News Desk

Kathy Kanjo, the director and CEO of the Museum of Contemporary Art San Diego, has been named the new director of the UC Irvine Langson Orange County Museum of Art. The news comes a little more than two months after UC Irvine announced it had acquired Orange County Museum of Art in a merger that created the new institution.

At that time, a rep for UCI said the hope was to announce a new director in the new year, so Kanjo’s appointment comes ahead of schedule. Kanjo has been at MCASD since 2016. Prior to that, she served as director of the University Art Museum at UC Santa Barbara.

When I first wrote about the merger, UC Irvine confirmed that it was taking over OCMA’s assets, employees and debt. A rep for UC Irvine declined to comment on a number, writing in an email that the budget for the new museum will come from university operating funds.

Kanjo inherits responsibility for a substantial collection of more than 9,000 artworks, including UC Irvine’s Gerald Buck Collection of more than 3,200 paintings, sculptures and works on paper by some of the state’s most important artists, including David Hockney and Ed Ruscha.

“The newly merged collection is both anticipated and underknown,” wrote Kanjo in an email. “I am eager to unveil and contextualize the artistic legacies of the Irvine, Buck, and OCMA collections from a particularly California point of view. Collected over time and together at last, these objects are an asset to be shared generously and supported by scholarly research. The constellation that is the UC Irvine Langson Museum offers a portrait of our state’s innovative artistic impulses.”

Kanjo also said the new museum would get a significant boost from UC Irvine’s research strength and commitment to public service.

“We will create rigorous and welcoming exhibitions that resonate with our region’s diverse audiences, young and old,” she wrote.

Despite the great fanfare of its opening in 2022, OCMA — with its 53,000-square-foot, $98-million Morphosis-designed building on the eastern edge of the Segerstrom Center for the Arts campus — never seemed fully realized. Problems were hinted at — but never explained — in April when CEO Heidi Zuckerman announced her intention to step down.

Meanwhile UC Irvine had been planning to construct a museum for its collection for quite some time. That, too, never really got off the ground. If there were ever a time to build consensus around a new mandate for the merged organizations, that time is now. Kanjo has a vision for the future that appears to center scholarship.

“I want to clarify the core identity of the collection and find connections back to campus and into the community,” she wrote. “The post is appealing because of its connection to UC Irvine, a leading research university, and the opportunity to work with the students within the Claire Trevor School of the Arts and all of the campus resources. The potential to foster innovation by working in a cross-disciplinary/cross-campus way is strong.”

I’m arts and culture writer Jessica Gelt, planning a drive to Orange County in the new year. Here’s your arts and culture news for the week.

On our radar

Broadway star Ben Platt will perform 10 shows at the Ahmanson starting Friday.

(Rob Kim / Getty Images)

Ben Platt: Live at the Ahmanson
The award-winning star of stage and screen hits town for 10 shows where he’ll sing his greatest hits and Broadway favorites. And where Platt goes, his big-time friends follow, so expect some great surprise guests each night.
8 p.m. Friday-Saturday and Dec. 19-20; 3 and 8 p.m. Sunday and Dec. 21; 7:30 p.m. Wednesday-Thursday. Ahmanson Theatre, 135 N. Grand Ave., downtown L.A. centertheatregroup.org

“Holiday Legends” is this year’s seasonal performance by the Gay Men’s Chorus of Los Angeles.

(Gay Men’s Chorus of Los Angeles)

Holiday Legends
The Gay Men’s Chorus of Los Angeles’ annual celebration pays homage to the greats, including Mariah Carey, Irving Berlin and Johnny Mathis, plus traditional choral classics, pop Christmas anthems and Hanukkah favorites.
8 p.m. Saturday. 3 p.m. Sunday. Saban Theatre, 8440 Wilshire Blvd., Beverly Hills gmcla.org

The Huntington in San Marino.

(Allen J. Schaben/Los Angeles Times)

Stories from the Library: From Brontë to Butler
This series highlights the literary side of the Huntington and its world-class library. In the newest exhibition, journals, letters, photographs and personal items provide a behind-the-scenes look at two centuries of women writers bookended by Charlotte Brontë and Octavia E. Butler.
Through June 15. The Huntington, 1151 Oxford Road, San Marino. huntington.org

The week ahead: A curated calendar

FRIDAY
Holiday Soirée & Cabaret
Fountain Theatre celebrates the season with a live announcement of its 2026 season, a cabaret performance from Imani Branch & Friends, plus, a raffle and reception. There will also be two separate performances of the cabaret.
Soirée and cabaret: 7 p.m. Friday. Cabaret: 7 p.m. Saturday; 2 p.m. Sunday. Fountain Theatre, 5060 Fountain Ave. FountainTheatre.com

Violinist Renaud Capuçon.

(Los Angeles Philharmonic)

Mozart & Sibelius
Violinist Renaud Capuçon joins conductor Gustavo Gimeno and the L.A. Phil for a program that combines “Mozartian elegance with brooding Nordic drama.”
8 p.m. Friday and Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Santasia
The long-running holiday spectacle featuring broad comedy, musical parodies and old school claymation returns to L.A. for a 26th year.
Through Dec. 27. Whitefire Theatre, 13500 Ventura Blvd., Sherman Oaks. santasia.com

SATURDAY

Laurel Halo performs Saturday at the Nimoy.

(Norrel Blair)

Laurel Halo
Currently based in L.A., the musician combines ambient, drone, jazz and modern sensibilities in new works for piano and electronics in a preview of her forthcoming album.
8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu

Sound + Source
Art meets music as DJs Novena Carmel, Francesca Harding and KCRW music director Ale Cohen provide a site-specific soundtrack to the exhibition “Corita Kent: The Sorcery of Images.”
11 a.m.-6 p.m. Marciano Art Foundation, 4357 Wilshire Blvd. marcianoartfoundation.org

Pacific Jazz Orchestra
The 40-piece hybrid big band and string ensemble, led by Chris Walden, presents its “Holiday Jazz Spectacular,” featuring vocalists Aloe Blacc, Sy Smith and Brenna Whitacre.
8 p.m. Alex Theatre, 216 N. Brand Blvd., Glendale. pacificjazz.org

Holiday Family Faire
Theatricum Botanicum’s annual daylong winter wonderland featuring performances, food and drink and a marketplace; followed by “It’s a Wonderful Life: A Live Radio Play,” by Joe Landry, and starring Beau Bridges, Wendie Malick, Joe Mantegna and Rory O’Malley.
11 a.m. Family Faire; 5 p.m. “It’s a Wonderful Life.” Will Geer Theatricum Botanicum, 1419 Topanga Canyon Blvd, Topanga. theatricum.com

SUNDAY

The band Emily’s Sassy Lime in Olympia, Wash., circa 1995.

(Emily’s Sassy Lime)

Artist Talk
Emily Ryan, Amy Yao and Wendy Yao of the ‘90s Orange County riot grrrl band Emily’s Sassy Lime join artist-activist-musician Kathleen Hanna of the band Bikini Kill for a discussion of adolescence, creativity and community. The talk is part of the museum’s “2025 California Biennial: Desperate, Scared, But Social,” which closes Jan. 4.
2 p.m. UC Irvine Langson Museum/Orange County Museum of Art, 3333 Avenue of the Arts, Costa Mesa. ocma.art

English Cathedral Christmas
The Los Angeles Master Chorale brings the magic of Canterbury Cathedral downtown, reveling in the grand tradition of British choral works from the 16th century to the present..
7 p.m Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. lamasterchorale.org

TUESDAY
Aron Kallay
In “Midcentury/Modern,” the pianist performs works from world premieres by Michael Frazier, Zanaida Stewart Robles and Brandon Rolle, along with 20th century works by Grażyna Bacewicz and Sergei Prokofiev in a program presented by Piano Spheres.
8 p.m. Thayer Hall at the Colburn School, 200 S. Grand Ave., downtown L.A. pianospheres.org

WEDNESDAY
BOTH: A Hard Day’s Silent Night
Open Fist Theatre Company’s annual holiday charity concert benefiting Heart of Los Angeles, an organization that helps kids in underserved communities, infuses the music of the Beatles with Gospel flair to tell the Christmas story.
8 p.m. Wednesday-Friday; 3:30 and 9 p.m. Saturday; 3:30 and 7 p.m. Sunday. Atwater Village Theatre, 3269 Casitas Ave. openfist.org

Elaine May and Walter Matthau star in “A New Leaf,” which screens at the Academy Museum on Wednesday.

(Film Publicity Archive/United Archives via Getty Images)

A New Leaf
Elaine May made Hollywood history with this 1971 screwball noir as the first woman to write, direct and star in her own feature film. Walter Matthau co-stars as a playboy who has burned through his own fortune so plans to marry and murder May’s kooky heiress to get hers.
7:30 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org

Culture news and the SoCal scene

Architect Frank Gehry in his Playa Vista office in 2015.

(Ricardo DeAratanha / Los Angeles Times)

The world is mourning the death of legendary architect Frank Gehry, who died last Friday at age 96. Times classical music critic Mark Swed wrote a beautiful appreciation about how Gehry used his buildings — Walt Disney Concert Hall in particular — to transform music. I made a video appreciation that tried to encapsulate Gehry’s best work, and his deep connection to his adopted hometown, and L.A. Times contributor Sam Lubell compiled a list, with photographs, of Gehry’s finest buildings in L.A., and around the world. Deputy managing editor Shelby Grad wrote about the importance of the Gehry-designed Danzinger studio.

This week also marked the release of The Times best-of-2025 lists. These include Swed’s selection of the best of L.A.’s classical music performances; Times theater critic Charles McNulty’s pick of the best theatrical works;
and former (sob!) Times art critic Christopher Knight’s 10 best art shows at SoCal museums.

Swed also wrote a story that came out of a recent trip to Tokyo about Carl Stone, an L.A. based composer from the Japanese capital, who uses his laptop to record environmental sounds and transform them into sonic sculptures. “Stone’s iPad, with its open sonic complexity, created a sense of space, a roomy aural soundscape in which jazz and butoh became elements not egos, not larger than life, just more life, the merrier,” writes Swed.

McNulty wrote an interesting essay about characters breaking the fourth wall and how it can galvanize an audience. “Breaking the fourth wall is a tried-and-true method of calling an audience to attention. But a new breed of dramatist, writing in an age of overlapping calamities — environmental, political, economic, technological and moral — is retooling an old playwriting device to do more than inject urgency and immediacy in the theatrical experience,” McNulty writes.

I spent time in Palm Springs over the Thanksgiving break to cover the grand reopening of the Palm Springs Plaza Theatre, which recently underwent a $34-million restoration. To celebrate, it hosted an intimate show featuring actor, singer, songwriter Cynthia Erivo.

I also had the pleasure of sitting down for an interview with Broadway actor Ben Platt in advance of his 10-day residency at the Ahmanson Theatre. We bonded over being anxious people, and he shared that he keeps his anxiety in check through live performance.

Cameron Watson is the new artistic director of Skylight Theatre Company.

(David Zaugh)

Cameron Watson has been named Skylight Theatre Company’s new artistic director, beginning Jan. 1. He will replace Gary Grossman, who is stepping down after four decades at the helm of the Los Feliz-based theater, during which time he turned the company into one of the most respected small theaters in the city. “Cameron’s passion, his theatrical vision and his ability to lead, listen, nurture and mentor make him the perfect fit for Skylight,” Grossman said in a statement.

Earlier this week, philanthropist MacKenzie Scott gave $20 million to the Japanese American National Museum — the largest single gift in the organization’s history. Scott, the former wife of Amazon founder Jeff Bezos, also gave the museum $10 million in 2021.

Hamza Walker, the Brick executive director who is behind the critically acclaimed “Monuments” exhibit at the Brick and MOCA, has been honored with the 2026 Audrey Irmas Award for Curatorial Excellence, given by the Bard College Center for Curatorial Studies. “Hamza’s three decades of curatorial practice have brought forward voices and perspectives that challenge dominant narratives, create dialogue, and have left a lasting imprint on the field,” said Tom Eccles, executive director of the Center for Curatorial Studies, in a statement.

Sherman Oaks resident Kate Stermer won the National Portrait Gallery’s 2025 Teen Portrait Competition, alongside Matilda Myers of Towson, Md. The annual competition is open to teens ages 13 to 17, and the museum says it received more than 1,100 entries from 48 states, Guam, Puerto Rico and Washington, D.C. We here at Essential Arts are proud of you, Kate!

— Jessica Gelt

And last but not least

The Times this week released its annual list of the 101 best restaurants in Los Angeles. I plan to go to every one. Well, maybe, like 20. It could get expensive.

Who: Liverpool vs Brighton
What: English Premier League
Where: Anfield in Liverpool, United Kingdom
When: Saturday, December 9, at 3pm (15:00)
How to follow: We’ll have all the buildup on Al Jazeera Sport from 12:00 GMT in advance of our text commentary stream.

All eyes will be on the Liverpool team sheet when it is released at roughly the same time the bus carrying the squad will arrive at Anfield for the Brighton match on Saturday.

Speculation is rife that the Premier League match could be Mohamed Salah’s last for the defending champions, following the public fallout with the club.

The Reds, and their beleaguered manager Arne Slot, will hope the focus is very much on the football and turning around a form book that has seen the Merseyside club fall to 10th in the table.

Al Jazeera Sport takes a closer look at a game that will be the focus of the Saturday agenda in the English top flight, and beyond.

What is the latest on Salah’s future at Liverpool?

