year

Keiko Agena likes to create moments of coziness — not just on Sundays, but whenever she possibly can.

“Oh, there’s my rice cooker,” she says when she hears the sound in her Arts District home. “We’re making steel-cut oatmeal in the rice cooker, which by the way, is a game changer. I used to have to baby it and watch it, but now I can just put it in there and forget it.”

In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.

The 52-year-old actor, who played music-loving bestie Lane Kim in the beloved series “Gilmore Girls,” delights in specific comforts like a bowl of warm oats, talking about Enneagram numbers and watching cooking competitions with her husband, Shin Kawasaki.

“It sounds so simple, but I look forward so much to spending time on the couch,” Agena says with a laugh.

It is time that she’s intentional about protecting, especially amid her kaleidoscope of projects. Over the last couple of years, Agena starred in Lloyd Suh’s moving play “The Chinese Lady” in Atlanta, acted in Netflix’s “The Residence,” showcased her artwork in her first feature exhibit, “Hep Tones” (some of her ink and pencil drawings are still for sale), and performed regularly on that L.A. improv circuit. And her work endures with “Gilmore Girls,” which turns 25 this year. Agena narrated the audiobook for “Meet Me at Luke’s,” a guide that draws life lessons from the series, and is featured in the upcoming “Gilmore Girls” documentary “Drink Coffee, Talk Fast.”

She shares with us her perfect Sunday in L.A., which begins before sunrise.

5 a.m.: Morning solitude

I like to be up early-early, like 5 a.m. I like that feeling of everything being quiet. I’ll go into the other room and do Duolingo on my phone. I am a little addicted to social media, so the Duolingo is not just to learn Japanese, but also to keep me from scrolling. Like, if I’m going to do something on my phone, this is better for me. I think my streak is 146. Shin is Japanese, from Oyama. So I’ve been meaning to learn Japanese for a while. For him and his mom.

Then I’ll do [the writing practice] Morning Pages. I don’t know when I learned about Julia Cameron’s book [“The Artist’s Way”] — probably around 2000. I know a lot of people do it handwritten, but I’m a little paranoid about people, like, finding it after I die. So if I have it on my computer and it’s password protected, I can be really honest.

Then a lot of times, I’ll go back to bed. Shin, as a musician, works at night, and so he wakes up a lot later. So I’ll fall back asleep and wake up with him.

9 a.m.: Gimme that bread

I don’t do coffee anymore because it’s a little too tough for my system, but I’ll walk with Shin to Eightfold Coffee in the Arts District. It’s tiny but very chill. Then we’re going to Bliss Bakery inside the Little Tokyo Market Place. We get these tapioca bread balls. If you make any kind of sandwich that you would normally make, but use that bread instead, it ups the game. It’s life-changing. The Little Tokyo Market Place is not fancy or anything, but it has everything that you would want. There’s Korean food. They have a little sushi place in there. You can get premade Korean banchan and hot food in their hot food section. They also have a really good nuts section. It’s just one big table with all these nuts, just piles and piles.

10 a.m.: Nature without leaving the city

We’ll go to Los Angeles State Historic Park near Chinatown. I like that place just because it’s very accessible. Like, they have accessible bathrooms and I’m always checking out whether a place has good bathrooms. We call it Flat Park because it’s a great walk. Like, you’re not really out in nature, but there’s a lot of greenery. You can take your shoes off and at least touch grass for a second.

11:30 a.m.: Lunch and TV cooking shows

One of my favorite salad-sandwich combos is at Cafe Dulce in Little Tokyo. A Korean cheesesteak and a kale salad. That’s always like a — bang, bang — good combo. So we might go there or Aloha Cafe, though it’s not fully open on Sundays. But I love it because I grew up in Hawaii. They have this great Chinese chicken salad and spam musubi and other Hawaiian food that is so good.

We’ll bring home food and watch something. Cooking competition shows are my cream of the crop. My favorite right now is “Tournament of Champions” because it’s blind tasting. To me, that’s the best way to do it. “The Great British Bake Off” is Shin’s favorite. He loves the nature and the accents as much as the actual cooking. He just loves the vibe, the slow pace of the whole thing.

I’m such a TV girl. I love spending time on the couch and eating a meal and watching something that’s appetizing with my favorite person in the world. I’m lucky because I get to do that a lot.

2 p.m.: Browse the aisles

I’ll go to this bookstore called Hennessey + Ingalls. I love art and architecture and design, but you can’t always buy these massive books. But you can go into this bookstore and look at them and it’s always chill.

If I have time, I’ll walk around art supply stores. Artist & Craftsman Supply is a good one. I’ll look at pens, pencils, stickers, tape, washi tape, different kinds of paper, charcoals. In my art, I try to find things that aren’t meant for that particular purpose, like little things in a hardware store that I’ll use it in a different way.

5 p.m.: Downtown L.A. in its glory

We really love to walk the Sixth Street Bridge. It’s architecturally beautiful and they’re building a huge park over there, so we’ll walk around and check it out, like, ‘Which trees are they planting? Can you see?’ We sort of dream about how it’s coming together. But the other beautiful thing about that walk is that if you go at sunset and you walk back toward downtown, it’s just gorgeous. Los Angeles doesn’t have the most majestic skyline, but it’s so picturesque in that moment.

6:30 p.m.: Cornbread and Enneagrams

I’ll head to the Park’s Finest in Echo Park. It’s Filipino barbecue. It’s just so savory and rich and a special hang. Their cornbread is really good. Oh, and the coconut beef, but I’m trying to eat less beef. They have a hot link medley. Oh my gosh, just looking at this menu right now, my mouth is watering. OK, I’ll stop.

One of my favorite things to do is ask friends about their Enneagram number. So the idea of sitting with friends over a good meal and asking them a bunch of personal questions about their childhood and what motivates them and what their parents were like and what their greatest fear is and then figure out what their Enneagram number is? That is top-tier activity for me.

9 p.m.: Rally for improv

Because I get up so early, if 9 o’clock, I’m ready to go to sleep. But I am obsessed with improv, so on my ideal day, there’d be a show to do. There’s this place called World’s Greatest Improv School in Los Feliz. It’s tiny and they just opened a few years ago, but the vibe there is spectacular.

Then there’s another place where my heart is so invested in now called Outside in Theatre in Highland Park. Tamlyn Tomita and Daniel Blinkoff created it together and not only is the space gorgeous — I mean, they built it from scratch — they have interesting programming there all the time. They’re so supportive of communities that are not seen in mainstream art spaces. It’s my favorite place. Sometimes I’ll find myself in their lobby till 12 o’clock at night. The kind of people I like to hang around are the people that hang out in that space.

11 p.m.: Turn on the ASMR and shut down

I am firmly an ASMR girl and I have been for years. I have to find something to watch that will slow my brain down. Then it’s pretty consistent. I don’t last very long once I turn something on. My eyelids get heavy and it chills me out.

The holidays have arrived once again. You know, that annual festival of goodwill, compulsory spending and the dawning realization that Santa and Satan are anagrams.

Even in the best of years, Americans stagger through this season feeling financially woozy. This year, however, the picture is bleaker. And a growing number of Americans are feeling Grinchy.

Unemployment is at a four-year high, with Heather Long, chief economist at Navy Federal Credit Union, declaring, “The U.S. economy is in a hiring recession.” And a new PBS News/NPR/Marist poll finds that 70% of Americans say “the cost of living in the area where they live is not very affordable or not affordable at all.”

Is help on the way? Not likely. Affordable Care Act subsidies are expiring, and — despite efforts to force a vote in the House — it’s highly likely that nothing will be done about this before the end of the year. This translates to ballooning health insurance bills for millions of Americans. I will be among those hit with a higher monthly premium, which gives me standing to complain.

President Trump, meanwhile, remains firmly committed to policies that will exacerbate the rising cost of getting by. Trump’s tariffs — unless blocked by the Supreme Court — will continue to raise prices. And when it comes to his immigration crackdown, Trump is apparently unmoved by the tiresome fact that when you “disappear” workers, prices tend to go up.

Taken together, the Trump agenda amounts to an ambitious effort to raise the cost of living without the benefit of improved living standards. But if your money comes from crypto or Wall Street investments, you’re doing better than ever!

For the rest of us, the only good news is this: Unlike every other Trump scandal, most voters actually seem to care about what’s happening to their pocketbooks.

Politico recently found that erstwhile Trump voters backed Democrats in the 2025 governor’s races in New Jersey and Virginia for the simple reason that things cost too much.

And Axios reports on a North Carolina focus group in which “11 of the 14 participants, all of whom backed Trump last November, said they now disapprove of his job performance. And 12 of the 14 say they’re more worried about the economy now than they were in January.”

Apparently, inflation is the ultimate reality check — which is horrible news for Republicans.

Trump’s great talent has always been the audacity to employ a “fake it ‘till you make it” con act to project just enough certainty to persuade the rest of us.

His latest (attempted) Jedi mind trick involves claiming prices are “coming down tremendously,” which is not supported by data or the lived experience of anyone who shops.

He also says inflation is “essentially gone,” which is true only if you define “gone” as “slowed its increase.”

Trump may dismiss the affordability crisis as a “hoax” and a “con job,” but voters persist in believing the grocery scanner.

In response, Trump has taken to warning us that falling prices could cause “deflation,” which he now says is even worse than inflation. He’s not wrong about the economic theory, but it hardly seems worth worrying about given that prices are not falling.

Apparently, economic subtlety is something you acquire only after winning the White House.

Naturally, Trump wants to blame Joe Biden, the guy who staggered out of office 11 months ago. And yes, pandemic disruptions and massive stimulus spending helped fuel inflation. But voters elected Trump to fix the problem, which he promised to do “on Day One.”

Lacking tangible results, Trump is reverting to what has always worked for him: the assumption that — if he confidently repeats it enough times — his version of reality will triumph over math.

The difficulty now is that positive thinking doesn’t swipe at the register.

You can lie about the size of your inauguration crowd — no normal person can measure it and nobody cares. But you cannot tell people standing in line at the grocery store that prices are falling when they are actively handing over more money.

Pretending everything is fine goes over even worse when a billionaire president throws Gatsby-themed parties, renovates the Lincoln Bedroom and builds a huge new ballroom at the White House. The optics are horrible, and there’s no doubt they are helping fuel the political backlash.

But the main problem is the main problem.

At the end of the day, the one thing voters really care about is their pocketbooks. No amount of spin or “manifesting” an alternate reality will change that.

Matt K. Lewis is the author of “Filthy Rich Politicians” and “Too Dumb to Fail.”

WHEN it comes to Christmas, you probably have a lot of family plans and then for the New Year, you might be seeing friends – but that time in between can be tricky to plan things to do.

Known as Twixmas, the period between Christmas and New Year – usually December 27, 28, 29 and 30 – always feels like you’re in a bit of a limbo.

You don’t know what day of the week it is, whether things are open or closed and you’re living off of leftovers from the big day.

So, instead of stressing about what you can and can’t do, here are 50 things across the UK that you can enjoy during Twixmas.

The Traitors Live Experience, London

Traitors fans can fully immerse themselves in the show at the live experience in Covent Garden, London.

You can opt to not be chosen as a traitor, but if you don’t mind then you might spend a couple of hours deceiving people…

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It costs from £29.50 per person.

Ice skating, various

There are a ton of ice skating rinks across the UK at the moment, most of which will be disappearing across January.

Ice skating is a fun winter activity and isn’t necessarily Christmassy so it is worth checking out the rink close to you and when it closes for the season.

One great site to visit is Somerset House in London, where you can go for a spin on the ice before grabbing a drink at The Chalet by Jimmy Garcia and looking out at the scenic setting.

It costs from £14 for adults and £12 for kids,

The Hitchhiker’s Guide To The Galaxy, London

The Hitchhiker’s Guide to The Galaxy experience is running in London until February 15.

During the experience, visitors can join characters including Arthur Dent, Zaphod Beeblebrox, and Fenchurch on a galactic adventure.

This is a new production and costs from £42.

The Legend of the Titanic, London

For those who want something immersive to do but are also interested in history, head to Dock X in Canada Water to The Legend of the Titanic.

The experience allows visitors to learn about the 1914 tragedy, as well as get a feel for what the ship would have looked like via AR.

It costs from £24 for adults and £16 for children.

Enchanted Tree Trail, Wentworth Castle Gardens, Barnsley, South Yorkshire

At Wentworth Castle Gardens in South Yorkshire, visitors can head on an enchanted tree trail.

Across the trail, visitors will see small creatures in their secret world.

It is running throughout the Twixmas period and costs from £6.50 per adult and £3.25 per child.

Cinema, various

What better time to head to a cosy film screening than when you have time off and are feeling lazy?

Between Christmas and New Year’s, a lot of cinemas are open and operating as normal.

It is the perfect time to feel like you’re getting out but also kicking up your feet at the same time.

And there are a number of great movies in the cinemas at the moment including the second part of Wicked, comedy Fackham Hall, and from December 19, the new Avatar: Fire and Ash.

Sunflowers Needle Felting Workshop, Lyveden near Oundle, Northamptonshire

Looking for something to do solo? Then why not head to Lyveden in Northamptonshire for a needle felting workshop.

Over two sessions, guests will learn how to transform wool into a small piece of art.

The workshop is designed for beginners, and by the end of the two sessions, guests will have created their own sunflower scene, inspired by Vincent van Gogh.

The workshops take place on Friday, January 30, from 10:30am to 3pm and cost £47.50 per person.

West End Shows, London

If you aren’t a fan of pantos, then why not opt for a London West End show instead?

Sites like TodayTix often offer deals and flash tickets at discounted prices for shows including Wicked and Moulin Rouge.

Twixmas swims, Ware Lido

Those who love a bit of an adrenaline rush can head to Ware Lido, which is open for festive swims.

Sessions for December 27 to 31 are still available… though they do advise wearing a wetsuit.

Adult swim sessions cost £6.75 and child sessions cost £3.75.

Fanhams Hall, Ware

The Jacobean mansion, Fanhams Hall, in Ware is hosting afternoon tea in the Drawing Room between Christmas and New Year.

The room overlooks the gardens at the house and visitors can enjoy a tiered offering of finger sandwiches, scones and sweet treats.

It costs from £40 per adult and there is a children’s tea available for £22.50 as well.

The afternoon tea is being hosted from December 27 to 30.

Afternoon tea, Petersham

Enjoy some classic British treats at Petersham, near Richmond from £54.00.

