and we want to make money,” he said as he quipped with Petikyan.
Some collectors have turned into investors because the value of cards is so volatile. It changes in real time — it’s fast, unpredictable and relentless. The moment Dodgers designated hitter and pitcher Shohei Ohtani hit three home runs and struck out 10 batters in Game 4 of the 2025 NLCS, the value of his cards went up. But it cuts both ways — the moment Cleveland Guardians pitcher Emmanuel Clase was indicted on federal charges for wire fraud conspiracy and bribery, the value of his cards dipped.
“The value of cards is not based on anything else, whatsoever, except for hype and buzz” Campbell said. “[It’s] entirely arbitrary.”
Vendor Marion Owens completes a transaction at Frank and Son Collectible Show last month. Owens has been selling cards since 1992.
(Ronaldo Bolanos / Los Angeles Times)
Collecting trading cards has been a part of the culture since Goodwin Tobacco Company released the first set of individual players’ baseball cards in 1886. The N167 Old Judge sets were inserted into tiny cigarette boxes to increase sales and to make sure the cards were not damaged in transit.
Since the tobacco industry started the trade, sports cards have endured changes through generations, each defined by specific characteristics.
The vintage era, before the 1980s, ushered in simpler designs, lower print runs and sets featuring the legends of all the sports. Then came the junk wax period, marked by mass overproduction that devalued the product. The current ultra modern era evolved the market into investments, scarcity, and digitized the business with websites like Arena Club, which repackages pre-graded cards as slab packs.
No matter the changes, there remains a common thread within collectors throughout the years: opening packages and feeling a bump of euphoria when a chase card, a sought-after item, appears.
“It’s the best feeling ever, imagine getting a $1,000 card for like 20, 30 bucks?” Petikyan said. “It’s like hitting a lotto ticket, but better, because it could go up in value depending on the player.”
Petikyan, 27 from Montebello, runs a page called Strictly Pullz on the shopping app Whatnot where he opens boxes and auctions the items within them. Any card pulled from a team that’s purchased by the individual will be shipped to them. On occasion, he inserts a card with higher value to hype a specific set.
To some, the business is intertwined with collecting.
“I’ll use some of the money that I am able to make on the business side, to add to my personal collection,” Mitchel said. “Finding items for the personal collection, I wouldn’t find if I wasn’t out for the business part of it.”
Regardless of motivation, pulling a card worth more than the price paid for will remain priceless.
“I just bought a pack and I pulled a card worth $1,000,” Campbell said, speaking as a collector. “It can change your whole day, and maybe your whole week, maybe a whole month or even a whole year every time you open a pack.”
But, collecting cards is more than just the value of each, Campbell said.
“Do this because you like sports, do this because you love collecting.”
Netflix’s mega-hit Stranger Things first hit our screens back in 2016 and now, its fifth and final season is underway with the last ever episode dropping on December 31
Jess Flaherty Senior News Reporter
06:04, 26 Dec 2025
The Stranger Things cast pictured at the TCL Chinese theatre in Los Angeles on November 6, 2025 for the season five premiere(Image: AFP via Getty Images)
Stranger Things’ final season is well underway, a decade after the residents of Hawkins first hit our screens and became a global phenomenon. The Netflix series begins in the small fictional Indiana town in November of 1983, with a cast of beloved characters played by talented actors at varying levels of their careers – and one casting choice has been lauded by fans.
The children at the front of the show were complete unknowns when they first donned 80s gear, accessories and dialogue, hooking viewers with nostalgia and intrigue back in 2016. They were joined by screen icons though, with Winona Ryder as Joyce Byers drawing in many viewers.
Ryder’s performance as the perpetually stressed, chain-smoking mother who refuses to listen to authorities when her son, Will, goes missing in the very first episode added a sense of heart and strength to the show.
The actor’s star power also helped attract viewers to the first season. Ryder shot to fame in a string of quirky, misfit-type roles in the 80s and early 90s, before taking on more dramatic and period roles too.
She’s been critically acclaimed for her acting prowess and has even bagged two Academy Award nominations.