Salah has not started a game for Liverpool since the 4-1 defeat at PSV Eindhoven in the UEFA Champions League on November 26.

The Egyptian forward was benched for the following three Premier League games and, following fierce criticism of the club’s treatment of him, was then dropped from the squad that travelled to Italy to face Inter Milan on Tuesday – a game the Reds won 1-0.

Speculation has mounted surrounding a move to the Saudi Pro League since Salah’s outburst following last Saturday’s 3-3 draw at Leeds United, when the 33-year-old claimed he had been “thrown under the bus” for their recent woes on the field.

Liverpool manager Arne Slot said on Friday morning that he would speak with Salah to decide whether the forward would return to the match-day squad for the Brighton game.

The eyes and ears of the world, and in particular in Saudi Arabia, will be on the Anfield club for news of the team and the squad before kickoff against Brighton on Saturday.

What has Liverpool’s form been in the Premier League this season?

The Reds have lost six of their games in the Premier League this season – part of a run that saw them lose nine of 12 games in all competitions.

The struggling title holders have taken five points from their last three league games, however, starting with a 2-0 win at West Ham – the first game of Salah’s exile from the starting lineup.

The last two matches, though, have seen the Reds held to a 1-1 home draw by newly promoted Sunderland, before the draw at Leeds that led to Salah’s outburst.

What has Brighton’s form been in the Premier League this season?

Brighton’s solid season sees them sit two places above Liverpool on goal difference.

A win for either side could result in them climbing as high as fourth.

One league win in five to begin the season left the Seagulls sitting slightly perilously, but a run of only two defeats in 11 in the English top flight followed, with six wins in that time.

That form had expectations flying high on the south coast before two home games, but a 4-3 defeat by Aston Villa was followed by a 1-1 draw with West Ham in their last match.

We go again. pic.twitter.com/2tFFXx1Bh9

— Premier League (@premierleague) December 12, 2025

What happened the last time Liverpool played Brighton?

Brighton were 3-2 winners in a Premier League fixture on May 19, in the last encounter between the sides.

Liverpool twice took the lead in the first half of the game at Amex Stadium through Harvey Elliott and Dominik Szoboszlai.

Yasin Ayari’s 31st-minute goal kept the Seagulls in the game at the break before Kaoru Mitoma and Jack Hinshelwood, who netted five minutes from time, turned the game around in the second period.

What happened in the corresponding fixture between Liverpool and Brighton last season?

Liverpool were 2-1 winners in the preceding match at Anfield last season, but were forced to come from behind after Ferdi Kadioglu gave the away team the lead in the 14th minute.

The Seagulls held the lead until the 70th minute, when Cody Gakpo and Mohamed Salah scored twice in three minutes to set up the win.

Head-to-head

This is the 44th meeting between the sides, with Liverpool winning 23 of those encounters and Brighton emerging victorious on 8 occasions.

The fixture dates back to 1907 and an FA Cup tie at Anfield, where Brighton secured a 1-1 draw. Liverpool made no mistake in the reply, however, winning 3-0 on the south coast.

Brighton would have to wait a further six games for their first win against Liverpool, a 3-1 victory in the old second division of English football (now known as the Championship).

Liverpool team news

There is a question mark over Alexander Isak’s status for Saturday, with Slot saying the forward picked up a knock in the first half against Inter Milan, and that he will be evaluated on Friday before they decide whether or not he can start.

Slot is pleased with how Isak and Hugo Ekitike have played together, saying their partnership will continue to improve.

“The more they play together, the more they will adapt to each other and the better they will cooperate,” Slot said. “I saw promising things from the both of them, it’s only the second time they’ve played together. We will see more of them playing together in the future.”

Slot will have Federico Chiesa available on Saturday after he recovered from illness, while Wataru Endo and Cody Gakpo are expected to be out for a “few weeks”.

Brighton team news

Stefanos Tzimas, Solly March, Adam Webster are all absent with knee injuries, while James Milner is also out for several months with a muscle problem.

Kaoru Mitoma will have a fitness test as he attempts a comeback from an ankle problem which has kept him out since September.

Yasin Ayari and Tom Watson could both return from knocks, but both are still being monitored at this stage.

Predicted Liverpool starting lineup:

Alisson; Gomez, Konate, van Dijk, Kerkez; Jones, Gravenberch, Mac Allister; Szoboszlai, Isak, Wirtz

Predicted Brighton starting lineup:

Verbruggen; Wieffer, Dunk, van Hecke, Kadioglu; Baleba, Ayari; Minteh, Rutter, De Cuyper; Welbeck

The star died in hospital at the age of 77, his colleagues confirmed on TV.

Sunrise star Dr Keith Suter has died in hospital at the age of 77 this year, it has been confirmed.

The broadcaster’s death was announced by hosts Samantha Armytage, Natalie Barr, and Matt ‘Shirvo’ Shirvington as they delivered an emotional tribute to him live on air.

They revealed that the former Foreign Affairs Editor, who held three doctorates and chaired numerous international bodies, “passed away peacefully in hospital”.

The sad news was delivered by Nat, 57, and Shirvo, 47, on Sunrise early Friday morning (December 12). They opened the programme saying: “Before we heard the news, we just wanted to pay a quick tribute to a close friend and member of this Sunrise, Dr Keith Suter, who passed away peacefully in hospital this week.

“Keith has been part of the Sunrise and Seven family for so many years, the most brilliant mind, a calm and trusted voice on some of the most complex stories, and a joy to work with behind the scenes as well.

“He helped explain wars, elections, and global crisis upon crisis, but he always did it with measure so people felt safe, and this morning our thoughts are with his beautiful family.”

Samantha, 49, who previously co-hosted Sunrise from 2013 to 2021 with fellow presenter David ‘Kochie’ Koch, also posted a moving tribute to the late broadcaster on Instagram, reports the Express.

Posting a picture of the Australian expert in his element whilst presenting on the breakfast programme, she wrote: “Very sad to hear of the passing of Dr Keith Suter overnight. He was a wonderful man.

“He guided us through many of the biggest world issues of our time – with grace and humour. You could talk to him all day, and often during breaking news, we did. RIP Dr Keith.”

Meanwhile, Nat and Shirvo shared on air that viewers had already begun sending their condolences to Suter’s family, with one observer noting that the presenter “made complicated world politics comprehensible and will be sorely missed.”

Nat reflected: “World affairs is complicated, and I think a lot of people, you kind of almost feel like you pretend you know what it is about, but we got to ask him really basic questions and boy, did he explain it all to us.”

Shirvo added: “He spoke to the people, didn’t he? And he was a beautiful man with such a lovely manner. And I tell you what, he always dressed so, so well as well.”

Nat responded with a chuckle: “I know. We are really going to miss him… Our sincere condolences to his family, he will be sorely missed.”

Suter was renowned for his extensive career with Seven, where he educated Australian audiences about international affairs and simplified intricate geopolitical matters. He also served as a futurist and strategic planning adviser, boasting three doctorates from Sydney.

The broadcaster specialised in international law of guerrilla warfare, the social and economic impacts of the arms race, and strategic planning scenarios. His groundbreaking work in this arena caught significant attention.

The Australian Government presented him with its Peace Medal in 1986, and he later received recognition as Rostrum’s Communicator of the Year in 1995.

During the 2019 Queen’s Birthday Honours, he was appointed a Member of the Order of Australia for “significant service to international relations, and to the Uniting Church of Australia.”

He chaired multiple organisations, including the International Humanitarian Law Committee of the Australian Red Cross and the International Commission of Jurists (NSW). Additionally, he held positions as director of studies at the International Law Association (Australia Branch) and managing director of the Global Directions think tank.

The telly veteran featured across numerous programmes on both wireless and television discussing politics and international matters, holding the position of Foreign Affairs Editor for Channel Seven for an extended period.

Dec. 12 (UPI) — Thai Prime Minister Anutin Charnvirakul dissolved parliament on Friday, triggering fresh elections just three months after his minority government replaced a government headed by Paetongtarn Shinawatra.

In King Maha Vajiralongkorn’s decree approving the move, Anutin blamed recent deadly border clashes with Thailand’s northern neighbor Cambodia among other issues his administration has struggled to overcome.

The Thai Pride Party leader was elected by lawmakers in September with the backing of the People’s Party, which lent its support on condition that he dissolve the House of Representatives within four months.

However, facing a no-confidence vote after the People’s Party withdrew its backing amid a dispute over constitutional reform, Anutin brought the date forward.

“The appropriate solution is to dissolve parliament, which is a way to return political power to the people,” he said.

Anutin will stay on as caretaker prime minister, albeit with severely limited powers, until the elections, which by law must be held within 60 days.

His administration has been under fire over cross-border fighting with Cambodian forces that has killed at least 20 people and forced hundreds of thousands to flee and for failures in dealing with severe flooding in the south of the country in November in which more than 170 died.

“The government had executed every means in public administration to quickly resolve the urgent issues overwhelming the country… but running the country requires stability,” Anutin wrote in Friday’s decree.

“As a minority government, together with troubling domestic political circumstances, it has been unable to carry out public administration continuously, effectively and with stability.”

Shinawatra, Anutin’s predecessor, was removed from office in August after Thailand’s Constitutional Court found she had broken ethics rules in a phone call to a former Cambodian Prime Minister Hun Sen.

The fall of the government, the third in two years, threatens to exacerbate a deepening political, security and economic crisis, with the economy slowing sharply in the third quarter, posting annualized GDP growth of just 1.2%.

Anutin insisted the dissolution of parliament would have no impact on the country’s military operations on the border with Cambodia after fighting re-erupted Monday, threatening to unravel an already fragile cease-fire brokered by U.S. President Donald Trump in July.

Trump was scheduled to hold phone calls with Anutin and Cambodian Prime Minister Hun Manet on Friday evening to try to get the truce back on track.

Analysts warned that internal Thai politics could complicate that effort with the increasingly tough position being signaled by Anutin’s party on the territorial dispute.

“We see a risk of the conflict persisting into 2026 if the Thai government [of Anutin] judges that adopting a harder line could bolster its political standing ahead of the likely early-2026 elections,” Oxford Economics leader economist Alexandra Hermann told CNBC.

Congolese refugees have recounted harrowing scenes of death and family separation as they fled intensified fighting in the eastern Democratic Republic of the Congo (DRC), where Rwanda-backed M23 rebels captured a strategic city despite a recent United States-brokered peace agreement.

M23 has cemented control over Uvira, a key lakeside city in DRC’s South Kivu province that it seized on Wednesday, despite a peace accord that President Donald Trump had called “historic” when signed in Washington just one week earlier.

Al Jazeera, which is the first international broadcaster to gain access to the city since M23’s takeover, saw residents tentatively returning home after days of violence, amid a heavy presence of rebel fighters on Friday.

The day before, M23 fighters combed the streets to flush out remaining Congolese forces and allied militias – known as “Wazalendo” – after taking over key parts of the city.

Meanwhile, at Nyarushishi refugee camp in Rwanda’s Rusizi district, Akilimali Mirindi told the AFP news agency she fled South Kivu with just three of her 10 children after bombs destroyed her home near the border.

“I don’t know what happened to the other seven, or their father,” the 40-year-old said, describing corpses scattered along escape routes as about 1,000 people reached the camp following renewed clashes this month.

Regional officials said more than 413 civilians have been killed since fighting escalated in early December, with women and children among the dead.

The offensive has displaced about 200,000 people, and threatens to drag neighbouring Burundi deeper into a conflict that has already uprooted more than seven million across eastern DRC, according to United Nations figures.

Uvira sits on Lake Tanganyika’s northern shore, directly across from Burundi’s largest city, and serves as South Kivu’s interim government headquarters after M23 seized the provincial capital, Bukavu, in February.

Al Jazeera correspondent Alain Uaykani, who gained access to the city on Friday, reported a tenuous calm and the heavy presence of M23 soldiers but described harrowing scenes on the journey there.

“Here in Uvira, we have seen different groups of the Red Cross with their equipment, collecting bodies, and conducting burials across the road,” Uaykani said.

He added that the Al Jazeera crew saw abandoned military trucks destroyed along the road to Uvira, and the remains of people who were killed.

Residents who fled Uvira told AFP of bombardment from multiple directions as M23 fighters battled Congolese forces and their Burundian allies around the port city.

“Bombs were raining down on us from different directions,” Thomas Mutabazi, 67, told AFP at the refugee camp. “We had to leave our families and our fields.”

‘Even children were dying’

Refugee Jeanette Bendereza had already escaped to Burundi once this year during an earlier M23 push in February, only to return to DRC when authorities said peace had been restored. “We found M23 in charge,” she said.

When violence erupted again, she ran with four children as “bombs started falling from Burundian fighters”, losing her phone and contact with her husband in the chaos.

Another refugee, Olinabangi Kayibanda, witnessed a pregnant neighbour killed alongside her two children when their house was bombed. “Even children were dying, so we decided to flee,” the 56-year-old told an AFP reporter.

M23 spokesperson Lawrence Kanyuka announced on Wednesday that Uvira had been “fully liberated” and urged residents to return home.

Fighting had already resumed even as Trump last week hosted Congolese President Felix Tshisekedi and his Rwandan counterpart Paul Kagame at a widely attended signing ceremony.

The December 4 Washington agreement obliged Rwanda to cease supporting armed groups, though the M23 was not party to those negotiations and is instead involved in separate Qatar-mediated talks with Kinshasa.

DRC’s government accused Rwanda of deploying special forces and foreign mercenaries to Uvira “in clear violation” of both the Washington and earlier Doha agreements.