The menu includes roast turkey sandwiches and orange and cranberry scones.

You can even upgrade to have prosecco or champagne as well.

Eden Project, Cornwall

Eden Project is is opening to the public on Boxing Day for the first time since 2019, this year.

And over Twixmas there will be three, free running events on December 28, January 1 and January 4.

Eden Project also has an ice rink, which will be open until February.

And the Eden Project’s festive lights and soundscape experience will also take place each day between 5pm and 8pm, December 27 to 30.

Adult tickets cost £38 each and child tickets cost £12 each.

Helios, St Albans Museum + Gallery

If you love space or your kids do, then head to the solar show known as Helios at St Albans Museum + Gallery.

Here visitors can discover a six metre sculpture of the moon created by UK artist Luke Jerram.

The event runs from December 27 to January 25 and is free to visit.

Jurassic World Experience, London

It is your last chance to see Jurassic World Experience in London before it ends on January 4.

The experience features 10 immersive zones which bring the film to life.

It costs from £35.95 per adult and £28.95 per child.

Drayton Manor, Tamworth

Drayton Manor is the only UK theme park that will have all its major rides open throughout the festive period.

These rides include Gold Rush, The Wave and Maelstrom.

If visiting, your ticket will also include access to a new end-of-day show called ‘Drayton Manor’s Christmas Miracle’.

Tickets to the theme park cost £25 per person.

Edinburgh day trip

Head on a day trip to Edinburgh, which was recently named the most festive city in the UK by London Northwestern Railway (LNR).

It is either a short flight or a train journey, with both costing from around £34 per way.

Winchester Science Centre

Another one for aspiring astronauts is the Winchester Science Centre, which reopens on December 27 after being closed for Christmas.

Inside, visitors can explore many interactive exhibits as well as watch the live planetarium show – Solar System Adventure.

The Science Centre costs from £14 per person to visit.

Lights of Abraham, Peak District

Head to Lights of Abraham in the Peak District before they close for the year.

Visitors can go on a moon-lit cable car ride over a valley, which is full of lights.

Then, once they reach the summit, they can set off on a trail that has interactive stepping stones, a neon forest, and giant creatures.

The light trail is open from December 27 to 30 and costs from £22 per adult and £16 per child.

Stonehenge, Salisbury

For a refreshing walk with a bit of history, head to Stonehenge, in Wiltshire.

The world-famous prehistoric monument was built over 5,000 years ago, and visitors can walk around the stones as well as explore a museum about their history.

Stonehenge is only closed on Christmas Day, but has reduced hours on Christmas Eve and Boxing Day.

It costs from £25 per person to visit.

National Stone Centre, Matlock

Found just 30 minutes from Derby, on the edge of the Peak District, is the National Stone Centre.

Spread across 40 acres, it is free to visit all year round.

There are a number of activities for families, including geo-trails to find fossils.

There is also gem-panning which costs £3 per person.

There is also a playground as well.

Bounce Below, Llechwedd

Bounce Below features six netted areas with different chambers and bouncy nets for guests to play on.

And it is all set within caves under the ground, which is twice the size of St Paul’s Cathedral.

Tickets cost from £25 per person.

Sun Travel recently visited Bounce Below, finding it to be like a ‘theme park’ in caves.

Silent Pool Gin Festive Distillery Tour, Guildford

Silent Pool Gin Distillery in Guildford are running festive tours and tasting experience.

On each tour, a guide will explain how and why the distillery was created, and visitors will get to see the copper gin stills.

To make it a touch more festive, guests will also get to have a ‘Rare Citrus Hot Toddy’.

The tour will take place at various times across December 27 and 28 and it costs £30 per person.

Blenheim Palace, Oxfordshire

There’s nothing quite like visiting a palace and between Christmas and the New Year you could head to all three of the festive attractions at Blenheim Palace, as they remain open until January 3.

These include the Palace of Oz where the State Rooms have been transformed, The Great Skate ice rink and the Illuminated Light Trail.

Entry costs from £41 per adult and £24 per child.

Forest Bathing, Wrest Park

At Wrest Park, you could kick start 2026 with some pre-New Year wellbeing with forest bathing.

During the 90-minute experience, visitors will get to go on a slow walk through the woodland with a number of stops to explore nature.

The walk also includes a tea ceremony.

The event takes place on December 28 from 10:30am to 12pm and costs £22 per person.

Glow in the Dark, Mini Golf, Bath

Until January 4, you can head to a glow in the dark mini golf experience in Bath.

Found at Glow Golf, each player will have a glowing ball and the course is decked out with lights.

It costs £11.50 per adult and £9.75 per child.

Twilight Tobogganing, Mendip Activity Centre, Somerset

At Mendip Activity Centre in Somerset, families can explore a toboggan run until January 4.

Each session lasts 60 minutes, and visitors can discover an illuminated area where they can toast marshmallows and have a hot chocolate around a campfire.

It costs around £34 per person.

Beyond the Bonnets: Working Women in Jane Austen’s Novels, Willis Museum and Sainsbury Gallery

At the Willis Museum and Sainsbury Gallery visitors can explore the exhibition ‘Beyond the Bonnets: Working Women in Jane Austen’s Novels’.

The exhibition celebrates 250 years of the author and explores a number of true stories of working women from Hampshire, where Austen was from.

An adult ticket costs £5.45 and a child ticket costs £4.50.

Christmas break with Warner Hotels

Warner Hotels have a number of properties across the UK – and many of which have great deals on breaks during Twixmas.

Twixmas breaks start from £249 per person for a three-night stay (based on two people sharing), and include bed, breakfast and three-course dinners, entertainment, access to leisure facilities and activities.

There are also a number of day experiences available, starting from £25 per person.

Bongo’s Bingo: Bingo All The Way, Newcastle

Bongo’s Bingo is in Newcastle at the Boiler Shop over the festive period.

The event features a mix of traditional bingo, dance-offs, raves, and audience participation.

The bingo will be taking place on December 27, 28 and 31 and it costs from £23.

Christmas Rocks, O2 City Hall, Newcastle

Over four days, a festival with rock tribute bands will be performing at O2 City Hall in Newcastle.

There will be AC/DC GB, Fleeting Rumours, Green Days and Paramore UK performing.

The event runs from December 27 to 30 and costs from £29.90 per person.

Twist Museum, London

Head to Twist Museum in London to explore a number of rooms with different illusions that are fun for both kids and adults.

There is also a new Lapland Infinity Forest at the museum, for a little bit of a festive twist.

Prices start from £20 per child and £24.50 per adult.

Exhibition on Screen: Caravaggio, Tyneside Cinema, Newcastle

A special screening at Tyneside Cinema will show the latest edition of Exhibition on Screen – a documentary series that explores the history behind different artworks.

This time, the event will focus on artist Caravaggio, and it is believed to be the most extensive film made about the artist.

It takes place on Monday, December 29 and costs around £10 for standard tickets.

Christmas Stick Man Trail, Haldon Forest near Exeter

Fans of Julia Donaldson should head to Haldon Forest near Exeter, in Devon for a day of exploring the Stick Man trail.

The trail follows Stick Man as he helps Santa deliver the final present.

The trail runs until January 4 and is free to visit.

Bubblicious family raves with the Soapbox Theatre, Plymouth

The Soapbox Theatre in Plymouth is hosting a family-friendly dance party, to celebrate New Year’s Eve.

It will include sessions for families with babies and one for older kids as well.

A DJ will play dance music, with glow sticks, UV face painting, and performers present too.

There is also a bar for adults too.

It takes place on December 31 and costs from £10 per person.

Museums, various

Up and down the UK there are many museums that will be open over the period between Christmas and New Year, including the Natural History Museum.

Museums are great spots for a day out especially when it is raining and cold.

And to add to that, a lot are free to visit as well.

Meet Paddington at Wookey Hole

At Wookey Hole Caves, visitors will be able to meet Paddington as well as explore ancient caves.

The caves are currently decked out with 100,000 lights and there is also an on-site circus show.

It costs from £19 per person.

Big Fat Quiz of the Year, Hampshire

The Wellington Arms in Hampshire is hosting a ‘Big Fat Quiz of the Year’.

Teams can be no bigger than six people, and it costs £2 per person to enter.

And of course there are prizes.

It takes place on December 29 at 6pm to 10pm.

Treasure hunt, Leeds

Treasure Hunt Leeds allows visitors to explore the city and solve clues in the process.

You can see the sights of the city, such as Victorian arcades and the Corn Exchange.

What’s best about this experience, is you can take it at your own pace.

It costs £15 per person.

Hawkchurch Resort and Spa, Axminster, South Devon

What about just having a mini-break?

For example, you could stay at Hawkchurch Resort and Spa for three nights from December 27 from £375.

Each lodge sleeps between two and eight people, and pets are also welcome.

The site itself has amazing views of the Axe Valley, and you can even opt for a lodge with a private hot tub.

Escape rooms, various

Escape rooms are a great family-friendly activity to do, and there are different venues across the UK.

For example, you could even go to Butlin’s Bognor Regis Playxperience where there are a few different options including Escape the Seven Seas Escape Room, which is suitable for children over the age of five.

The majority of escape rooms are more suitable for older kids though.

And prices tend to vary greatly, but you can expect to pay at least £30 per player.

Butlin’s break, across all three sites

Butlin’s is hosting festive breaks from £129 per person at Skegness, Bognor Regis, and Minehead.

These are great for small kids with lots of activities and shows to explore at each site.

Sun Travel has visited Butlin’s on numerous occasions, including trying the £1.8 million indoor soft play attraction at one of the sites.

A spa day, various

Why not treat yourself to a pamper session?

For example, Bannatyne Spas offer pamper days from £104 for two people.

There is nothing like a refreshing facial or revitalising massage before the New Year…

Pantomimes, UK wide

Just because Christmas is over doesn’t mean the pantos are!

Most pantomimes run on until the New Year, and some even beyond.

And they aren’t necessarily Christmas-themed – for example, Jack and the Beanstalk or Dick Wittington.

So why not have a laugh with a pantomime Dame?

Hook Norton Brewery, Banbury

For beer fans or just those who want to get a tipple in before dry January, head to Hook Norton Brewery.

Over the Twixmas period, you can book a brewery tour and also grab a bite to eat at Malthouse Kitchen.

Each tour costs £20 per person.

Wake the Tiger, Bristol

Wake the Tiger in Bristol is the UK’s largest immersive art experience and the world’s first amazement park.

Inside, visitors will head on a self-guided journey of “kaleidoscopic realms”, with over 40 immersive spaces.

It costs from £16.50 per adult and £13.50 per child.

Silverstone Lap of Lights, Northamptonshire

Formula 1 fans can catch a festive twist on the motorsport at the Silverstone circuit with a two-mile light trail.

There is also an ice rink at the track too.

It costs from £50 per person.

Shell Grotto, Margate

Hidden beneath Margate in Kent is the Shell Grotto, which has over 2,000 sq ft of walls and ceilings completely covered in mosaics made of seashells.

In fact, there are over 4.6million seashells in total.

Entry costs £4.50 for adults, £2 for kids and £4 for concessions (over 60s, students registered disabled, armed forces).

Race Across the World: The Experience, Manchester

For fans of the TV show Race Across the World, there is now a brand new experience in Manchester.

The experience is designed for teams of two to eight players and lasts about three hours.

Participants head around the city, solving puzzles as they go.

It costs from £25 per person.

Travel reporter Alice Penwill tried out the Race Across the World experience in London, and here is what she thought.

Dreamery Gardens, York

Head to the folklore-filled woodland known as Dreamery Gardens, located just outside of York.

Filled with over 100 fairy doors, there is a 1.5km trail to discover.

Tickets start at £14.95 per person.

Chaos Karts, Manchester

Chaos Karts is a go-karting experience mixed with video games that makes it feel as if you are in Mario Kart.

The virtual tracks come alive around you as you race your rivals.

It costs from £30 per person.

In other attraction news, the unofficial ‘eighth Wonder of the World’ could be getting a new theme park – with five-star hotel and casino.

Plus, UK’s Universal theme park gets go ahead to start works next year – here’s when it plans to open to visitors.

De Los recently did a team huddle to determine our personal list of best albums, as well as our favorite songs released in 2025. This is not another garden variety Latin genre list, but a highlight reel of 2025 releases that showcases artists from Latin America and the diaspora.

20. Selena Gomez and Benny Blanco feat. the Marías, “Ojos Tristes”
Released months before their highly-publicized wedding in September, “I Said I Love You First,” the album by multi-hyphenate superstar Selena Gomez and hit songwriter-producer Benny Blanco, was first conceived from nights spent perusing each other’s vintage record collections. Gomez resonated with the spectral 1982 ballad “El Muchacho de Los Ojos Tristes,” as originally recorded by the O.G. sad girl en español, Jeanette. After seeing the Marías in concert, the couple hit up the band to further maximize their joint slay — and revamp the classic as a bilingual dream-pop track, simply named “Ojos Tristes.” It not only topped the Billboard Hot Latin Songs chart, but it introduced a new generation to Jeanette’s timeless allure. —Suzy Exposito

19. JR Torres, “Desde Abajo Vengo”
It never fails: True to its ever reliable, unassuming ethos, the genre of música mexicana invariably delivers some of the year’s most gorgeous tunes. The melody on this two-minute single by Culiacán, Sinaloa, native JR Torres is a pearl of astounding purity, a theme developed alternately by the accordion and vocal line, and one that — like so many norteño hits — conveys an ocean of longing. The lyrics belong to the himnos de superación canon: a self-taught man outlines his road to success, paved with honesty, resilience and hard work. But it is the music itself that cements “Desde Abajo Vengo” as a Mexican classic for the ages. —Ernesto Lechner

18. Juana Rozas, “WANNA HOTEL”
Juana Rozas understands the emerging queer Latin underground, in all of its swirling genre hodgepodge, better than most. Her album “TANYA” is an unrestrained porteña whirlwind, rapidly shifting between industrial, electroclash, and doom metal, with all of these disparate influences coalescing on the highlight track “WANNA HOTEL.” The song splits the difference between atmospheric trap heaven and hardstyle hell, placing you squarely in a warehouse mosh pit. It’s vertigo-inducing sonic whiplash, complete with thumping techno and copious nose drugs. You can try to head to the hallways for a breather, but it feels better to be in the depths of Rozas’ debauchery. —Reanna Cruz

17. Macario Martinez, “Sueña Lindo, Corazón”
There isn’t a better feel-good story this year than Macario Martínez’s unexpected rise to fame. The Mexico City native and now former street sweeper went viral in January after uploading a TikTok video that showed him riding in the back of a sanitation truck at night. Soundtracking it is a snippet of “Sueña Lindo, Corazón,” a tender, stripped-down folk lullaby for a wounded heart. The clip included the following caption: “Life asks for a lot and I’m just a street sweeper who wants you to listen to his music.” Listen they did. The video has been viewed tens of millions of times and was shared by the likes of Harry Styles. turning Martínez into one of the most promising rising talents in Latin music. —Fidel Martinez

16. Dareyes de la Sierra, “Frecuencia”
The opening line of “Frecuencia” — “Yo sé que voy a morirme por eso bien loco vivo” (“I know I’m going to die, that’s why I live crazily”) — hits a little bit different once you learn that singer José Darey Castro survived an attempt on his life in 2004. Don’t let the usage of traditional música Mexicana instruments fool you; the cadence of this braggadocious track about hedonistic excess and indulgence is closer to hip-hop. With “Frecuencia,” and the album it comes from (“Redención,” which translates to “Redemption”), the regional veteran with more than two decades of experience under his belt proves that it’s never too late to reinvent yourself. —F.M.

