SHOW BIZ

Has there been a year this decade when we’ve been sad to see it go?

I thought about that while reading our “25 ways to banish this no good, very bad year” list, which contains some terrific ideas, and I’d be very happy to watch you jump into the Pacific on New Year’s Day, if you feel so inclined. But they’re all predicated on the idea that this year has given off a stench that needs to be smothered, the same way you’d cleanse your dog in tomato juice after an encounter with a skunk.

And this is true. Even Game 7 of the World Series can’t erase the heartache that 2025 has inflicted upon us, though props to Kiké Hernández for doing his best to distract from the headlines.

I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter, wishing you and yours a better new year. It’s a low bar. I’m optimistic we can jump it.

Predicting ‘Avatar’s’ Oscar chances

Did anyone really want to see a third “Avatar” movie?

Sure, someone must have. It sold $89 million in tickets last weekend, though that number fell short of analysts’ forecast for James Cameron’s three-hour movie. For comparison, 2022’s “Avatar: The Way of Water” brought in $134 million in its opening weekend. That movie, like the series’ 2009 first film, built its $2-billion-plus box office over time.

“Avatar: Fire and Ash” may well do the same.

Still, doesn’t it feel like there should be more excitement to go see a movie that might gross $2 billion worldwide? Maybe you were among the first in line to see it last Friday. No judgment. I’ve seen every Cameron movie in a theater, a streak I suspect will continue as long as he’s making films.

The thing is, Cameron himself is giving the distinct impression that he’s ready to move on from “Avatar,” even though he has already written scripts for the fourth and fifth entries in the franchise. He has other projects in the works, adapting “Ghosts of Hiroshima,” which revolves around the true story of the only survivor of both atomic bombs dropped on Japan. And he has teased a “Terminator” reboot.

Cameron is 71, a kid compared to Ridley Scott (88) and Martin Scorsese (83), but still … the clock is ticking.

Do you want him devote another three years (or more) to the lush, gorgeous world of Pandora?

Maybe if “Avatar: Fire and Ash” had spent less time repeating the same themes — and, sometimes, the same scenes — almost beat for beat from the “The Way of Water,” I’d feel differently. The new movie is, of course, a visual feast, though with just three years between the second and third films, the technological advances don’t feel as awe-inspiring this time around. Cameron remains adept at world-building and creating tense action set pieces. He’s also unrivaled at serving up lumpy dialogue, and the new film has serious pacing issues. “Fire and Ash” feels every bit like a 197-minute movie.

When I did my last set of Oscar best picture power rankings on Nov. 3, I put “Fire and Ash” at No. 10, sight unseen. This was in part because Cameron is Cameron and deserves respect and also because would-be contenders like “A House of Dynamite,” “Springsteen: Deliver Me From Nowhere,” “The Smashing Machine” and “After the Hunt” weren’t connecting with voters.

But the franchise fatigue with “Avatar” feels real. It’ll still probably win the visual effects Oscar and pick up a nomination for sound. But I suspect it’s going to fall just outside the 10 movies nominated for best picture.

If that happens, will anyone cry “snub”? Likely not. “Avatar: Fire and Ash” can still inspire wonder, but for the first time in his career, Cameron is spinning his wheels. It feels like he’s ready to return to Earth.

More coverage of ‘Avatar: Fire and Ash’

ADAM Peaty’s mum has U-turned on her decision to gatecrash his wedding to Holly Ramsay.

The Olympian uninvited his mother Caroline Peaty and the rest of his relatives from their big day after a family fallout.

Distraught Caroline had been intent on travelling to the lavish ceremony in Bath tomorrow despite being snubbed.

However, the swimming star’s mum has backed down, with a family member telling The Sun: “She will not be there because it would be too sad and she don’t want to spoil his big day.”

The change of heart comes as Holly Ramsay and her family were spotted leaving their £7.5m mansion to travel to the wedding venue.

Dad-of-one Adam, 30, and Holly, 25, are due to wed at Bath Abbey in Somerset on Saturday, December 27.

COUNT DOWN

Holly Ramsay celebrates last Xmas as a Miss as she prepares to marry Adam Peaty

MISSING YOU

Adam Peaty’s mum shares Christmas heartbreak after being uninvited from wedding

Caroline had previously insisted: “I will be there and I will watch from the street.”

But she changed her mind after her devoted husband Mark made her see sense, telling her it would be “too upsetting’ to be there.”

Around 200 people are set to attend Adam’s wedding including Holly’s chef dad Gordon and their close friends David and Victoria Beckham.

But there won’t be any surprises from unwanted guests.

Sources say the couple have booked Bath Abbey “all-day” and tourists will also be stopped from entering the landmark.

A security team is also set to patrol to stop people trying to take pictures of the couple.

The Holiday is one of the most well-loved Christmas films among Brits. But many fans might not know that one of the film’s most iconic scenes was improvised by cameo star

People have been left baffled after learning that one of the most iconic scenes in festive classic The Holiday was improvised by a movie star in an impromptu cameo performance. For many, Christmas time means watching as many festive films as you can before the year comes to an end, and The Holiday is often cited as one of the best.

This 2006 romantic Christmas comedy stars Cameron Diaz, Jude Law, Kate Winslet, and Jack Black. The plot revolves around two women, played by Diaz and Winslet, who decide to swap homes for the holidays, crossing continents to escape their relationship woes. However they might not be as unlucky in love as they thought.

The film boasts picturesque country houses, an incredible play tent, plenty of festive cheer, and even cameo appearances from the likes of Dustin Hoffman, star of a plethora of screen gems, including 1967’s The Graduate. However, many fans have been left baffled to learn his surprise appearance wasn’t planned.

In an interview with NBC News, the film’s director, Nancy Meyers, revealed Hoffman’s cameo in the film had come up by accident after the actor walked onto set to say hello to her.

“Dustin was eating at a restaurant next door,” Nancy explained, saying he’d spotted all of the accompanying trailers and trucks outside. “And someone said they’re shooting in the Blockbuster.”

Dustin was told that the film was directed by Nancy, and since their daughters, who were in Middle School at the time, are best friends, decided to walk onto set to say hi. She then recalled Dustin sitting with her for an hour, just watching the shooting and having fun.

The scene they were filming took place inside the Blockbuster film store and sees Black’s character perform a number of iconic scores from different movies to Winslet’s character. “Well, it wasn’t an hour, but it was a long time, when I thought ‘what is wrong with me?” Nancy recalled, saying she invited the star to join the scene.

She said: “We’re talking about The Graduate, do you just want to be in the scene and we’ll just cut you, and you can just, whatever. And he went ‘alright’.”

Nancy went on to explain that she sent Dustin straight into the scene in the clothes he’d worn for this lunch earlier. They also didn’t do his hair or put any makeup on him.

“And he went over there, I had them do The Graduate thing, and he just said ‘can’t go anywhere’, and it was just great,” Nancy explained.

Several people quickly took to the comment section to share their bafflement, as many thought the cameo made the film even better.

“LOVE THIS!!!! Wow what a fun story,” one person said, while someone else wrote: “I love to see Dustin in that scene! It made it look even more realistic.”

A third user said: “One of my all time favourite movies, and yes, he added so much fun to it, seems like a great guy.”

Someone else shared: “I love this story! I walked by the Blockbuster as they were filming this that night in Brentwood! Dustin must’ve been dining at Pizzicotto, next door.”

Netflix treated Bridgerton fans to the season four trailer on Christmas Day but viewers have noticed a major flaw

The trailer for Bridgerton Season 4 has finally dropped but fans are furious about two characters ‘missing’ from the teaser.

The beloved period drama is set to return to screens on January 29th with four episodes, with another four instalments set to release on February 26th.

Netflix unveiled a two-minute teaser for the upcoming season on Christmas Day, and it focuses on Benedict Bridgerton (Luke Thompson) and Sophie Baek’s (Yerin Ha) romance.

Based on Julia Quinn’s third book in the series, An Offer from a Gentleman, the trailer reveals the couple’s Cinderella-style meeting at the Bridgertons’ masquerade ball.

Sophie is shown working as a maid and envying members of high society who get to attend endless parties. So she disguises herself as a ‘lady’ and attends the ball.

However, she must return home at midnight.

Benedict bumps into her and asks for a dance and later tells her: “You are perhaps the most intriguing person I’ve ever met.”

But the couple are separated when Sophie runs home, leaving only her glove behind. Benedict then goes on a mission to find the owner of the glove, hoping he can spark a real connection with her.

Throughout the trailer, viewers see various members of the Bridgerton family including Colin (Luke Newton) and Francesca (Hannah Dodd). However, fans are furious that Anthony (Jonathan Bailey) and his wife Kate (Simone Ashley) are excluded from the teaser.

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Taking to X, formerly Twitter, one penned: “Clearly we understand Kathony [Kate and Anthony] had their season… but it truly doesn’t make sense that the VISCOUNT and VISCOUNTESS Bridgerton, the literal HEADS of the household are nowhere to be seen Imao.”

Someone else chimed in with: “Are you aware large parts of this season are at the home of the Viscount and Viscountess? Where are they?”

For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website

While a third agreed: “The absurdity of this production writing Kate and Anthony out of Part 1 yet being too cheap to relocate the Bridgertons to a new residence so you have everyone & their mothers hosting balls and living it up at K & A’s house while the viscount & viscountess are nowhere to be seen.”

Yet another unimpressed viewer wrote: “Another Polin [Penelope and Colin] scene in carriage but ZERO seconds of Kanthony,” and a final viewer quipped: “Kate and Anthony going on their eighth honeymoon so that others can live in their house (masterminds behind this show).”

Bailey and Ashley will be in the new season, but it’s unclear how much screen time they will each have. If season three is anything to go by, they may only appear in a few episodes.

Bridgerton season four part one premieres on Thursday, January 29 on Netflix

ANNOUNCING the arrival of her baby daughter, Bianca Wallace told how she and her movie star husband Ioan Gruffudd were ‘totally smitten’ with their ‘tiny little angel’.

But while fans were quick to congratulate the 33-year-old aspiring actress and her famous beau, Sun Showbiz can reveal the arrival of Mila Mae Gruffudd ushers in a painful new chapter for Ioan’s ex-wife.

For Alice Evans and her Welsh actor ex, who are parents to older daughters Ella, 15 and Elsie, 11, have been embroiled in one of Hollywood’s nastiest break-ups since they split back in January 2021, and according to our well-placed source, she remains in no mood to back down.

Ioan was well on his way to becoming a major star by the time he had met his first wife, with roles in the blockbuster film Titanic and the Emmy award-winning series Hornblower under his belt.

By the mid 2000s, his career had been sent stratospheric by the Marvel movies Fantastic Four and its sequel, Fantastic Four: Rise of the Silver Surfer. 

The couple easily slotted into the A-lister lifestyle of Hollywood, with their impressive LA family pad coming complete with lush gardens, an idyllic pool and a huge entertaining space.

But in January 2021, Alice’s world fell apart when her husband told her he was leaving.

The Brit certainly didn’t take the news lying down, famously alleging in now-deleted tweets that she was being ‘gaslit and mentally tortured’ by Ioan. 

She shared: “My beloved husband/ soulmate of 20 years, Ioan Gruffudd, has announced he is to leave his family, starting next week.

“Me and our young daughters are very confused and sad.

“We haven’t been given a reason except that he ‘no longer loves me’.”

The fallout was spectacular – Ioan filed for divorce two months later, and his estranged wife went on the warpath on social media, leading to countless public accusations flying back and forth.

The actor secured a restraining order against Alice, citing harassment, in 2022 and in August 2023, a month after their divorce was granted, accused her of ‘child abuse’ after their eldest daughter filed for a restraining order against him.

She hit back, claiming her ex had not seen or called their girls for 11 weeks. 

Aussie Bianca, who at 33 is 18 years younger than Ioan, looked to be at the heart of much of Alice’s distress.

The couple are believed to have met in Australia in 2020 when Ioan was filming the TV series Harrow, with Bianca an extra on the show.

They confirmed their relationship in October 2021 with Alice immediately, very publicly, accusing them of having an affair, an accusation Bianca branded ‘disgusting and vile’. 

Engaged by January 2024, Ioan and Bianca, who insist their relationship started after he split from Alice, married this April and on November 2, their daughter was born. 