The US embassy in Kinshasa urged Rwandan forces to withdraw, while Congolese Foreign Minister Therese Kayikwamba Wagner called for Washington to impose sanctions, saying condemnation alone was insufficient.

Rwanda denies backing M23 and blames Congolese and Burundian forces for ceasefire violations.

In a statement on Thursday, President Kagame claimed that more than 20,000 Burundian soldiers were operating across multiple Congolese locations and accused them of shelling civilians in Minembwe.

UN Secretary-General Antonio Guterres warned the escalation “increases the risk of a broader regional conflagration” and called for an immediate cessation of hostilities.

WICKED: For Good, the blockbuster musical sequel, recorded the second-biggest box office opening weekend of 2025, amassing £170million worldwide.

Google Trends data shows interest in the film surged ahead of its
release on November 21 before dropping sharply in the weeks that followed.

Searches for the film climbed steadily through October, peaking in November as hype around Ariana Grande and Cynthia Erivo reached its highest point.

The days just before the film’s release recorded the strongest search activity, with Google Trends showing a clear spike as fans hunted for new clips, early reviews and last-minute tickets.

But the data also reveals what happened once the spoiler-free rush was over. By the beginning of December, searches for “Wicked: For Good” had begun to fall fast.

The decline suggests the film’s online buzz was already settling, even though it launched during peak cinema-going season and arrived with one of the biggest fanbases in modern musical history.

Within the data, Google Trends shows that interest wasn’t just limited to the leads.

Bethany Weaver, a standout supporting cast member, saw a spike in searches immediately after release, indicating that audiences were curious about her role and keen to learn more about the rising star.

Fans flocked online to read interviews, explore her career and performance, giving Weaver her own moment in the spotlight.

The film’s soundtrack proved equally magnetic.

Searches for “Wicked songs” surged following the premiere, as viewers streamed iconic numbers, from soaring duets to emotional solos.

According to Google Trends, the soundtrack maintained high interest for several days after the release, showing that the music continued to engage fans even as searches for the film itself tapered off.

When the first Wicked movie hit UK cinemas in November 2024, its Google Trends curve showed a longer-lasting surge, with searches remaining elevated for weeks after release.

That film not only dominated box office charts in 2024, but also sparked a renewed and sustained interest in the stage musical and soundtrack.

Wicked: For Good, however, has dropped off much quicker.

While interest shot up immediately before and at the time of release, search volumes for the film itself had plunged by early December, indicating fans were moving on.

Only specific elements of the sequel, such as its soundtrack and cast members, continue to draw attention.

Where the original Wicked enjoyed a sustained afterlife, Wicked: For Good’s buzz seems to have been more short-lived.

Strong at first, the trend is declining, even as fragments of interest survive around music and memory‑making moments.

What does that say about the movie’s success? And how would a third film fare…?

Rescuers pulled bodies from under the rubble of a collapsed house in Gaza’s Beit Lahiya after heavy rain and winds brought the heavily damaged building crumbling to the ground. At least 12 people have died over the last 24 hours as Storm Byron inflicts further damage on the remnants of Israel’s genocide war.

Domino effect

Chile has nearly 15.8 million registered voters, and this year, for the first time since 2012, all of them are required by law to vote in the presidential race.

Kast is believed to have the upper hand in Sunday’s run-off.

Though he came in second place during the first round of voting in November, he is expected to sweep up additional support from conservative candidates who did not make the cut-off for the second vote.

But some voters expressed scepticism about the emphasis on crime in this year’s race.

Daniela Ocaranza, a mother who lives in a low-income neighbourhood in Santiago, considers the heightened focus on crime to be a ploy.

She volunteers at an organisation that fights for affordable housing, and she thinks politicians are leveraging the uptick in crime to convince the voters to put more resources into security.

“Crime has increased,” Ocaranza acknowledged. “But this happens in all countries.”

She said the media is partly to blame in raising fears. It shows “you the same crime 30 times a day — morning, noon and night — so the perception is that there is more”.

“But there are many other things that are more important,” Ocaranza stressed, pointing to issues like education, healthcare and pensions. They are areas that she sees best addressed by Jara, whom she will be voting for on Sunday.

For his part, Johnson said politicians draw up hardline policies to appease residents who want urgent action taken.

But he noted that research has shown punitive measures don’t typically produce results. In the meantime, he warned that the outsized fears about crime can have real-world ramifications.

“Today, there are fewer people consuming art, going out to see theatre, going out to restaurants. So it doesn’t just limit someone’s quality of life but also economic development,” Johnson said.

“Fear is extremely harmful. It might even be more hurtful than the actual crime.”

“H Is for Hawk” is for the birds. And such majestic creatures they are, holding their own opposite the magnificent Claire Foy (“All of Us Strangers”).

The film, directed by Philippa Lowthorpe and based on Helen Macdonald’s memoir, centers on Foy’s character Helen, devastated by the sudden loss of her father (played by Brendan Gleeson). In her grief, she turns to a childhood interest, falconry, and buys a goshawk. The wilder the bird, the tamer the name; Helen calls her Mabel.

Producer Dede Gardner and Lowthorpe had worked with Foy before (in “Women Talking” and “The Crown,” respectively) and agreed she’d be perfect as Helen. But Mabel was another story entirely.

Lowthorpe tapped Lloyd and Rose Buck, married bird specialists who had worked for decades on natural history documentaries with the likes of David Attenborough. Since they were conveniently located not far from her home in Bristol, England, the three got together to figure out how to make the film work.

Five birds were needed to play the character of Mabel at different points; the main two would have to be raised and trained by the couple long before filming began. Sisters Mabel 1 and Mabel 2 had the bulk of the work. “They’re from the same clutch, but they’re like chalk and cheese in character,” says Lloyd. “Mabel 2 is much shier and has more wildness in her,” so she was used in the nervous bird scenes early on. Mabel 1 was used to fly to and from Foy’s glove, and for much of the action depicting Helen cohabiting with Mabel in her house.

Jess, on loan from a friend in Scotland with a falconry center, was accustomed to people, so she was featured in Mabel’s calmest moments. Juha, the only male and much smaller than the females, was seen only in high aerial shots. And Lottie starred in the hunting scenes, traveling up to 45 miles an hour through the woods to capture her prey.

Before filming was set to begin, Foy visited the Bucks for two weeks of intensive falconry training. “That was a crucial moment for the whole project, because unless they’ve taken to Claire and she’s taken to them, I don’t think it could ever have worked,” Lloyd says. “But because she was so amazing, it works. She’s interested, clever, intelligent, but above all she’s just a lovely person, and that’s what they see. You can’t fool them, they’re not silly; they can see if someone’s pretending to like them but they don’t really.”

Foy was delighted to work with the birds and with the Bucks. “They’re incredibly kind people,” she says. “They’re so tender and so beautiful with their birds, and therefore they are with other human beings as well. But also they just threw me in. At the end of the first day I was with Lottie hunting, letting her release off my arm. Learning with the birds was the last piece of the puzzle of Helen and the experience I was going to have, so it became a really profound experience.”

“Claire put her heart and soul into that training,” Lowthorpe says. “She has great physical instincts as well as emotional instincts.”

Everything on set revolved around the hawks’ well-being. Filming took place between October and January, to avoid molting season. Everyone in the crew wore drab, dark colors, because that’s what the birds were used to. Microphones were hidden because the birds didn’t like booms, and most of the crew hid upstairs; even Lowthorpe hid behind a piece of furniture with her monitor. Lloyd or Rose would either hood or remove the scene’s Mabel, and give the all-clear, before the crew could reappear to work between takes.

“I told Charlotte Bruus Christensen, our fantastic DP, we should just film everything,” Lowthorpe recalls. “If you pin it you might kill the flavor of danger or surprise. Claire was so in tune in those scenes, she was able to react in an improvisational way, and she would be in her character at all times during those long, long takes. Like I was capturing the hawks, I was capturing Claire, allowing her to move wherever she wanted.”

“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 says. “I was along for the ride with these animals.”

When Helen takes Mabel for her first walk around the house, she talks gently to her. “This is my kitchen,” she says. Mabel flaps her wings wildly. “It’s not that bad.” The bird poops. “Oh, thanks very much.”

Mabel becomes both salvation and addiction to Helen. “To feel that alive, chasing a goshawk as it’s hunting, you’re part of this extraordinary experience, which feels spiritual and meaningful,” Foy explains. “I do think that we try to avoid the ugliness of grief at all costs, like that’s something you’re supposed to do alone in a cupboard that isn’t witnessed. We just are so afraid of that expression of it. The journey with Mabel is the most vivid expression of that experience.”

Back home in London, Foy says she intends to visit the Mabels. “Whenever you drive on the motorway in the U.K., you’ve birds of prey everywhere, and now I can identify them,” she says. “I see them everywhere I go. There’s an owl out the back of my house. I feel like I’m constantly looking upwards now.”

Dec. 12 (UPI) — A federal judge in New York sentenced Do Kwon, the former CEO of blockchain and cryptocurrency company Terraform Labs, to 15 years in prison for a scheme that cost victims billions of dollars.

The 34-year-old South Korean native received a higher sentence than defense lawyers and even prosecutors sought — five years and 12 years, respectively, The New York Times reported. Prosecutors agreed to let Kwon serve the second half of his sentence in South Korea.

U.S. District Judge Paul A. Engelmayer for the Southern District of New York said he went with the 15-year sentence because Kwon’s crimes represented “fraud on an epic, generational scale.” He also ordered Kwon to pay more than $19 million in proceeds from the scheme.

The judgment was handed down in court Thursday, some four months after Kwon pleaded guilty to one count of conspiring to commit commodities fraud, securities fraud and wire fraud as well as one count of committing wire fraud. Authorities arrested Kwon in Montenegro after he led them on an 18-month manhunt, The Guardian reported.

“Do Kwon devised elaborate schemes to mislead investors and inflate the value of Terraform’s cryptocurrencies for his own benefit,” U.S. Attorney Jay Clayton said Thursday in a news release.

“When his crimes caught up to him, Kwon embarked on a deceptive public relations campaign to cover up his fraud, laundered the proceeds of his illegal schemes and sought to purchase political protection in foreign countries to evade criminal prosecution.”

Federal prosecutors said Terraform, under Kwon, offered a unique blockchain that issued stablecoins under a distinct protocol that it falsely claimed would maintain a fixed value even when market conditions fluctuated. He told investors the company’s stablecoin, UST, could always be exchanged for $1 of its blockchain’s native LUNA token.

Kwon received investments from several firms across the globe to buy or lend Terraform’s cryptocurrencies built on the company’s blockchain. The market value of all UST and LUNA surpassed $50 billion by spring 2022.

Prosecutors said, though, that much of that growth was due to Kwon’s falsifications about Terraform’s technology, causing the two cryptocurrencies to collapse in value and losing investors $40 billion. Kwon hid the losses through a fraudulent audit.

Series two of the Death in Paradise spin-off, Return to Paradise, concludes tonight

Return to Paradise concludes tonight, leaving fans wondering if Glenn and Daisy will tie the knot. The Death in Paradise spin-off, set in Australia, has been a massive hit with viewers, particularly after Anna Samson, portraying DI Mackenzie Clarke, stepped into the role of the show’s first female lead.

The synopsis for tonight’s climactic finale hints, “Mack is forced to interrupt Glenn and Daisy’s wedding when a guest collapses and dies, apparently poisoned by a fast-acting toxin present on the surface of a programme for the event.

“The happy couple are distinctly unhappy when the proceedings are halted, and it may be that Mack has finally pushed Glenn too far.”

However, after six thrilling episodes of the BBC drama, series two of Return to Paradise will draw to a close. The show, which typically airs every Friday at 8pm, will make way for the Celebrity Masterchef Final next week.

The synopsis for the upcoming show, scheduled to air between 8pm and 9pm on Friday, December 19, states, “Fifteen famous faces started the battle to become Celebrity MasterChef Champion 2025 and now only three remain,” reports the Express.

“The finalists must now cook and present a three-course meal for Grace Dent and John Torode, who will be expecting only the very best. The title is within reach – but any flaws in their cooking could see the contestants losing their grip on the trophy.”

Although the second series of Return to Paradise has wrapped up, devoted viewers needn’t fret, as both Death in Paradise and Beyond Paradise are set to deliver festive treats with a special Christmas episode arriving on screens this month.

Kris Marshall is returning as DI Humphrey Goodman in Beyond Paradise, joined once again by Sally Bretton as his beloved Martha Lloyd.

The Christmas special’s synopsis reveals: “When Esther discovers a man on the steps of the Shipton Abbott police station with no memory, holding a photo of Humphrey, the team gets to work to uncover who the mysterious man is while balancing a flurry of festive cases.”

It continues: “At the same time, with the help of Anne, Zoe and a special guest, Martha races to pull off her secret plan while Kelby tries to help a mystery man trapped inside his snowman costume. But with an influx of unexpected visitors, a slew of holiday crimes to crack, and a heartwarming reunion on the line, can the team juggle it all and still be ready for a life-changing reveal?”

Meanwhile, Don Gilet returns as DI Mervin Wilson in Death in Paradise, alongside Shantol Jackson reprising her role as his partner, Naomi Thomas.

The festive episode of Death in Paradise promises intrigue, as the synopsis reveals: “The office Christmas party of a lifetime takes a dark turn when four co-workers wake up to find a stranger dead in the pool of their Caribbean villa. DI Mervin Wilson and the team identify the murder weapon, but they’re left baffled when they find that it was locked in a drawer when the murder took place… thousands of miles away from the crime scene, in Swindon!