15. Cuco, “Ridin’”
For his third studio album, “Ridin’,” Cuco said he wanted to embody the timelessness of Chicano soul without being derivative. “I wanted to go for more natural sounds with the soul sound, but I think it’s just inevitable for me sometimes,” the 27-year-old multi-instrumentalist from Hawthorne told De Los this summer. “I’m just going to end up doing some psychedelic parts with the music because that’s what I’ve always been.” This happy marriage of influences is most apparent in the LP’s titular track, which starts off feeling like you’re cruising with your sweetheart down a Southern California highway in a 1964 Chevy Impala before taking off into space. —F.M.

14. Mon Laferte, “Las Flores Que Dejaste En La Mesa”
Recently, Mon Laferte told me that she was especially proud of a verse in this song where she rhymed the description of a former lover’s erection with the word architecture. The juxtaposition of poetic wordplay with graphic sexuality is one of the Chilean singer’s favorite devices — here, it adds a frisson of decadence to a lush orchestration reminiscent of John Barry’s 007 themes. A key track off Laferte’s noirish “Femme Fatale,” “Las Flores Que Dejaste En La Mesa” takes off with the quiet longing of bossa nova, boils into unhinged bolero territory, then incorporates the icy electro loops of trip-hop icons Portishead. Still, the heart of the song is Laferte’s vocal performance — wounded and incandescent. —E.L.

13. Planta Industrial, “Oi”
Hilariously named “Punkwave Sin Barreras” — a nod to the ESL learning series “Inglés Sin Barreras” — the debut EP by the Bronx Dominican duo Planta Industrial is a generous helping of punk rock, darkwave and dembow fusion. The project is powered by high school friends turned rappers, who go by the names A.K.A. The Darknight and Saso (recently featured on the song “Caribeño” with Rauw Alejandro). On “Oi,” a clever stand-in for the word “hoy,” the duo deploy frenetic breakbeats, Ramones-style gang vocals and a touch of Toño Rosario freakness to demand their dues from a cheapskate boss. “F— you, pay me, “ chant the MCs. “Mañana, no — oi oi oi!” —S.E.

12. Six Sex feat. MCR-T, “Bitches Like Me”
This year, Argentina established itself as the Latin rave epicenter, with Six Sex leading the charge. Alongside Berlin-based club DJ MCR-T, and a propulsive synth line from Kylie Minogue’s “Can’t Get You Out of My Head,” the Buenos Aires baddie crafts one of the chicest earworms of the year. The beauty of using one of the best pop melodies of all time is that it’s already engineered for success, so MCR-T keeps it simple and silly with the addition of a thumping, four-to-the-floor beat. It plays out like a drunken freestyling session in your coolest friend’s apartment — with lines like “you are not that bitch” delivered with a heavily-accented affectation that feels seductive, but more importantly, unbothered. —R.C.

11. Rosalía feat. Yahritza Y Su Esencia, “La Perla”
Although the Spanish singer would be ineligible for this list on her own, Rosalía’s diss track “La Perla” — a scathing, ranchera-style ballad dedicated to a certain pretty boy ex with a sizable collection of other women’s bras — shines bright among her otherwise sparkling collection of orchestral pop songs in “Lux.” Rosalía wisely recruited the swooning Mexican American sierreña trio, Yahritza Y Su Esencia, to help her better emulate a Paquita La Del Barrio dress-down of a lover gone astray. The spirit of “La Perla” articulates not what it sounds like to be loved Mexicanly, but to be loathed Mexicanly — á la Catalana. —S.E.

10. Netón Vega, “Me Ha Costado”
Netón Vega’s sprawling debut album “Mi Vida Mi Muerte” makes a formidable attempt to define the rapidly-shifting sound of corridos tumbados, courtesy of one of the genre’s eminent songwriters. On “Me Ha Costado,” Vega, who hails from Baja California Sur, combines blown-out 808s with a G-funk whine to create a pan-Californian posse track. There’s an overload of shot-calling swagger dripping from every section here, from Alemán’s bouncing hook to Victor Mendivil’s shoutouts to San Andrés and Mazamitla. If you close your eyes, you could see the trio’s lowrider rolling down Whittier Blvd, with all three mischief-makers hanging out the windows. —R.C.

9. Cardi B, “Bodega Baddie”
I am tired of celebrities pretending that they go to the bodega for street cred: “if you know, you know.” One thing about Cardi B, though? I believe she remembers where she came from. “Bodega Baddie” is a bilingual ode to the Bronx’s Dominican enclaves where Cardi From The Block spent her childhood. It’s less than two minutes long, but moves at such a breakneck pace that if you close your eyes, you’re transported outside a deli on Dyckman on a hot summer day — where the fire hydrants are open, 808s are shaking storefront windows, and the whole block is outside. It’s some of the most electric mise-en-scène this year, anchored by a sample of Magic Juan’s “Ta Buena (Tipico)” merengue. —R.C.

8. Kali Uchis, “Sugar! Honey! Love!”
The Colombian American soulstress has played many roles in her songs: a baddie, a psychic, a woman adrift at sea in a yellow raincoat. But in the making of her 2025 album “Sincerely,” she explored the profound vulnerability of becoming a mother — and her sighing revelations in “Sugar! Honey! Love!” melt most beautifully into the hazy pop ether. “I was already an emotional person, [but] since my pregnancy I’ve been able to feel a lot deeper,” she told De Los in May. “When your child is born, you’re reborn in a lot of ways. It’s a death and a rebirth of yourself. But I think a lot of joy and hope comes with that.” —S.E.

7. Adrian Quesada feat. Angélica Garica, “No Juego”
At the start of “No Juego,” we hear the sound of tape being rewound, as if to suggest that we’re about to listen to something from a different era. Sure enough, the psychedelia of the keyboard, guitar and drums transports us to the late 1960s, only to be brought back to the present by the self-assured delivery of vocalist (and El Monte’s own) Angélica Garcia. “No vine pa’ pedir permiso,” she briefly raps (“I’m not here to ask for permission”), before throwing theatrical vocal daggers at a former lover who couldn’t stay true. She’s letting us know that we’re in her world and she’s not playing around. “No Juego” is easily the crown jewel of “Boleros Psicodélicos II.”—F.M.

6. Ca7riel y Paco Amoroso, “#TETAS”
Sometimes a song is only as successful as its concept. On “#TETAS,” the Argentine trickster gods Ca7riel y Paco Amoroso try to reverse-engineer a pop anthem, ChatGPT buzzwords and all. A flippant listener could dismiss “#TETAS” as just a winking novelty song — after all, what “serious” track contains a character named Gymbaland, the lyrics “let me be your Chad,” and a post-chorus counting dabs? The thing is, though, between the slinking bass line, the massive 80’s Yamaha pianos, and a final key change that soars through the ceiling, the song becomes the exact pop anthem that they’re trying to satirize. “This is a f— smash,” go the final lines of the song. We’re inclined to agree. —R.C.

5. Silvana Estrada, “Como Un Pájaro”
As we compiled the songs for this list, we struggled selecting just one track off Silvana Estrada’s stunning second album. At 28, the singer-songwriter from Veracruz informs her work with a level of maturity that most artists won’t achieve in a lifetime. Like most of the cuts in “Vendrán Suaves Lluvias,” “Como Un Pájaro” draws from the wisdom of the trova movement; enamored with the immediacy of stringed instruments, chronicling the process of healing using metaphors from the natural world. The song’s climax — Estrada’s lustrous voice intertwined with a swelling orchestral arrangement — will probably bring tears to your eyes. Fun fact: In concert, she reproduces the lilting whistled interlude to perfection. —E.L.

4. Astropical, “Fogata (Leo)”
Following a memorable performance at the Hollywood Bowl last summer, it became apparent that Astropical, the supergroup formed by members of Colombia’s Bomba Estéreo and Venezuela’s Rawayana, will probably never reconvene again. We’ll always have “Fogata,” though — a song about holding on to the precious moments of bliss when confronted with the ephemeral nature of… well, everything. The track combines the warmth of a beachside bonfire with slick, Afrobeats-soaked grooves. The stars of the show? The honeyed harmonies of Li Saumet and Beto Montenegro, now intertwined until the end of time. —E.L.

3. Isabella Lovestory, “Telenovela”
Who among us hasn’t thought — whether it be ironically or authentically — “my life is a movie?” Isabella Lovestory takes it one further: her sexcapades, in all their glamour and drama, are worthy of their own telenovela. Much of her sophomore album “Vanity” has main character energy, and Lovestory’s “Telenovela,” with its extended metaphors of Barbarella bad bitches, “tragica erotica,” and using “su lengua pa cambiar el canal” is the descriptive centerpiece. If it doesn’t bring a flush to your cheeks, you’re not listening hard enough; the way she coos “uy-uy-uy” will linger the next time things get a little hot and heavy. —R.C.

2. Fuerza Regida, “Marlboro Rojo”
If I sit on the porch of my Boyle Heights home for 15 minutes, I guarantee you that a pickup truck will eventually drive by playing a corrido at a window-rattling volume. For the last six months, the song of choice blasting from the blown out speakers of these mamalonas has been “Marlboro Rojo.” I get it. The track is so unapologetically — ugh, cringe word, I know — Mexican. What better way to announce your presence than with the boom boom of the sousaphone? 2025 was a marquee year for música Mexicana and no one was more on top of their game than Fuerza Regida. My personal favorite version of this song is from the Apple Music Live concert taped earlier this summer at Mexico City’s GNP Stadium. Hearing the tens of thousands of fans singing the chorus back to JOP gives me chills. — F.M.

1. Bad Bunny, “Baile Inolvidable”
Is there a Bad Bunny record that’s not a love letter to his native Puerto Rico? His 2025 juggernaut, “Debí Tirar Más Fotos,” however, goes far beyond the usual motherland worship; the album’s greatest takeaway is to cherish not just the place, but the people you call home, too. Invoking the feverish, tropical melodrama of salsa titans past and present, Bad Bunny delivers one of his most tremendous vocal performances — powered by his enduring love for a woman he used to know, comparing her to an unforgettable dance. But it’s just like Benito to cut through the gravitas of his own song by lauding an ex for her sexual prowess — namely, her boquita — but his magic as a hit songwriter is most potent in verses that oscillate between the sacred and profane. —S.E.

TikTok has finalized a deal with Oracle and two other investors that will allow the popular social video platform to continue its business in U.S.

The deal, expected to close on Jan. 22, will be 50% held by a new investor consortium that includes tech giant Oracle, Silver Lake and MGX, a technology fund in the United Arab Emirates (with each holding 15%). The rest of the group is made up of ByteDance owning 19.19% and affiliates of existing ByteDance investors holding 30.1%, TikTok said in a memo to employees.

“With these agreements in place, our focus must stay where it’s always been — firmly on delivering for our users, creators, businesses and the global TikTok community,” TikTok CEO Shou Zi Chew wrote in his memo.

The company’s future for many years in the U.S. had been uncertain, amid security concerns among legislators about ByteDance’s ties to China. TikTok’s parent company, ByteDance had been under pressure to divest its ownership in the app’s U.S. operations or face a nationwide ban, due to a law Congress passed that went into effect in January. President Trump has signed orders that have allowed TikTok to keep operating in the country and in September signed an executive order outlining the new joint venture.

The venture, which would oversee U.S. data protection, algorithm security, content moderation and software assurance, would be governed by a seven-member board that is majority American, Chew said in his memo. Oracle will be the security partner responsible for “auditing and validating compliance with the agreed upon National Security Terms,” Chew wrote.

Oracle Chief Executive Larry Ellison is also a party in effort to buy Warner Bros. Discovery.

Oracle did not return a request for comment. Silver Lake declined to comment. The White House on Thursday referred questions about the deal back to TikTok. In September, Trump said that Chinese President Xi Jinping had approved the deal.

“These safeguards would protect the American people from the misuse of their data and the influence of a foreign adversary, while also allowing the millions of American viewers, creators, and businesses that rely on the TikTok application to continue using it,” Trump stated in his executive order.

The announcement will come as a relief to some creators and businesses who rely on TikTok to entertain and reach fans and customers.

“I hope it just stays true to the platform and the independence we get from it,” said Yasmine Sahide, who posts comedy videos on TikTok and has 2.4 million followers. “I hope we’re still able to monetize our videos the same way because without that, I think a lot of people would leave or feel uninspired.”

Keith Lee, a TikTok creator who posts videos about food, said he expects the algorithm to change.”I just hope that we can still stay connected with our community and reach an audience the same way as before,” said Lee, who has 17.3 million followers.

Many TikTok creators are based in Southern California, close to TikTok’s office in Culver City. Over the years when TikTok’s future appeared uncertain, some of those creators diversified, posting their content to other platforms like YouTube and Instagram.

“It’s a smart way to avoid ownership and data issues,” said Ray Wang, principal analyst at Constellation Research, of the deal.

If finalized, the deal would remove a persistent issue in Beijing-Washington relations and signal progress in broader talks. But it would also deprive China’s most valuable private company of total control of an American social media phenomenon.

ByteDance’s coveted algorithms are considered central to TikTok’s business. Under the the deal proposed by Washington, ByteDance will license its AI recommendation technology to a newly created U.S. TikTok entity, which will use the existing algorithm to retrain a new system that is secured by Oracle, according to Bloomberg. The algorithm will be retrained on U.S. user data by the U.S. joint venture, according to TikTok.