“Alice will not hate the new baby – she is the most loving woman and best mother there can be,” said our source.

“She is angry at Ioan and Bianca but not at the new baby. 

“But she will not have her daughter’s feelings discarded or replaced when the new baby arrives. How dare he! 

“She’s also desperately sad that it appears her daughters won’t be close to their new sister due to his cruel actions.”  

‘Friends fear deeply for her’

Alice, 57, was a successful actress when she met Ioan on the set of 102 Dalmatians back in 2000.

The stars played love interests Chloe and Kevin in the movie, and their off-screen chemistry was so sizzling that the former model broke off her engagement to another man, Pablo Picasso’s grandson, Olivier.

Alice wore a white strapless gown when she tied the knot with Ioan on a beach in Mexico in 2007, surrounded by red roses, but today, her fairytale wedding seems a lifetime ago as she embarks on a painful new chapter.

Alice has been trying to balance dignity with desperation.

A source close to the star said: “News of Ioan’s growing family appears to have reopened old wounds while forcing her to confront a future that looks very different from the one she once imagined.”

“Pals say Alice is in deep emotional and financial turmoil; she is a mix of emotions.

“Friends deeply fear for her.”

While Alice and Ioan have been divorced for two years, a row over child and spousal support has continued to rage, with our source describing the former couple’s legal battles as ‘exhausting’ and ‘relentless’.

They also look to have been taking a considerable financial toll on both parties. 

In June 2022, Alice launched a GoFundMe page asking for help with her legal bills and in November 2023, she claimed she could not afford to pay rent or buy food, saying she was considering trying for a job at Starbucks but feared she was too old. 

“Alice has been trying to balance dignity with desperation,” said a Sun Showbiz insider.

‘Her priority is her children and ensuring they are safe and secure, but she is struggling to shield them from the reality of their situation, provide some sense of normality amongst the chaos and drama and protect them from emotional harm because she can’t provide a stable home for them without his support. 

“She will not back down and will fight him for every penny until her girls get what they deserve.” 

In a legal filing earlier this year, Ioan accused Alice of writing a devastating text message that looked to be sent by Ella.

“You left us and now you can’t provide for us,” it read.

“You need to get a job daddy.

“Looking after your girlfriend is not a job.

“You are a father who has abandoned his children and doesn’t see them or talk to them.

“You don’t even send Christmas presents.

“It’s pathetic and everyone sees you.

“Ps if there is enough money for us never to become homeless then why aren’t you helping us out?

“You hate mummy more than you love us.”

Despite the fears for her well-being and despite her hardship and the criticism aimed at her, Alice has reassured pals she is determined to keep going for her daughters.

Today, Alice has custody of their two children, and the trio live in a modest home in Encino in the San Fernando Valley after they left their Beverly Hills apartment when she was unable to pay the rent. 

The actress claims the existing payments she receives from Ioan, of $3,000 a month in child support and $1,500 a month in spousal support, are not enough, while the actor is trying to reduce his obligations, saying he cannot afford them. 

‘She won’t let him destroy her’

With both sides pleading poverty, it is hoped a mediation settlement conference held next month will break the deadlock, but it won’t be easy. 

“Despite the fears for her well-being and despite her hardship and the criticism aimed at her, Alice has reassured pals she is determined to keep going for her daughters,” said our source. 

“She has described the situation recently as ‘torture’, but she won’t let him destroy her – as much as he tries.” 

Besotted Bianca shared her baby news with a sweet image of her kissing Ioan in hospital, saying that the couple were ‘totally in love’ with their daughter.

But as Ioan celebrates the joyful new addition to his family, friends of his ex-wife grow increasingly concerned. 

In another cruel blow, Alice lost her beloved brother Tony, who had been a loyal supporter since the disintegration of her marriage, in August.  

A Sun Showbiz insider added: “As the legal battle continues and he moves forward with a happy, new chapter of his life, pals close to Alice fear she is stuck in a painful place trying to rebuild, trying to be heard, and, most of all, trying to hold her family together.

“Most of all, the pals worry how this will all end.”

This article contains spoilers from Season 5, Vol. 2, of “Stranger Things.”

What could be more gulp-inducing than trying to defeat a nightmarish vine-covered villain and wipe out an eerie and horror-filled alternate dimension? Maybe writing a satisfying conclusion to a mega-popular TV show built on that idea.

Ross and Matt Duffer, the sibling masterminds behind Netflix’s “Stranger Things,” are closer to finding out if they’ve achieved that in the eyes of the show’s fans. On this morning in early December, the duo are in their own alternate dimension limbo with the show’s final season release — Vol. 1 is out and they’re bracing for impact with Vol. 2.

“The day that [Vol. 1] was released, I paced around all day,” Matt says. “I did absolutely nothing, just waiting for reactions to come in and reviews to come in because you really never know how people are going to react. There’s pros and cons to the show growing in size in the way it did — people just take it apart to an insane degree. It’s scary, always scary. You never really get used to it.”

But the self-doubt keeps them sharp, he says. “It forces you to not get lazy.”

“It’s a balance between feeling very confident, then it swings to being very insecure about it — and it’s hard to keep sight,” Ross adds. “You watch these episodes dozens and dozens of times over and over again. And the strange thing about this show is that a very small group of people had seen the episodes, a really small circle, then suddenly you’re just blasting it out to millions of people all at the same time.”

The pair are sitting on a couch in the office they share — “E.T.,” “Alien” and “Batman Returns” posters adorn the walls — at their facilities, Upside Down Productions, in Los Angeles. While they were able to revel in fan reaction for a few days after the release of Vol. 1, they’re back in work mode. At this point, they still have to finalize sound and color, as well as some visual effects, on the series finale.

“Very boring visual effects,” Matt quips. “If I have to look at one more shot of spores and fog, I’m going to lose my mind.”

Nancy Wheeler (Natalia Dyer), Jonathan Byers (Charlie Heaton), Steve Harrington (Joe Keery) and Dustin Henderson (Gaten Matarazzo) in Season 5 of “Stranger Things.”

(Netflix)

For now, the drip-drop release around the year-end holidays continues, with Vol. 2 (Episodes 5 through 7) now streaming. The episodes contain some of the season’s bigger emotional beats, including one of TV’s most amicable breakups between teenagers, a mended friendship and a character finally living his true self openly. The Duffers discussed that and more in this edited conversation.

Let’s start with those final 10 minutes of Episode 7. Will [Noah Schnapp] shares a part of himself that he’s kept secret for a long time. He realizes that if he wants to be successful in defeating Vecna, he can’t feel afraid about this part of myself. How did you decide Will’s coming out would be revealed?

Matt: It’s something that we’ve been planning to do for a really long time. Initially, it was planned for Season 4, and we just felt it was unearned by the end of it. We wrote that scene with him in the back of the van and him talking to Jonathan [Charlie Heaton]. But I like the idea of Will slowly building to this moment. He has a breakthrough in Episode 4 in a major way, but he has this one final step to take in order to really unlock his full potential. Something we really wanted to do with the show is tie his emotional growth with these powers that he’s developed.

Ross: Putting it at the penultimate [episode] ultimately made sense because what we’re trying to do with the second volume is get our characters in a place where they all felt confident in themselves. Will being one of the major character arcs that carries through the season, but also with Dustin [Gaten Matarazzo] and Steve [Joe Keery] and Nancy [Natalia Dyer] and Jonathan — we wanted to get people, before they go into this final battle, having dealt with their internal fears and doubts.

Matt: Because that’s what Vecna weaponizes against you. If you don’t have that self-hatred or self-doubt or those insecurities, then he can’t hurt you. When Will purges himself of that, he becomes unstoppable — or that’s the hope.

1

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1. Noah Schnapp as Will Byers, the show’s central character. 2. With his mother, Joyce (Winona Ryder). In Season 5, Vol. 2, Will comes out to her and his friends. “It’s something that we’ve been planning to do for a really long time,” says creator Matt Duffer. (Netflix)

What did you want that moment to be? What didn’t you want it to be?

Ross: We were nervous about it because you want to get it right, particularly working with Noah, who had recently come out himself. When he read it and we got his blessing, we felt really, really good about it. For us, it clicked writing it when we started talking about, “What are Will’s actual fears here in the future?” When the show really works for us is when we can combine both our mythology and the supernatural with the emotional. In this case, it’s going: Vecna is taking these fears and weaponizing them against Will, so Will actually talking to the group about these fears, as opposed to keeping them to himself — that’s when the scene really clicked.

The original plan was for him to come out to Joyce [Winona Ryder], and we started writing it and it felt really wrong because if he’s really going to be confronting these fears, he has to open up to to his friends as well. Once we did that, and we put the group in there, and we had him talk about what he saw in his future, that’s when the scene felt, as a coming-out scene, like something very unique to this show.

Matt: It’s the scene we spent the longest on this season because we were so anxious about it and getting it right. It was the most important scene of the season. I can’t emphasize enough how much the actors influence the characters, and their journeys as people really feed into what we’re writing and how we write those characters. You’re trying to channel Noah and what he went through and his growth, which we’ve watched as a person, as he’s found himself. Most of what is in the show is the first take, the first close-up that we did of Noah. It was incredible to watch because it’s one of those moments where Noah was not acting. Those words were real that he was saying. It was very emotional. It felt so real to Noah, so truthful to him. Hopefully the scene feels like that to other people because a lot of kids are watching. You feel a certain responsibility, especially with scenes like that. You can’t be careless about it.

Shipping is a hallmark in every fandom. There’s a moment where Will mentions a crush he’s harbored. He doesn’t directly state it’s Mike, but Mike knows. The viewer knows. How would you describe their dynamic?

Ross: There is a lot of shipping that’s going on with this show. In terms of all the relationships — this goes with the Will storyline, it goes with Jonathan and Nancy — for us and the writers, what’s interesting is not who ends up with who. What’s interesting to us is, how are our characters growing as people? And most of the time, the answer to that is them finding strength within themselves as opposed to finding strength with someone else. When we were talking about Will, those are the conversations that we have. How do we get Will in a place that he feels confident and strong? And that, ultimately, is him confronting these fears and exposing himself to everyone, including Mike.

Matt: When we were growing up, shipping was not a thing. This is a new thing and it gets intense. Part of me likes it because it shows how passionate people are for the show. I don’t mind people interpreting things however they want. Obviously, Ross and I have what we intended. Ross touched on it thematically — in [Episode] 4, when Will finds his power, what we were intending was not that his love for Mike gives him these powers, but his love for himself and tapping back into how he felt when he was younger — that was the key to unlocking his full potential.

Ross: It’s more of an important message to put out to younger viewers. When I’m thinking about my younger self and our struggle growing up, to put out a message that’s “It’ll all be right if this secret crush you have works out” versus “You don’t need that.” Even if it disappoints some people, it’s the more important message to put out into the world.

Matt: Not one crush of mine worked out. It hurts you, though, right? If you feel feelings and it’s unrequited, it feels like an attack on you or makes you feel unwanted. So much of the show is two things: just our love for the supernatural in the movies that we grew up on, and the other part of it is dealing with all the feelings that we had growing up. The best thing for me in the world is when younger people come up to us, the very few that recognize us, and tell us how it helped help them through a difficult time in their lives. Even Robin’s speech to Will, giving him the confidence to come out, that makes it all worth it.

“To write them being back together and friends again was just such a relief,” says Ross Duffer of Dustin, left, and Steve.

(Netflix)

I want to move on to Dustin and Steve. The strain on their relationship comes to a head in these episodes, but also reaches a reconciliation. That moment between them on the collapsing stairwell —

Matt: It’s a very short moment, but incredibly emotional. We were really moved by Gaten and Joe’s performance. It wasn’t hard for them to get into that spot. They’re very close, they have a very sweet friendship that’s not entirely dissimilar from their friendship on the show. The one frustrating thing about the show being split in the way it is, is we didn’t put out a season of the show in Volume 1 — that’s half of a show. I’m excited for people to see Volume 2, mostly for the Steve-Dustin resolution.

Ross: It was hard even writing it, keeping them apart. We felt it was right, emotionally, but to write them being back together and friends again was just such a relief because we’ve missed them, and hopefully the audience has too.

And I love that Steve gets to have his a-ha moment where he comes up with what may be the plan that ends all this.