“Stuck in Saint Marie, the team calls on the help of a familiar face to crack the case. Meanwhile, Mervin’s anxiously waiting to hear back from his newly discovered brother, which prevents him from embracing Saint Marie’s Christmas celebrations. Can Mervin resolve his family situation and get into the festive spirit – for the sake of his team and the island?”

Viewers can catch Return to Paradise on BBC iPlayer.

Afghanistan’s International Olympic Committee member Samira Asghari says the Taliban authorities must face the stark truth that if they are ever to be accepted internationally, they must respect the rights of women to education and sport.

Asghari, who at 31 is living in exile for the second time, does, however, favour engaging with Afghanistan’s rulers.

The Taliban government have banned girls from schools beyond the age of 12, and barred women from most jobs and public services – and from playing sport.

Asghari, who in 2018 became Afghanistan’s first ever IOC member, accepts her “situation is quite challenging” and beating the drum for Afghan women’s sport “does require certain precautions”.

Nevertheless, the former international basketball player, like many top Afghan women athletes, is undeterred in speaking out about the treatment of women under the Taliban authorities.

“The reality is that when you take a public stand for women’s rights you do become a target, but I believe strongly in communication and engagement,” she said in an email interview with the AFP news agency.

“As long as the Taliban remain the reality on the ground in Afghanistan, we cannot afford to waste time doing nothing.

“In my role, I have tried to help smooth the discussions between the IOC and those currently in control, focusing on the sport rights of women and girls and particularly primary school girls who are still inside Afghanistan.”

Asghari, one of four children born to a retired professional makeup artist mother and a father who was a manager in the Afghan Olympic national committee, says the “conversations are not always easy”.

“They are not about legitimising any government,” she said.

“But they are very important for creating tangible opportunities for future generations of young boys and girls in Afghanistan.”

‘I hope FIFA can align with IOC talks with the Taliban’

With Afghan sportswomen spread around the globe, putting together teams is complex.

However, a women’s football team, Afghan Women United, made up of players based in Europe and Australia, recently competed in FIFA Unites: Women’s Series 2025 in Morocco.

“This support for athletes outside Afghanistan is just the first step, and I hope FIFA can align with the IOC’s ongoing talks with the Taliban,” she said.

Asghari, who had been involved in the “project” for more than a year, hopes the message gets through to Afghanistan’s rulers.

“The Taliban were given the country and now they’re trying to maintain power while ignoring fundamental human rights, particularly for women,” she said.

“It’s very difficult for them to continue ruling Afghanistan this way in the long term, and the Taliban need to understand that their international acceptance is directly linked to respecting human rights, including the rights of women to education and sport.”

Asghari, who attended the recent Islamic Solidarity Games in Riyadh, where Afghan women and men competed, said she hoped for “small openings” in the Taliban’s stance.

“I also believe that if we can find small openings — like developing sport in primary schools where girls are still allowed to attend up to sixth grade — we should take them,” she said.

“This isn’t about accepting the Taliban’s restrictions, it’s about not abandoning the girls and women of Afghanistan.

“We have to work with reality, while continuing to push for fundamental change.”

Asghari says even achieving small breakthroughs like that could prevent the long-term harm women suffered during the Taliban’s first spell in power, from 1996 to 2001.

She said she had seen the impact on her return from her first period of exile, in Iran.

“What concerns me deeply is that we’re creating another lost generation,” she said.

“I remember when I was in sixth grade aged 12, and there was a 20-year-old woman sitting next to me in the same class because she couldn’t go to school during the previous Taliban era.

“I didn’t know how to communicate with her and it was difficult for both of us, but especially for her because she had lost so many years.

“I cannot accept seeing this happen again. That’s why even small opportunities matter so much.”

Asghari retains hope despite the bleak outlook and believes in “continued engagement and dialogue” with the Taliban.

“The future of Afghanistan is this young generation. We need to give them every opportunity we can, no matter how small, and never, ever give up on them.”

Nationwide has been fined £44m for not having the right processes in place for detecting financial crime between 2016 and 2021.

The building society had “ineffective systems” for assessing risk and monitoring the transactions of its customers, the Financial Conduct Authority (FCA) said.

In one instance, Nationwide missed opportunities to identify a customer who had £26m of fraudulent Covid furlough payments paid into a personal account in the space of just eight days.

Nationwide said it had fully co-operated with the regulator’s investigation and since 2021 had invested in its crime control systems to ensure they were “robust”.

During the period in question Nationwide did not offer business accounts.

The FCA said that even though the building society was aware that some customers were using personal accounts for business activity, it did not have an accurate picture of who presented a higher risk of financial crime.

As a result money laundering risks were not effectively monitored, it said.

The customer who banked the illegitimate furlough payments received £27.3m over 13 months. Most, but not all of it, has since been recovered by the tax authority.

“Nationwide failed to get a proper grip of the financial crime risks lurking within its customer base,” said Therese Chambers, joint executive director of enforcement and market oversight at the FCA.

“It took too long to address its flawed systems and weak controls, meaning red flags were missed with serious consequences,” she said.

The Nationwide said it had identified the shortcomings through its own reviews and had brought them to the attention of the FCA.

“We are sorry that our controls during the period fell below the high standards we expect,” a spokesperson said.

“Since 2021, Nationwide has invested significantly in all aspects of its economic crime control framework in order to ensure our systems are robust.

“We do not believe that these controls issues caused financial loss to any of our customers and remain committed to preventing economic crime and protecting our customers and the wider UK economy from fraud,” they added.

HOLLYWOOD star Timothee Chalamet has finally broken his silence on rumours he is living a secret double life as Scouse rapper EsDeeKid.

The Call Me By Your Name actor, 29, has faced increasing speculation over the past few weeks that he is the man behind EsDeeKid – one of this year’s biggest rap breakthroughs in the UK.

EsDeeKid has never revealed his identity or anything connected to his personal life and keeps his face covered by masks at all time.

However, social media became awash with theories that the rap star was actually New Yorker Timothee thanks to a series of coincidences.

Now, the Wonka star has addressed the rumours for the first time in an interview on BBC Radio One with Greg James ahead of the release of his next movie, Marty Supreme.

Greg simply started by saying the name EsDeeKid to Timothee to which he quickly said: “No comment.”

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Kylie Jenner & Timothee Chalamet hit back at split rumors & match outfits

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Wild theory Timothee Chalamet is secretly performing as Brit rapper EsDeeKid

The actor then coyly added with a smirk upon his face: “All will be revealed in due time.”

Greg then went on to explain the theory and showed Timothee images of EsDeeKid in which his piercing blue eyes, which bear a striking resemblance to the Dune actor’s, could be seen through gaps in his masks.

The radio host asked Timothee if he agreed that they were “beautiful eyes”, with the actor simply replying: “Yes.”

Greg then asked once again if the star was him leaving Timothee to repeat: “All… will be revealed in due time.”

Little is known about EsDeeKid but he began to emerge in 2023 and achieved recognition for his 2024 song Bally.

He previously revealed he still lived in the council house he grew up in.

His debut album, Rebel, released this June has become one of the most popular hip-hop albums of the year after reaching the top ten in the UK as well as charting in America and Australia.

Speculation that Timothee is behind the mask gained traction online last month.

“Their eyes are extremely similar, I haven’t seen anything like it,” wrote one user on Reddit earlier this month.

While another user was convinced they have the same hands: “Guys i did a huge analysis looking at pics of Timothy’s hands VS Esdee kids hands. Same exact hands. Same vein placement and everything. I should make a video about it because it’s literally proof.”

Their similar fashion sense has also been used as a way of comparison between the two.

Timothee is currently in the UK ahead of the release of his new movie, Marty Supreme.

He was seen getting cosy with girlfriend Kylie Jenner at the launch of the film earlier this week where they coordinated in matching orange Chrome Hearts outfits.

The couple have been dating for almost three years having first been linked in April 2023 but have often kept their romance private and under wraps.

SEOUL, Dec. 12 (UPI) — North Korean leader Kim Jong Un praised his country’s military modernization efforts as addressing security challenges “effectively and correctly” at a key ruling party meeting, state-run media reported Friday.

Kim said the regime’s push to strengthen defense capabilities was the “exact” direction to ensure North Korea’s security amid shifting geopolitical dynamics, according to the official Korean Central News Agency.

The comments came as the three-day enlarged plenary meeting of the Workers’ Party of Korea’s Central Committee wrapped up on Thursday. The session reviewed this year’s policy implementation results and laid groundwork for a key party congress set for early next year.

During his remarks, the North Korean leader also highlighted the deployment of troops to Russia as a major achievement of the country’s defense strategy.

“The signal military gains made by … the Korean People’s Army in the overseas military operations over the past nearly one year demonstrated to the world the prestige of our army and state,” Kim said.

Pyongyang has provided significant support for Moscow’s war effort in Ukraine, sending thousands of shipping containers of munitions and deploying 15,000 troops to assist Russian forces in the Kursk region, according to Seoul’s National Intelligence Service.

In exchange, experts assess that Russia is transferring advanced military technology to Pyongyang, including assistance with space launch vehicles, reconnaissance satellites and air defense systems.

On Friday, the commander of U.S. Forces Korea warned of the expanding threat posed by North Korea as it deepens military cooperation with Russia.

“Russian-DPRK collaboration is real — it is not a quid pro quo relationship,” Gen. Xavier Brunson said during a webinar.

The Democratic People’s Republic of Korea is the official name of North Korea.

“There are things we know are happening right now that give me pause as I look at what might face us down the road, whether that be training, or techniques and procedures they’re learning from the front,” Brunson said.

The ruling party’s Ninth Congress, expected in early 2026, is widely expected to outline a new five-year economic plan and recalibrate Pyongyang’s military and foreign policy priorities.

Analysts say that the event may also cement a hard-line posture toward South Korea. In 2024, North Korea officially designated the South as a “hostile state,” according to state media, while Kim publicly rejected the long-held goal of reunification.

Fatima Alhassan is twenty years old now, but her voice still carries the weight of a ten-year-old girl who watched her world collapse a decade ago. Her father, Shahid Alhassan, was killed on Dec. 12, 2015, during the infamous ‘Zaria Massacre’.

“Despite our little time with him, we were always happy around him,” she said. “We were very close. Since we lost him, that vacuum has not been filled in our hearts.”

It was a Saturday morning, and Shahid had just returned home from a funeral. He lay on the sofa, with dust still on his palms. After some moments, he rubbed it across his face and said, “I am next”. His wife, Hauwa Muhammad, found those words unsettling. 

Immediately, Hauwa dismissed it, insisting it was not yet time and that they still had years to spend together, but he replied quietly that “my grave would not be dug in Kano, but in Gyallesu [a suburb in Zaria, Kaduna State, in North West, Nigeria].”

Shahid rose from the sofa, bathed, and had breakfast, and together they walked to the door, exchanging pleasantries before he left.

Around noon, news broke that officers of the Nigerian Army opened fire on some members of the Islamic Movement of Nigeria (IMN) in Zaria town.

That Saturday was the first day of Maulud, the birth month of Islam’s Holy Prophet Muhammad. Shahid and other IMN faithful had gone out for the celebrations. 

Founded in the early 1980s, the IMN grew under the leadership of Ibrahim Zakzaky, then a student activist at Ahmadu Bello University in Zaria. Inspired by the 1979 Iranian Revolution, Zakzaky advocated for an Islamic state governed by Sharia law. What began as a campus-based movement quickly expanded nationwide, attracting millions of followers who aligned with Shi’a Islam.

What really led to the Zaria Massacre?

The military claimed that the convoy of the then Chief of Army Staff, Lt Gen. Tukur Yusuf Buratai, was denied access through the road where the members of IMN were preparing for the Maulud celebration. 

However, Mukhtar Bashir, an IMN representative in Kano State, told HumAngle that the group were hoisting a flag when they sighted the convoy and some soldiers stationed near a filling station. Immediately, they felt something was off, and then some members confronted the convoy to enquire what was happening.

Over the decades, IMN’s growing influence and its confrontations with state authority led to heightened tensions with Nigerian security forces. One of the most significant clashes occurred in July 2014, when soldiers killed three of Zakzaky’s sons and 30 IMN members during a Quds Day procession. 

The incident deepened mistrust and left many IMN members expecting hostility whenever the military appeared. As Mukhtar recalled: “We thought it was another attack.”

What began as a “simple confrontation” quickly escalated into a full-scale assault, which continued through the weekend. Mukhtar told HumAngle that the soldiers opened fire indiscriminately on unarmed civilians, including women and children, killing hundreds as the violence stretched across three days. 

By Tuesday and Wednesday, the focus had shifted from gunshots to the evacuation of dead bodies that were buried in mass graves. Mukhtar said the burials were held without religious rites, or “any form of dignity”. Amnesty International confirmed this claim in a report on the incident. 

Based on IMN records, “a thousand members of the organisation” were killed in the massacre. Muktar noted that when the numbers of passersby who were caught in the violence and also lost their lives are added, the death toll will be significantly higher. “We can show the houses of each person killed or missing,” he added.

The aftermath

When the news got to Hauwa, she was at home, anxiously waiting for her husband’s return. During those tense moments, she remembered the words Shahid had said while on the sofa. “What if his prayers had been answered?” She thought. 

Hauwa kept dialling her husband’s phone number, but every call went unanswered. Later in the evening, she began receiving different accounts about Shahid’s whereabouts; some said he was injured, others said he was dead. 