Some industry observers questioned whether the deal addresses the larger concerns surrounding TikTok in the law Congress passed.

“While these executive orders positively have allowed the platform to operate and maintain the venue for speech, they do not resolve the underlying concerns about the law, which could be applied to other platforms in the future and raise questions about executive power,” said Cato Institute senior fellow in tech policy Jennifer Huddleston in a statement.

“Just because TikTok remains available under such orders does not mean that the policy concerns about the underlying law have been resolved.”

Bloomberg contributed to this report.

Wiegman replaced Phil Neville as England manager in September 2021, guiding the Lionesses to their first piece of major silverware at Euro 2022 when they beat Germany 2-1 in the final at Wembley.

England then reached the World Cup final in Australia in 2023, only to lose 1-0 to Spain.

At this year’s Euros, England showed incredible battling qualities to remain in the tournament and became the only country in the competition’s history to have three different matches go to extra time.

By reaching the final Wiegman became the first women’s or men’s manager to reach five consecutive major international finals after leading the Netherlands to the Euro 2017 title and 2019 World Cup final.

The Lionesses beat Spain 3-1 on penalties in July after the final finished 1-1 after extra time in Switzerland, with Chelsea goalkeeper Hannah Hampton saving two of Spain’s efforts in the shootout.

The victory meant Wiegman became just the second manager after Germany’s Christina Theune to win three successive European Championships.

England’s success led to Wiegman being named women’s coach of the year at the 2025 Ballon d’Or awards, while she also won the women’s coach prize at the Fifa Best Awards for a record fifth time.

Trevor Painter and Jenny Meadows shared the BBC Sports Personality Coach of the Year award in 2024 after guiding Keely Hodgkinson to 800m Olympic gold at the Paris Games.

Sir Alex Ferguson won the inaugural Coach of the Year award in 1999, the year Manchester United won the Treble.

Previous winners include Sir Clive Woodward, Colin Montgomerie and Claudio Ranieri.

Wiegman joins Arsene Wenger, Sir Dave Brailsford and Sir Gareth Southgate in winning the award more than once.

With three key players out because of injury and USC in desperate need of depth, the Trojans are taking the rare step of adding reinforcements at the midseason mark.

Point guard Kam Woods, who last played at Robert Morris, was added to the Trojans’ roster and cleared to play on Thursday, despite the fact that USC is already a dozen games into the basketball season.

Woods could make an immediate impact for coach Eric Musselman, having averaged 14.9 points, 5.2 assists and 4.7 rebounds per game last year at Robert Morris, where he played alongside current Trojan, Amarion Dickerson. Woods is expected to step into the rotation right away with USC, after the Trojans lost starting point guard Rodney Rice for the season.

What’s not clear is why Woods was still in the transfer portal two months into the college basketball calendar. USC had shown some interest in Woods during the offseason, according to a person familiar with the program who is not authorized to speak publicly on the matter, but Woods never signed with a team, despite being a second-team All-Horizon League selection.

Since he was still in the transfer portal and because he has already graduated, Woods is the rare case, outside of an international player or junior college player, that qualifies to be a midseason addition.

Woods has played five years of college basketball, bouncing around between five schools in that span. He started at Troy in 2020-21, before taking the junior college route at Northwest Florida State Community College during the 2021-22 season. He then transferred to North Carolina State, where he played sparingly over 13 games.

Woods landed with Robert Morris last season and emerged as the Colonials’ leading scorer as they won the Horizon League and earned a bid to the NCAA tournament.

So, with this being his sixth year, how is Woods eligible to join another team? Eligibility-wise, he actually falls under the same category as the Trojans’ leading scorer, Chad Baker-Mazara, who is playing his sixth season of college basketball in 2025-26.

Due to the recent ruling in the Diego Pavia case, the season that Woods spent playing junior college does not count against his five years of eligibility. Plus, since Woods was a freshman during the 2020-21 season, he has an extra year of eligibility because of the pandemic.

Had Woods played for another team during the first two months of the season, he would not be eligible to join the Trojans in December.

For USC, that fit could be especially fortunate. Without Rice, USC has used a combination of Jerry Easter, Jordan Marsh and Ryan Cornish at point guard. Woods will be the most experienced of the group.

Five-star freshman Alijah Arenas is expected to enter that picture in the coming weeks, too. Arenas was set to rejoin practice this week and will presumably be cleared to play some time in January.

England and Arsenal footballer Chloe Kelly has been nominated for the BBC Sports Personality of the Year award after playing a key role in England’s Euro 2025 success – scoring the winner in the semi-final and the decisive penalty in the final. She also starred for Arsenal in their run to winning the Champions League.

READ MORE: Sports Personality of the Year shortlist announced

Available to UK users only.

Watch BBC Sports Personality of the Year 2025 live from 19:00 GMT on Thursday, 18 December on BBC One, BBC iPlayer and the BBC Sport website and app.

IF you want to make 2026 the year of family-friendly days out from theme parks to aquariums, castles and waxwork museums – take advantage of the Merlin Black Friday Sale.

You can save up to £60 on an annual pass that will allow you entry to around 20 attractions across the country – but the offer ends very soon.

Until December 21, you can get £60 off a Merlin Essential yearly pass, costing just £79 rather than £139.

With this, you can enter over 20 top attractions for 339 days out of the year.

Some of the attractions include Alton Towers which is perfect for families who love rollercoasters, or those wanting to try out the Bluey ride in its CBeebies Land.

The pass also allows entry to Chessington World of Adventures, which has a new PAW-Patrol themed land, and Legoland Windsor Resort.

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Over at Thorpe Park, thrill-seekers can try out the UK’s tallest rollercoaster Hyperia which is 236ft high and 81mph.

It’s not all rollercoasters and rides though, as those who want a more relaxed day can delve into history at Warwick Castle.

In London, step onto the red carpet at Madame Tussauds or go back in time to explore the capital’s scary past in London Dungeon.

For foodies, in Birmingham there’s Cadbury World families can uncover the story of Cadbury chocolate – and get to taste some too.

Jordan Middleton, Head of Merlin Annual Pass, commented on the sale: “Just in time for the festive season, our Black Friday Magic Sale has great savings of up to £60.

“With offers starting at just £79 – which is equal to just £1.52 per week – Merlin Annual Pass is the gift for those who you have no idea what to buy.”

There are two other pass options.

One is the Gold Pass which is also in the Black Friday sale for £199 rather than £239 – a saving of £40.

This has extra benefits including free parking, up to 20 per cent discount on food, drinks and retail, up to 20 per cent off short breaks at themed Resort hotels.

And there’s discounted entry for family and friends and less restricted access to the attractions.

The Platinum annual pass remains at £299 per person per year with all the perks of the Gold Pass, along with guaranteed entry all year round with no restrictions.

Platinum Passholders will also receive free Fastrack Resort Theme Parks and free tickets for family and friends, with no restrictions throughout the year.

All attractions included in the Merlin yearly passes…

Alton Towers Resort

Chessington World of Adventures Resort

Legoland Windsor Resort

London Eye

Thorpe Park

Sea LIFE – London, Birmingham, Manchester, Blackpool, Brighton, Weymouth, Great Yarmouth, Hunstanton, Scarborough, Loch Lomond

Warwick Castle

Madame Tussauds, London

Shrek’s Adventure! London

Legoland Discovery Centre, Birmingham & Manchester

London Dungeon

York Dungeon

Edinburgh Dungeon

Cadbury World

Plus, check out inside the Alton Towers’ new Bluey-themed hotel room – where the theme tune plays as you enter.

And here’s more on the UK’s ‘best’ castle with live jousting tournaments, Zog playground and brand-new medieval-themed hotel.

A MAJOR UK city, home to the third oldest subway system in the world, is set to get driverless trains next year.

Glasgow will be getting driverless subway trains in the second half of 2026, according to The Strathclyde Partnership for Transport (SPT).

The new driverless trains will be introduced in Glasgow slowly, with officials noting in a report that “whilst our new system will be capable of Unattended Train Operation, there may be a requirement for some staff presence within the system beyond this point”.

The move to driverless trains in Glasgow will be the first of its kind in the UK.

The only other similar train system is the DLR in London – while not having train drivers, they do still have ‘Train Captain’s onboard.

In addition to the driverless trains, Glasgow’s public transport more widely has undergone a number of other projects.

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These include implementing more glass screens at a number of stations for safety.

And most stations on the circular line have had refurbishments.

There are also a few projects that still need to be carried out including introducing new signalling.

A report from June revealed that the subway modernisation in Glasgow is the “most significant investment and improvement programme to be undertaken in the Subway within the last 45 years”.

The report also listed a number of other areas that will undergo improvements, including the introduction of a new ticketing system.

Glasgow is planning on becoming the first city in Scotland to trial a free public transport scheme as well.

The scheme will start in early 2026 and involve around 1,000 people, who will get free public transport for six weeks.

This means travellers will get unlimited travel on trains, buses and the subway network.

The aim of the scheme is to see whether more people take up public transport, rather than opting to drive.

Currently, fares to travel on Glasgow’s transport network range from around £3.60 to £5.90.

This week, rail operator Lumo also announced that it is extending its London Euston to Edinburgh route to Glasgow.

Passengers will be able to use two northbound services each weekday and one southbound service.

There will then be one service in each direction at the weekend.

And tickets for the route with the low-cost operator will cost from £33.10 between London and Glasgow.

In other rail news, here’s the first look at the new Great British Railways trains being rolled out across the UK.

Plus, popular UK seaside town scraps trains to London.

Leon Thomas recently dyed the tips of his signature locs dark green. His new hair color — a stark contrast from the vibrant red he’d been rocking for the last four years — is the first thing that stands out about him when he strolls into the Los Angeles Times building on an unusually rainy day in October.

When asked about his hair, which peeks out from underneath a black beret-style hat, a wide grin stretches across his face.

“I had a vision,” the 32-year-old singer says, leaning in. “In [this] vision, I had more tats, a six pack and I had green dreads. And I was like, ‘You know what, let’s work on it.’” He’s been working out more consistently and he has his eyes set on a couple of tattoo artists in L.A. and Europe, but the new hair kicked everything off.

“That’s how the rest of my life has worked: I’ve seen something in my head, I’ve seen a version of myself that’s not there yet and then you work hard to get there.”

This instinct has carried Thomas throughout his 20-plus-year career in the entertainment industry, and has cleared a path for him to emerge as a leading force in modern R&B music. After years of dedicating his skill to acting, writing and producing chart-topping bangers for artists like Drake, Ariana Grande and SZA (he won his first Grammy for her record “Snooze”), for the first time Thomas is up for six Grammy nominations including album of the year and best new artist for his own work.

“I feel like this is a byproduct of me finally having a machine that works,” Thomas says about his team. He signed to EZMNY, a record label co-founded by Grammy-nominated artist Ty Dolla $ign and A&R executive Shawn Barron, in 2021. He takes an audible breath before continuing, “Not to sound cocky or anything, but I just always felt in my heart of hearts that once people could finally hear what I had to offer, it would be a different story. I’m glad that God gave me the foresight to see that.”

He has good reason to be feeling himself these days. “Mutt,” his breakout 2024 single, quietly simmered for months before it was pushed into ubiquity. The track’s metaphorical meaning — comparing his own flawed behavior in relationships to a “mutt” or a dog with good intentions — along with a sensual bassline and knocking drums eventually became a sleeper hit. It also became a favorite for Tems, SZA, Keke Palmer and Issa Rae, who shouted out the song in interviews.

“That’s how the rest of my life has worked: I’ve seen something in my head, I’ve seen a version of myself that’s not there yet and then you work hard to get there,” said Leon Thomas.

(Jason Armond/Los Angeles Times)

By early this year, the song, which is the title track from his sophomore album, had cracked the Hot 100 Billboard charts, recently climbing to No. 1 on Billboard’s radio songs chart, earning double platinum status.

The success of the album and the deluxe edition that followed launched Thomas into a whirlwind of promo: radio and podcast stops, interviews galore and after-party appearances. Meanwhile, he’s still made time to make records with other artists like Wale, Disclosure, Odeal and Sasha Keable. He kicked off his “Mutts Don’t Heel” tour in October, and this year alone, he’s had more than 70 performances, including the Hollywood Bowl with Inglewood-born singer SiR, “Jimmy Kimmel Live” and the BET Awards (where he won best new artist). Earlier this year, Thomas stopped by NPR’s Tiny Desk, a live set that has more than 4 million views and has since been turned into an EP. (His Tiny Desk performance also received a Grammy nod for best R&B performance.)

“It’s been nonstop like something great happening every single week,” says Barron, co-founder of EZMNY.

Long before fans were belting out the lyrics “I’m a doggggg / I’m a mutt,” Thomas was getting his first taste of what it takes to be a musician from his family. Thomas’ late grandfather, John Anthony, was an opera singer who starred in the 1976 Broadway production of “Porgy & Bess.” His mother — a singer — and his stepfather — who played guitar for B.B. King — were part of New York’s Black Rock Coalition and “didn’t believe in babysitters,” says the Brooklyn native who now resides in L.A. He has fond memories of doing his homework while his parents were performing and hopping on stage at times to hit a dance move for a packed crowd.

At just 10 years old, Thomas booked the role of Young Simba on Broadway after a family friend encouraged him to audition. He went on to star in more productions, including “Caroline, or Change” and “The Color Purple,” before booking his first film, “August Rush” (starring late actor Robin Williams), which required him to learn to play the guitar. As a result, he began writing his own songs, one of which impressed his parents so much that they booked studio time and a session bass player to help him to lay down the track. “It definitely influenced my perspective on if I could actually make professional music or not,” recalls Thomas, who plays five instruments, including drums (his first love), guitar, bass, piano and saxophone.

“Not to sound cocky or anything, but I just always felt in my heart of hearts that once people could finally hear what I had to offer, it would be a different story. I’m glad that God gave me the foresight to see that,” said Leon Thomas.

(Jason Armond/Los Angeles Times)

By age 13, Thomas had signed a development deal with Nickelodeon that came with a Columbia Records recording contract. After appearing in various shows like “The Backyardigans” and “iCarly,” he snagged the role of André Harris, a high-school-age singer and multi-instrumentalist, on the tween sitcom “Victorious” alongside star-in-the-making Grande.