Ross: It’s funny, we’ve joked about this; he’s very convenient for us as writers because he’s always confused. He doesn’t know what’s going on. Dustin dings him for that in Episode 5, and it was so satisfying to have Steve come up with the final plan, or the linchpin for the final plan. That was such a thrill to write to finally give Steve a moment because the brainstorming almost always goes to Dustin.

Nancy and Jonathan, at one point, are bracing for imminent death and find themselves having this touching and tender moment, sharing confessions and hard truths. What was the lay of conversation for what you wanted from that moment — there’s the acknowledgment of their trauma bond and a slightly romantic unproposal?

Matt: It’s not dissimilar, in some ways, to the Mike-Will stuff. These are people who do love each other very much; it’s just a question of, “What does that mean? What does the future look like for them?” Whenever we talked about Jonathan-Nancy — there’s got to be this feeling that they feel like they must be together because of what they’ve been through, and how could you ever connect with somebody else who hadn’t been through the same thing? But are they right, in the long run, for each other? We wanted to express that as best as we can.

Ross: It was a challenging idea. We’ve been building to it, but to get it across in five-ish minutes, it’s a complicated thing. It’s not just a soap opera where it’s shipping and who’s going to end up with who. I’ve been through experiences similar to this, when you’re with someone for a very long time, you grow so close and you go through so many things together, and it reaches a point where you go, “Well, how could someone else understand?” But at the same time, is that suffocating to your own self-growth? So when we were talking about Nancy and Jonathan, and where do they go from here, it felt like for Nancy to really grow, it’s not about Steve, it’s not about Jonathan, it’s about giving herself the space.

Matt: And for Jonathan. They both felt the same way, they just weren’t expressing it. Especially when you’re young, you have trouble understanding or expressing those feelings. We wanted to put them in a life-or-death situation where it’s their last opportunity to confess. The reference for that scene was “Almost Famous,” when the plane’s about to crash and everybody, in the moment of near-death, tells everybody everything. And then the plane doesn’t crash and it’s awkward. This is the opposite.

Matt, left, and Ross Duffer are closer to releasing the “Stranger Things” series finale. Is it a happy ending? “Even in victory, it’s not confetti and dance parties,” Ross says.

(Jason Armond / Los Angeles Times)

To return to this idea of the characters wrestling with what life looks like after this is over, if it’s ever over — is a happy or triumphant ending possible? Do you even think of it in those terms?

Matt: It’s weird because we didn’t realize until we had finished writing it, how much was a reflection on the show itself. Everybody had a tricky year emotionally; it was a real roller-coaster in terms of dealing with the fact that something we had been putting everything into for 10 years was coming to an end. Ultimately, the show is more about childhood, coming of age and leaving that behind for a new part of your life. It’s not really a question of a happy ending versus a not-happy ending. It’s just a question of capturing what it feels like to move on. It’s a bittersweet thing, but I think it’s something that everybody goes through.

Ross: Even in victory, it’s not confetti and dance parties. It’s a little more complicated than that. I remember “Lord of the Rings,” reading it and watching the films as a kid — there’s that moment when they’re just back in the Shire, and there’s bit of like, “How can you understand? And how do you move on from this?” I remember at the time, when I was younger, feeling a bit of disappointment. I was like, “Can’t they just come back and everyone just celebrate and there’s a party and then we fade out?” But watching it older now, there’s something so much more resonant about it. That’s why we talk so much over the course of this season about “Even if we are able to defeat Vecna, what does that look like for all of us?” Because this Vecna and the evil in the Upside Down brought all these people together.

Matt: In terms of the parallels to the show ending, that’s really a complicated and confusing mix of emotions. Everybody’s sad to move on, but then there’s that sense that you have to move on. We try to capture that feeling.

I need you to tell me what the workflow is like on a show like this. It’s lore, science and nerd-heavy. What are the checks and balances of making sure you’re not messing things up?

Matt: The challenge, especially as the lore and mythology has gotten too complicated, is to ensure that it’s not weighing down the show and that there’s enough room for the characters. That is more important than anything. What we’ve been trying to do as much as possible with this season, because there is so much mythology, is tie it into characters and their growth.

Ross: For instance, the Jonathan-Nancy scene — the melting lab was not an idea we had and then thought, “Oh, we could put Jonathan and Nancy in the situation.” We know we want this conversation with Jonathan and Nancy. How do we get there? Then going, “Oh, what if the dark matter makes the lab unstable?” Most of the time, you’re starting character first, and then we’re adjusting the mythology in order to make those character moments work.

Matt: But also, a melting lab is cool! Everybody was super enthusiastic about that — Netflix, our production designer.

Ross: Other dimensions, everyone was fine with the wormholes. But when we suddenly go, “The lab is going to melt,” everyone was like, “Excuse me?” No one knew how to do it.

Matt: We had to fight for that melting lab, from a production and cost standpoint.

I thought we were going to have a “Titanic” situation.

Ross: Oh, “Titanic” was a reference. But we wanted them both on the table.

1

2

1. Max Mayfield (Sadie Sink), left, and Holly Wheeler (Nell Fisher). 2. Jamie Campbell Bower as Vecna. (Netflix)

There’s a massive culture of forecasting and dissecting — it can be overwhelming to me as a viewer because I feel like I’m not watching closely enough. But I also love seeing how people interpret things.

Ross: Especially with the superfans, the tiniest of detail is picked up on. I think it’s fun for them because they’re rewatching this over and over again, so every little minute thing is seen as something significant even when that wasn’t our intention — not that we don’t plant things for later and do Easter eggs, but 99.9% of the writers’ room is just talking about these characters in the story they’re on. That is hopefully how you’re going to be watching the show because it can get overwhelming when you see this stuff online. But at the end of the day, we’re having people engage with a long-form story, so it makes us generally happy.

Matt: But you hit on something important, which is everybody experiences the show very differently. Sometimes I go, “What show are you watching?” Whatever show they’re watching is a completely different show than the show we thought we wrote. Then sometimes, some are on exactly our wavelength. And you see this with debates over the season. Season 3 is either the best season ever or the worst season ever. This is why you can’t write to fans, because which fan are you writing to? It would be impossible. Ross and I just try to write what we think is cool and what our writers think is cool.

There are so many theories out there about how the show is ending. Has there been one where the person got it or close to it?

Ross: I remember Season 4 someone early, very early, before we’d even released it, had figured out the Henry-Vecna-One thing, which was pretty impressive. This season, though, I have not seen anyone get the ending correct, which is, hopefully, a good thing.

Matt: I think it’s good. We’ll find out. I like that the ending is not obvious to people.

My understanding is the final scene of the series is one you’ve had in mind for about seven or so years. In the end, did you reach it the way you thought you would?

Matt: Yes. The show changed a lot in the course of seven years, so aspects of it certainly changed. But I think the fundamental state, more or less, the scene is what we always thought it was going to be.

Ross: I would say there was a key idea that we came up with, breaking [Season] 5, that wasn’t in there seven years ago. There was one element that we changed, but generally it is what we always hoped it would be. After the finale is out, we’ll be happy to tell you.

Matt: It didn’t change the scene, it just added something that I think was really important.

You spoke earlier about the circle of people that you share episodes with. How do you know you’re on the right path?

Ross: It’s such a small group. It really comes down to just our group of writers. What I love about our writers’ room is, even with Matt and I, people are very happy to tell us that an idea is not working. It’s usually everyone building off of each other, and then someone synthesizes those ideas, pitches it out to the room, and you feel this collective relief and excitement within that room. And when that happens, we go, “That’s it. That’s the idea.”

Matt: This is how we’ve always worked, once the draft is written, Ross and I will do multiple passes to the point where we’re really happy and confident. We don’t like turning in anything even remotely rough to Netflix. But the final episode, that was actually weird. We didn’t get any notes from Netflix or the producers. It is that first draft that we turned in. We did multiple drafts of it, but once we turned it in, that was it.

Were you on time with that draft?

Matt: We’re never on time, as you can tell with the gaps between seasons. Ross and I are not the fast. We were actually writing it in the midst of shooting, which was not a great idea. But Ross and I do the best work when we have a gun to our heads.

Ross: There’s not a single finale of the show that wasn’t written in the midst of production, but we like it because it allows us to get a sense of what the season is, what’s working, how the actors are performing, and we can really write to that. If you look at our season finales, generally, they’re some of our better episodes, part of it because the story is culminating, but also because we’ve learned over the course of the season what this season really is, what is really clicking. Then you can lean into that.

Matt: The only weird thing to have is because we were behind, and this has never happened before, is the Holly sequences that are in Henry’s mind, that’s in summer, so we couldn’t wait to shoot those. We were shooting any scene in the woods with Holly before the script was done. That was odd because we were handing actors scripts and scenes when they hadn’t even finished the episode. But it worked out quite well.

But now, I don’t know if it’s because of us, but Netflix won’t start shooting a season of anything until all the scripts are written. I do think they’re missing out on something because … like the sense of discovery that it allows. That’s the nerve-racking thing to me about doing a movie next, is we won’t have that ability to have it evolve.

What was the reaction at the table read for the series finale that stood out to you?

Matt: As nervous as we are of how the audience is going to react, it will never match the nerves we had in terms of how the actors were going to react to it. They’ve been in it with us since the beginning and they’re so invested in these characters. I think everybody was crying. Noah started crying first, then it just spread from there.

How do you feel you’ve changed since starting the show?

Matt: It’s hard to know. You have to try to remember back to how we were 10 years ago. We were really green. We had only directed one movie before. And we never directed television before. We’ve become, hopefully, better leaders and more confident and better at communicating. Ross and I, because we’re twins, we were really good at communicating with each other, but not with other people, and I think we’ve gotten a lot better at working with a large group of people, and hopefully we’ve evolved as as filmmakers.

Ross: There was a lot of fear making that first season. It was almost out of panic and fear both, if we get this wrong — our first movie was a failure — if we mess up, we’ll never be able to tell a story again. And the lack of experience, especially in terms of production. Production was scary because our production on the movie was such a challenge and it was a traumatic experience. Now, we know so much more. We keep making it hard for ourselves because we keep raising the bar in terms of the scale of the production [and] the number of people we’re hiring. But at this point, we can walk into a set, we’re much more flexible now if actors are coming in with ideas that are different from what we had planned, there’s a lot more ability to explore.

Caleb McLaughlin, left, Finn Wolfhard, Millie Bobby Brown and Gaten Matarazzo when they were much younger in “Stranger Things.”

(Netflix)

To expand on the learning curve, there was a recent report that said Millie Bobby Brown had filed a complaint of bullying and harassment against David Harbour. As first-time showrunners, how was it helming a show with young actors and figuring out how to balance the responsibility of making sure they feel safe and cared for on set?

Matt: Ross and I just love working with kids, and it was fun this season to go back to that, in terms of bringing in a new generation of kids. Mostly what we try to do is treat them respectfully and listen to them and listen to their ideas. I think you just get so much better work out of them that way. We’ve become very close because we got to know them when they were really young. It feels less parental and more like an older brother situation, and we try to make it very relaxed so they’re not nervous around us, and they certainly are not. I think what’s been challenging, and mostly challenging for the kids, who are no longer kids anymore, is when the show became bigger and [dealing with] social media. I think if something’s been damaging, it’s social media. I saw it happening with Jake [Connelly], who plays Derek this year.

Ross: And Nell [Fisher, who plays Holly], as well. That is something you feel more helpless about. But what has been beneficial for them, for Jake and Nell, [is] the kids that have been through it can help them through this more. Millie’s been through it. Finn’s been through it.

Matt: That’s the thing — yes, they have us, but they also have each other to get through this. I always think that that’s the key in terms of how they all turned out as grounded as they are. We were with all of them on this press tour, and I’m constantly impressed by how level-headed and grounded they are, and how ego-less they are; that they’re not broken by what they’ve been through. It’s been great with Jake to see it completely turn around. But that doesn’t excuse what people were doing before. It’s disgusting. I wish they had gone through this without social media.

A big talking point in Hollywood right now has been the bidding war for Warner Bros. Discovery. You have forged relationships with both Paramount and Netflix, the companies vying for it. How are you feeling about this moment and where things seem to be headed?