Stranger Things fans have praised the casting choice, with one taking to Reddit to declare: “Winona Ryder being cast as Joyce Byers is one of the greatest casting decisions of all time. I couldn’t picture anybody else in this role.”
In the comments section, people were keen to share their thoughts. One Reddit user said: “I just rewatched season 1 a couple weeks ago and I was just blown away. I think her acting in that season is amazing!
“You see things differently during a re-watch and her acting really struck me and I don’t think I fully appreciated the first time around.”
Another asked: “Where is her Emmy for this role?!”
A third shared: “Winona is my favourite actress. People forget she was HUGE in the late 80s and 90s. I had been hoping for her to have a comeback for years and years and she is wonderful as Joyce Byers.”
A fourth said: “It was so smart to cast her because I didn’t know anything about the show. Just that this new show was coming out on Netflix and Winona Ryder was gonna be in it and I will watch anything with Winona and then it became one of my favourite shows ever.”
Someone else said: “Such a great comeback role for her.”
Another said: “I’ve always been a huge fan.”
One fan shared: “IMO [in my opinion] Season 1 NO ONE could top her acting. Millie was #2 for me…”
Reflecting on other casting choices, another said: “They also did great with casting her boys. They genuinely look like they could be related to her.”
And another added: “The casting of the whole show is brilliant and also is the yardstick for child actors as far as I’m concerned.
“A lot of movies or shows prioritise looks over the actual acting talent of the kids, but these kids can act.”
It takes a lot for sweet-tempered 28-year-old Nick Darnell to transform himself into Christmas’ most sought-after sourpuss.
There’s colored contacts and facial prosthetics, a protruding belly and at least an hour of makeup. But for the devout Christian and preternaturally cheerful young actor, the real metamorphosis is psychological.
“People today love to connect with the villain,” said the viral Grinch impersonator. “The world is just a darker world now.”
Darnell called the chartreuse baddie he portrays “the modern-day Santa.”
Dr. Seuss’ holiday parable “How the Grinch Stole Christmas!” has been a seasonal favorite since it was published in 1957, ranking among the most popular and profitable of the author’s iconic rhyming picture books.
The story’s sassy, brassy antihero has likewise adorned Christmas trees and school library shelves for generations. His hornlike fur forelocks and pathological refusal to assimilate have led some critics to call the Grinch ambiguouslyantisemitic, but those concerns have largely been glossed over by years of nostalgia.
Experts say 2025 heralds the Grinch’s ascent from Yuletide bit player to Christmas A-lister. He now crowds out Kris Kringle in store displays, social media feeds and holiday meet-and-greets.
Unlike Santa, who ho-ho-hos his way through the holiday season, Grinches twerk and pout and scream in kids’ faces. Compilations of their antics on YouTube and TikTok routinely rack up millions of views.
“I do the things that people think,” Darnell said of the role. “I’m not restrained.”
Despite the Grinch’s anti-consumerist zeal, the market for his visage has exploded in recent years.
Target touts its “Grinchmas,” while Walmart has “WhoKnewVille.” McDonald’s sells Grinch fries, Starbucks features a “secret menu” frappuccino. Hanna Andersson, a popular purveyor of holiday pajamas, boasts roughly a dozen different Grinch patterns, compared to three Hanukkah options and just one Santa design in two colorways.
“I’m not restrained,” Grinch impersonator Nick Darnell, 28, says of his role.
(Christina House/Los Angeles Times)
Ownership of the Grinch’s likeness is guarded as jealously as the villain protects his lair: Dr. Seuss Enterprises holds the rights to the children’s book, Warner Bros. Discovery the 1966 animated TV special, and Universal Studios the 2000 live-action Jim Carrey film, which ranks among the highest-grossing Christmas movies of all time.
But impersonators, academics and even working Santas agree: Americans’ embrace of the Grinch in 2025 goes far beyond consumerism.
“It’s definitely more popular,” said ‘Santa’ Ed Taylor, the famed Los Angeles Santa behind the Worldwide Santa Claus Network, a training camp for the art of Christmas cheer. “It’s a little yin and yang. Maybe we need a little bit of both.”