“Initially, I never believed he was killed,” she recounted. “We heard that it was our neighbour who died. Even my husband’s uncle said he was alive. Until Shahid’s friend, Malam Abdulkadir, drove to Zaria and confirmed that he was dead.” 

Hauwa still didn’t believe that testimony until a local newspaper published images of the deceased Shi’a Muslims. That was when she accepted his death. 

What followed was silence, Hauwa said it was unbearable. “Every day, in every aspect of my life, I felt the absence of my husband, the only pillar of our household. He had been a devoted father to our seven children and a loving companion to me,” she said. 

His loss left the family adrift. Twenty-one months after the incident, Hauwa’s youngest son also died. It deepened the tragedy for the family. 

“I miss my husband,” she said. “It was through him that I fell in love with the path I am on as a Muslim. I have nothing to say, only to ask Allah to bless him for all he has done for us, and may his soul continue to rest in peace.” Hauwa believes that Shahid died a martyr—a gift he had long prayed for. 

However, the challenges of raising their children alone, the weight of grief, and the absence of justice have defined the family’s life for the past decade.

“Some days are filled with happiness, while others are filled with pain and hunger. The sad days are more than the happy ones,” said Fatima, staring away from the camera. She attends a secondary school in Kano, where she also lives with her mother and six siblings in a modest three-room apartment. 

Each morning, as she prepares for school, she asks her mother for transport fare. Too often, her mother has nothing to give. Fatima does not feel anger; it is the ache of knowing her father is not there to shoulder the burden. 

While in school, Fatima says she is often silent when conversations come up with friends about their fathers and their life plans. “Living without a father is emotionally disturbing,” she told HumAngle. “We just have to do everything with our mother, and it saddens me.”

The loss has reshaped her dreams. Once, she imagined herself studying commerce, perhaps medicine or journalism. But after her father’s death, affordability dictated her path. She now studies Arabic, hoping to become a teacher—a future she never planned for, but one forced upon her by circumstance.

It is ten years since the massacre, but families, like Shahid’s, said they have not gotten justice. “They even painted it to look like we are the ones who committed an offence,” Fatima said. “The government has not done anything tangible. To them, it might have passed, but to us, it is as fresh as it was ten years ago.”

After the massacre, the former Kaduna State governor, Nasir El-Rufai, set up a judicial commission of inquiry, whose report found evidence of human rights violations by the Nigerian Army and also noted that 347 IMN members were killed in the incident. 

“The commission recommended prosecution of the soldiers who participated in the killings, but that has not been done,” said  Haruna Magashi, legal practitioner and human rights activist.

IMN also accused the soldiers of demolishing their buildings, including the residence of their founding leader, Ibrahim Zakzaky. In November, when HumAngle visited Zakzaky’s house and some of the IMN centres, some had been turned into a refuse dump site, while others were still not in shape.

Some survivors who spoke to HumAngle three years ago recalled scenes of chaos as homes were raided, people shot at close range, and corpses left scattered on the streets.

Zakzaky was arrested by Nigerian authorities after the incident, but he was discharged and acquitted by the court in July 2021. “All the concluded cases against the IMN were in their favour,” said Haruna. 

A Nigerian court has since ruled that the activities of IMN are “acts of terrorism and illegality”, an allegation that it has persistently denied. IMN was banned in July 2019. 

Echoes of grief

While some of the survivors were teenagers and are now young adults, others can’t even remember because they were babies, but they have formed memories through stories. 

Fatima Alhassan was four when her father died in the massacre. The 14-year-old said she only tries to picture her father through the good things her mother has said about him. Through the stories, she knows that his father was a good cook, and he always bathed his children and cared for the household whenever illness struck.

“Honestly, we have all been cheated in our family,” she said. “This is because whenever my mother falls sick and my elder siblings aren’t home, she has to do all the chores by herself. But if my father were around, I am sure he wouldn’t leave her like that. Even if she insists he go to work, he would still stay behind to assist her. Such moments break my heart, and I wish he were still alive.”

Those recollections make her long for the father she never really met. At her former school, she and her siblings were bullied by classmates who mocked them for not having a father, flaunting gifts they received, while they reminded them of what they had lost.

Fatima says her uncles and other close relatives have been supportive, especially during festive seasons, but the longing for her father never fades.

“It hurts me a lot. If I were to see him now, I would tell him that we have missed him a lot and we have suffered without him,” she said as tears rolled down her cheek.

‘To live my father’s dreams’

Amidst an unending grief that aches now and then, Al’haidar Alhassan said he wants to live his father’s dream. He is studying at Basita Darwish Chami Academy, a boarding school in Kano State built for orphans whose parents were killed in the massacre, and he hopes to be a scientist and a researcher someday. 

“Glory be to God Almighty that we have gotten the support we need, and I believe we will achieve what we intend. Nevertheless, I still feel heartbroken. The thought of losing my father and pillar still affects me because I feel demotivated sometimes,” he said. 

After his father’s death, the 19-year-old and his siblings dropped out of school for two years. Al’haidar said that his father’s greatest wish was for his children to be educated. 

“I miss the father-and-son bond we shared. Whenever he was leaving for work, I never wanted to let him go. Whenever I see a child and his father, the more I miss him, and in some cases, I have no choice but to cry,” Al’haidar added.

A father’s loss

While Al’haidar misses the bond with his father, Bashir Muktar sits on the floor in his living room, in between the portraits of his two sons who were killed in the massacre. The bond with his children was one of deep affection and shared ambition.

Shahid Abba, his eldest son, had just completed his remedial studies at the College of Arts and Islamic Studies a few days before the incident. The 20-year-old was brimming with plans to pursue chemical engineering at the university. Meanwhile, Bashir’s younger son, Hujjatullahi, was still in secondary school at Fudiya Science in Kano. The 18-year-old has dreams of becoming a doctor.

“A child is a flesh of yours,” Bashir said, “and you live your life trying to ensure that you build them up. You have certain ambitions towards your children. In every household, every father tries to build his children to greatness because they are your successors.”

Even though he kept a smiling face, it broke his heart as he recounted some of his sons’ youthful curiosity. He speaks about a day in 2014 when he found the younger son under the staircase, carving something for a school experiment. 

He teased him for “still behaving childishly”, but Hujjatullahi replied that: “It is an assignment. I am going to conduct an experiment on meiosis and mitosis.” That was the day his son revealed to him his dream of becoming a doctor. These memories, Bashir said, are etched in his heart.

He was on a trip in Abuja, North Central Nigeria, when his children called to ask if they could attend the Maulud programme in Zaria. He suggested they meet there at the event, but he was caught up in a late meeting, and his sons kept reaching out to confirm what was happening.

“They sent a text message enquiring what was happening in Zaria. I replied with, ‘Nothing is happening.’ They asked if they could proceed, and I said yes, not knowing soldiers had attacked and opened fire at the venue earlier that day,” Bashir recounted. 

By the time he tried reaching them again, their phones were no longer connecting. Bashir attempted to travel to Zaria the following day, but the roads were sealed off as news spread quickly that soldiers had blocked the entrance to the city.

Two days later, while having breakfast, he got a call: “I extended salutations, then I heard, ‘Father! Father!!’ It was the voice of Hujjatullahi. I confirmed by calling his name, then I started recording and put the call on speaker. I asked, ‘What’s happening, Hujjatullahi?’ He said, ‘Please forgive us, Father.’ I asked again, ‘What is happening?’ He responded, ‘Forgive us for whatever we have done to you until we meet at Darul Salam [referring to the final abode of the deceased righteous in Islam].’”

The words that followed were devastating.

“My elder brother has been shot in the stomach, and I have been shot in the stomach and my arm,” Hujjatullahi told him.

Bashir said that how his sons were buried worsened his grief.

“If they had travelled or fallen sick and died, it would have been different. But the manner in which they lost their lives is painful,” he said. “After killing them, they took their corpses, both men, women, children, pregnant mothers, and the elderly, then dug a massive hole and buried them all together like animals. No religious ritual was performed. With these, there are a lot of things to remember, and we can’t forget them.”

When asked what justice looks like for him and other grieving families, Bashir said that the fight for justice is not only about acknowledging the massacre but also about reclaiming the dignity of those who were killed.

“The most important thing for us in this fight for justice is the corpse of our loved ones,” he told HumAngle. “Where are the dead bodies of the people they killed and buried without prayer, spiritual bath, no shroud, no graves, nothing at all?”

“I believe even if someone is sentenced to death, after the life is taken, the body belongs to the family. So, where are the bodies? Despite killing them without any valid reason, they are still depriving us of their dead bodies.”

The last witness

In the same incident, Zainab Isa lost nearly everything.

Her husband, Abdullahi Abbas, and six of their children—Abdulrazaq, Muhammad, Abbas, Ahmad, Ibrahim, and Jawwad—were all killed in the Zaria massacre.

A decade later, at her home in the Rimin Danza community in Zaria, she imagines what her youngest son, Jawwad, who was only 18 when he died, might have become at 28. “I wouldn’t be surprised if he were a doctor by now,” she said.

She said Jawwad was quiet, intelligent, and reserved and carried the kind of promise that only time could have revealed. Instead, his life ended before it even began.

Her eldest, Abdulrazaq, was over thirty when he was killed, four years after graduating from Ahmadu Bello University, Zaria.

He had plans to further his education once he secured a job. She remembers his brilliance in school, his demur anytime he was announced first in class, and his humility in admitting that his younger brother Jawwad was even smarter.

Jawwad contributed to scholarship by writing an Islamic book, the Forty Hadiths, which was published and shared at his graduation, before his death. 

Zainab can go over and over again about the stories of each of them. She told HumAngle that even other people in her community remember her children not only for their achievements but also for their kindness. 

Neighbours told her of small acts of generosity—paying transport fares for strangers, helping to fetch water for a neighbour, and offering support without being asked. “Wherever they went, they were loved,” she said. “I am not saying it to prove anything. It was God Almighty that blessed me and made them upright.”

Since that incident happened, her husband’s words about the frailty of life have stayed with her: “Only God knows who would be the first to leave this world between us. I just pray God accepts my worship before He takes my life.” 

“The scar will never heal,” she said. “Even if they would bring a truckload of dollars to my house, with the intention of making me happy, honestly, it won’t make me happy. If times could change, I would ask them to stay behind and go there myself to die instead, because they were still young and had dreams and were loved by everyone.”

Zainab is one of the few surviving witnesses to her family’s tragedy. 

Between grief and discrimination

Sadiya Muhammad, another widow of Abdullahi Abbas, was left between the pain of losing her husband and the discrimination her daughter endured in its aftermath.

Sadiya’s daughter, Radiya, was only two years old in 2015. Too young to remember her father, she grew up knowing his face only through photographs. “Whenever you hand her a picture, she would be able to point out her father,” Sadiya said.

But at school, where students and teachers came from different Islamic sects, her daughter faced painful words that deepened her grief. One day, a teacher openly told the class, “Do not be carried away by the prayers and fasting of any person who is a member of the Shi’a sect; they are worse than unbelievers, and they are all going to hell.”

The little girl returned home troubled, asking her mother, “Since my teacher said those who are Shi’a are all going to hellfire, is my father also going to hellfire?”

Sadiya’s response was firm yet tender: “I told her that her father is not going to hell; rather, he was martyred, and by Allah’s mercy, he is going to paradise.”

In the years after the massacre, her family’s mourning was made heavier by the sectarian prejudice of others, forcing her to constantly remind her children of their father’s honour and the value of their faith.

Human rights activists like Magashi believe the massacre carries a broader warning about minority rights in Nigeria. “You are in danger of extinction once you are a minority in the country,” he said. “This is dangerous as far as human rights are concerned. The Shi’ites are the minority Muslims in Nigeria, but they share the same human rights as the majority.”

In the latest episode of The Envelope video podcast, Tonatiuh discusses the grassroots efforts he spearheaded to get “Kiss of the Spider Woman” in front of communities Hollywood may not always reach, and “Song Sung Blue’s” Kate Hudson explains what makes a good music movie.

Kelvin Washington: Hello, everyone, welcome to another episode of The Envelope. Kelvin Washington here. You know who I’m with: Yvonne Villarreal, Mark Olsen, glad to be here with you. Thanks for watching and listening.

All right, let’s get it started. Mark, you had a chance to talk to Tonatiuh. And of course, this is a big moment for him. This is something he worked hard for and now getting a lot of recognition for — “Kiss of the Spider Woman.” Tell me a little bit more about your chat.

Mark Olsen: That’s right. So earlier this year at the Sundance Film Festival, there just was this great moment at the premiere of Bill Condon’s adaptation of the musical version of “Kiss of the Spider Woman,” where just to see a showcase like this for someone is so exciting. Tonatiuh, he’s acting, he’s singing, he’s dancing. There’s like so much in this performance. It’s wonderful to to see. He has a lot of poise and charisma just simply in conversation. So it made for a really exciting talk.

Washington: And also the difficulty playing multiple roles, right? I mean, I would imagine that would have been challenging.

Olsen: That’s right, in the structure of the film, he plays a political prisoner in a South American jail and he’s explaining a favorite movie of his to his cellmate, played by Diego Luna, and then he also becomes the dashing leading man of that movie [within] the movie.

Washington: Right. Diego, also Jennifer Lopez, so obviously around some big stars. I swing over to you — speaking of big stars, Kate Hudson has been one for for a long time.

Villarreal: I thought you were talking about me!

Washington: You thought I was talking about Kate? You and then Kate, of course.

Villarreal: Obviously.