Matt: It’s just so hard to know what things are going to be like. It’s hard to say anything right now. Ross and I have been pretty open about wanting to make sure that the theatrical experience is preserved. For as long as stories have been told, it’s often in front of a group. There’s something about the communal experience and I just don’t want people being isolated. But as long as things are getting in theaters, I think it’s going to be OK. I’m trying to be optimistic about it.

Ross: I think the two fears are, with whatever happens, is you want to try to protect theatrical, which is in not the best state right now. And if you keep shrinking these windows, it just continues to de-incentivize people to go to the theater. That is not something we want to see. It’s a reason why we’re making a movie for theaters next; we believe in it and want to fight for it. The other is you need competition for artists because that’s the whole reason “Stranger Things” exists in the first place. If it’s too much consolidation, then shows like this are just going to become increasingly extinct.

Was it an easy sell, getting Netflix on board with releasing the series finale in theaters?

Matt: Yeah, actually. This is where the internet can frustrate me because something starts as a rumor and then goes around, then it’s fact. We pitched the idea to Netflix marketing — it was mine and Ross’ idea, then [Chief Content Officer Bela Bajaria] called us — it was only about five days [later] and [she] said, “Yeah, let’s do it.” We’re really grateful for them for supporting us. I cannot wait to go sneak into some theaters and watch it.

Ross: We’re definitely gonna go.

The film, based on a true story, is based on a daring mission to the moon

We all know the story of the first moon landing when Neil Armstrong became the first man to set foot on its surface but almost as dramatic is the story of three astronauts who almost lost their lives on the USA’s third attempt to stand on the surface.

The Apollo 13 mission in 1969 saw Jim Lovell, Jack Swigert and Fred Haise take off from earth on course for the moon. However, the mission almost ended in disaster and this 1995 blockbuster directed by Ron Howard and starring Tom Hanks and Lovell, Kevin Bacon as Swigert and Bill Paxton as Haise is being shown on ITV tonight.

After an unexpected explosion in space, NASA is running out of time to find a way to bring the three astronauts back to earth safely. The film was a huge commercial success when it was released, going on to become the third most successful film of 1995, behind Die Hard With A Vengance and Toy Story, which also starred Hanks.

Apollo 13 also went on to be nominated for nine Academy Awards and picked up two Oscars for Best Sound and Best Film Editing. It was also five BAFTAs and four Golden Globes.

It won over critics with an impressive 94 percent approval rating on the movie review aggregator site, Rotten Tomatoes. One critic described to film as Ron Howard’s “finest work”. They added: “In his finest directorial work, Ron Howard embraces everything that the astronauts of Apollo 13 aspired to be and ended up as. Unforgettable.”

Another said: “Director Ron Howard, who has built a career on easygoing, reassuring movies from Night Shift to The Paper, finally achieves true drama.” A third added: “For Apollo 13, the 1970 space mission, everything went wrong. But for Apollo 13, the movie, everything goes right. Director Ron Howard, who has a history of blowing hot and cold, is so far into his hot mode in this movie that he’s dang near on fire.”

Fans also couldn’t get enough of the movie. One wrote: “A phenomenal epic odyssey of the daring odds of the Apollo 13 crew trying to return back home against all odds after their space shuttle malfunctions. The cast is great, with Tom Hanks, Kevin Bacon, Bill Paxton, and Ed Harris all giving great performances.”

Another added: “Brilliant masterpiece!! It’s very gripping from start to finish!” While a third said: “All-time classic. An American masterpiece.”

Apollo 13 is on ITV4 at 6.35pm on Boxing Day, December 26.

‘For the latest showbiz, TV, movie and streaming news, go to the new Everything Gossip website‘.

Jimmy Kimmel swapped his suit and late-night desk for a cardigan and Christmas living room scene as he shared with British viewers an important holiday message: “Tyranny is booming over here.”

Kimmel appeared on public broadcaster Channel 4 Thursday to deliver an “alternative Christmas message,” counter programming to the British monarch’s annual televised address.

Kimmel’s message focused on his battle with President Trump, who reveled in his talk show’s September suspension. Kimmel was benched for roughly a week after backlash to his comments about Charlie Kirk — and an ominous threat by the Federal Communications Commission chair. Kimmel had criticized MAGA supporters for attempting to “score political points” after the conservative activist’s killing. He also poked fun at Trump boasting about White House ballroom renovations after being asked about Kirk’s death.

“You may have read in your colorful newspapers my country’s president would like to shut me up because I don’t adore him in the way he likes to be adored,” he said. He attributed the return of “Jimmy Kimmel Live!” to the “millions and millions of people” who fought to get him back on the air in the name of free speech.

“And because so many people spoke out, we came back. Our show came back stronger than ever. We won, the president lost, and now I’m back on the air every night giving the most powerful politician on Earth a right, and richly deserved, bollocking,” he said, referencing the British slang for scolding. Earlier this month, Kimmel signed a contract extension with ABC through May 2027.

Past hosts of the alternative Christmas message, which began in 1993, include Edward Snowden, Jesse Jackson and a deepfake of Queen Elizabeth II.

During his address, Kimmel called the president “King Donny the 8th.” “We don’t have a problem with your king, just the guy who thinks he’s our king,” he said, apologizing for the state of America and its democratic institutions.

“Don’t give up on us,” Kimmel said. “We’re going through a bit of a wobble right now, but we’ll come around.”

Netflix’s mega-hit Stranger Things first hit our screens back in 2016 and now, its fifth and final season is underway with the last ever episode dropping on December 31

Stranger Things’ final season is well underway, a decade after the residents of Hawkins first hit our screens and became a global phenomenon. The Netflix series begins in the small fictional Indiana town in November of 1983, with a cast of beloved characters played by talented actors at varying levels of their careers – and one casting choice has been lauded by fans.

The children at the front of the show were complete unknowns when they first donned 80s gear, accessories and dialogue, hooking viewers with nostalgia and intrigue back in 2016. They were joined by screen icons though, with Winona Ryder as Joyce Byers drawing in many viewers.

Ryder’s performance as the perpetually stressed, chain-smoking mother who refuses to listen to authorities when her son, Will, goes missing in the very first episode added a sense of heart and strength to the show.

The actor’s star power also helped attract viewers to the first season. Ryder shot to fame in a string of quirky, misfit-type roles in the 80s and early 90s, before taking on more dramatic and period roles too.

She’s been critically acclaimed for her acting prowess and has even bagged two Academy Award nominations.

Stranger Things fans have praised the casting choice, with one taking to Reddit to declare: “Winona Ryder being cast as Joyce Byers is one of the greatest casting decisions of all time. I couldn’t picture anybody else in this role.”

In the comments section, people were keen to share their thoughts. One Reddit user said: “I just rewatched season 1 a couple weeks ago and I was just blown away. I think her acting in that season is amazing!

“You see things differently during a re-watch and her acting really struck me and I don’t think I fully appreciated the first time around.”

Another asked: “Where is her Emmy for this role?!”

A third shared: “Winona is my favourite actress. People forget she was HUGE in the late 80s and 90s. I had been hoping for her to have a comeback for years and years and she is wonderful as Joyce Byers.”

A fourth said: “It was so smart to cast her because I didn’t know anything about the show. Just that this new show was coming out on Netflix and Winona Ryder was gonna be in it and I will watch anything with Winona and then it became one of my favourite shows ever.”

Someone else said: “Such a great comeback role for her.”

Another said: “I’ve always been a huge fan.”

One fan shared: “IMO [in my opinion] Season 1 NO ONE could top her acting. Millie was #2 for me…”

Reflecting on other casting choices, another said: “They also did great with casting her boys. They genuinely look like they could be related to her.”

And another added: “The casting of the whole show is brilliant and also is the yardstick for child actors as far as I’m concerned.

“A lot of movies or shows prioritise looks over the actual acting talent of the kids, but these kids can act.”

WHAM! star George Michael has raked in almost £75million from beyond the grave — and is set to bank even more, accounts show.

The singer’s firm, Nobby’s Hobbies Holding Limited, has turned over £74.7million since he died aged 53 on Christmas Day 2016.

Royalties poured in after the band’s 1984 classic hit Last Christmas, which he wrote, was the festive No1 in both 2023 and 2024.

George’s estate earned £6.6million from the 2023 chart success alone.

Cash also came from the 2023 Netflix documentary Wham!.

The company’s latest accounts end in March 2024, meaning earnings from Christmas 2024 are yet to be included.

Read more on George Michael

SPRUCED UP

George Michael’s £10m mansion gets modern makeover after row with neighbours

Generous George

George Michael’s incredible generosity revealed after handing singer £50k

George left a £98million fortune when he died, mostly to his sisters.

We revealed earlier in the year how George Michael’s dilapidated £10m London mansion is showing signs of improvement after major renovation work.

A bitter row with neighbours over the chopping down of a number of historic trees hasn’t deterred the late star’s sister from updating the property.

George’s only living sibling, Yioda Panayiotou, was handed ownership of the property following the singer’s tragic death on Christmas Day 2016 at the age of 53. 

There was outrage when Yioda’s design team asked the local council to remove a number of trees and prune others at the front and rear of the property, which is in a conservation area. 

One residents association was furious that the works were also going to occur during the peak nesting season, which runs from March to July. 

2026 is shaping up to be a massive year for music fans, with huge names set to drop new albums and singles.

From Lana Del Rey adding a country twist to her latest tracks, to The Rolling Stones promising fresh rock anthems, there’s something for every taste.

Rising stars like Raye and Leigh-Anne will be making waves, while veterans including Paul McCartney, Van Morrison and Bruce Springsteen show no signs of hanging up the microphone.

With this and so much more on the way, here are our top picks for an exciting year ahead.

LANA DEL RAY 

FOLLOWING the likes of Beyonce and Post Malone, Del Rey is set to saddle up and add country nuances to her tenth studio album.  

Previously announced as Lasso and The Right Person Will Stay, expect Stove sooner rather than later in the new year.  

XMAS LEGEND GONE

Driving Home For Christmas singer Chris Rea dies aged 74

NEW TUNE

Legendary band’s unreleased track to be played publicly for first time since 1974

Singles Henry, Come On and Bluebird demonstrated her shift to Americana stylings. 

THE ROLLING STONES 

MICK JAGGER, Keith Richards and Ronnie Wood may be hanging up their touring boots, but it still promises to be a momentous year for rock’s great survivors.  

There was a huge 18-year gap between Hackney Diamonds (2023) and the Stones’ previous album of original songs, A Bigger Bang.  

But in late April, we can expect a new one, again produced by US live wire Andrew Watt. 

RAYE 

WE can expect the much-anticipated follow-up to Raye’s all-conquering, soul-bearing, Brits-winning My 21st Century Blues.

The R&B singer debuted two unreleased songs at this summer’s Glastonbury with one, Where Is My Husband!, becoming the lead single from the as-yet-unnamed album.

Her official site promises an early 2026 release date. 

FOO FIGHTERS 

A NEW album from Dave Grohl and Co is on the cards in 2026, their second since the sad passing of Taylor Hawkins.

With another new drummer, ex-Nine Inch Nails Ilan Rubin, announced in the summer, the first recorded music with him appeared in the shape of single Asking For A Friend.

Two massive UK shows at Liverpool’s Anfield Stadium are set for June. 

ROBBIE WILLIAMS 

INSPIRED by the mid-Nineties period after Robbie left Take That, Britpop is his 13th studio album. 

It begins with the, er, rocket-fuelled Rocket, which is graced with suitably heavy riffing from Black Sabbath’s Tony Iommi. 

Bearing in mind the recent exploits of Oasis, Blur, Pulp and Suede, why not this celebration by one of the era’s favourite singers?  

Out on February 6. 

CHARLIE XCX 

AFTER the Brat summer of 2024, the singer heads in another direction with her soundtrack album for Wuthering Heights.  

Out on February 13, same day as Emerald Fennell’s film version of Emily Bronte’s novel, it has already yielded singles House, with Velvet Underground legend John Cale, and Chains Of Love.

Charli says: “It couldn’t be more different from Brat.” 

PAUL McCARTNEY 

AS far as his epic music career is concerned, Macca will never “let it be”. 

The Beatles legend confirmed work on the follow-up to 2020’s excellent McCartney III.  

In the foreword to a memoir about his other band, Wings, he wrote: “Right now, I have 25 songs that I’m finishing . . . new songs that are interesting.”  