Costume companies across Los Angeles say they’ve seen a deluge of demand for the Grinch this year. At Etoile Costume & Party Center in Tarzana, nearly half of Christmas costume rentals are now furry green villains.
“It’s about equal to Santa,” one employee said. “Maybe 40% Grinch and the rest Santa.”
Ryan Ortiz, dressed in a Grinch costume, stands next to his 1969 Volkswagen Bus in San Diego on Dec. 21.
(K.C. Alfred / The San Diego Union-Tribune via Getty Images)
Fans of the hirsute sourpuss seek him out for his in-your-face edge — the opposite of Santa’s remote joviality. Santa enforces his regime of goodness through lists and surveillance. The Grinch will get in your face and yell at you to shut up.
“[Santa]’s supposed to be mysterious and unknown,” said Darnell’s fiancee JadaPaige. “He’s supposed to just come in the night and you’re never supposed to see him.”
“I grew up obsessed with Santa Claus — I did not grow up obsessed with the Grinch,” Darnell said. “I was the kid waiting up in the middle of the night, peeking, wondering if Santa’s down there. A lot of modern day kids aren’t having that journey.”
Instead, many Gen Alpha youths look to the Grinch for his views on “corruption or poverty or the oversaturation of commercialism,” Darnell said.
“Santa is looked at more like a godly figure, while the Grinch is a more everyday man,” the actor explained. “The world is so sinister and negative. [The Grinch] tells you how it is, rather than telling you everything is going to be fine.”
TikTok turbocharged that trend, with the infamous green meanie matching or beating his red rival in holiday clout.
Grinch impersonator Nick Darnell said the character he plays has become popular because, “He has aura.”
(Christina House/Los Angeles Times)
Today’s professional Santas are often retirees with a bit of a belly and some time on their hands. Grinches, by contrast, are more likely to be working actors like Darnell, who look reverently to Carrey’s performance as a blueprint for the character’s slapstick antics and snarky reads.
Still, experts say the Grinch’s 2025 glow-up likely owes as much to holiday exhaustion and broad consumer pessimism as it does vertical video virility.
“The Grinch is the opposite side of Christmas,” said Oscar Tellez, who owns Magic Dream Costumes and Party Rentals in East Los Angeles and says he’s seen a spike in Grinch requests even as overall holiday rentals have sagged.
“Especially with the Latino community, I don’t think they feel the enthusiasm to celebrate,” Tellez said. “They are more worried about what’s gonna happen next.”
Pop culture experts agreed.
“The economy is in big trouble, our political situation is chaotic, there’s a lot of hate — it’s no wonder that we would seek to express that through the embodiment of a monster like the Grinch,” said Michael M. Chemers, director of the Center for Monster Studies at UC Santa Cruz.
“You’ve seen these nativity displays popping up all over the country that have the Jesus figures removed and it says ‘ICE was here,’ ” he added. “I think there’s just a lot of Grinchy feeling right now in the world.”
Chemers and other scholars say the emergence of the Grinch as a foil to Santa is less a departure than a return to form: the Grinch is a “PG version” of the mythical Krampus, a shaggy, fork-tongued Germanic goat man who beats and even abducts naughty children, working as an enforcer for Father Christmas.
An “organillero,” or traditional street musician, dressed as the anti-Christmas character known as the Grinch plays on a central street in Mexico City on Dec. 9.
(Yuri Cortez/AFP via Getty Images)
“He’s been called the Christmas devil,” said Jeff Belanger, author of “The Fright Before Christmas,” a compendium of so-called “Yuletide monsters.”
“[Krampus] represented the consequence of bad behavior, while St. Nick rewards good behavior,” he said.
Krampus likely evolved from older, pre-Christian deities, just as Christmas absorbed solstice and midwinter customs, the author explained. The Christmas most Americans grew up with only emerged as a national holiday in the wake of the Civil War, he said, about a decade after the formal introduction of Thanksgiving in 1863. It was around this time that Christmas trees became popular in the United States.
“In 1867, Charles Dickens came over to Boston and that’s when he read his ‘Christmas Carol’ for the first time in America,” spurring President Ulysses S. Grant to declare Christmas a federal holiday, Belanger said. “It was truly on the back of that story.”