When the show ended in 2013, Thomas began working with one of modern music’s most decorated architects, Babyface, who introduced him to producer and songwriter Khris Riddick-Tynes. Together, Thomas and Riddick-Tynes formed the Rascals and began producing records like Rick Ross’ “Gold Roses” featuring Drake (which received a Grammy nomination), “I’d Rather Be Broke” by Toni Braxton and SZA’s “Snooze,” which won best R&B song at the Grammys in 2024.

Still, pivoting from wholesome Nickelodeon star to a grown R&B artist didn’t happen overnight. “The biggest thing for me was just taking time away from the artistry in order to really allow people to celebrate the brand that I had built, but give me room to build something else,” he says. “Space and time can be a tough thing because you’re gonna have to reintroduce yourself even though you did a lot of work in the beginning to build what you had before, but I think it’s beautiful to kind of build a brand from scratch.”

That’s one of the reasons why the cover of his reintroduction project, “Genesis,” features a distorted forest instead of his face. “I didn’t want them to connect with what I was saying, what I was talking about, the feelings [and] the sounds,” he says. With every release, he’s slowly revealed more of himself.

Onstage, Thomas channels the intensity of some of his musical heroes — James Brown, Prince, Jimi Hendrix and D’Angelo. His music may sit comfortably under the R&B umbrella, but he bends and flips genres with ease, especially rock and funk. In TikTok recaps from his current tour, he can be seen ripping on the bass and guitar, whipping his body into turns and effortlessly hitting vocal runs, which fans have attempted to imitate. With him, you never have to question if the mic is on.

“Sometimes I go see R&B artists live and it’s very chill,” he says, but “the school I come from is competitive.” He recalls stories that his stepfather has told him about performing at the Village Underground in New York when he was coming up. “They used to do something called cutting heads, so the first guy would go do his solo, then the guy who came out on the second set had to go even further. He’s playing with his teeth, he’s spinning, he’s on the floor, he’s wildin’,” Thomas says excitedly.

“So I’m in that school of thinking when I hit a stage and for this tour where I get to curate things and really put it together like I want to, there’s gotta be that energy of cutting heads,” he adds.

Just days before launching his 27-city tour, Thomas released a cinematic trailer featuring Rae — who played his neighbor and hookup buddy on “Insecure” — to introduce his latest project, “Pholks.” The seven-track release, created in collaboration with musicians Rob “Freaky Rob” Gueringer and David Phelps, a.k.a. “D. Phelps” (who also worked on “Mutt”), is an homage to the funk, rock and soul artists who’ve inspired him. Led by the singles “Just How You Are” and “My Muse,” which could trigger a “Soul Train” line at any moment, the project feels warm and nostalgic, yet anchored in forward-thinking production and playful storytelling that helps push it into the future.

In April, Ty Dolla $ign brought Thomas out to perform during his headlining set at Coachella, a moment that was a no-brainer for Ty, who recently called Thomas “the new king” of R&B.

“I just can’t even believe that I was the one to be able to do this,” Ty says about working with the singer.

“Sometimes I go see R&B artists live and it’s very chill,” Leon Thomas said, but “the school I come from is competitive.”

(Jason Armond/Los Angeles Times)

In the midst of this busy season, Thomas has been more intentional about maintaining his mental health. “I’m doing a lot of grounding meditations,” he says, noting that family and his tight circle of friends have been an essential support system. “I’ve been picking up the Bible a little bit more.”

He also finds steadiness in revisiting wisdom passed down from his late grandfather, who passed away last year, and reflecting on his “why:” bringing a classic, musician-centered energy back to R&B and encouraging young artists to pick up an instrument.

“When a little kid sees me playing guitar on the Grammy stage or if they see me performing on Instagram playing drums, I want them to ask their mom for a guitar or some drum lessons,” he says. With the rise of AI, he says that live musicianship may become less common. “I hope that we can inspire a revolution of intelligence, people who are intelligently making music and coming from a standpoint of history.”

Thomas will close out his whirlwind year with two shows at the Wiltern on Dec. 22 and 23 before embarking on the European leg of his tour in March and heading to Australia in June. In the meantime, he’s trying to avoid thinking about the Grammys in February — though everyone, including myself, is making it impossible for him not to.

Whether he walks away with a golden gramophone or not, Thomas has already created a body of work that has reinvigorated not only R&B but also music in general, and he plans to continue pushing himself creatively. He’s known all along what he’s capable of and the career he’s destined to have because he’s envisioned it. It’s the world that’s had to catch up.

Dealmakers in 2025 enjoyed a near-record year for mergers and acquisitions, despite a turbulent spring that threatened hopes of a broader revival. So far this year, there were 70 global deals valued at more than $10 billion each, 22 of them in the fourth quarter, according to Dealogic. Total deal value has surpassed $4.8 trillion, up 41% from 2024, though the number of deals fell 6% to 38,395, marking the second-largest year ever behind 2021.

The spike in mega deals reflects a growing focus on scale. “M&A today is all about the mega deals, the race for scale,” said Anu Aiyengar, JPMorgan’s global head of advisory and M&A. There were at least four deals above $50 billion, with two notable bids for Warner Bros. Discovery totaling over $80 billion and Paramount Skydance’s $108 billion hostile offer.

Drivers of Late-Year Rally

A more permissive regulatory environment in the U.S., coupled with a calmer macroeconomic outlook, is encouraging companies to pursue transformative deals. With antitrust scrutiny easing under the Trump administration, boards and executives are seizing opportunities for strategic acquisitions, according to Frank Aquila, partner at Sullivan & Cromwell.

Dealmakers also say valuations are rising, prompting companies to pay higher multiples while expecting their own stocks to maintain relative strength. “Valuations have been bid up and we’ve seen clients be more aggressive in terms of multiples,” said Lazard’s Mark McMaster.

Technology and AI Influence

Technology deals, particularly those tied to artificial intelligence, have played a prominent role. OpenAI raised $40 billion in funding led by SoftBank, and Aligned Data Centers was acquired for $40 billion. Morgan Stanley’s John Collins said companies are pursuing scale to invest in AI-driven changes, both in tech and across other industries.

Cross-Border and Global Trends

Cross-border M&A activity surged in 2025, reaching $1.24 trillion, the highest since 2021. U.S. and UK companies were the most targeted, while U.S., France, and Japan were the most acquisitive. Multinational companies, particularly from Europe and Japan, are investing in the U.S. to capitalize on the world’s largest market. China and Japan are also seeing strong outbound activity, with Japanese deal values boosted by high-profile transactions like OpenAI and Toyota Industries.

Corporate divestitures are rising, up 30% in volume from last year, exemplified by Holcim’s $30 billion spin-off of its North American business, Amrize. Private equity is also regaining momentum, with global buyouts reaching $1.1 trillion, a 51% increase from 2024.

Outlook for 2026

Dealmakers expect the M&A rally to continue into 2026, with $50 billion–$70 billion deals already in the pipeline and a $100 billion tech transaction not ruled out. Analysts see a multi-year run of high-value deals, fueled by scale-seeking corporations, AI-related opportunities, cross-border expansion, and corporate restructuring. While caution remains in politically uncertain markets like the UK, the global appetite for transformative deals appears set to drive another strong year for mergers and acquisitions.

With information from Reuters.

Gil Gerard, the actor who became a childhood hero to many for his lead performances in the 1979 movie “Buck Rogers in the 25th Century” and its subsequent TV incarnation, died early Tuesday, his wife announced on social media. He was 82.

“Early this morning Gil — my soulmate — lost his fight with a rare and viciously aggressive form of cancer,” Janet Gerard wrote Tuesday evening on Facebook. “From the moment when we knew something was wrong to his death this morning was only days.”

She was by Gerard’s side when he died in hospice care, she added as she placed another post — a pre-written message from the actor to his family, friends and fans — on her husband’s Facebook page.

“If you are reading this, then Janet has posted it as I asked her to,” the actor wrote. “My life has been an amazing journey. The opportunities I’ve had, the people I’ve met and the love I have given and received have made my 82 years on the planet deeply satisfying.”

The post was followed by myriad comments in which fans spontaneously recalled Gerard’s work as Buck Rogers and shared the influence he had on their lives.

“Your time as Buck Rogers was way too short but it has stayed with me in my childhood memories for 45+ years,” one man wrote. “Your hero was brave, macho, but also kind, compassionate, and fair. I feel as if that was representative of the man you truly were. Thank you for being the kind of ‘make believe’ hero that we should all want to be in real life.”

Another fan replied, “[H]aving met him, I can say he was all that. On and off the screen.”

Wrote another, “Like many here, I grew up watching Gil as Buck Rogers. He was cool… and he was funny… and he was nice. I was happy to find him here after all these years… still cool… still funny… still nice. It was a highlight when he ‘liked’ one of my comments. We’ll keep an eye out for you… 500 years into the future!”

Gerard discussed the allure of “Buck Rogers” with The Times in 2010.

“With our show, the reason people liked it was the humor and the fact that it was colorful and upbeat and it had heroes in it,” he said, chatting at a comic convention in Anaheim. “It was family entertainment. I think it’s great to deal with more serious issues, but you can do it with humor — look at what ‘All in the Family’ dealt with. You can be serious without being relentlessly dark and heavy.”

He also had wishes for the future direction of sci-fi projects, which at the time he observed were “very dark, almost hopeless.” And, he said, “wet.”

“Have you noticed how much rain they get in the future now? Everything is rainy and muddy. I don’t understand, either, how come everybody is so dirty when there’s so much water around everywhere,” Gerard observed with what seemed to be a healthy sense of humor. “Look at ‘Waterworld’ — they live in a place with no land and everyone’s covered in dirt. I don’t get it. You think they’d fall overboard and get clean once in a while.”

Gilbert Cyril Gerard was born Jan. 23, 1943, in Little Rock, Ark., and trekked to New York City in 1969 to give acting a shot, studying at the American Musical and Dramatic Academy.

He drove a taxi to pay the bills and, according to his website, one day a fare told him to show up on the set of the movie “Love Story.” Ten weeks of work on the film followed and his career took off. At first Gerard appeared primarily in commercials, representing companies including Ford, Coca-Cola and Proctor & Gamble until he landed the role of former POW Dr. Alan Stewart on NBC’s “The Doctors.” He put on the white coat and stethoscope for more than 300 episodes of that daytime drama from 1973 to 1976.

Then an agent lured him to the West Coast, where auditions got him noticed by NBC. NBC’s interest led to his casting in the title role in Universal Pictures’ “Buck Rogers in the 25th Century,” starring alongside Erin Gray as Col. Wilma Deering and Pamela Hensley as Princess Ardala.

As William “Buck” Rogers, Gerard played a 20th century astronaut who had come out of suspended animation 500 years in the future, only to discover a planet in ruins. In 1979 dollars, the film earned more than $21 million worldwide, or about $100 million when adjusted for inflation.

His career outside of “Buck Rogers” included appearances on mainstream shows abundant in that era — “Baretta,” “Hawaii 5-0,” “CHiPs” and “Little House on the Prairie” among them — as well as more obscure TV movies with delightful titles: “Reptisaurus,” “Nuclear Hurricane” and “Bone Eater.” “Sidekicks” in the mid-1980s, a couple of years after the release of the Oscar-nominated 1984 movie “The Karate Kid,” saw him playing a cop who becomes the guardian of a pre-teen martial-arts expert. A stint on the short-lived 1990 series “E.A.R.T.H Force” earned him some light snark from The Times’ then-critic Howard Rosenberg.

But Gerard also appeared in successful mainstream films including “The Nice Guys” starring Russell Crowe and Ryan Gosling and “The Big Easy” with Dennis Quaid and Ellen Barkin.

Gerard was married and divorced four times before exchanging vows with Janet Gerard in the 2010s. Among his wives was model and actor Connie Sellecca, whom he was married to from 1979 until their divorce was finalized in 1987. They had one child, a son.

In addition to addictions to alcohol and drugs, the actor battled his weight starting in the 1980s, with the once-trim leading man eventually seeing his health suffer as he topped 300 pounds, according to a 1990 interview with People. He later chronicled his 2005 mini gastric-bypass surgery in the 2007 Discovery Health special “Action Hero Makeover.”

“Gil likely saved my life. I was badly in need of weightloss surgery. I was resistant…then i saw a documentary on Gils weight loss journey. It was the impetus I needed as Gil was a hero of mine growing up,” a fan wrote Tuesday on Gerard’s posthumous Facebook post. “I thanked him via email several years ago and he was gracious and kind. I will miss him.”

Gerard appeared to be quite grateful and gracious at the end of his life.

“It’s been a great ride, but inevitably one that comes to a close as mine has,” he wrote in that final prepared post. “Don’t waste your time on anything that doesn’t thrill you or bring you love. See you out somewhere in the cosmos.”

“No matter how many years I got to spend with him it would have never been enough,” Janet Gerard said in closing in her own message on Facebook. “Hold the ones you have tightly and love them fiercely.”

In addition to his wife, Gerard is survived by actor Gilbert Vincent “Gib” Gerard, 44, his son with Sellecca.

A different type of British invasion had EDM fans in a trance at the Queen Mary in Long Beach.

Armed with turntables, social media-star-turned-professional-party-starter Fish56Octagon made his U.S. festival debut Nov. 21 and 22 at Insomniac’s Dreamstate SoCal, where he performed alongside some of the world’s most preeminent electronic artists, including Tiësto, Paul Oakenfold, Gareth Emery, Ferry Corsten and Chicane.

Fish, as he’s called, is a 46-year-old from the London suburbs who joined TikTok on a drunken whim after being introduced to the app by friends in 2021. Now boasting over a million followers across platforms, he’s seen his life flip because of that choice — quitting a full-time marketing career to become a DJ, produce music and play sets at some of the world’s biggest music festivals in the four years since he uploaded his first video.

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Though his initial post was about his watch collection, the self-described “petrol head” quickly went deep into creating content about cars and made a successful side hustle within a couple years. Crossover between auto enthusiasts and the music lovers in his audience meant the dance songs he used to soundtrack his car videos and sporadic vinyl-haul unboxings spawned passionate discussion in the comments about the classic rave songs Fish was sharing with the world.

He also benefited from an accidental, scroll-stopping visual hook repeated across videos born from his employer asking him to ensure it didn’t look like he was posting during business hours: middle-aged, thin and bald, dropping dad moves in front of his sprawling Technics decks and pumping his fists to the beat between bites of Weetabix biscuits, all while wearing a red and black dressing gown (what Americans would call a robe), gifted to Fish’s wife by his mother.