He’s also mentioned in despatches sessions in LA with Andrew Watt (Stones, Lady Gaga). 

THE FACES 

HERE’S a rock ’n’ roll reunion to savour. 

The band’s three survivors, Rod Stewart, Ronnie Wood and Kenney Jones, have been preparing their first album in more than 50 years. 

At least 11 songs have been recorded, which Jones says are “a mixture of stuff we never released but is worthy of releasing and some wonderful new stuff. Rod is writing the lyrics.” 

COURTNEY BARNETT 

THE Aussie rekindles her love of the electric guitar on her forthcoming fourth album.

After decamping to California, she’s been recording in Rancho De Luna, Joshua Tree, home of the legendary hard-rocking Desert Sessions.

First evidence of her labours is recent single Stay In Your Lane, complete with scuzzy bass lines and wonderfully deadpan vocals. 

VAN MORRISON 

HOT on the heels of his sublime return to form, Remembering Now, comes this love letter to the blues, Somebody Tried To Sell Me A Bridge.

Out on January 23, the 20-track album proves Van is still “The Man” at 80.

It includes Fats Domino’s Ain’t That A Shame, Blind Blake’s Delia’s Gone and features stellar 

guests – Buddy Guy and Taj Mahal among them. 

DANNY L HARLE 

AFTER stellar production duties with Dua Lipa, Caroline Polachek and Olly Alexander, Harle steps into the limelight with the genre-hopping Cerulean (released February 13).

“This is my debut album. This is the big one,” says the North Londoner.

Singles already released Starlight (ft PinkPantheress) and Azimuth (ft Polachek) offer much promise. 

BJORK 

THE Icelandic icon has given a strong hint of new material in the new year, her first since 2022’s Fossora. 

She’s involved in a huge exhibition in Reykjavik involving immersive audio and visual installations.

A social media post reveals that the third and last of these is “a new work based on music from her forthcoming album, currently in development.” 

LEIGH-ANNE 

THE impressive former Little Mix singer can finally do things her way when 

she releases her 15-track debut album as an independent solo artist. Following the singles Been A Minute, Burning Up and Dead And Gone, she delivers My Ego Told Me To in February.

Rooted in reggae and pop, it explores personal themes of family and empowerment. 

GORILLAZ 

MURDOC, Russel Hobbs, 2D and Noodle – the brainchildren of Damon Albarn and visual artist Jamie Hewlett – release The Mountain on March 20.

The ninth Gorillaz album brings Indian music to the fore but also finds room for guest appearances by Sparks, Gruff Rhys, Idles and Johnny Marr. Drummer Hobbs calls it “a journey of the soul – with beats.” 

BRUCE SPRINGSTEEN 

THIS was a year when The Boss gave us so much.

Another visit to the UK with the E Street Band followed by two significant raids on his archives – Tracks II with its SEVEN unreleased albums and an expanded Nebraska to coincide with the recent biopic.

Yet he told Rolling Stone: “I have a record finished. It’s a solo record  . . .  I imagine it will come out in ’26 some time.”  

MUMFORD & SONS 

THE trio of Marcus Mumford, Ben Lovett and Ted Deane have reunited with Taylor Swift associate, The National’s Aaron Dessner.

He has produced and co-writes Prizefighter.

Set for release on Feb 13, the band’s sixth studio album arrives less than a year after their UK No 1 fifth, Rushmere. Gracie Abrams, Chris Stapleton & Hozier guest. 

LUCINDA WILLIAMS 

BEARER of one of the most passionate voices in American music, Williams returns with World’s Gone Wrong on January 23.

She addresses head-on the divisions in her country while taking specific aim at the sandy-haired White House incumbent.

She duets with the mighty Mavis Staples on a cover of Bob Marley’s So Much Trouble In The World. 

THE DAMNED 

WHEN the punk pioneers’ founder member Brian James died earlier this year, the current line-up recorded a covers album celebrating the Sixties music loved by their fallen comrade.

Not Like Everybody Else is out on January 23.

Singer Dave Vanian turns There’s A Ghost In My House into a hoot and Captain Sensible takes the lead on Pink Floyd’s See Emily Play. 

You won’t see a movie with better music and worse dialogue this holiday season than the bizarrely charming “Song Sung Blue,” a biopic about a husband-and-wife Neil Diamond cover band who were a fleeting sensation in 1990s Milwaukee.

If that plot synopsis isn’t a hook, the soundtrack is packed with them, as stars Hugh Jackman and Kate Hudson belt over a dozen Diamond hits including “Forever in Blue Jeans,” “I Am…I Said,” and “Holly Holy.” Of course the couple they’re playing, Mike and Claire Sardina, a.k.a. Lightning & Thunder, also do “Sweet Caroline,” although they disagree over where it belongs in the set list. Mike prefers last, allowing them to showcase his idol’s range beforehand. Claire insists it come first after an incident when withholding it triggers a biker brawl.

Written and directed by Craig Brewer (“Hustle & Flow”), the movie is itself a cover of Greg Kohs’ 2008 documentary on the Sardinas, also titled “Song Sung Blue.” The original is a quirky little indie that reveals truth to be weirder than fiction. What happens to Mike and Claire is so outlandish that you’d roll your eyes if Brewer also included the facts that their real-life wedding climaxed with a concert for a thousand people at the Wisconsin State Fair and that the groomsmen wore tuxedo T-shirts.

Both films are love stories, even if the new version compresses Mike and Claire’s decade and a half marriage into two years. He’s a divorced auto mechanic and recovering alcoholic with a surly-but-sweet distant daughter named Angela (King Princess) and a bit of local renown. She’s a single mom to son Dayna (Hudson Hensley) and her own daughter, Rachel (Ella Anderson), when Mike struts into her life wearing lightning bolts on his jacket and tooth. His manager, Dave (Fisher Stevens), is also his dentist.

This is a script that shows and tells. If Mike jokes that Dave deserves a free oil change for missing out on a $10 commission, then you better believe the movie will cut to him under the car doing the job. Every character blurts out exactly what they want with the gusto of belting out ba-ba-baaaah at a certain Neil Diamond chorus.

“I gotta be Neil but I gotta be me too,” Mike says urgently. A couple scenes later, Hudson’s Claire turns to Rachel and pleads, “I just want to sing and feel happy and be loved!” Likewise, as soon as their kids are thrust together on an awkward playdate, the girls get stoned, trauma-bonding about their unstable parents, a cute and corny moment that ensures the audience knows the risks if Lightning & Thunder are forced to hang up their spangles.

The twosome are backed by a tour booker, Tom (Jim Belushi), who dreams of getting them a residency in Vegas, and a motley crew of fellow mimics including a Buddy Holly (Michael Imperioli) and a James Brown (Mustafa Shakir). Shyaporn Theerakulstit, Chacha Tahng and Faye Tamasa have some nice moments as Thai restaurateurs who welcome the Sardinas’ family into their own. Often though, you find yourself watching Anderson as the anxious Rachel who seems most in tune with reality. Can her mom and stepdad’s fantasies of fame actually pay their rent?

There’s a spoiler in the trailer that I recommend avoiding if you can. The argument for it must have been that no one wants to see a musical about two Midwesterners in rhinestones unless something bad happens to them. Most rock biopics have a similar rise-and-fall-and-rise arc; it’s a cliché that works, like plugging “Sweet Caroline” into a bar’s jukebox. But what gives “Song Sung Blue” a wonky kind of depth is that there’s only so high Mike and Claire can rise. When the real-life couple was fired from a steady booking, the club owner justified his actions by saying, “Especially being in Neil Diamond impersonation, your limits are Neil Diamond.”

Fans will counter that the songwriter’s gifts are so ceaseless that younger generations might not even connect each hit with his name. Bopping along to the movie feels like being at a pub trivia night where the answer is always Neil Diamond: That’s right, he also wrote The Monkees’ “I’m a Believer.” Begrudgingly, you half-buy into one of the script’s more ludicrous set-ups, that Lightning & Thunder will play their biggest show on the night Diamond is headlining at another venue in town. The greater metro population of Milwaukee is just shy of one and half million people. Sure, why not.

Grinding plot gears aside, the duo’s actual biggest gig is pretty awesome: In 1995, Eddie Vedder invited Lightning & Thunder to open for Pearl Jam. (“What’s a Pearl Jam?” Mike asks.) The quirky mash-up of sequins and flannel gets reenacted here, but this would be a richer movie if it explored why a Seattle grunge band rocketing toward mega-stardom would whisk this act along for the ride. Appreciation for Diamond’s lyrical craft? Respect for the Sardinas’ genuine talents? Or just kitsch?

That Lightning & Thunder peaked when Gen Xers were ascendant makes you yearn for Brewer to grapple with how much of their fan base was ironic. That question, along with Diamond’s ear worms, won’t stop wriggling in my brain. The closest answer I’ve found is in a “Simpsons” episode from around the same time where Homer takes the stage at a cartoon version of Lollapalooza. (“He’s cool,” a pierced punk says with a snort. A buddy asks if he’s being sarcastic, and the kid collapses like a hot air balloon: “I don’t even know anymore.”)

“Song Sung Blue” couldn’t be less cool. But the Sardinas were completely sincere and Jackman and Hudson honor their innocence by playing them straight. (Brewer, however, can’t resist a pratfall where Mike trips singing “Cracklin’ Rosie” in his skivvies.) Jackman looks and sounds so much like Diamond that the concert scenes feel like top-fleet karaoke, and Hudson more than holds her own, even as her Claire is tasked to stare at her husband with starry eyes that sparkle as much as her silver makeup.

Hudson encourages the audience to use Claire’s stubborn buoyancy and perky accent as a life raft when Lightning & Thunder are deluged by extremely bad luck. But the beat Hudson gets exactly right comes in a scene where you’re certain this klutzy melodrama is going to force her to sob. Instead, she refuses. She smiles, and that’s the detail that breaks your heart.

So I cried for her. Then I groaned some more and while I didn’t need an encore, I left the theater humming.

To rebel is to defy. It is to understand that the world as it is can and should be better.

So it’s no surprise rebels were everywhere on our movie screens in 2025. Filmmakers in the U.S. and abroad depicted the lengths to which people will go to stand up against the bland (and at times violent) vision of conformity they see around them. It’s a theme that comes through most organically in these films’ costume designs.

In “Wicked: For Good,” for instance, Cynthia Erivo’s Elphaba Thropp stands apart from the glossy superficiality of the Emerald City. Paul Tazewell, an Oscar winner earlier this year for the first “Wicked,” once again wrapped Elphaba’s defiant spirit in the very fabric of her costumes. As she fights for animal rights and defies the authority of that fraud of a Wizard, the titular witch dons dresses and capes (and, yes, even a knitted cardigan that had the internet abuzz) that ground her in that land “made of dirt and rock and loam” she sings about.

Cynthia Erivo as Elphaba in “Wicked: For Good.”

(Giles Keyte / Universal Pictures)

Not that all rebels choose to stand out. In Paul Thomas Anderson’s politically urgent thriller “One Battle After Another” — costumed by four-time Oscar winner Colleen Atwood — members of the French 75 revolutionary group know better than to draw attention to themselves.

“Take Deandra [played by Regina Hall], for instance, who’s always lived off the grid,” Atwood tells The Envelope. “They have lives, but they are still somewhere on the wanted list, and some weirdo can suddenly know who they are. So they really have to blend in. They have to be not noticeable. That was a big goal with everybody’s costume in the movie, all the French 75 costumes — and Leo as well.”

That’s why DiCaprio spends much of the film in a red bathrobe, making him both incredibly hard to miss and also decidedly ordinary-looking. “Would you wear it the whole time?” Atwood remembers asking herself: “Would he get rid of it? And Paul goes, ‘Why would you take off your clothes if you’re running?’”

Leonardo DiCaprio, left, and Benicio Del Toro in “One Battle After Another.”

(Warner Bros. Pictures)

Atwood’s choice to put Benicio Del Toro in a gi and a turtleneck was similarly driven by this approach: These are all people who move through the world wanting to disrupt the system without making such disruption all that conspicuous. Here we may also add the off-the-rack suits Teddy and Don (Jesse Plemons and Aiden Delbis) wear in “Bugonia” to face their kidnapped CEO; the beret-and-turtleneck-wearing revolutionary (Richard Ayoade) in “The Phoenician Scheme”; and the stylish, delightfully unbuttoned shirts Wagner Moura wears throughout “The Secret Agent.”