Washington: Kate Hudson, a big star for for some years now, half of a tribute band for Neil Diamond, “Song Sung Blue.” Tell me a little bit about this.

Villarreal: I feel like it’s the perfect pairing to have both these guests in this episode. This one also showcases, you know, her singing abilities and her performing abilities as an actor — two of her passions. She recently released an album, and with this movie, we really get to see Kate onstage and embodying what that’s like. We see this couple who find success as this Neil Diamond tribute band, but in the middle of the height of that, her character Claire suffers a big tragedy and it really derails everything, and she has to find her way back to that. And it was a really touching conversation to hear Kate sort of embody that and her own thoughts on, you know, when you come from a world like this, it’s not a guarantee, and you have to really have passion for that. Hearing her talking about spending time with Neil Diamond at his cabin. And she sang for us a little bit. When you leave that film, I feel like there’s an instinct to go home and just listen to Neil Diamond. I know I did. Hopefully we can go karaoke at some point.

Washington: “Sweet Caroline…”

Villarreal: Do you have a Neil Diamond go-to, Mark?

Olsen: Well, I love the “Hot August Night” album recorded live at the Greek Theatre here in Los Angeles, so I’ll go with any of the tunes from that one.

Washington: I’m still upset with the both of you that I there was no “Bah, bah bah…” [to continue his “Sweet Caroline”].

Villarreal: Hugh Jackman’s character would not go for that. I’m just saying.

Washington: Would have joined me? Or not going for it, like you two leaving me hanging?

Villareal: He doesn’t want us to start with “Sweet Caroline.” You gotta go further than that. But I’ll allow it now.

Washington: Deep cuts?

Villarreal: Deep cuts.

Washington: All right, we’ll talk some more about it while you enjoy Mark and Tonatiuh.

Tonatiuh in “Kiss of the Spider Woman.”

(Roadside Attractions)

Mark Olsen: It seems like you’ve been approaching your career with such a sense of intentionality and purpose. And I would imagine, especially as a young actor starting out, you’re not necessarily in control of the roles that you get, what you could do. What have you done or how do you feel like you are trying to take that control and have that sort of intentionality in the roles that you take and what you’re doing with your career in this industry?

Tonatiuh: Well, I think I’ll pivot a little bit and say I’ve been working for 12 years as a working-class actor. I’ve been on an ABC show [“Promised Land”] as a series regular. I was in “Carry-On,” which at the time it was the No. 2 most-watched movie on Netflix, but I think we’re now at No. 5. “KPop Demon Hunters” slayed. But the only control that I really have is saying yes or no to auditions. I’m not necessarily getting offered roles. I’ve had an entire career where if I sit around and wait for someone to come knocking on my door, I will starve. And I didn’t get into this for the celebrity. I got into this because of the social impact that it had on my own life. Art to me is a mirror as to who we are as a country and who we are as people. And so it gives us an opportunity to really reflect on that, but it also gives us a destination to where we want to be. A lot of my sense of humor came from the TV shows and films that I watched growing up. And I was introduced to cultures that were different than mine. …

I think with this specific project, with “Kiss of the Spider Woman,” it was a role of a lifetime. Bill Condon wrote a fantastic script where we not only got to tell one movie but we get to tell two. We time travel and go back into a 1950s-style musical, and I get to live my Gene Kelly, Errol Flynn, Montgomery Clift fantasy with the character of Kendall Nesbitt. But then with the character of Molina, I get to be this almost genderless expression. In the totality of the film I get to play the gender spectrum. Hypermasculinity, classic masculinity, very Hollywood masculinity with Kendall, a genderless expression with Molina. And then at the very end you get a little surprise of a full female fantasy.

Olsen: Whether intended or not, this film is being released to a specific cultural and political moment. In particular, as someone who identifies as nonbinary and is the American-born child of an immigrant family, how are you processing the moment the movie is coming out to?

Tonatiuh: It comes in waves. It’s different waves. At first it was “Wow, how crazy relevant our film is,” and that’s powerful. And when I accepted the role, we’re giving the Hollywood treatment to a bunch of marginalized communities and we’re telling truly with our film, “Latinos are Hollywood.” In that era, in the 1950s, there weren’t very many, if at all, Latin stars, especially those who were allowed to be the leads in those films. And so with this we’re almost kind of rewriting history and subversively saying, “No, no, we’ve always been here” and reminding people of the dignity and the beauty of that. But, comma, we also are doing that for the queer experience. So Molina, in my view, is what we would consider in 2025 genderqueer. And we’re putting Molina right at the center, at the heart of the film. And my mission statement, and the whole reason I lost 45 pounds in 50 days, was to ensure that we can focus on their heart and their eyes and not even consider thinking about what their gender possibly could be. You’re just falling in love with a form, a person.

Olsen: This role, of course, in the original film was played by William Hurt. Do you feel it was important to have a queer performer in the part of Molina? What does that do for the story?

Tonatiuh: There’s a lot of lived experience that can go into the DNA of a character, right? But there’s also a sense of responsibility. I have met so many incredible, beautiful, gender-diverse individuals in my life. And so being able to center someone like that and to tell it with as much love, it’s just a little bit more icing on the cake. And there’s creative conversations as things are being built where you have to add and pitch perspectives that maybe someone missed because they don’t necessarily have that exact experience. I don’t necessarily subscribe to, “You always have to cast the person for the thing.” Although I relate and understand Molina, I’m an artist and my job is to bring that humanity to them. I don’t have to be identical to that person. That’s where my artistry comes from. But I think that the reverence and the respect and that sense of responsibility is what makes this unique.

Olsen: Your final number in the movie you begin in a tuxedo and you end in a dress.

Tonatiuh: With a 26-inch waist, mind you. Clock the waist.

Olsen: And there’s just something extremely powerful about that.

Tonatiuh: I mean, there’s something really cool about it. People weren’t expecting the flip with Kendall. So all of a sudden it’s like, “Wait, that’s the same guy. Now he’s looking dapper with a mid-Atlantic accent.” And then at the very end it’s a quite shocking revelation when we look down the barrel of the camera and she’s gorgeous. But that was the beauty of it. Molina dreams of being a Hollywood starlet. And I think, for me as an artist, this will probably be the only time in my life where I get to play a leading lady and a leading man at the same time. It was really special.

Olsen: Molina doesn’t really see themselves as a political person in the beginning of the film —

Tonatiuh: No, not at all.

Olsen: And part of the the journey of the film is Molina coming to realize that they are part of this fight whether they want to be or not.

Tonatiuh: Well, I think Molina falls in love. I think Molina felt like a loser in their own life who wasn’t capable of even defending themselves, right? They were just trying to survive. And there’s this twisted internalized messaging that children of marginalized groups or people who have been bullied, they start doing it to themselves as a way of protecting themselves from the world. Like, “I’ll punch myself first before you can, and I’ll make it funnier. Actually, it’ll be my whole personality.” And I think that there’s something healing in that. Valentin’s character says, “I’m disgusted when you’d make fun of yourself like that. Where’s your self-respect?” And I don’t think that they understood self-respect because I don’t think they experienced it before. And so it took living in a prison cell to find dignity again. And these two men who are diametrically opposed were able to drop all facades. They were stripped of their comforts, they were stripped of the very masks that they used to protect themselves and were forced to see each other in order to connect. And I think that’s a larger theme that’s happening in the world. I think we’re constantly being told that we’re divided and we’re not similar. But I think at the end of the day, we all want similar things. We want to feed our children. If something, God forbid, happens to us, we don’t want to go into medical debt over it. We want joy, we want community, we want connection, and I think that vulnerability is the price we pay for that connection.

Olsen: I was at the premiere of the movie at the Sundance Film Festival —

Tonatiuh: Were you really? Oh man, I wasn’t. I was fully disassociated that day.

Olsen: And something happened in that room. I think the entire audience felt they had seen someone arrive. What have the past few months been like since then?

Tonatiuh: I don’t know if I’ve arrived with this role. I’ve been preparing for this moment my entire life. I am an artist and I love what I do. And one of the biggest gifts that I got was I got to meet people, yes, at the top of their game like Jennifer Lopez and Diego Luna. But every dancer in our film was a person of color, a Latin dancer, people from the Black community, and they are also at the top of their game on Broadway. And that’s the beautiful part. I’ve met so many artists who were just dying for the opportunity. I feel like all of us are in waiting. And so it’s not for lack of talent, it’s for lack of opportunity. And with this, I am very proud of the work that I’ve done. I don’t know if I’ve arrived. People still have to see the movie, you know? And I have to get the next job. So we’ll see when that comes. But as an artist, I am feeling more emboldened to continue telling the stories that I want to tell and to continue sharing this 15 seconds of limelight with the things that I value. I think that’s what my mission statement is as an artist.

Olsen: What was it about this role that made you realize from the start that you were going to really grab it with both hands?

Tonatiuh: Well, I have no choice. No, no, no. After the strikes, after COVID. And I don’t wanna make this sound like a pity party, but the roles tend to go to the same 15 people. And I don’t come from nepotism. My mom was an immigrant in this country. She worked at a Jack in the Box drive-thru when she first got here. But I had a dream, and she and I and a bunch of my friends and community along the way just kept pushing and trying to make it happen. And so when you get three-dimensional characters, two, when you get three-dimensional characters and a really dynamic script. You gotta take it and fight. And I wanted to give it all. And it also was so important. We’re centering people who are currently being called terrorists for simply existing in this world. How can I not give them honor? This is our love letter to them. This is our way of saying we love you, we see you, and you’re not alone.

Olsen: Tell me about some of the outreach you’ve been doing to get the film in front of people and communities Hollywood may not always reach.

Tonatiuh: So I partnered with a couple of great individuals. It started off with my friend Ruben Garcia, who owns this incredible company called Mosaico. And we wanted to activate the Latin community and get people excited to come and see it. But then I kept thinking, “Man, our community has been going through a lot recently. And the country as a whole is experiencing some financial difficulties.” So I kept asking myself, “How do we give a little love and entertainment to folks?” So I reached out. I started calling friends. I started calling nonprofits. I started calling corporations and just saying, “Here’s what the mission is. We’d love to just gift things to people.” And so we created a small impact fund where we received some donations and we handed out QR codes. We just wanted to treat people for opening weekend, and we gifted tickets to the L.A. LGBT center because they have a youth services program. Los Angeles [has] one of the country’s biggest populations of unhoused queer youth. And it was important for me that they see themselves onscreen, that this is possible for them, that they get the Hollywood treatment. We gifted it to organizations that are helping with immigrant defense funds. We gifted it to their staff because they also need a little joy in their life.

And then another personal favorite was the very high school where I started acting, West Covina High School, is a public school. Their Teacher, Kim Battersby, was always going above and beyond, spending countless hours after school, over the weekend, and then she even had kids along the process. It is the performing arts programs that helped me see more of who I was. I felt like a weird little queer kid, I call it queer-do, in high school. And it was the on the stage where I felt I could practice being other people and seeing what worked and what didn’t and to learn more of who I was. I brought them out to the Grove and we filled it up with them and they dressed to the nines. They all got dressed up as if they were going to a premiere of their own. It was so sweet. And after the film, I thanked them and we took pictures and they were crying. Because they saw themselves. I taught some of them. And it was so sweet. And some of them shared their hearts with me and said that they’ve been scared of leaving the house because of what’s happening. That they’re walking around with their passports. That some of them feel like they’re invisible and that with this movie they felt seen. It was really touching.

Olsen: What does that mean to you? What do you hope those audiences receive from the film?

Tonatiuh: I mean, I think watch it. And be pleasantly surprised as to what the movie’s about. I don’t want to give too much away, naturally, because of course it’s fun to be surprised at a film. But I think our film does two wonderful things. It does hold up a mirror and it also reminds us of what we’re really about. And it creates so much joy. I mean, Jennifer, Diego, Bill, Colleen [Atwood], the incredible costumes; you get to see something that feels out of this time. And I think we could use a little Hollywood glamour right now.

Olsen: Can you talk about the challenge of this being essentially two performances — Molina in prison and then Kendall in the fantasy sequences?

Tonatiuh: Completely different performances. There are two different films with two different acting styles. And two different worlds to build. So let’s look at the movie. The first one, we were transported back into the 1950s, classic Hollywood. And so the first thing that I did as soon as I got the script is I called Bill and I said, “All right, give me every movie you want to reference, and I’ll watch as many of them as I could while preparing for it.” And I thought to myself, “Who is a wonderful tortured soul” — because Kendall’s really tortured — “that I could emulate?” And I instantly thought of Montgomery Clift, in “The Heiress” specifically. And I was just like, “Man, I want his energy, but I want to dance like Fred Astaire and Gene Kelly. And so preparing before set, I would just watch as many of these films as I was getting ready in the hair and makeup trailer. But there, you know, it’s down to the mannerisms, the small microexpressions, really trying to nail that acting style because it’s proscenium. But the crazy part is we’re a shoestring budget movie. I mean, it’s a musical, so it’s a little bit bigger than other independent films, but we only had about 20 days to shoot 12 musical numbers. And Bill wanted to shoot it in that style, which means if he could get away with a single take, he was gonna try to get away with a single take. And it took a powerhouse like Jennifer Lopez, but also Diego and myself, to really focus and nail those moments. And there’s one moment in particular, “Give Me Love,” [with] Jennifer in the Cyd Charisse green dress, making a nod to “Les Girls” and also “Singin’ in the Rain,” where I wasn’t even called to set and I was just there watching nonstop because I was like, “My God, this feels like I’m watching Marilyn or Rita or Cyd herself doing it.”