Screen shot of Fish DJing on TikTok in his bathrobe

(TikTok)

“That gown is elegant,” wrote a fan in the comments.

“It was legit my mum’s but she found it too hot,” Fish responded.

“You the same build as your mum” another person wrote back, punctuating the comment with a sweating smiley face emoji.

Fish also began to livestream on TikTok late into the night, playing his own mixes for the first time in 20 years.

“I remember seeing people commenting on the Live going, ‘Mate, we were watching you before we went out. We’ve just gone on a whole night out in our city, come back and you’re still here playing,’” Fish said. “I just love it. Sharing and being able to get out those obscure records. Sometimes it’s the big anthems everyone knows and sometimes it’s a tune that was an anthem to me.”

He’s had a decades-long education in electronic music. Fish was introduced to the genre on the cusp of his teen years through an episode of the British detective show “Inspector Morse.” One episode took place in the illegal rave scene and he thought it looked like fun to party in an old warehouse.

Fish’s taste quickly developed by listening to pirate radio and vinyl. He pieced together his first setup with two hi-fi record players his dad had in the attic. Only one had pitch control. He learned to beatmatch by plugging a player into each side of his amplifier and using the balance knob to fade between them. He was given Soundlab DLP-1 belt-driven turntables for his birthday and his obsession accelerated over the next several years.

Fish56Octagon performing at the Dreamstate music festival in Long Beach.

(Niyaz Pirani)

“By then I was just spending every penny that I had on vinyl building my record collection up. It was all rave music, early old school, hardcore jungle, and then happy hardcore, drum and bass around that sort of time, early to mid-’90s,” he said. “I played quite a few house parties.”

He became a de-facto resident DJ in college, spinning vinyl in the student union, and dabbled in music production at the same time. He eventually sold his analog kit and synthesizers when he switched to Ableton. He downsized his record collection as he converted them to MP3s.

The demands of his post-college marketing career meant the DJ dream disappeared for many years. That was until his TikTok Live sets gave him a second chance as club promoters reached out in the hope of booking him. Fish admits a lack of confidence caused him to stay on the sidelines. It was an offer in February 2024 to play a solo show at Hidden in Manchester — about the same time he switched his channel over entirely to music — that got him out of his house and onto a stage.

“Even if I wasn’t sure that people would come, I knew that anyone that did come would be coming to see me,” he said. “ … I ended up putting a night on where I played for five hours straight, just me from the start to the end. When the tickets went on sale, it sold out a good couple of months before the event.”

Fish wondered if it was a one-off event or the beginning of a life-changing run. Then the offers came in from other big U.K. cities — FishTales in Newcastle; acid techno at Beaverworks in Leeds; raves in Liverpool and Birmingham. He hired an agent. Dropped some merch.

“Not sure how this happened! But I’m here for it and hope you are too,” he wrote online.

A 20-date summer tour featured three different sets at the famed Glastonbury Festival, and appearances at Reading and Creamfields. He also traveled to Ireland, Scotland and Malta, marking his first time playing professionally outside of England.

He quit his day job in August 2024 to DJ and focus on music production full time with the support of his wife, children and parents.

“They support me even though it comes at a cost that I can’t always spend as much time with them, but they understand that I’m following my dream, following my passion, and doing something positive,” he said.

He’s gained an appreciation as a historian of the genre. Fish’s followers have grown to include Skrillex, David Guetta, Disclosure, Bicep and more of the artists he has admired and now counts among his peers.

“For about the first year, I often would wake up in the morning — I’m gonna get a little bit emotional just talking about this — but I’d wake up in the morning and just think, ‘Wow, that was all a dream, wasn’t it?” he said. “Then I look at my phone. I can see that actually it was real.”

Fish attributes his success to social media, though he said it’s a mistake to think just having social media followers guarantees bookings and the upward trajectory of one’s career.

“They’re actually a function of each other. It’s because I was making content that proved to be popular about music that I managed to build up a following and have those opportunities come my way,” he said. “I’ve now played, getting on for, 200 professional gigs at various clubs, festivals, events, raves, all around the world.”

Fish waited until November 2025 to make his first trek to North America with an 11-date run featuring his first U.S. festival booking. He chose Dreamstate because he’s always had a special place in his heart for trance and the emotional connection people have with the music.

“I love all dance music, but trance is the one that can kind of tug at your heartstrings a bit with those melodies, and the chord progression, and the way that the beats can be so crisp when they come in, and the way the bass hits,” he said.

Fish performed Friday night on “The Vision.” It’s the same stage played by legends Chicane and Paul Oakenfold this year and Darude last. He also co-headlined an hour-long B2B with Night 1 Dreamstate headliner Gareth Emery early Sunday morning, as the top-billed act for the festival’s afterparty in the Grand Salon of the iconic Queen Mary.

He made his way to LAX after stepping off stage at 3 a.m. to fly to New York and play the last three hours of a 24-hour rave.

Chicane and Fish56Octagon run into each other in the lobby of the Long Beach Hilton after playing the same stage Night 1 of Dreamstate.

(Niyaz Pirani)

Fish has tour dates in New Zealand and Australia toward the end of the year, plus the largest show of his career March 28 at London’s O2 Academy Brixton. He’s also releasing music for himself and others under his record label Octagon Discs.

As his audience multiplies, Fish’s earliest followers remain enthralled by his seemingly infinite rise.

“How did the dude who recommends second-hand cars get to this. So happy for you dude,” one fan wrote in the comments of his Dreamstate recap video post.

“Music was my number 1 passion but i thought I was too old. Thanks for the support bro,” Fish replied.

“Amazing,” another chimed in. “But I would not recognize u in the wild without the bathrobe.”

WASHINGTON — FBI Deputy Director Dan Bongino said Wednesday that he will resign from the bureau next month, ending a brief and tumultuous tenure in which he clashed with the Justice Department over the handling of the Jeffrey Epstein files and was forced to reconcile the realities of his law enforcement job with provocative claims he made in his prior role as a popular podcast host.

The departure, which had been expected, would be among the highest-profile resignations of the Trump administration. It comes as FBI leadership has been buffeted by criticism over Director Kash Patel’s use of a government plane for personal purposes and social media posts about active investigations.

Bongino announced his planned departure in a post on X in which he said he was grateful for the “opportunity to serve with purpose.” He did not say precisely when in January he would leave or detail his future plans.

President Trump said earlier Wednesday, in response to a question about Bongino’s fate: “Dan did a great job. I think he wants to go back to his show.”

Bongino was always an unconventional pick for the No. 2 job at the FBI, a position that historically has entailed oversight of the bureau’s day-to-day operations and typically has been held by a career agent. Though he had previously worked as a New York City police officer and Secret Service agent, neither he nor Patel had any experience at the FBI before being picked for their jobs.

Nonetheless, Bongino was installed in the role in March by Trump after years as a conservative podcast host, where he used his platform to repeatedly rail against FBI leadership and to encourage conspiracy theories related to the Epstein sex-trafficking case and pipe bombs discovered in Washington on Jan. 6, 2021.

Once in the position, Bongino struggled to placate elements of Trump’s base who expected him to quickly deliver the reform he had claimed was needed at the FBI and to uncover the truths he had said had been hidden by the federal government.

On the Epstein case, for instance, he had previously challenged the official ruling that the wealthy financier had taken his own life in a New York jail soon after his 2019 arrest. But once in the FBI, he said in a Fox News interview: “I’ve seen the whole file. He killed himself.”

Bongino had separately speculated as recently as last year that the pipe bombs placed on the eve of the Jan. 6 Capitol riot were an “inside job” and part of a “massive cover-up.” But after the FBI earlier this month arrested a 30-year-old Virginia man with no evident connection to the federal government, Bongino was pressed about his prior comments.

“I was paid in the past for my opinions,” Bongino said in a Fox News interview. “One day I will be back in that space, but that’s not what I’m paid for now. I’m paid to be your deputy director, and we base investigations on facts.”

Tucker writes for the Associated Press.

A group of entertainment industry workers launched a new coalition that aims to advocate for the rights of creators amid the growing AI industry.

The group, called Creators Coalition on AI, was founded by 18 people, including writer-director Daniel Kwan, actors Joseph Gordon-Levitt and Natasha Lyonne and producer Janet Yang, former president of the Academy of Motion Picture Arts and Sciences.

Gordon-Levitt said the group is not limited to Hollywood luminaries and is open to all creators and the skilled workers around them, including podcasters, digital content creators and newsletter writers.

“We’re all frankly facing the same threat, not from generative AI as a technology, but from the unethical business practices a lot of the big AI companies are guilty of,” he said in a video posted on X on Tuesday. “The idea is that through public pressure, through collective action, through potentially litigation and eventually legislation, creators actually have a lot of power if we come together.

The coalition’s formation comes at a time when Hollywood has been grappling with the fast growth of artificial intelligence tools. Many artists have raised concerns about tools that have used their likenesses or work without their permission or compensation.

The tech industry has said that it should be able to train its AI models with content available online under the “fair use” doctrine, which allows for the limited reproduction of material without permission from the copyright holder.

Some studios have partnered with AI companies to use the tools in areas including marketing and visual effects. Last week, Walt Disney Co. signed a licensing deal with San Francisco-based ChatGPT maker OpenAI for its popular Disney characters such as Mickey Mouse and Yoda to be used in the startup’s text to video tool Sora.

Kwan told The Hollywood Reporter that when Disney and OpenAI’s deal was announced many people felt “completely blindsided.”

“On one hand, you can say that this is just a licensing deal for the characters and that’s not a big deal, and it won’t completely change the way our industry works,” Kwan told THR. “But for a lot of people, it symbolically shows a willingness to work with companies that have not been able to resolve or reconcile the problems.”

There has also been lawsuits filed against some AI companies. Earlier this year, Disney, Universal and Warner Bros. Discovery sued AI business Midjourney accusing it of copyright infringement.

The Creators Coalition on AI said it plans to convene an AI advisory committee “to establish shared standards, definitions, and best practices as well as ethical and artistic protections for if and when AI is used.” Some of the principles the group lists on its website include the importance of transparency, consent, control and compensation in the use of AI tools, sensitivity to potential job losses, guardrails against misuse and deepfakes and safeguarding humanity in the creative process.

“This is not a full rejection of AI,” the group said on its website. “The technology is here. This is a commitment to responsible, human-centered innovation.”

“This is not a dividing line between the tech industry and the entertainment industry, nor a line between labor and corporations,” the group said . “Instead, we are drawing a line between those who want to do this fast, and those who want to do this right.”

The idea for the coalition was sparked by Kwan, who produced a documentary about AI, which comes out next year, Gordon-Levitt said in his video. He said work on the group began in the middle of this year. Already the collective has many signatories, including actors Natalie Portman, Greta Lee, Kirsten Dunst and Orlando Bloom.

WASHINGTON — Four centrist Republicans broke with Speaker Mike Johnson on Wednesday and signed onto a Democratic-led petition that will force a House vote on extending for three years an enhanced pandemic-era subsidy that lowers health insurance costs for millions of Americans.

The stunning move comes after House Republican leaders pushed ahead with a health care bill that does not address the soaring monthly premiums that millions of people will soon endure when the tax credits for those who buy insurance through the Affordable Care Act expire at year’s end.

Democrats led by Minority Leader Hakeem Jeffries of New York needed 218 signatures to force a floor vote on their bill, which would extend the subsides for three years.

Republican Reps. Brian Fitzpatrick, Robert Bresnahan and Ryan Mackenzie, all from Pennsylvania, and Mike Lawler of New York signed on Wednesday morning, pushing it to the magic number of 218. A vote on the subsidy bill could come as soon as January under House rules.

“Unfortunately, it is House leadership themselves that have forced this outcome.” Fitzpatrick said in a statement.

Origins of a Republican revolt

The revolt against GOP leadership came after days of talks centered on the health care subsidies.

Johnson, R-La., had discussed allowing more politically vulnerable GOP lawmakers a chance to vote on bills that would temporarily extend the subsidies while also adding changes such as income caps for beneficiaries. But after days of discussions, the leadership sided with the more conservative wing of the party’s conference, which has assailed the subsidies as propping up a failed marketplace through the ACA, which is widely known as “Obamacare.”

House Republicans pushed ahead Wednesday a 100-plus-page health care package without the subsidies, instead focusing on long-sought GOP proposals designed to expand insurance coverage options for small businesses and the self-employed.

Fitzpatrick and Lawler tried to add a temporary extension of the subsidies to the bill, but were denied.

“Our only request was a floor vote on this compromise, so that the American People’s voice could be heard on this issue. That request was rejected. Then, at the request of House leadership I, along with my colleagues, filed multiple amendments, and testified at length to those amendments,” Fitzpatrick said. “House leadership then decided to reject every single one of these amendments.

“As I’ve stated many times before, the only policy that is worse than a clean three-year extension without any reforms, is a policy of complete expiration without any bridge,” Fitzpatrick said.

Lawler, in a social media post, similarly said that “the failure of leadership” to permit a vote had left him with “no choice” but to sign the petition. He urged Johnson to bring the plan up for an immediate floor vote.

Path ahead is uncertain

Even if the subsidy bill were to pass the House, which is far from assured, it would face an arduous climb in the Republican-led Senate.

Republicans last week voted down a three-year extension of the subsidies and proposed an alternative that also failed. But in an encouraging sign for Democrats, four Republican senators crossed party lines to support their proposal.

Senate Majority Leader John Thune, R-S.D., argued against the Democratic extension as “an attempt to disguise the real impact of Obamacare’s spiraling health care costs.”

Freking writes for the Associated Press.

WASHINGTON — President Trump intends to preview his agenda for next year and beyond in a live speech from the White House on Wednesday night. His remarks are coming at a crucial time as he tries to rebuild his steadily eroding popularity.

The White House offered few details about what the Republican president intends to emphasize in the 6 p.m. PST speech. Public polling shows most U.S. adults are frustrated with his handling of the economy as inflation picked up after his tariffs raised prices and hiring slowed.

Trump’s mass deportations of immigrants have also proved unpopular even as he is viewed favorably for halting crossings along the U.S. border with Mexico. The public has generally been nonplussed by his income tax cuts and globe-trotting efforts to end conflicts, attack suspected drug boats near Venezuela and attract investment dollars into the United States.

In 2026, Trump and his party face a referendum on their leadership as the nation heads into the midterm elections that will decide control of the House and the Senate.

Trump has said that he thinks more Americans would back him if they simply heard him describe his track record. Administration officials say investment commitments for new factories will reverse the recent decline in manufacturing jobs and that consumer activity will improve dramatically as people receive increased tax refunds next year.