The holiday’s corpulent, white-bearded dandy arrived even later, his schmaltzy persona skimmed from bony St. Nicholas between Reconstruction and 1931, when Coca-Cola debuted its iconic, brandy-flushed Santa Claus.
“That’s when Christmas turned purely commercial, and there was no room for consequences anymore,” Belanger said.
Seuss’ Grinch sits somewhere in the middle — cuddlier than Krampus and pricklier than Santa — making him the perfect avatar for a moody, uncertain age.
Workers check Grinch inflatables ready for export at a factory in Suixi County in central China’s Anhui Province on March 19.
(Wan SC/Future Publishing via Getty Images)
Grinch boosters point out that the villain repents and reforms at the end of the story, shedding his pathological hatred of Christmas.
“I always tell people, ‘Don’t you just love how his heart grew three sizes?’ ” Taylor, the famous Santa, said of his increasingly popular crossover events.
Others note that it’s never the repentant Grinch who marauds through schools and holiday parades or blows up on social media.
“Once he’s rehabilitated, he’s no fun anymore,” Chemers said.
That makes it hard for the holiday villain to visit sick kids in the hospital, as legions of Santas do every year, or comfort children who confide in him about bullying.
“The message is one of encouragement and positivity and acknowledgment of accomplishments and encouragement to strive harder,” Taylor said. “It’s these beautiful personal development messages that Santa gets to be the conduit for.”
The Grinch, by contrast, can affirm where you are, without ever asking you to be better.
“He can hear you and know what you’re thinking, because he has the same thoughts,” Darnell said of his beloved version of the character. “People want to know his heart and his mind, and that’s something they wouldn’t be able to ask Santa.”
Welcome back to this week’s Lakers newsletter, where we’re making our interview lists and checking them twice. I have something to share: I never celebrated Christmas growing up. We didn’t do presents, trees, decorating or any of that.
What we did was basketball.
From spending Christmas Day eating my mom’s home-cooked meals and watching the NBA, I will now be at Crypto.com Arena covering the game my parents will inevitably ask about later. Talk about a special holiday gift.
All things Lakers, all the time.
LeBron James rounds into form
At this stage of LeBron James’ career, it’s not enough to just evaluate the Lakers superstar’s performance in a vacuum. So when coach JJ Redick was asked in Utah before James played his 10th game of the season whether the 21-time All-NBA honoree was “looking more like himself,” Redick didn’t have a straightforward answer.
“Well, I think you have to contextualize it,” Redick told reporters. “[He’s] ‘looking like himself’ as a 41-year-old coming off [a knee injury] and sciatica.”
Redick is premature in calling James a 41-year-old — his birthday is not until next week — but James is at least back to a version of himself. About a month since his season debut, James is starting to round into form, moving past the informal training camp and preseason period after sciatica kept him out all offseason.
James is averaging 27.6 points, 6.2 assists and 7.2 rebounds in the last five games during which the Lakers (19-8) went 3-2. His shooting percentage improved to 53.8% compared to 41.3% in his first six games.
But James is in a new era of his play. His usage rate is the lowest it’s ever been. Redick commended the superstar’s willingness to play off the ball more with Luka Doncic and Austin Reaves emerging as the team’s primary ballhandling options.
There are moments when James’ age is showing. A second jump that isn’t as quick as it once was. A dunk that looks more deliberate than explosive. Then he turns back the clock by bulldozing Luke Kornet on a vicious one-handed dunk. James, always one of the league’s best in transition, still leads the Lakers with 6.4 transition points per game.
Lakers star LeBron James dunks over San Antonio Spurs center Luke Kornet at Crypto.com Arena on Dec. 10.
(Gina Ferazzi / Los Angeles Times)
“The thing about LeBron — it’s why he’s so great — is he can play with anybody,” Clippers coach Tyronn Lue said. “So it doesn’t matter who’s on the floor, but he’s always going to be effective.”