But then the second part was a naturalistic drama — well, a little bit of a fantasy, but inside of an Argentinian prison. And like I said, my mission statement was to make Molina as genderless as possible. I had just come off of “Carry-On,” so I had to lose 45 pounds in about 50 days. And this is not a commercial for Ozempic. I wish GLP-1 was sponsoring this because that would have been helpful. But no, I did it the old-fashioned way. I starved. But it was worth it. I really wanted to get that look and find his voice and the accent and transport us back into Argentina in the 1980s.

Olsen: But at the same time, is there some point of connection? Are the things that you’re doing in the two halves of the movie meant to bring them together?

Tonatiuh: Well, the two films are intrinsically connected. It’s Molina’s favorite film, but it’s also their diary. It’s their confession. Oftentimes it’s easier for us to say I love you through someone else’s song, or to say I’m scared. We look to films and music to transport us, to heal us. And so it starts off with Molina just sharing a little bit about who they are through their favorite film, but then it ends up becoming their confessions and their soul.

Olsen: Can you talk about the audition process and what it took to get this role?

Tonatiuh: I never feel really qualified to talk about the audition process because for me, this is how it went. They had been looking for months. I didn’t know about the project. I didn’t hear about it until Dec. 18 or 19, something like that. At that point, Hollywood’s completely shut down. I’m confident I was like the last person to hear about this audition. And then I locked myself up in a room after reading the material and just working it over and over and over again, until I found that throughline. ‘Cause there’s so many ways of telling a musical. Dec. 22, literally days before Christmas, I got a call saying, “You’re gonna come to New York. Jan. 2nd, 9 a.m.” Next thing you know, I’m doing a tango and a Bob Fosse number and singing in front of Bill Condon and [producer] Bernie Telsey. And then a little table read with Diego Luna and I get a text message from Bill saying, “Call me.” And I was like, “Oh man, it’s either ‘Call me, I’m sorry’ or ‘Call me, you got it’ and it was ‘You got it.’

Olsen: And then what was your audition number? What song did you do?

Tonatiuh: “She’s a Woman.” And with that number, it was so interesting because there were so many ways of telling that as well. My audition actually was from more so the point of view of Molina singing it, but within the context of the film, Kendall sings it. And so there becomes this almost “Victor/Victoria” moment where it’s Molina’s “I Want” song through Kendall Nesbitt. but played by Molina because he hated the original actor who was Kendall Nesbitt. And so it was really a thought process to think, “OK, well, how would the original Kendall do it and pay nods to him? But if Molina was able to take over his body and tell it, how would then he say it?”

Olsen: Jennifer Lopez’s performances in the musical numbers is a great reminder of why she is who she is. What was it like to see that up close?

Tonatiuh: What’s the quote? I feel it was like watching lightning strike. It was powerful and awe-inspiring. I mean, it was just incredible. But it was one of those moments, as soon as they say, “You’re gonna be singing and dancing with Jennifer Lopez,” it was like, “Oh, OK. Time to level up.” It felt like I was getting an invitation to the Olympics. I mean, these are some of the greats. Jennifer’s fantastic. Diego Luna is a phenomenal actor. Bill Condon is a master at this craft, specifically with musicals. And then even Colleen Atwood, who did all of our costumes, and Christine Cantella. They transported us with those fabrics, you know. And so it was really one of those moments like, “Oh wow, I’m I’m finally getting the invitation to go into the ring,” and it was either level up or die.

Olsen: And I know that in some ways they were almost two production units.

Tonatiuh: There were completely two different different productions.

Olsen: What was it like having to shift gears between the musical fantasia of the story within the story and the prison scenes that are, as you said, these very naturalistic, very dramatic scenes with Diego. How did you manage that?

Tonatiuh: I always joke around because people are like, “How did you start acting?” And I’m usually like, “My acting was a trauma response,” you know, just to survive and code-switch in the world. But jokes aside, I think that being able to shift quickly allows me to go from culture to culture, set to set, and just adapt quickly to that. We had a wonderful crew in Uruguay, which was amazing. But Bill Condon is an actor’s director. Once we went to Uruguay, he sat us down and we did traditional theater table reads. We sat at the table for a week and a half and we just talked about the script, beat by beat, moment by moment, really carving out what our thoughts were and his thoughts were. Sometimes we disagreed. Things in the script changed. He was so open to our perspectives — like we [were] the heads of the department for our individualized perspective, essentially. And the beauty of what we did was we shot this in order. It’s a two-man play. And so the first time that you see Molina entering the cell, meeting Valentin, was the first time that Diego and I ever saw each other in full character. These two people are discovering who they are with every passing scene and dropping the facades. But we as actors were learning to depend on one another. I always joke around that this is like the Stanford prison experiment, because we were in the cell before the sun went up, and we were out of the cell after the sun went down, straight to the hotel and back. And we were shooting in the dead of winter in Uruguay, so there was very little sunlight to begin with. So it was one of those moments where it was like we needed each other, and we created amongst ourselves a deep and and very personal bond.

Olsen: And tell me more about working with Bill, especially on the musical numbers. There are some extremely long and extended pieces of onscreen dancing.

Tonatiuh: He’s incredibly meticulous. In a good way. He has already thought about exactly what vision he wants. Down to the very film that plays in the theater at the end was a deliberate choice. And so it was really exciting because he invites you to his world and because he prioritizes the table reads, we’re able to fully understand what he’s trying to sell. So then we already know, we’re finely tuned to it. But everybody on the set, and those sets alone were just glorious. I felt like I was walking into the Titanic. It was incredible. And our choreographers, Chris Scott, Sergio Trujillo, Brandon Bieber, they also worked with Bill to basically do a dance between the camera and the dancers themselves. Because if you look back at old movies with Fred Astaire or with Gene Kelly, specifically Fred Astaire, they would zoom out just to show you from head to toe, we are dancing. This isn’t edited. It’s not done in the cut. Which was really, really cool.

Olsen: With everything that you’ve put into this project, how do you move forward from here? What is it that you see for yourself moving forward?

Tonatiuh: Well, with this project specifically, I think what I want is to get it into the hands of the people who I know will absolutely love it because I think that there’s a healing process in watching this, especially watching it in cinemas. It’s communal. The energy shifts and the technicolor washes over you in a way that a cellphone could never. But moving after that, I’m excited. My favorite thing is to transform. I’ve literally sat in theaters this weekend where people had no idea I was sitting next to them and that was me onscreen, and then I wait in the lobby to take pictures. Some people come up and they’re shocked that I’m there, A, but B that I look so different. And I didn’t get fat. I’m back to my normal weight, OK? I lost weight for Molina. But I love to transform. And up until this point in my career, I’ve only I’ve had a limited amount of ability to transform. I hope to be completely unrecognizable in my next role. And I don’t know what that’s gonna be. If I want to be a hero, if I want to play a villain, do something in the sci-fi world, an action world. I don’t know exactly what that is. And of course, I’d love to also go to Broadway. There’s one play in particular that I’ve been circling now for the last eight months, and I’m inches from putting it up. I’m inches from getting the rights. But I’m saying it on here because I am going to do that one way or another.

Hugh Jackman and Kate Hudson in “Song Sung Blue.”

(Focus Features)

Villarreal: Do you like doing podcasts as a fellow podcast host?

Hudson: I like talking to people. I like connecting, so I’m always down for for this. [With] podcasts you get to have more time to really unpack.

Villarreal: Has it made you appreciate the art of the interview?

Hudson: I’ve learned a lot. I was so used to being on the other side, being the person that’s being asked all the questions and having to navigate the right way to answer something and not get yourself into trouble. So when it flipped and we [she co-hosts “Sibling Reverie” with her brother, actor Oliver Hudson] started to interview, when I would listen to our podcast, I’d cut everything out. I’d be like, “Jesus, shut up, Kate.” I’d cut out so much. I’ve also learned that sometimes, you gotta get to the point. You gotta keep everybody on track. Oliver, my brother, is a great podcast host. He’s so funny. I feel so lucky to have him to be my partner.

Villarreal: Well, we’re very glad to have you here to talk about “Song Sung Blue.” This is a film that’s about love of self, love of others, love of music and finding your way back to all that after tragedy. Tell me about why this was the right movie for you at this point in your life and career.

Hudson: It’s a great question. These things aren’t calculated. You have these opportunities, you read something, you hope you get to play the part because you believe in the story and you believe in the filmmaker and you believe in your co-star. And then you just hope that it comes together. And with this, the story was there. [Writer-director] Craig [Brewer] wrote a great script. For me, as an actor, it gave me all the colors, all of the things that I love and have been doing for so long [and allowed me] to be able to do in one movie. And the thing that was weighing on me was that if the love story doesn’t work, if we don’t believe these two people are madly in love with each other and needing each other — they’re quite codependent — the movie’s not going to work. It didn’t matter how great the script was. And I said [to co-star Hugh Jackman], “Look, how comfortable are you with getting to know me? Because I really feel like this movie’s not gonna work if we don’t work. And we kind of have to, like, be really intimate with each other and get to know each other really well … and let me know if I ever make you uncomfortable.” I’m incredibly tactile. He felt the same way. And that actually became the easiest part, was our connection and how much we trusted each other and how connected we felt. Something happened on the set. We kind of knew that it was a special, what was starting to unfold was something really special. Then you just cross your fingers and hope that the movie, that it became what we felt like we were making. I remember seeing the movie and just going, “Oh, my God, this movie makes me miss movies.” I just feel so happy and humbled to be a part of it because you never know.

Villarreal: Tell me more about building that foundation with Hugh, because the film is based on a true story of these two Milwaukeeans who fall in love, start this tribute band of Neil Diamond music. How did the bond with Hugh take form? Were you sharing playlists?

Hudson: We do share a love of of music. The first thing we did was record music. In the last two years, I’ve been very immersed in music and writing and just saying, “I have to make music” because if I don’t, I’m not fulfilling my creative output, input — all of it. I have to be making music. So I’ve been spending a lot of time in the recording studio. So I was very excited that that was where we were starting. Hugh has a different side of the story, which is it appears to him [that] it came much easier to me than it did to him. I disagree with that, but I’m sure that’s what he would say. But it was great because we got to sing together. When you can sing with someone and you sound good together and you start to connect through music, it’s a very different kind of language. And that was the beginning of us being like, “Oh, this is gonna feel really good.” Energetically, we’re both very spirited people and we had a blast in the studio. It was a great initial connection. But the movie itself is about people who love music, and who don’t necessarily get the opportunities to make that this huge success that maybe once when they were younger they dreamed of. One of the things I love about Craig and what he understands, and what I understand about music as someone who’s lived it my whole life, whether it be through partnership or myself, is that you along the way meet all these incredible, incredible musicians — way more talented than you are or I am — that don’t have the opportunities that maybe have been put in front of others or myself. And when you see that and you live it and you know it and you love it — I have a profound respect for that musician, the one that is the session player or the one that is the tip-drawer musician, the one who ends up being an interpreter because they didn’t make it as their own artist. And I think that’s what Claire and Mike Sardina really are in their hearts. They’re musicians. And Hugh has that in him. He loves being onstage. He loves performing. He loves giving his art out. And I think musicians, some musicians, love that. So we connected there and we connected to the characters very much so, with that essence of believing and loving something so much that you just have to do it, no matter what.

Villarreal: Do you remember the first song you guys did together in those recording sessions?

Hudson: I think it might have been “Forever in Blue Jeans” or maybe it was “Cherry Cherry.” We did so many songs, but I think it was one of those.

Villarreal: Are you ready to ask him to be on your next album?

Hudson: We’re already like, “We’re taking this on the road. We’re going to go sing all kinds of songs.” You don’t have to twist our arms to get in front of a mic and start singing. And a good music movie is really hard to do.

Villarreal: Why?

Hudson: You have to understand the language. Craig is, in his heart, a musician, even though he’s not a musician. He lives and breathes music. He’s a Memphis, Tenn., boy. Most of his world is around music. That’s how I fell in love and met Craig. I was young when I met him. We’ve been trying to work together for 20 years. I was married to Chris [Robinson, of the Black Crowes] at the time. We’re music people in our blood. Some people don’t have any real connection to music. Music isn’t something that they can relate to. But there’s two types of music lovers: There’s the fan, you feel music in your bones that you can’t explain and it moves you to places that you couldn’t live without it; then there’s people who have music in them and it has to come out of them. That is another language that you can’t explain to someone unless they were born with that or have that in them. Craig has it in him. And so it translates onto the screen. It’s like Cameron Crowe. It’s like PTA [Paul Thomas Anderson]. He has music in him. You can tell by the way he directs and his use of music. There’s certain directors that really understand musicality. Craig has that, so he was able to access that for this movie.

Villarreal: What was that like connecting on that front with Claire when you met with her? At what point in the process did that come?

Hudson: I really did not want to get too close with Claire because I don’t want things to feel like [I’m] mimicking. It’s not a Bruce Springsteen or Bob Dylan or that kind of biopic. And it was important to Craig too, to make Mike and Claire their own characters. I got to know her while we were shooting, and then she’d come to set, and I’ve got this footage of us sitting and laughing with each other. And it’s so funny because there’s an energy there where you’re like, “Oh, my God, I am playing her.” You can see it sitting in the director’s chairs. It was good to get her essence, but then to create another version of Claire, the movie version.

Villarreal: Did you ever get to sing with her?