“It has been a great year for our Country, and THE BEST IS YET TO COME!” Trump said in a Tuesday social media post announcing the speech.

White House press secretary Karoline Leavitt said that Trump would discuss his achievements this year and his plans for the remainder of his second term.

Trump has been omnipresent on social media and television this year with his impromptu news conferences and speeches. But addresses to the nation often can be relatively sober affairs, as was Trump’s June address describing the U.S. bombing of nuclear facilities in Iran.

The president has eschewed the messaging discipline that’s common among most politicians, an authenticity that appeals to some voters and repels others.

In a speech in Pennsylvania last week, he said his tariffs might mean that American children should have fewer dolls and pencils, while confirming a previously denied story from his first term in 2018 that he did not want immigrants from “shithole” countries.

On Monday, Trump on his social media site blamed Rob Reiner’s vocal objections to the president for the killing of the actor-director and his wife, Michele Singer Reiner.

A report released on Tuesday showed a jobs market that looks increasingly fragile, even if the overall economy still appears to be stable.

Employers were adding on average 122,750 jobs a month during the first four months of this year. But since Trump announced his broad tariffs in April, monthly job gains have averaged a paltry 17,000 as the unemployment rate has climbed from 4% in January to 4.6%.

Trump’s team has blamed Democratic lawmakers for shutting down the government for the job losses reported Tuesday during October. The president continues to blame his predecessor, Democrat Joe Biden, for any challenges the nation might face over inflation or ending Russia’s war in Ukraine.

Boak writes for the Associated Press.

HumAngle, the newsroom known for its in-depth coverage of conflict, displacement, and insecurity across West Africa, has announced a major overhaul of how our journalists work and rest.

From January 2026, an Anti-Burnout Work Policy that restructures the work year into nine active months and three mandatory rest months will be introduced, while maintaining a full 12-month salary for our journalists.

The move, an attempt at reimagining what sustainable journalism looks like, is designed to protect mental health, reduce burnout, and sustain the quality of reporting from some of the region’s most difficult environments.

Under the new system, editorial staff will work in three cycles each year:

• Work: January–March 
• Rest: April
• Work: May–July 
• Rest: August
• Work: September–November 
• Rest: December

Traditional annual leave will be embedded into these rest periods, which are intended to serve as structured breaks for recovery, reflection, and creative renewal. The in-house workweek for journalists will also be shortened to three days — Monday to Wednesday.

Support teams and staff of the advocacy arm, HumAngle Foundation, will have a different, flexible structure: they will be required to work two in-office days per week, with the remaining days remote, and will receive 28 days of paid annual leave. Accountability and performance expectations will remain in place, but alongside a clearer recognition of human limits.

Why rest is now part of the job

HumAngle’s reporters routinely work in and around conflict zones, camps for displaced people, and communities living with violence and trauma. This kind of journalism demands not just technical skill but emotional stamina and deep empathy, and the costs are often borne silently. We have a dedicated clinical psychologist who supports staff well-being and manages secondary trauma that results from our regular interaction with violence and victims of violence.

HumAngle sees burnout not simply as personal exhaustion, but as a direct threat to credible journalism, storytelling, creativity, and accuracy. Building rest into the structure of work itself is a step towards treating mental health as a core requirement for excellence, not an afterthought. Well-rested journalists are better able to think clearly, write powerfully, and engage more sensitively with vulnerable sources and communities.

The policy aims to ensure continuity in coverage while allowing staff to step back regularly, process the emotional weight of their work, and return with renewed focus.

A cultural shift in African newsroom practice

Care, structure, and humanity, especially in newsrooms that routinely deal with violence, loss, and injustice, are critical for the sustainability of newsrooms. By aligning productivity with well-being, HumAngle hopes to model an alternative to the long-standing culture of overwork that exists in many media spaces.

The policy is a commitment to our people and our mission: to demonstrate that rest and excellence can reinforce each other, and that protecting journalists’ minds is part of preserving the integrity of the stories they tell.

Southern California Edison did not spend hundreds of millions of dollars on maintenance of its aging transmission lines that it told regulators was necessary and began billing to customers in the four years before the Jan. 7 wildfires, according to a Times review of regulatory filings.

Edison told state regulators in its 2023 wildfire prevention plan that it believed its giant, high-voltage transmission lines, which carry bulk power across its territory, “generally have a lower risk of ignition” than its smaller distribution wires, which deliver power to neighborhoods.

After two of the most destructive fires in the state’s history, The Times takes a critical look at the past year and the steps taken — or not taken — to prevent this from happening again in all future fires.

While it spent heavily in recent years to reduce the risk that its smaller lines would ignite fires, Edison fell behind on work and inspections it told regulators it planned on its transmission system, where some structures were a century old, according to documents.

Edison’s transmission lines are now suspected of igniting two wildfires in Los Angeles County on the night of Jan. 7, including the devastating Eaton fire, which killed 19 people and destroyed more than 9,000 homes and other structures in Altadena.

Twenty miles away, in the San Fernando Valley, terrified Sylmar residents watched a fire that night burning under the same transmission tower where the deadly Saddleridge fire ignited six years before. Firefighters put out that Jan. 7 blaze, known as the Hurst fire, before it destroyed homes.

Roberto Delgado said the 2019 Saddleridge fire started at this powerline in the hillside behind his Sylmar house. He said the January 7 Hurst began with sparks at this and another nearby powerline. Photographed in Sylmar, CA on Wednesday, Aug. 20, 2025.

(Myung J. Chun/Los Angeles Times)

After the fires, Edison changed course, and began spending more on its transmission lines, according to executives’ recent comments and state regulatory documents.

The utility began installing more grounding devices on its old transmission lines no longer in service, like the one suspected of igniting the Eaton fire. The company says it believes the idle line, last used 50 years ago, may have momentarily reenergized from a surge in electricity on the live lines running parallel to it, sparking the blaze. The official investigation hasn’t been released.

The added devices give unexpected power on the old lines more places to dissipate into the earth.

A helicopter transports workers during the process of removing Southern California Edison’s tower 208, which is suspected of causing the Eaton Fire, on Monday, May 5, 2025, in Pasadena, Calif.

(William Liang/For The Times)

Edison also began replacing some aging equipment. Sylmar residents said they saw workers in trucks and helicopters replacing hardware on the transmission line where they had watched early flames of both the Hurst fire and the 2019 Saddleridge blaze.

“Not until this year did we see repairs,” said Roberto Delgado, a Sylmar resident who can see Edison’s transmission towers from his home. “Obviously the maintenance in the past was inadequate.”

Jill Anderson, the utility’s chief operating officer, told regulators at an August meeting that the company replaced components prone to failure on a certain transmission line after Jan. 7. Edison later confirmed she was referring to equipment on the line running through Sylmar.

In interviews, Edison executives disputed that maintenance on the company’s transmission lines suffered before Jan. 7.

A helicopter transports workers during the process of removing Southern California Edison’s tower 208, which is suspected of causing the Eaton Fire, on Monday, May 5, 2025, in Pasadena, Calif.

(William Liang/For The Times)

“I do not think that our inspections and maintenance in the years leading up to 2025 were at depressed levels,” said Russell Archer, a top Edison regulatory lawyer.

Scott Johnson, an Edison spokesman, said: “The 13,500 people at Southern California Edison show up every day committed to the safety of the communities where we live and work. There is no higher value than safety here.”

Johnson said the utility prioritized safety both before and after the fire. For example, he said, the company increased aerial and ground inspections of transmission lines in areas at high fire risk in 2022 — and kept them at that higher level in subsequent years.

Among the company’s increased spending this year was an expensive upgrade to a transmission line that the state’s grid operator said was required to more safely shut down five critical transmission lines in L.A. County including those running through Sylmar and Eaton Canyon. That work was expected to be finished by 2023 but was still in progress on Jan. 7.

Edison didn’t preventively shut down the lines in Eaton Canyon or Sylmar on Jan. 7, but said the delayed upgrade had nothing to do with that decision. The company said the wind that night combined with other factors didn’t meet its protocol at the time for the lines to be turned off.

Some proposed maintenance changes will take years.

Work crew dismantles a section of Southern California Edison’s tower 208 which will be removed for further examination on Wednesday, May 7, 2025. The idle transmission tower is suspected of sparking the Eaton fire.

(Myung J. Chun/Los Angeles Times)

For example, executives recently told regulators that next year they may begin determining whether some of its 355 miles of idle transmission lines in areas at high-risk of wildfire should be removed for safety reasons. The company said 305 miles of those dormant lines run parallel to energized lines, like the one in Eaton Canyon.

Regulators at the state Office of Energy Infrastructure Safety asked Edison this summer if any of those lines posed a risk of induction, where they become energized from nearby electrified lines. Edison told them it “has not done a line by line analysis.”

Pedro Pizarro, chief executive of Edison International, the utility’s parent company, acknowledged in a November interview that the company made changes after the fires, including by replacing a steel part called the y-clevis, which was found to have failed in the minutes before the 2019 Saddleridge fire.

“We saw some concerns with that so we accelerated a program to replace them,” he said.

Pizarro said he continued to back the company’s statements before Jan. 7 that it had decreased the risk that its lines would spark a wildfire by as much as 90% since 2018, including by spending billions of dollars for prevention work on its smaller distribution lines.

He called the Eaton fire “a black swan event” — one of “low probability, but high consequence.”

Aging equipment

About 13,000 miles of transmission lines carry bulk power through Edison’s territory. In comparison, it has nearly 70,000 miles of the smaller distribution lines, delivering power to homes.

Because the high-voltage transmission lines are interconnected, utilities must keep the system balanced, trying to prevent sudden increases or decreases in power. An abrupt jump in electricity flowing on one transmission line can cause surges and problems miles away.

In 2023, Edison said in a filing to the state Public Utilities Commission that the average age of its infrastructure was increasing as it replaced equipment less frequently than in previous times.

More than 90% of its transmission towers are at least 30 years old — the age when the first signs of corrosion appear, it said in a filing. Some transmission lines and pylons are nearing 100 years of service and have never had major overhauls, the company said.

Edison said it began looking for corroded transmission towers in 2020, but found so many that it temporarily stopped those evaluations in 2022 to focus on fixing those found unsafe.

In 2021, the commission’s Public Advocates Office warned that Edison wasn’t completing maintenance and upgrades that the utility said was “critical and necessary” and was authorized to bill to customers.

Edison had been under-spending on that work since 2018, staff at the Public Advocates Office wrote. They urged regulators to investigate, saying that “risks to the public are not addressed” and customers may be owed a refund.

That shortfall in spending continued through 2024.

According to a report Edison filed in April, the company did not spend hundreds of millions of dollars on transmission system work that regulators had authorized from 2021 to 2024.

Among the shortfalls was $270 million to fix thousands of deficiencies found more than a decade ago where its transmission lines hang too close to the ground, the report said. Also unspent was $38.5 million authorized for transmission operating maintenance and an additional $155 million for capital maintenance.

Edison planned to perform 57,440 detailed inspections of its transmission poles in those four years, the report said, but performed only 27,941, citing other priorities.

Edison said its inspection numbers still met state regulatory requirements.

A helicopter flies over the downtown Los Angeles skyline during a cloudy day on Monday, May 5, 2025, in Pasadena, Calif.

(William Liang/For The Times)

The utility also replaced 38% fewer substation transformers than it said it would. And while it was authorized to replace 14,280 transmission poles it restored just 10,031, the report stated.

Archer said some uncompleted work was for an inspection program using drones in areas at lower risk of fire. Instead the company focused those aerial inspections in high-risk areas, he said.

He said some shortfalls were for upgrade projects that were delayed for reasons beyond the company’s control.

Utilities are allowed to pass on the costs of approved maintenance projects to customers in the monthly rates they charge. State regulators also give them some flexibility to decide whether to spend the money on approved projects, or something else.

Archer said that most of the unspent money involved capital expenses like purchases of new transmission towers and upgrade projects. Once regulators authorize a capital project, he said, customers begin paying a small portion of the cost annually over the assets’ expected life, which is often decades. If the project is not completed, those annual payments stop, he said, adding that state regulations don’t allow Edison to issue refunds for most unspent funds.

Transmission lines known to spark deadly fires

Before Jan. 7, Edison told regulators in its wildfire mitigation plan that it had focused its prevention efforts on its smaller distribution system. It said transmission lines posed a lower threat because they were taller and had wires more widely spaced.

Yet the deadliest wildfire in state history was caused when equipment on a century-old Pacific Gas & Electric transmission tower failed. The 2018 Camp fire killed 85 people and destroyed most of the town of Paradise.

A year later, the Kincade fire in Sonoma County ignited when a steel part on a PG&E transmission line broke. Like Edison’s line in Eaton Canyon, that transmission cable was no longer serving customers.

Edison is now facing hundreds of lawsuits claiming it was negligent in maintaining its transmission lines in Eaton Canyon and for leaving the old unused line in place — allegations the company denies.

At 6:11 pm on Jan. 7, Edison recorded a fault — a sudden change in electricity flow — on a transmission line running from La Cañada Flintridge to Eagle Rock, according to its report to regulators.

Faults can be caused by lines slapping together, a piece of equipment breaking or other reasons. Edison said it did not know the cause.

The fault caused a momentary surge in current on the four live lines running through Eaton Canyon, the company said, which may have energized the idle line.

Investigators view the Edison electrical lines, transmission towers and surrounding area, which is a location that is being investigated as the possible origin of the Eaton fire in Eaton Canyon in Altadena Tuesday, Feb. 11, 2025.

(Allen J. Schaben/Los Angeles Times)

State regulations require utilities to remove old lines no longer in service. Edison says that even though it hasn’t used the line in decades it sees a need for it in the future.

Edison’s transmission manual dated December 20, 2024 states that it inspects idle lines every three years, while active ones are inspected annually.

Executives said they went beyond the manual’s requirements, inspecting the idle line in Eaton Canyon annually in the years before the fire.

Edison declined to provide records of those inspections.

Sylmar line suspected of two wildfires

Edison says it believes its transmission line running through the foothills above Sylmar was involved in the ignition of the Jan. 7 Hurst fire. But it denies the line ignited the 2019 Saddleridge fire.

The 2019 fire killed at least one and destroyed or damaged more than 100 homes and other structures.