Not all instances of rebellion are so obviously political. Take Harry Lighton’s deliciously kinky dom-com “Pillion,” which finds shy young Colin (Harry Melling) entering into a BDSM relationship with an enigmatic biker called Ray (Alexander Skarsgård).

“Ray’s an anomaly; he’s the rebel, you can’t place him,” costume designer Grace Snell says. When we first meet him, he is wearing a striking white leather biking outfit: “I wanted him to be like a light at night on this bike and a shiny toy for Colin.”

Harry Melling, left, and Alexander Skarsgård in “Pillion.”

(Festival de Cannes)

The leather and kink gear that Skarsgård, Melling and the rest of the “Pillion” cast wear allowed Snell to give audiences the Tom of Finland fantasy Lighton’s film clearly demands. Yet the film is about a quieter rebellion.

“Colin’s kind of testing his boundaries and understanding who he is as a gay man, and exploring what that means for him,” Snell says. It’s why he spends much of the film in uniform, as a traffic warden, as a member of a barbershop quartet, and later as the new member of Ray’s biker gang.

“Pillion” is about self-fashioning at its most elemental: how gear and uniforms, roles and positions, can help you bloom into yourself; how in losing yourself in another you can find who you want to be.

Blending such a lesson in ways political and personal is Bill Condon’s “Kiss of the Spider Woman,” also costumed by Atwood. The musical is framed by the tension between Valentin (Diego Luna), a righteous revolutionary, and Molina (Tonatiuh), a gay hairdresser, who share a prison cell under Argentina’s military regime.

Diego Luna and Jennifer Lopez in “Kiss of the Spider Woman.”

(Roadside Attractions)

Along with designer Christine L. Cantella, Atwood aimed to honor the history the film was depicting and the message it embodies. “Not only is it set in a revolutionary time, but it’s also about two people opening each other’s eyes to the world,” Atwood says, “in a way that is such a great message for today.”

Atwood and Cantella had to balance the dingy reality of the prison — where Molina finds modest beauty in his silk robes — and the movie musical he loses himself in — where Jennifer Lopez’s Aurora is dressed like a silver-screen siren throughout. Lopez’s big number, where she dons an ode to the all-white ensemble Chita Rivera wore in the original Broadway show, including a fedora to match, is all about the lure of escapist Hollywood fantasy: “Turn off the lights and turn on your mind,” she sings.

As the ending of the musical attests, there may be a way to do both, to be politically engaged and still enjoy the beauty of the world around you. For, as these varied films attest, a rebel doesn’t just voice their discontent at the status quo. They wear it proudly.

From a design shop in Valencia with “murderous” dolls to a studio in Dublin to the Coachella Valley Music and Arts Festival, our photographers have been everywhere this year. They’ve captured key figures in the worlds of music, film and television in somber moments, moments of levity and everything in between. They share behind-the-scenes anecdotes about the shoots and reveal how they got “the” shot.

Britt Lower, Adam Scott and Dichen Lachman (above)

By Jason Armond in Los Angeles

When I received this assignment, my goal was to create a photo that not only mirrored the show’s dystopian surrealness but also captured the intricate relationship triangle between Britt Lower, Adam Scott and Dichen Lachman’s characters.

Initially, it took a little time for everyone on set to see my vision, but once I shared a test image, everyone understood and was excited to collaborate. The entire shoot lasted around eight minutes, but that brief window was all we needed.

After publication, the images quickly went viral. Many viewers assumed the photos were AI-generated or composited, but every detail was achieved in camera.

At the end of the shoot, someone from Lower’s team accidentally stepped on the mirror, shattering it. Someone joked about bad luck, but thankfully, this superstition did not come true, and a few months later, Lower won the lead actress in a drama series Emmy for her role in “Severance.”

Richard Kind

By Christina House at Sunset Gower Studios in Hollywood

Richard is one of a kind — no pun intended. He was singing and joking with us, telling stories. We were set up outside under the beating sun and he was wearing a vest with a wool coat, so we were trying to work quickly! I always love seeing behind the scenes of how films are made. I decided to pull back and include the lights and my assistant Jonathan’s hands to give it that working set feel.

Cynthia Erivo

By Jason Armond in Los Angeles

Cynthia Erivo’s portrait session took place in a studio near Beverly Hills, where she had recently finished recording her latest album. My initial plan was to photograph her seated beside a vintage piano, but she had a different vision. This is why I always prepare at least three setup options for entertainment portraits. I quickly adapted and moved to my next setup, which featured a striking geometric wooden wall in the studio. As I adjusted the lighting, I noticed her stunning wardrobe with two waist-high slits that revealed her tattoos. At that moment, I understood her preference for standing, as it allowed her to express her style and personality fully. I adjusted the lighting to complement Erivo’s sultry and confident presence. Her choice to stand brought a dynamic quality to the image. The resulting image speaks for itself; Erivo brought the scene to life and needed almost no direction. I simply pressed the camera’s shutter button.

Bella Ramsey

By Bexx Francois at the London in West Hollywood

Rather than chasing an expression, I was interested in stillness and repetition; how a simple gesture could feel amplified when echoed across a frame. I wanted Bella’s profile to be both the anchor and the rhythm of the image. She was immediately open to leaning into something more abstract. It was a real-time compositional gamble, guided by instinct and trust. We made several variations, but it was her side profile that ultimately struck the strongest balance between classic portraiture and interpretation.

Lee Jung-jae and Hwang Dong-hyuk

By Justin Jun Lee at the “Squid Game Experience” in New York

From the moment I walked in, I felt completely immersed in the design of the space. It truly felt like I was stepping onto an actual film set from one of the “Squid Game” challenges. The iconic giant doll Young-hee from the “Red Light, Green Light” game immediately stood out to me. My goal was for the images to carry a sense of tension and intensity that mirrors the tone of the show, and I believe that came through in the mood, expressions and presence of both Lee Jung-jae and Hwang Dong-hyuk.

Yungblud

By Hon Wing Chiu at the Hollywood Palladium

(Hon Wing Chiu / For The Times)

I was limited to photographing only the first three songs at the Hollywood Palladium, so I chose to shoot two songs up close and save the last one for a gamble from the back of the crowd. Most of the time I could barely see past the fans, but I hoped the final song would give me something unexpected.

When Yungblud hit the stage, the whole room exploded. The lights were changing every second, and he never stopped moving — running, jumping, connecting with the crowd like the stage could barely contain him. The fans were screaming, reaching, completely locked into the moment. I captured what I could up front, then switched lenses and waited for one last chance.

During that final song, everything suddenly came together. Yungblud stepped right to the very edge of the stage, almost close enough for the fans to touch him. Their hands shot into the air, trying to reach him, and he threw his arm upward with full force, like he was lifting the whole room with him. For a split second, the lights, the crowd and his energy aligned perfectly. I hit the shutter, hoping I caught it.

It wasn’t the peak of the entire concert, but it was the peak of the moment I was allowed to shoot — and it became the image I had been chasing all night.

Olivia Cooke and Robin Wright

By Jennifer McCord in London

I’d only seen the trailer for “The Girlfriend” at the time of the shoot but knew I wanted something that contained the idea of untrustworthy narrators that seemed to be threaded throughout.

Paul Thomas Anderson

By Christina House at the Aster in Hollywood

I had been made aware that PTA does not love being photographed. I had worked with him once before so I knew he was really nice but a bit camera shy. When he finished up his interview with columnist Glenn Whipp, he came to meet me in the neighboring hotel room where I had a chair positioned next to a window. I shared my idea on framing the image; I was shooting it from the bedroom closet to give some depth and he liked it. We took a few frames, talked about our dogs (his dog is trained to bring him his L.A. Times newspaper every morning) and he apologized for being difficult on his way out, to which I immediately replied that he was the complete opposite of that.

Fernanda Torres (‘I’m Still Here’)

By Annie Noelker in Los Angeles

I remember her just being so classy, elegant and lovely. Her whole team was so kind and we shot out on the balcony of the hotel room for maybe 10 minutes. It was effortless and such a satisfying collaborative experience.

Adrien Morot, Kathy Tse and M3GAN dolls

By Carlin Stiehl in Valencia

It’s always a treat when you step into the creative world of a mastermind, especially when it comes to the magic behind our favorite films. You might expect that seeing the process up close would spoil the mystique, like a magician revealing their tricks, but in the case of Adrien and Kathy, it only deepened the sense of wonder. The “M3GAN” dolls were so lifelike, and the real sell wasn’t their eyes that draw you in, but the skin. The dolls’ lifelike texture and softness, and the rows of faces on worktables waiting to be painted, created a diabolical scene out of a skin-harvesting, flesh-mask horror film. Yet the insanity was where the true genius hid, because in many ways, I could believe it was real. Hence, the inspiration for the photo: a take on the quintessential family-style portrait — the ones you kind of cringe at when you walk into someone’s home, radiating manufactured happiness. The dolls were like their children so I thought, let’s get the kids together with Mom and Dad and show how beautiful their doted-on children are for our guests.

Saagar Shaikh and Asif Ali

By Bexx Francois on the Disney Studios lot in Burbank

I came in with a loose mood board, a few traditional pose ideas alongside some comedic “scenarios” that had a 50/50 chance of making it to my memory cards. Their Hulu series “Deli Boys” was a comedy after all, maybe they’d be down to lean into play. When Saagar and Asif arrived, I showed them my wish list. Instant cosign. Once we nailed the first “scenario,” pure improv took over, with Asif and Sagaar seamlessly falling into the mock-conflict of their on-screen characters; hence, Asif being hoisted 3 feet in the air. By the time we called wrap, everyone was in tears.

Dan Brown

By Cheryl Senter in Rye Beach, N.H.

Two things: I always follow my gut and never wear pink. A few days before the assignment I had this gut feeling that I wanted a portrait of the bestselling author with a wall of mirrors. The day of the assignment I decided to wear a hot pink shirt I had picked up at a thrift store instead of my black-on-black attire. At Dan’s house I spent an hour with his assistant scoping out a few locations — no wall of mirrors. Before I left I asked Dan if he had a wall of mirrors. Dan smiled and led me to a very tiny circular bathroom that had a tall, curved pocket door made of copper. It was a tight space with the door shut. My pink shirt came in handy. I could easily see if I was in any of the mirrors. At one point Dan looked at me and started laughing as I tried to make myself wafer thin. Then I started laughing. Dan’s assistant waiting outside asked softly, “Is everything OK?”

Penn Badgley

By Matt Seidel in Los Angeles

This was a classic celebrity shoot: Our scheduled 30 minutes collapsed into seven so we had to move fast. I shook Penn’s hand and told him I had two goals: Get the shot and get him back on schedule. There was no time to over-direct so I gave him one piece of character direction and let him run. I didn’t want Joe Goldberg from the TV series “You.” I didn’t want Penn Badgley, sexy serial killer. I wanted the real Penn Badgley saying goodbye, closing a chapter, integrating the shadow of the role and stepping into the light of what’s next.

Spike Lee

By Victoria Will in New York

Nothing says Brooklyn like Spike Lee, so it made sense to photograph him where he is most recognized, in Fort Greene near his well-known office. The relationship between Spike and Brooklyn is longstanding and reciprocal, shaped by history, presence and place. That familiarity was evident as nearly every pedestrian waved or said hello, many greeting him like an old friend. And there wasn’t one person that he did not acknowledge. True class.

Sombr

By Evelyn Freja at Pier 17 in New York

The photo was taken on an empty construction floor of the pier where he had a concert that night. I remember it was a very quick session right before he went on because he had gotten a cold and was trying to save his energy to perform. Despite his health, he (and his entire team) was so kind and gracious, which made the shoot go easy. I decided to light the warehouse with a red light to lend the energy of his music to this shoot and a very moody light for Sombr to reflect the ambience of his songs.

Elle Fanning

By Christina House at the Toronto International Film Festival

I had photographed Elle a few years back. She’s a sweetheart and so good at posing so she doesn’t need a lot of direction. For this particular photo, it was taken at our portrait studio at the Toronto International Film Festival. It’s a fast-paced flow of folks coming in and out for portraits, an organized chaos at times, but you would never know that by the calm on her face. She’s a pro.