James showed he can still carry the team for stretches when Doncic suffered a left leg bruise during the first half against the Clippers, and the shorthanded Lakers, who entered the game without three starters, still chopped the Clippers’ 22-point lead to seven in the fourth quarter.
Doncic (leg) will remain out for Tuesday’s game against Phoenix, along with Rui Hachimura (groin) and Gabe Vincent (back). Reaves (calf) is questionable as his absence has surpassed one week.
The Lakers have been short at least one player for almost every game this season, Deandre Ayton pointed out Monday after practice as he prepared to return from a two-game absence because of an elbow injury. The injuries, highlighted by James’ 14-game absence, has made Redick feel like this team’s primary identity at the quarter mark of the season is “chaos.”
Yet leadership from players such as James has helped the Lakers find calm amid the confusion.
“This is not a quiet team,” Ayton said. “… We communicate. That’s what brings closure, where you know the guy might not be out there, or superstars might not be out there, but they with us in spirit.”
James was a vocal leader even while injured. When he returned to the court, his energy was infectious in practice, Reaves said, who often marvels at how James, despite playing in a record 23rd NBA season, still feels like one of the biggest kids in the gym.
So a month after his return, when asked in Utah about how James looked in the context of his age and recent injury history, Redick didn’t hesitate to follow up.
“Pretty damn good,” Redick said.
Holiday spirit
Lakers star LeBron James stands on the court during player introductions before a game against the Utah Jazz at Crypto.com Arena on Nov. 18.
(Gina Ferazzi / Los Angeles Times)
While the NFL tried to use Beyoncé to take over Christmas last year, the games were all laughers. The NBA, meanwhile, planted its flag with a thrilling slate that had four of five games decided by six or fewer points.
“I love the NFL,” James said into the ABC camera last year after the Lakers won a 115-113 nail-biter over the Golden State Warriors. “But Christmas is our day.”
The Lakers are playing on Christmas for the 27th season in a row. James is slated for his 20th Christmas Day game, but even he’s grown tired of his personal tradition.
“I’d much rather be at home with my family,” James said. “But it’s the game. It’s the game I love. It’s the game I watched when I was a kid on Christmas Day, watching a lot of the greatest to play the game on Christmas. It’s always been an honor to play it. Obviously, I’m going to be completely honest, I would like to be home on the couch with my family all throughout the day. But my number is called, our numbers are called, so we have to go out and perform. And I look forward to it.”
The Lakers are 25-26 on Christmas Day. This year’s lineup is delicious. The Lakers at home against Houston — the only team in the league besides Oklahoma City ranked in the top five in offensive and defensive rating — is the prime-time entree. The 11:30 a.m. PST appetizer between San Antonio and Oklahoma City could be the star of the night.
Outside of James’ slightly Grinchy mood about playing, the Lakers were getting into the holiday spirit last week. Doncic gifted e-bikes to everyone in the organization, 103 in total. Jarred Vanderbilt and Jaxson Hayes held charity events. Vanderbilt and his foundation held a holiday giveback at the Boys & Girls Club last Friday while Hayes had giveaways in Compton and his native Cincinnati.
“Stuff like that just fills my heart up and makes me feel better,” Hayes said. “… Stuff like that, I just feel like it’s why God put us here, we’re here to help others.”
On tap
Records and stats current entering Monday’s games
Dec. 23 at Suns (15-13), 6 p.m. PST
Nine days after the Lakers barely survived a dramatic fourth-quarter Phoenix comeback attempt, the Lakers and Suns run it back. In the midst of a challenging portion of their schedule that featured games against Western Conference front-runners Oklahoma City, Denver and Houston, the Suns have lost seven of their last nine games, including three of their last four.
Dec. 25 vs. Rockets (17-9), 5 p.m.
Entering Monday’s game against the Clippers, the Rockets lost three of their last four games. All the losses — to Denver, New Orleans and Sacramento — came in overtime. Kevin Durant is averaging 25.3 points while center Alperen Sengun is putting together a career year with 23.2 points, 9.2 rebounds and 6.9 assists.
Dec. 28 vs. Kings (7-22), 6:30 p.m.