This year, lawyers for victims of the 2019 fire argued in court the two fires started in the same way: steel equipment holding up the transmission lines broke, causing a sudden, massive surge in energy that triggered sparks and flames at two or more towers located miles away.

The lawyers say the line, constructed in 1970, is not properly grounded so that sudden increases in energy don’t disperse into the soil — a problem they say the company failed to fix.

Edison denies the claims, calling their description of the fire’s start an “exotic ignition theory…contrary to accepted scientific principles.”

A judge recently denied Edison’s request to dismiss the case.

It was supposed to be a speech with a clear message of hope for survivors of the Palisades fire.

In her State of the City address in April, Los Angeles Mayor Karen Bass called for a law exempting fire victims from construction permit fees — potentially saving them tens of thousands of dollars as they rebuild their homes.

Eight months later, the City Council is still debating how much permit relief the city can afford. Palisades residents have been left hanging, with some blaming Bass for failing to finalize a deal.

“This should have been pushed, and it wasn’t pushed,” said electrician Tom Doran, who has submitted plans to rebuild his three-bedroom home. “There was no motor on that boat. It was allowed to drift downstream.”

Since the Jan. 7 fire destroyed thousands of homes, Bass has been announcing recovery strategies with great fanfare, only for them to get bogged down in the details or abandoned altogether.

After two of the most destructive fires in the state’s history, The Times takes a critical look at the past year and the steps taken — or not taken — to prevent this from happening again in all future fires.

At one point, she called for the removal of traffic checkpoints around Pacific Palisades, only to reverse course after an outcry over public safety. She pushed tax relief for wildfire victims in Sacramento, only to abruptly pull the plug on her bill. Her relationship with Steve Soboroff, her first and only chief recovery officer, quickly unraveled over pay and other issues. He left after a 90-day stint.

Critics in and outside the Palisades say the mayor’s missteps have undermined public confidence in the rebuilding process. They have also made her more politically vulnerable as she ramps up her campaign for a second term.

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1. Tom Doran poses for a portrait in the remains of his home in the Pacific Palisades. Doran, who has submitted plans to rebuild the home he lived in for decades, has said that Los Angeles Mayor Karen Bass should have done more to secure passage of a law giving residents relief from city rebuilding permits after the wildfires. (Kayla Bartkowski / Los Angeles Times) 2. Statues are seen in an aerial of the remnants of Doran’s home. (Kayla Bartkowski / Los Angeles Times) 3. An aerial of the remains of Doran’s home. (Kayla Bartkowski / Los Angeles Times)

Bass, seated in her spacious City Hall office earlier this month, said the recovery is happening at “lightning speed” compared to other devastating wildfires, in part because of her emergency orders dramatically cutting the time it takes to obtain building permits.

By mid-December, more than 2,600 permit applications had been filed for more than 1,200 addresses — about a fifth of the properties damaged or destroyed in the fire. Permits had been issued at about 600 addresses, with construction underway at nearly 400, according to city figures.

Still, Bass acknowledged that fire victims are feeling angry and frustrated as they enter the holiday season.

“I think people have a right to all of those emotions, and I wouldn’t argue with any of them,” she said.

Rebuilding a community after a natural disaster is a monumental task, one with no clear playbook. Many of the obstacles — insurance claims, mortgage relief — reach beyond the purview of a mayor.

Still, Bass has plenty of power. City agencies crucial to the rebuilding effort report to her. She works closely with the council, whose members have sharply questioned some of her recovery initiatives.

Palisades residents had reason to be skeptical of the rebuilding process, given the problems that played out on Jan. 7: the failure to pre-deploy firefighters, the chaotic evacuation and the fact that Bass was out of the country on a diplomatic mission to Ghana.

In the weeks that followed, Bass was unsteady in her public appearances and at odds with her fire chief, whom she ultimately dismissed. She struggled to give residents a sense that the recovery was in capable hands.

Perhaps the most disastrous narrative revolved around Soboroff, a longtime civic leader known for his blunt, outspoken style.

Mayor Karen Bass, right, and her disaster recovery chief, Steve Soboroff, during a news conference at Palisades Recreation Center on Jan. 27.

(Brian van der Brug / Los Angeles Times)

To many, the assignment made sense on paper. Soboroff had a background in home building, roots in the Palisades and extensive knowledge of City Hall.

Soboroff initially expected to receive a salary of $500,000 for three months of work as chief recovery officer, with the funds coming from philanthropy. After that figure triggered an outcry, Bass changed course, persuading him to work for free. Soon afterward, Soboroff told an audience that he had been “lied to” about whether he would be compensated. (He later apologized.)

Soboroff also voiced frustration with the job itself, saying he had been excluded from key decisions. At one point, Bass appeared to narrow his duties, telling reporters he would focus primarily on rebuilding the community’s historic business district and nearby public areas.

Bass told The Times that she does not view her selection of Soboroff as a mistake. But she acknowledged there were “challenges along the way” — and decisions where Soboroff was not included.

“In those first few months when everything was happening, I’m sure there were decisions he wanted to be in that he wasn’t in,” she said.

In April, amid Soboroff’s departure, Bass said she was searching for a new chief recovery officer. She repeated that assertion in July. Yet she never publicly announced a replacement for Soboroff, baffling some in the Palisades and providing fresh ammunition to her critics.

Real estate developer Rick Caruso, who ran against Bass in 2022 and founded the nonprofit SteadfastLA to speed the rebuilding process, said the recovery czar position is still desperately needed, given the size of the task ahead.

“You’ve got infrastructure that has to be rebuilt, undergrounding of power lines, upgrading of water mains. At the same time, you want to get people back in their homes,” said Caruso, who is weighing another run for mayor.

A Samara XL modular house is lowered into place at a project site in Culver City on March 21. Developer and former mayoral candidate Rick Caruso’s Steadfast L.A. nonprofit wants to raise $30 million in the hopes of providing between 80 and 100 Samara XL homes for fire victims.

(Myung J. Chun / Los Angeles Times)

Behind the scenes, Bass opted not to select a single person to replace Soboroff, going instead with a trio of consultants. By then, she had confronted a spate of other crises — federal immigration raids, a $1-billion budget shortfall, a split with county officials over the region’s approach to homelessness.

Soboroff declined to comment on Bass’ handling of the recovery. Early on, he pushed the mayor’s team to hire the global engineering giant AECOM to oversee the recovery. Bass went initially with Hagerty, an Illinois-based consulting firm that specializes in emergency management.

At the time, the mayor pointed out that Hagerty was already working with county officials on the Eaton fire recovery in Altadena and Palisades fire recovery in other unincorporated areas.

The city gave Hagerty a one-year contract worth up to $10 million to provide “full project management” of the recovery, Bass said at the time.

Hagerty quickly ran into trouble. At community events, the firm’s consultants struggled to explain their role in the rebuilding.

Two months after Soboroff stepped down, Bass announced she was hiring AECOM after all to develop a plan for rebuilding city infrastructure. Hagerty ended up focusing heavily on the logistics around debris removal, helping the city coordinate with the federal Army Corps of Engineers, which spearheaded the cleanup.

Hagerty quietly finished its work earlier this month, billing the city $3.5 million — far less than the maximum spelled out in the firm’s contract.

The confusion over Hagerty’s role created a major opening for Bass’ best-known challenger in the June 2 primary election: former L.A. schools Supt. Austin Beutner, a onetime high-level deputy mayor.

Beutner, whose home was severely damaged in the Palisades fire, called the selection of Hagerty a “fiasco,” saying it’s still not clear what the firm delivered.

“The hiring of Hagerty proved to be a waste of time and money while creating a false sense of hope in a community that’s dealing with a terrible tragedy,” he said.

Executives with Hagerty did not respond to multiple inquiries from The Times.

An aerial image of some homes being reconstructed and lots that remain empty in Pacific Palisades.

(Allen J. Schaben / Los Angeles Times)

AECOM joined the city in June, working to prepare reports on the rebuilding effort that dealt with infrastructure repairs, fire protection and traffic management. Those reports are now expected by the one-year anniversary of the fire.

Matt Talley, who spent part of the year as AECOM’s point person in the Palisades, praised Bass for her focus on the recovery, saying he watched as she took lengthy meetings with Palisades community members, then made sure her staff worked to address their concerns.

“I think the mayor gets a bad rap,” said Talley, who left AECOM in mid-November. “She takes a lot of incoming, but in her heart, she really does want to drive the recovery and do the right thing, and that’s evidenced by the meetings she’s having with the community.”

Bass, in an interview, said she eventually decided to have three AECOM staffers form a “recovery team,” instead of a single replacement for Soboroff.

“It didn’t make sense to go in the other direction,” she said. “We evaluated that for quite a while, met with a number of people, consulted many experts.”

By the time Bass announced AECOM’s hiring, she had also begun pursuing another initiative: relief from Measure ULA, the city’s so-called mansion tax, which applies to most property sales above $5.3 million.

Proponents argued that Palisades residents should not have to pay the tax if they sell their burned-out properties. For those who can’t afford to rebuild — either because they are on fixed incomes or have little insurance — selling may be the only option, they argued.

In June, Caruso sent Bass a proposal showing how Measure ULA could be legally suspended. By then, Bass had tapped former state Assembly Speaker Bob Hertzberg to work on a bill overhauling Measure ULA, not only to aid fire victims but to spur housing construction citywide.

Three months later, near the end of the legislative session in Sacramento, Bass persuaded some L.A.-based lawmakers to carry the bill, infuriating affordable housing advocates who accused her of attempting an end run around voters.

But right before a key hearing, Bass announced she was withdrawing the bill, which had been submitted so late that it missed the deadline for lawmakers to make changes.

Bass said city leaders are now working to identify other pathways for suspending ULA in the Palisades.

Meanwhile, her push for permit relief is also a work in progress.

Alice Gould, who lost her home in the Palisades fire, is rebuilding her home on Akron Street in Pacific Palisades. Gould, who has lived on the property for 28 years, is upset that Mayor Karen Bass has not yet secured passage of a law to exempt fire victims from city permit fees for rebuilding.

(Genaro Molina / Los Angeles Times)

In April, a few days after her State of the City speech, Bass issued an emergency order suspending the collection of permit fees while the council drafted the law she requested. If the law isn’t enacted, fire victims will have to pay the fees that are currently suspended.

Councilmember Bob Blumenfield, who sits on the council’s powerful budget committee, said Bass’ team did not contact him before she issued her order.

“When I read that, my first thought was: ‘That’s great. How are we gonna pay for that?’” he said.

Bass issued a second emergency order in May, expanding the fee waivers to include every structure that burned. By October, some council members were voicing alarms over the cost, warning it could reach hundreds of millions of dollars, depending on the details.

Palisades residents called that estimate grossly inflated. On Dec. 2, dozens of them showed up at City Hall to urge the council to pass legislation covering every residential building that burned — not just single-family homes and duplexes, a concept favored by some on the council.

Council members, still struggling to identify the cost, sent the proposal back to the budget committee for more deliberations, which will spill into next year because of the holiday break.

Bass defended her handling of the issue, saying she used her “political heft” to move it forward. At the same time, she declined to say how far-reaching the relief should be.

Asked whether the Palisades should be spared from permit fees for grading, pools or retaining walls, she responded: “I can’t say that,” calling such details “minutiae.”

“What I wanted to see happen was, all fees that were possible to be waived should be waived,” she said.

Hank Wright, against a backdrop of his neighbor’s home being built, walks on the property where he lost his four-bedroom home in the Palisades fire.

(Genaro Molina / Los Angeles Times)

Hank Wright, whose four-bedroom home on Lachman Lane burned to the ground, remains frustrated with the city, saying he doesn’t understand why Bass was unable to lock down the votes.

“She has not been the point person that I wanted her to be,” he said. “I don’t think she has been able to corral that bureaucracy.”

No, our Women in Film issue doesn’t exclusively feature women — Noah Baumbach and Brendan Fraser feature in our Dec. 16 edition as well — but it does shine a particular spotlight on their extraordinary contribution to the year in film.

As performers and production designers, writers, directors and more, the women included here helped fashion deeply felt stories of parenthood, friendship, grief and betrayal, and that’s just for starters. Read on for more highlights from this week’s Envelope.

The Envelope Actresses Roundtable

(Jason Armond / Los Angeles Times)

This year’s Oscar Actresses Roundtable was full of laughter, sparked by everything from Gwyneth Paltrow’s impression of mother Blythe Danner to Sydney Sweeney’s tales from inside the ring on “Christy.” But when it comes to self-determination, this year’s participants — who also included Emily Blunt, Elle Fanning, Jennifer Lopez and Tessa Thompson — are dead serious.

As performers, producers and businesswomen, the sextet told moderator Lorraine Ali, the boxes that Hollywood and the broader culture seek to put them in need not apply. And realizing that is its own liberation. As Lopez put it, “I don’t ever feel like there’s somebody who can say to me, ‘No, you can’t.’”

‘Hamnet’s’ last-minute miracle

(Evelyn Freja / For The Times))

Since the moment I first saw “Hamnet,” I’ve been raving to everyone I know about its climactic sequence, set inside the Globe Theatre during a performance of Shakespeare’s “Hamlet.” (Well, if you can call it “raving” when you preface your recommendation with the sentence, “I sobbed through the last 45 minutes.”) As it turns out, though, the process of making the film’s final act was as miraculous as the finished product.

“There were only four days left of shooting on ‘Hamnet’ when Chloé Zhao realized she didn’t have an ending,” Emily Zemler begins this week’s digital cover story, which features Zhao, actors Jessie Buckley, Paul Mescal and Joe Alwyn and production designer Fiona Crombie. What they created from that point, combining kismet, creative inspiration and grueling preparation, will buoy your belief in the power of art. “It was like a tsunami,” Buckley tells Zemler. “I’ll never forget it.”

A Is for Animal Wrangler

When I first read Helen Macdonald’s transporting “H Is for Hawk,” which combines memoir, nature writing and literary criticism, I can’t say I closed the book wondering when we’d get a film adaptation. Little did I know that director Philippa Lowthorpe, star Claire Foy and a pair of married bird handlers would provide such a thorough answer to my skepticism.

As Lisa Rosen writes in her story on the marriage of art and goshawk in “H Is For Hawk,” that meant shaping the production around the notoriously wary birds of prey, including its lead performance. “It wasn’t like having another actor who had another agenda or actions or a perspective that they wanted to get across in the scene,” Foy told Rosen of her extensive screen time alone with the five goshawks who stood in for Helen’s. “I was along for the ride with these animals.”

More stories from our Dec. 16 issue