Lena Dunham and Megan Stalter

By the Tyler Twins in New York

The playlist was ‘90s (Alanis Morissette, the Cranberries, Jewel), and the vibe was easy and celebratory. Megan and Lena have a genuine chemistry and were both very relaxed in front of the camera. Our shared ties to Ohio made for good conversation. It truly felt like we were shooting friends.

Domhnall Gleeson

Jennifer McCord in Dublin

This was shot in a studio in Dublin (studio shoots for assignments always feel super rare!) with just me, Domhnall and his makeup artist Lucy. We played the latest Fontaines D.C. album and the shoot was super chill and lovely. I’m always appreciative when an actor is up for being collaborative and trying different things — this was one of the last shots we took. The rest of the images feel quite energetic, so it was nice to also get this more intimate-feeling frame at the end.

Karol G

By Bexx Francois in El Segundo

When time with an artist is limited, anxiety threatens to grab the wheel. But once Karol G walked on set, everything went quiet. And delicate. She had such a kindness about her. And an effortless beauty. I was inspired by classic Irving Penn; using walls to guide the eyes toward the center. We used a V-flat as our “set.” Even with a wind blower only 6 feet away throwing gusts of drama in her direction, Karol remained in command of her space and performance. And still connected where and how needed — with piercing intention.

Benson Boone and Brian May

By Allen J. Schaben at the Coachella Valley Music and Arts Festival

Shooting Benson Boone’s trademark leaping acrobatics at his Coachella debut this year gave me the chance to bridge the gap between musical generations. The performance of “Bohemian Rhapsody” was made even more significant by the presence of Queen’s legendary guitarist, Brian May. My challenge was positioning myself to capture the moment while navigating a sea of spectators’ heads, hands, arms and cellphones. I dropped to a low angle to create a fan’s perspective, capture the height of his leap and ensure both artists were in the frame. Then it happened — somewhere between a cymbal crash and a guitar wail. Boone sprinted onto the piano and launched into the air above May, and in a split second, it was over. Moments like this are what make my job rewarding, and this performance by Boone and May will live on as a legendary one in my memory.

Marianne Jean-Baptiste and Mike Leigh (‘Hard Truths’)

By Christina House at Shutters on the Beach in Santa Monica

Marianne and Mike had such lovely chemistry together. They were chatty so I thought I’d give them an action to follow and this is where we landed. This was taken in a hotel boardroom with a seamless backdrop.

Mariska Hargitay

By Victoria Will in New York

I’ve had the good fortune of photographing Mariska Hargitay many times over the years, which brings a level of trust and collaboration. She gives both generously. On this occasion, she was as she always is: grounded, confident and present, with an easy sense of humor.

Wesley Schultz and Jeremiah Fraites of the Lumineers

By Robert Gauthier at the Sunset Marquis in West Hollywood

The Lumineers was a memorable shoot for me. To make this photo I crawled into a thicket of ferns at the Sunset Marquis Hotel. As I crouched behind a rippling fountain, stretching and contorting my body to attain the correct angle, I began to wonder, “Do the Lumineers think I’m some kind of a lunatic?”

Luis Guzmán, Jenna Ortega and Catherine Zeta-Jones

By Jennifer McCord in London

I’m such a big fan of “Wednesday” as a show and of all three of these actors, so this was truly a joy. As always with these assignments, we had limited time but thankfully we were shooting at the wonderful Raffles in London and Luis, Catherine and Jenna were so wonderful.

Mark Hoppus of Blink-182

By Robert Gauthier in Los Angeles

Mark Hoppus’ home is a photographer’s dream. A Midcentury Modern with interesting angles, surfaces, colors and light. He was patient and willing to pose wherever I found inspiration. We settled on a few places, including beneath a skylight that streamed natural light into a hallway. It’s a simple image. One might say it was just another one of all the small things.

Stephen Graham

By Sophia Spring in London

This was shot in a little makeshift studio I set up in a boardroom at Netflix HQ in London. We were capturing these portraits of Stephen ahead of the release of “Adolescence.” At the time all I knew about the show was the vague story outline of Stephen’s character as the father of a boy arrested for murder, and so I was keen that the portraits channel the visceral and complex tone of the show. After a quick hello I explained to Stephen what I was after, and for the next 20 minutes he proved why he is the world-class actor we know him as — he brought such an intensity and commitment to our short shoot. I was thrilled to see his well-deserved Emmy win a few months later.

True Whitaker

By Christina House at the London Hotel in West Hollywood

True is a warm and friendly human. She greeted me and my assistant with a hug. I could tell she was feeling a little under the weather that day but she didn’t ask for any special treatment, and kindly and happily took direction. It was a pleasure to meet the “I Love LA” star. I used window light to keep a soft yet moody feel.

Jessie Murph

By Annie Noelker in Los Angeles

We shot Jessie at NeueHouse Venice Beach (rest in peace) and there was this skylight in the backroom, where the sun cast this magnificent glow. The time of day was just perfect and oh so lucky. I had Jessie stand in the glow and look up, with just a little reflector under her chin and we captured this beautiful, still moment of reflection and calm before the insane year the singer-songwriter has had.

Danielle Brooks

By Bexx Francois in Los Angeles

I had just flown in from New York, where only days earlier I was sitting in a movie theater with my nephews, ages 6 and 11, watching “Minecraft” and enjoying their faces light up from the screen. In 2022, I saw Danielle Brooks in the Broadway revival of “The Piano Lesson,” a performance that had me on my feet in applause. And now my nephews were being introduced to her talent in a different context. When the assignment to photograph the actress landed in my inbox soon after, it was an instant yes. Unbeknownst to her, I was quietly geeking out behind the camera. I wanted to capture her in the same bliss she gave my nephews in that theater together.

Laverne Cox and George Wallace

By the Tyler Twins in New York

Laverne Cox arrived fully prepared in vintage Thierry Mugler. We bonded over a shared love of fashion history; she’s an expert! George Wallace, her onscreen father in the Prime Video comedy “Clean Slate,” brought a warmth that was easy to capture. Their father-daughter dynamic unfolded naturally, with Laverne playfully striking poses around him.

Tonatiuh

By Christina House at Hollenbeck Park in Los Angeles

This was a meaningful place for him since he grew up in the area. He seemed at ease and I sensed it felt good to return to a place he called home during what I can imagine is a very busy and surreal time for him — promoting the movie “Kiss of the Spider Woman” with Jennifer Lopez. Grounding yourself is so important. There’s a pond at the center of the park. We headed in that direction and made a few frames with this beautiful, natural sunlight. He mentioned that the scar on the left side of his face is not something he is ashamed of so he was comfortable being photographed on that side.

Laurence Fishburne

By Jason Armond in Los Angeles

When I photographed Laurence Fishburne for his role in the spy thriller “The Amateur,” I approached the session with a storyteller’s mindset. Even in my celebrity portraiture, I aim to capture a narrative. For this shoot, I chose dramatic lighting to reflect the suspenseful tone of the film. Fishburne had recently suffered a broken toe, so he needed to remain seated throughout most of the session. What could have been a limitation became a creative opportunity. I concentrated on close-up portraits, letting Fishburne’s intense expressions and moments of exuberant laughter bring the images to life.

Fujii Kaze

By Jason Armond in El Segundo

During awards season, I photograph many celebrities each week, which challenges me to find new and creative approaches for every session. For me, the key to transforming the ordinary into something extraordinary is always staying open to inspiration wherever it appears. My shoot with J-pop star Fujii Kaze at the L.A. Times offices embodied this idea. On my way to the studio, I noticed a stack of black chairs in the hallway and instantly recognized their potential. Those unassuming chairs became the backdrop for a striking, environmental portrait. Following my instincts allowed me to create something truly unique.

Michael Koman and Greg Daniels

By Jason Armond in El Segundo

When I was assigned to photograph Michael Koman and Greg Daniels, the creators of “The Paper,” I knew I wanted the images to capture the quirkiness of their show. Early on, I decided to build a set entirely out of newspapers. Since our shoot was at the L.A. Times offices, I gathered piles of old papers and envisioned Michael and Greg in a flurry of pages, an energetic and playful nod to their show’s spirit. The idea worked beautifully.

After the session, I led Koman and Daniels on a brief tour of the newsroom. Daniels eagerly asked about every detail of the newsroom’s daily operations and how each area was used. His sincere curiosity stood out, revealing his dedication to his craft.

Before Koman and Daniels left, I jokingly offered my services as a show consultant. I have yet to receive a callback, so for now, I am more than happy to continue my work at the L.A. Times.

Billy Crudup

By Bexx Francois in Los Angeles

We arrived at the Netflix offices and started making our way to our shoot location. Out the corner of my eye, I noticed this teddy bear chair in one of the waiting rooms we were passing by. Its design was charismatic and made me smile. I instantly requested it be brought to set. We tried one to two traditional chairs in its stead before committing to its playfulness. If it made us smile during test shots, hopefully it would do the same once “Jay Kelly” star Billy Crudup arrived on set. And indeed, it did. We spent the most time joking and capturing candid moments with Billy comfortably leaning into that furry hug. It produced one of my favorite photos from our time together.

Cyndi Lauper

By Larsen&Talbert at Jack Studios in New York

From the very beginning, it felt more like a collaboration than an assignment.

Once we knew what she’d be wearing, we gathered around the rolls of seamless paper together, weighing color options like painters choosing a palette. Blue immediately stood out. We agreed, started setting up and everything was moving smoothly — until a few minutes later when Cyndi Lauper came running back into the room.

“We can’t do blue!” she said, laughing. “My hair is blue today.”

She was absolutely right.

Without hesitation, we pivoted to our second choice: orange. Against her blue hair and bold, pink doll-head suit, the orange backdrop crackled with energy — it was perfect.

Some subjects need a lot of coaxing and direction. Not Cyndi. She knows exactly how to move, how to hold a pose and how to communicate with a camera. She doesn’t wait to be told what to do — she gives you something. Our job was simply to stay sharp and ready, capturing whatever magic she sent our way.

It was effortless, intuitive and joyful — the kind of shoot that reminds you why collaboration matters, and why icons become icons in the first place.

Jinkx Monsoon and BenDeLaCreme

By Dutch Doscher at Blonde Studios in New York

When I got the assignment, I was immediately excited and had this image in my head of placing them inside a colorful candy cane circus. I had no idea how I was going to pull that off until Broderson Backdrops came through with the perfect 25-by-25-foot backdrop. I showed the idea to their publicist and got an immediate, enthusiastic yes. From there, the gold outfits came into focus and everything started to click.

They were incredibly easygoing and completely comfortable playing to the camera. You can sometimes wonder if a duo like that is more of a work relationship, but once you’re in the room with them, it’s clear it’s a deep friendship. That connection made the shoot feel effortless, and I think that’s what ultimately comes through in the photograph.

EastEnders fans rejoiced as the Witches of Walford reunited in explosive scenes that played out in the BBC soap’s famous pub on Christmas Day as various truths were outed

EastEnders fans rejoiced as the Witches of Walford reunited in explosive scenes that aired on Christmas Day. The BBC soap aired its festive special on Thursday evening, and it was revealed exactly who had been tormenting Zoe Slater with threatening letters over the past few months.

Zoe made a much-anticipated comeback to the serial earlier this year, and it emerged later that she had twins almost 20 years ago. At the time, it was believed that the little girl had died and she had given her son away for adoption. Having been searching for her son for months, Zoe finally believed her son was about to turn up on Christmas Day, but it was all a wicked plot set up by a mysterious figure.

Earlier in the day, Zoe got into an altercation with Antony Trueman, the biological father of her children, at the top of the stairs in the Queen Vic which ended with her knocked out cold. In a surprise twist though, it was revealed that Zoe had woken up relatively unharmed and Anthony was dead.