The Kings scored an improbable victory over the Rockets to break a six-game losing streak but remain in the Western Conference cellar. The Lakers needed a career-high 51 points from Austin Reaves to survive against the Kings on Oct. 26 without Doncic or James.
Status report
Lakers star Luka Doncic controls the ball during a loss to the Clippers on Dec. 20. Doncic sustained a left leg contusion in the game.
(Jae C. Hong / Associated Press)
Luka Doncic: left leg contusion
Doncic suffered the injury when he was kneed in the leg by the Clippers’ Bogdan Bogdanovic. He sat out of the second half and was seen on the practice court Monday with a wrap around his left calf. He is out for Phoenix, but is day to day.
Austin Reaves: left calf strain
Reaves was a partial participant in practice Monday and remained day to day. He passed the initial estimated one-week mark since being diagnosed with a mild left calf strain on Dec. 12.
Deandre Ayton: right elbow soreness
The center appeared to suffer the injury when he got tangled up with Phoenix’s Mark Williams on Dec. 14 and missed two games but will return against the Suns on Tuesday.
Rui Hachimura: right groin soreness
Redick said Hachimura started feeling pain in his hip after the game at Utah on Dec. 18. The coach expects Hachimura to be sidelined for three to five days, which leaves a Christmas Day return possible.
Gabe Vincent: low back soreness
Vincent will not be reevaluated until at least Christmas after a back issue first popped up before the game at Utah.
Favorite thing I ate this week
A meal worth savoring at Santa Monica’s Elephante: (clockwise from top) the pizza bianco, vodka sauce pasta and squash agnolotti.
(Thuc Nhi Nguyen / Los Angeles Times)
I finally crossed an essential L.A. dining experience off of my list this week. I visited Elephante in Santa Monica and very much understand the appeal.
Everyone talks about the whipped eggplant, which we got, but the vodka sauce pasta was my favorite because the pasta was perfectly cooked and the sauce had a slight smoky kick from the Calabrian chile. We also ordered the pizzo bianco, which is finished with a drizzle of hot honey and a squeeze of fresh lemon juice. An order of the squash agnolotti pasta that features sage, brown butter and walnut pesto completed the spread.
My Christmas shopping is done. My annual rewatch of “The Family Stone” is queued up. And our last issue of 2025 is out in the world. Which means it’s time to sign off and start food prep. (I’m doing beef Wellington this year.)
But before I do, I wanted to share stories from this week’s edition of The Envelope, and my thanks to all of you out there for reading. Have a very happy holiday!
The Envelope Directors Roundtable
(Jason Armond / For The Times)
As Rian Johnson said while taping this year’s Envelope Directors Roundtable, filmmakers don’t get many chances to hang out and talk shop — so when they do, it’s always an engaging and illuminating conversation.
Led by moderator Mark Olsen, participants Johnson (“Wake Up Dead Man: A Knives Out Mystery”), Jon M. Chu (“Wicked: For Good”), Nia DaCosta (“Hedda”), Guillermo del Toro (“Frankenstein”), Mona Fastvold (“The Testament of Ann Lee”) and Benny Safdie (“The Smashing Machine”) shared their unvarnished views on theatrical moviegoing, budgets and artificial intelligence. It’s absolutely worth your time.
And by the by: I’m not sure what The Times’ standard is on the, uh, pungent phrase Del Toro used to describe A.I. during the conversation, so I’ll just say that you can and should see it in all its glory on our Instagram.
‘Roofman’ Is a Christmas Movie
(The Tyler Twins / For The Times)
If you’re looking for a new Christmas movie to watch before Santa squeezes down the chimney tonight, “Roofman” is just the ticket. Like “The Holdovers” last year, Derek Cianfrance’s charming fable about a fugitive (Channing Tatum) who falls for a single mom (Kirsten Dunst) while hiding out in a Toys R Us channels Old Hollywood in a way that can seem sadly out of fashion.
“As we were selling this movie, trying to get it financed, I was pitching it to everyone as a Capra movie and what I kept hearing is, ‘We don’t make those movies anymore,’” as Cianfrance told Kristen Lopez.