Hudson: No. I had to miss the wrap party, which really was upsetting. And apparently there was a lot of karaoke singing at the wrap party. We’ll do a redo. But Claire’s had a really interesting life. Her life has been hard. Their life is and was hard. And they somehow found a way to believe in each other and have this beautiful love and life together. Claire, when she comes and she talks about Mike, he still really lives in her every day. It’s like he’s almost still here. It’s an amazing thing to see.

Villarreal: What was your relationship to Neil Diamond‘s music coming into this?

Hudson: Like most people that aren’t hardcore Neil Diamond fans, I obviously knew his biggest songs. When I read the script, I did like a big deep dive into [him] and I was like, “Whoa, what a catalog.” So many great songs and what a great songwriter. And when you hear some of — like the last song of the movie [“I’ve Been This Way Before”], I’d never heard that song before. Neil loves that we use that song because it’s very rare. People don’t usually talk about that song. And even “Forever in Blue Jeans,” I forgot about that song. I forgot about, “Girl, You’ll Be a Woman Soon.” There’s so many songs.

Villarreal: I wanted to ask if “Soolaimon” is still playing in your head? Because it’s like an earworm for me now.

Hudson: Oh, my God. [Singing] Soooooo. Soolaimon. Oh, yeah. That song is fantastic. It’s such a great live song. And I didn’t know that song until we started the movie. Getting to know Neil’s catalog was really honestly an honor. And for him to give us the opportunity to sing all of it and to use it, so wonderful.

Villarreal: You also spent time with him … on your porch? His porch? I saw the Instagram post.

Hudson: I grew up in Colorado and he is my neighbor. But I’ve never met him. My whole life. And then I was talking with his son the other day who was at the premiere, and I was like, “It’s so weird we’ve never met.” He lives like 15 minutes from where I grew up. So we just sat on his porch and had lemonade, and we held hands and talked for hours.

Villarreal: What do you talk about with Neil Diamond?

Hudson: He was very open, and he’s in a place in his life where he did a lot of listening, and then he told me great stories about his childhood that I feel very honored that he shared with me, about where he grew up and how he grew up. And the one thing he did say, which I love — I asked him what his favorite song was to perform, then I asked if he missed performing. He said that he’s done so much and he feels good about what he’s done, but the song that he loves is “I Am … I Said.” He said that it’s like God wrote that song. It just came through him, and he was having a very hard time when he wrote that song and he was conflicted, he was having a hard time writing it, then all of a sudden it just poured through him. I loved the privilege of hearing that story from him. He said that his life has gifted him with these different eras where his music got new life. And he was just incredibly grateful to us, say[ing], like, “I know that this is gonna give my music another chapter.” Then Hugh went. I said to Hugh, “You have to go see Neil.” And so he went and flew to Colorado and sat with him. I feel so happy that he got to see the movie and he loves it and that we did good by him.

Villarreal: You asked him what his favorite song was to perform. What was yours? There’s the moment where Mike and Claire are playing alongside Eddie Vedder that really stands out in the film. And what do you feel when you perform?

Hudson: It’s been really great to exercise a new muscle, performing muscle. For the last two years, from the first time I had my first show to now, it feels very different. I get really excited. When something goes horribly wrong is actually kind of fun because that’s what live shows are, you get to not be perfect even though you’re striving for something great and to give something out that’s great. It’s not always going to be what you hope it’s going to be. Something’s gonna go wrong, it’s gonna sound weird, you’re not gonna hear this, the guitar’s not gonna [do that], and there’s something about that live experience when you’re performing that just feels so alive. One of the greatest feelings for me is when you see people singing your words back to you. I couldn’t believe the first time I saw people that I’d never seen know my music. I don’t care how many people that is. Even one person that you can see that actually is feeling something that you put out into the world is such a wonderful feeling. Performing is a blast. Singing with Hugh at Radio City, and you get to play all these cool venues and places that, as a music lover, you look around and what a bucket-list moment to sing in this historic venue. I’m so happy that I, like, had the courage to do it because I wouldn’t have had all of these experiences that I’ve had. I don’t think I would have been cast in this movie if I didn’t make music, if I didn’t go out on a limb and make an album.

Villarreal: We see in the film that, at the height of their stardom, Claire suffers a tragic accident and it upends their world. She’s in a state of depression and she’s being confronted with, “Who am I? And does this change everything about who I am because I’m not up there? And how do I get back there?” What was that like for you to delve into that headspace as a performer? For you, either as an actor or a singer, can you relate to that feeling of it being intrinsically a part of who you are and the fear of never doing it again?

Hudson: Like any role, there’s a lot of things that you can relate to or substitute. I sometimes substitute, you know, something that I can’t relate to with other things, as my own process. Meryl Streep always says you have to honor the character as much as you would honor your own life. That’s how you create a character. But then when you’re telling someone else’s life story, it’s almost like a double whammy because of the pressure that you’re sort of holding someone’s life. They’re giving you an opportunity to portray something that you don’t want to know let them down, especially with something as intimate and as vulnerable as what Claire went through.

I felt a responsibility to her struggles and how we looked at them — to have a family, to constantly be struggling to keep food on the table, to have the ups and downs of mental health. What I love about this movie is Craig doesn’t really hit you crazy over the head with Claire’s mental health struggles, but it is implied that she is up and down and is on medication and has been, and so when Claire’s up, she’s up; and when she falls it’s pretty dark. Everybody experiences trauma differently. Some people are better at pushing through or being optimistic in the face of tragedy. Claire is faced with that [idea that] nothing will ever be the same … Claire always said — we don’t say this in the movie — “Mike was a leg guy.” He would talk about them. And when that accident happened, she felt so unattractive to him. It’s like something was lost that she knew that he loved of her. Then it just hit everything from her inability to move, to be the partner she wanted to be for him, to the kids, to the drugs, to the the pain. It just was an awful spiral. I just wanted to do that as much justice [while] holding on to Claire’s inevitable optimism. She’s a very optimistic person.

Villarreal: Have you ever felt that fear of it being taken away from you? It’s one thing to decide to leave something that you love.

Hudson: I’m very stoic. I have a amazing family. I have a big support system and entered this industry knowing that if I don’t really love what I’m doing, if I’m not happy singing in that Thai restaurant, then this is not the right industry for me. If I’m not happy doing community theater or doing sketches with my friends at the local theater, I’m not in the right business. If you love it like that, then you are in the right business, because you know that it’s always gonna let you down. There’s the other side, the spiritual side, which is that I really live my life like we are all gonna die. It is inevitable. If there’s anything that’s inevitable, it is tragedy. We will meet it at some point, whether it be parents dying, whatever that is, we all will experience it at some point. So the harder thing is where the joy sits. How do we live now with joy and happiness and intention and positive intention? It’s something that I really live, authentically. So no, I don’t think about it because the reality is, if I did, then I’d be living in fear and anxiety and I choose to not do that.

Villarreal: Give me tips, Kate. I’m a worrywart.

Hudson: I worry about my kids. But life is too short. Time is so short. Lightning can strike twice. It’s the Claire line. You can’t live in that.

Villarreal: It really does feel like you are living in that sort of joy. Between this film, the album, you recently recorded a Christmas song, you’ve got the new season of “Running Point,” the podcast with your brother. I’m still waiting for “Something Blue” [the follow-up to “Something Borrowed.”]

Hudson: Oh, my God, me too. You know what? Ginny [Goodwin, her co-star in the film] and I — she was just on the podcast and we were talking about it and we were like, “We need Emily to write us in our 40s now.”

Villarreal: Who’s the villain? In “Something Borrowed.”

Hudson: Great question. Aren’t we all the hero and villain of our own story? Isn’t that how this works?

Villarreal: But you seem really happy.

Hudson: I am very happy. Age does that. You start to grow up and you realize you can go one of two ways: You can enjoy your life and your life experience. I’m on the back half — almost the back half. But you get to a certain point in your life where you have choices to make of either, you lean into enjoying everything, every blessing, or you’re miserable and you get more miserable. I want to enjoy my life and my kids. I love watching my kids grow up. And honestly, I love the decision that I made for me to make art differently than I was in my early 20s and 30s. Life presents itself the way it’s supposed to present itself. Opportunities as an actor come as they do. It’s a hard thing as an actor to wait for things to come to you because, as any actor knows, you’re at the mercy.

Villarreal: You could be waiting forever.

Hudson: Creatively, you have to, at some point, make the moves and take the risks to do things your way. Whether they’re liked or not liked, you have to do it. I think something happened in my 40s where I’m like, “I’m just gonna take the risks and make art and do things the way, tell stories the way, I’d like to do them.” And really enjoy what it is. It’s magic. Making movies is magic. And you can tell when people love doing them. You can tell when someone’s in it for something other than the art form of it. And sometimes we get them really right, sometimes we get them horribly wrong. But we gotta keep telling stories.

F-35 Joint Strike Fighters from the Vermont Air National Guard‘s 158th Fighter Wing will be heading down to the Caribbean to take part in Operation Southern Spear, a U.S. official told The War Zone. The move would be the latest buildup of U.S. forces in the region for the mission to counter narcotics and pressure Venezuelan dictator Nicolas Maduro. You can catch up with our previous story about this operation here.

The official could not say how many, when they will arrive or where they will go, but suggested they will most likely fly to the former Roosevelt Roads U.S. Navy base in Puerto Rico which has served as a staging ground for aviation assets and troops gathered in the region.

As we previously reported, F-35s from the U.S. Marine Corps began arriving at Roosevelt Road in the middle of September. E/A-18G Growler electronic attack jets just arrived there yesterday as well, which is possibly the most glaring sign that the U.S. is preparing for airstrikes as any over the last few months. You can read more about that deployment and its significance here.

On Wednesday, Vermont media outlets reported that wing assets were being prepared for a deployment but didn’t say where.

“Lt. Col. Meghan Smith confirmed to Vermont Public on Wednesday that the 158th Fighter Wing ‘has received a federal mobilization order,” the Vermont Public news outlet reported. “While we can’t discuss specific timelines or locations, our Airmen train continuously to ensure they are fully prepared to support federal and state missions whenever and wherever they are needed,” Smith said in an email.

Republican Gov. Phil Scott told Vermont Public on Wednesday that he did not know where the jets are going.

“Scott said during his weekly media briefing Wednesday that the Pentagon issued the mobilization orders under Title 10, the federal statute that allows the president to place National Guard troops under federal command,” according to the news outlet. “There isn’t much I can share because I don’t know a lot about any of the mission,” Scott said. “Everything from my understanding is coming out of either the National Guard or the Pentagon at this point.”

F-35A deployed to the Caribbean — the first USAF tactical jets to do so — would offer the ability to drop 2,000lb-class guided bombs on targets deep inside Venezuelan airspace. The F-35Bs currently deployed to Puerto Rico are limited to 1,000lb-class weapons. They also have significantly less range and reduced agility. No F-35s are deployed aboard the USS Gerald R. Ford, it only carries Super Hornets and the USS Iwo Jima is currently carrying a small contingent of AV-8B+ Harriers.

Taking all this into account, the F-35A deployment is a major signal of what type of operations could be on the horizon.

This is a developing story.

Update: 8:29 PM Eastern –

In addition to the F-35As, more aviation assets are being deployed for Operation Southern Spear, including combat search and rescue (CSAR) aircraft and refueling tankers. You can read about that in our story here.

Contact the author: howard@thewarzone.com

Coleen Nolan has opened up about a hidden family struggle on Friday’s Good Morning Britain

Coleen Nolan has revealed she spent ‘years crying’ and feeling like a ‘terrible mother’ over a hidden family struggle.

Over the summer, Coleen, 60, disclosed that her son, Shane, 37, had been fighting a secret battle with drugs which saw him ‘hit rock bottom’ and wreck his marriage to his beauty queen ex-wife, Maddie Wahdan.

Coleen’s son, Shane, whom she shares with ex-husband Shane Richie, separated from his beauty queen wife in December 2023 amid claims he had been unfaithful – just a year after they had tied the knot.

Over the summer, Shane, alongside his mother Coleen, spoke candidly about his struggle with drug addiction, which resulted in him being admitted to rehab as his family feared for his life.

Shane is now in a new relationship with girlfriend Kimberly Sallis, whom he has credited for helping him through the drug addiction, and in November they welcomed their first child together, a baby boy called Cruz-Carter, reports Wales Online.

Speaking about her son’s past struggle on Friday’s Good Morning Britain, Coleen confessed: “I felt like a terrible mother. I thought it was my fault.”

Coleen said of her son speaking out: “It was totally Shane’s decision. It would never have been me forcing him in to talk about it. He thought it was important to talk about and especially when it was during Men’s Mental Health month and all of that.

“When he did it, we were both nervous. I was quite emotional because it’s really hard as a parent or a relative to watch an addict. I mean, it was years of me crying because I couldn’t do anything. I’m his mum and I couldn’t do anything.”

Coleen went on: “People were like, ‘Well, you know, you’re going to have to kick him out. You’re going to have to do that.’ and I went ‘He’s my child!’

“I kept making excuses for him, ‘well, I think he did this… no, no, it’s just because he’s tired, you know.’ And then something major happened where he ended up with stitches in his head and all of that. I think that was a massive wake up call.

“Talking about it afterwards, he said to me, ‘Mum, I feel like a whole weight has been lifted off my shoulders.'” Coleen revealed it was equally beneficial for Shane to understand the impact his struggle had on her.

The Loose Women panellist emotionally shared: “I felt like a terrible mother. I thought it was my fault. I’d done things wrong. I couldn’t help him and it was nothing to do with me. As an addict, the only person that could have helped him was himself, which he did.”

Good Morning Britain continues on weekdays at 6am on ITV and ITV X.