Perhaps they should reconsider. Unfairly written off after its $8 million opening weekend in October, “Roofman” went on to gross $34 million worldwide from a slim $19 million budget. Not exactly “Home Alone,” to be sure, but a respectable showing nonetheless — and that’s before its streaming afterlife. And those of us who dearly miss the mid-budget studio movie will take any data we can to show they can still thrive at the right price.
Imax’s banner year
(Robert Alexander / Getty Images)
Speaking of box office, one big bright spot in 2025 was the performance of Imax and other premium formats, which are attracting cinephiles to see movies theatrically, often multiple times, and at a higher price point than the standard movie ticket.
With an estimated $1.2 billion take this year, and a raft of highly anticipated films like Christopher Nolan’s “The Odyssey” slated for 2026, Imax has forged an alliance between our most committed moviegoers and some of our most exciting filmmakers that bodes well for the future of cinemas, writes Daron James.
“Imax superfan Shane Short, who saw ‘Oppenheimer’ 132 times and once sat next to [cinematographer Autumn Durald] Arkapaw during a screening of ‘Sinners,’ says it’s a good thing. ‘What really pulls me into movies is the emotional aspect when connecting with something. For me, it’s hard to get that in a normal theater. Imax is truly the ultimate immersive experience that draws me in.’”
Masashi “Jumbo” Ozaki, whose 113 worldwide victories were the most of any player from Japan, died Wednesday in his home country after a battle with colon cancer, the Japan Golf Tour said. He was 78.
Ozaki was revered in Japan, a big hitter with a sense of style who won 94 times over 29 years on the Japan Golf Tour, the last one coming at the 2002 ANA Open when he was 55.
He rose to No. 5 in the world ranking in 1996 at age 49. Ozaki often got overlooked for never winning outside Japan except for the New Zealand PGA Championship. He was inducted into the World Golf Hall of Fame in 2011.
“He is an indispensable, one-of-a-kind figure in discussing men’s golf, both now and in the future,” the tour said in a social media post.
Ozaki competed in 49 majors, his best finish coming in the 1989 U.S. Open at Oak Hill when he finished three shots behind Curtis Strange. He played the Masters for the 19th and final time in 2000 when he was 53 and tied for 28th.
Isao Aoki was the first Japanese player in the World Golf Hall of Fame, and Hideki Matsuyama became the first to win a major at the 2021 Masters. Both were inspired in some fashion by Ozaki, the pioneer in a nation now obsessed with golf.
Ozaki won the Japan Open five times and the Japan PGA Championship six times. He led the Japan Golf Tour money list a record 12 times, including five in a row from 1994 through 1998. He won his final money title in 2002, when he was 55.
When he was inducted into the Hall of Fame, Ozaki said his one regret was not playing more outside of Japan.
“But I dedicated my life to Japanese golf and am extremely grateful the voters thought I was worthy of this honor,” he said upon his election. He received 50% of the vote on the International ballot.
Ozaki was looked upon as the Arnold Palmer of golf in Japan with his powerful swing, charisma and sense of style, often wearing silk shirts and baggy pants. And his skill was not limited to just golf. He played the guitar and had three songs reach the pop charts in Japan, according to the Hall of Fame.
His first love was baseball, and he spent three years pitching professionally before turning to golf. That was evident when Ryo Ishikawa, who won his first Japan Golf Tour title at age 15, spoke of Ozaki’s influence. Ishikawa said he would visit Ozaki about 10 times a year to get advice.
“Jumbo used to be a baseball player, so he always tried to teach me the link from pitching or hitting to golf,” Ishikawa said in 2010 interview with the Associated Press. “Jumbo wanted me to hit the ball far.”
Ozaki traveled with an entourage when he did play outside Japan in the majors, usually renting a house and bringing a sushi chef so his people would feel at home.
He has two younger brothers who also played on tour, Naomichi (Joe) and Tateo (Jet).
Ozaki played in the 1996 Presidents Cup, partnering with Vijay Singh to beat the American duo of Fred Couples and Davis Love III. He qualified for the 1998 team but decided against the trip to Australia, and his brother, Joe, played instead.