READ MORE: EastEnders’ Jasmine’s link to Cindy ‘explained’ as Chrissie’s secret family ‘revealed’READ MORE: EastEnders’ Tracy-Ann Oberman breaks silence on ‘obsession’ amid Zoe stalker hell

After Kat discovered them, she cleared out the pub and they were greeted by Chrissie Watts, who was last seen in 2024 driving away from the square following a long spell in prison for the murder of her husband Den. Chrissie, who had broken into the pub and fired up a karaoke microphone, said: “Ladies. Both of you. What a treat! Zoe pleaded: “Where’s my son?” as Chrissie confirmed: “He’s not coming I’m afraid…”

She added: “Torturing? With a few harmless games? I thought it was time we’d have a little reunion. It’s been so long. You’re not a drippy little girl anymore. Life has really toughened you up.” Zoe demanded to know why Chrissie was back on the scene, but she wouldn’t say anything without having a drink first.

It was then that Jasmine Fisher stepped into the pub and Chrissie confirmed that they knew each other. Zoe worked out that Jasmine was her daughter, even though she thought she had died several years ago. Jasmine said: “Only because you couldn’t be bothered to stick around the hospital long enough to hear me cry.” Through tears, Zoe pleased: “They took you away! You weren’t breathing,” but Jasmin continued: “Maybe I should be flattered because at least you didn’t just abandon me like you did my brother.”

“We’ve known each other a while, haven’t we, Jas? I was back in London seeing my parole officers. They can’t get enough of me, I’m a popular girl. Anyway, I bring up my phone, and there’s a picture of my old pal Zoe. You’d been through the wars. I thought it was a sign and decided to bring flowers. But when I got there, they wouldn’t let anyone near you and that’s when I bumped into this lovely one.”

“We both hate you. We wanted to teach you a lesson.” Jasmine raged that Zoe had never tried to find her once she knew she was alive but Kat reasoned: “We only found out today!” Chrissie twisted the knife further and brought up the fact that Zoe had slept with her husband Den several years ago.

Coldly, she added: “I pay for my crimes. And now you’re gonna pay for yours. But your punishment is gonna be in here. You’ve got a lovely little girl and you’re never gonna get to know her.”

Kat told Jasmine: “Look at her, she has really suffered, she has spent her whole life regretting this and yes, she makes bad decisions but she’s not a bad person. This here, Chrissie, she’s the evil one.” There was then another twist for fans as Sam Mitchell made her grand return to the soap by stepping out from behind the bar.

She said: “It’s not often that I side with Kat Slater. But she’s right. Chrissie Watts is evil.” Fans of the long-running BBC soap, which celebrated its 40th anniversary earlier this year, will know that Chrissie, Sam and Zoe formed the trio known as The Witches of Walford during their 2000s heyday.

At the time, an iconic storyline saw Chrissie instigating a revenge plot against her husband Den, and persuading Sam and Zoe to go along with her before she tried to frame them for Den’s murder.

Chrissie said: “The three of us. Back again. Who’s gonna turn up next? The ghost of Den?” Sam then asked Chrissie if she was related to Jasmine, and even though Zoe protested that she was the mother, Chrissie cut in to say: “She could’ve been mine! She’s the same age as the baby I lost in prison.”

Kat then demanded the three of them leave but Zoe, now in tears, tried to make her long-lost daughter see that Chrissie had simply goaded her into another revenge plot. Sam then brought up Chrissie’s manipulative ways to try to make Jasmin see sense.

Outside, Jasmine tried to get rid of Chrissie and insisted that she would be “better off” alone. Chrissie then warned Jasmine against mentioning her name to any law authorities, and walked back out of Albert Square. Jasmin and Zoe had a heart-to-heart, and when the police did arrive, Zoe stopped Kat from trying to cover for her and handed herself in as her mother wept.

Fans were quick to react to the reunion, with one fan writing on X: “Hahaha chrissie appearing like that in the Vic,” and a second added: “Kat, meet one of your first grandchildren!”

Another said: “This is vintage” and a fourth added: “Sam, Zoe and Chrissie in the same room in 20 years [crying emoji],” whilst another dramatically exclaimed: “THIS IS A HUGE SHOWDOWN!”

EastEnders airs Mondays to Thursdays at 7:30pm on BBC One and BBC iPlayer. * Follow Mirror Celebs and TV on TikTok , Snapchat Instagram , Twitter , Facebook , YouTube and Threads .

As a child, Clara Spars, who grew up in Charles M. Schulz’s adoptive hometown of Santa Rosa, assumed that every city had life-size “Peanuts” statues dotting its streets.

After all, Spars saw the sculptures everywhere she went — in the Santa Rosa Plaza, at Montgomery Village, outside downtown’s Empire Cleaners. When she and her family inevitably left town and didn’t stumble upon Charlie Brown and his motley crew, she was perplexed.

Whatever void she felt then is long gone, since the beagle has become a pop culture darling, adorning all manner of merchandise — from pimple patches to luxury handbags. Spars herself is the proud owner of a Baggu x Peanuts earbuds case and is regularly gifted Snoopy apparel and accessories.

“It’s so funny to see him everywhere because I’m like, ‘Oh, finally!’” Spars said.

The spike in Snoopy products has been especially pronounced this year with the 75th anniversary of “Peanuts,” a.k.a. Snoopy’s 75th birthday. But the grip Snoopy currently has on pop culture and the retail industry runs deeper than anniversary buzz. According to Sony, which last week acquired majority ownership of the “Peanuts” franchise, the IP is worth half a billion dollars.

To be clear, Snoopy has always been popular. Despite his owner being the “Peanuts” strip’s main character and the namesake for most of the franchise’s adaptations, Snoopy was inarguably its breakout star. He was the winner of a 2001 New York Times poll about readers’ favorite “Peanuts” characters, with 35% of the vote.

This year, the Charles M. Schulz Museum celebrated the 75th anniversary of the “Peanuts” comic strip’s debut.

(Brennan Spark / Charles M. Schulz Museum)

But the veritable Snoopymania possessing today’s consumers really exploded with the social media boom of the early 2010s, said Melissa Menta, senior vice president of global brand and communications for Peanuts Worldwide.

That’s also when the company saw the first signs of uncharacteristically high brand engagement, Menta said. She largely attributed the success of “Peanuts” on social media to the comic strip’s suitability to visual platforms like Instagram.

“No one reads the comic strips in newspapers anymore,” Menta said, “but if you think about it, a four-panel comic strip, it’s actually an Instagram carousel.”

Then, in 2023, Peanuts Worldwide launched the campaign that made Snoopy truly viral.

That year, the brand partnered with the American Red Cross to create a graphic tee as a gift for blood donors. The shirt, which featured Snoopy’s alter ego Joe Cool and the message “Be Cool. Give Blood,” unexpectedly became internet-famous. In the first week of the collaboration, the Red Cross saw a 40% increase in donation appointments, with 75% of donors under the age of 34.

“People went crazy over it,” Menta said, and journalists started asking her, “Why?”

Her answer? “Snoopy is cute and cool. He’s everything you want to be.”

“Charles Schulz said the only goal he had in all that he created was to make people laugh, and I think he’s still doing that 75 years later,” Schulz Museum director Gina Huntsinger said.

(Brennan Spark / Charles M. Schulz Museum)

The Red Cross collaboration was so popular that Peanuts Worldwide brought it back this year, releasing four new shirt designs. Again, the Snoopy fandom — plus some Woodstock enthusiasts — responded, with 250,000 blood donation appointments made nationwide in the month after the collection’s launch.

In addition to the Red Cross partnership, Peanuts Worldwide this year has rolled out collaborations with all kinds of retailers, from luxury brands like Coach and Kith to mass-market powerhouses like Krispy Kreme and Starbucks. Menta said licensed product volume is greater than ever, estimating that the brand currently has more than 1,200 licensees in “almost every territory around the world,” which is approximately four times the number it had 40 years ago.

Then again, at that time, Schulz enjoyed and regularly executed veto power when it came to product proposals, and licensing rules were laid out in what former Times staff writer Carla Lazzareschi called the “Bible.”

“The five-pound, 12-inch-by-18-inch binder given every new licensee establishes accepted poses for each character and painstakingly details their personalities,” Lazzareschi wrote in a 1987 Times story. “Snoopy, for example, is said to be an ‘extrovert beagle with a Walter Mitty complex.’ The guidelines cover even such matters as Snoopy’s grip on a tennis racquet.”

Although licensing has expanded greatly since then, Menta said she and her retail development associates “try hard not to just slap a character onto a T-shirt.” Their goal is to honor Schulz’s storytelling, she added, and with 18,000 “Peanuts” strips in the archive, licensees have plenty of material to pull from.

Rick Vargas, the senior vice president of merchandising and marketing at specialty retailer BoxLunch, said his team regularly returns to the Schulz archives to mine material that could resonate with customers.

“As long as you have a fresh look at what that IP has to offer, there’s always something to find. There’s always a new product to build,” Vargas said.

Indeed, this has been one of BoxLunch’s strongest years in terms of sales of “Peanuts” products, and Snoopy merchandise specifically, the executive said.

BaubleBar co-founder Daniella Yacobovsky said the brand’s “Peanuts” collaboration was one of its most beloved yet.

(BaubleBar)

Daniella Yacobovsky, co-founder of the celebrity-favorite accessory retailer BaubleBar, reported similar high sales for the brand’s recent “Peanuts” collection.

“Especially for people who are consistent BaubleBar fans, every time we introduce new character IP, there is this huge excitement from that fandom that we are bringing their favorite characters to life,” Yacobovsky said.

The bestselling item in the collection, the Peanuts Friends Forever Charm Bracelet, sold out in one day. Plus, customers have reached out with new ideas for products linked to specific “Peanuts” storylines.

More recently, Peanuts Worldwide has focused on marketing to younger costumers in response to unprecedented brand engagement from Gen Z. In November, it launched a collaboration with Starface, whose cult-favorite pimple patches are a staple for teens and young adults. The Snoopy stickers have already sold out on Ulta.com, Starface founder Julie Schott said in an emailed statement, adding that the brand is fielding requests for restocks.

“We know it’s a certified hit when resale on Depop and EBay starts to spike,” Schott said.

The same thing happened in 2023, when a CVS plush of Snoopy in a puffer jacket (possibly the dog’s most internet-famous iteration to date) sold out in-store and started cropping up on EBay — for more than triple the original price.

The culprits were Gen-Zers fawning over how cute cozy Snoopy was, often on social media.

“People who love Snoopy adore Snoopy, whether you grew up with ‘Peanuts’ or connect with Snoopy as a meme and cultural icon today,” said Starface founder Julie Schott.

(Starface World Inc.)

Hannah Guy Casey, senior director of brand and marketing at Peanuts Worldwide, said in 2024, the official Snoopy TikTok account gained 1.1 million followers, and attracted 85.4 million video views and 17.6 million engagements. This year, the account has gained another 1.2 million followers, and racked up 106.5 million video views and 23.2 million engagements.

Guy Casey noted that TikTok is where the brand experiences much of its engagement among Gen Z fans.

Indeed, the platform is a hot spot for fan-created Snoopy content, from memes featuring the puffer jacket to compilations of his most relatable moments. Several Snoopy fan accounts, including one dedicated to a music-loving Snoopy plushie, boast well over half a million followers.

Caryn Iwakiri, a speech and language pathologist at Sunnyvale’s Lakewood Tech EQ Elementary School whose classroom is Snoopy-themed, recently took an impromptu trip to the Charles M. Schulz Museum in Santa Rosa after seeing its welcome center decked out with Snoopy decor on TikTok. Once she arrived, she realized the museum was celebrating the “Peanuts” 75th anniversary.

Last year, the Schulz Museum saw its highest-ever attendance, driven in large part by its increased visibility on social media.

(Brennan Spark / Charles M. Schulz Museum)

It’s a familiar story for Schulz Museum director Gina Huntsinger.

“Last December, we were packed, and I was at the front talking to people, and I just randomly asked this group, ‘Why are you here?’”

It turned out that the friends had traveled from Washington, D.C., and Las Vegas to meet in Santa Rosa and visit the museum after seeing it on TikTok.

According to Stephanie King, marketing director at the Schulz Museum, the establishment is experiencing its highest-ever admissions since opening in 2002. In the 2024–2025 season, the museum increased its attendance by nearly 45% from the previous year.

Huntsinger said she’s enjoyed watching young visitors experience the museum in new ways.

In the museum’s education room, where visitors typically trace characters from the original Schulz comics or fill out “Peanuts” coloring pages, Gen Z museumgoers are sketching pop culture renditions of Snoopy — Snoopy as rock band Pierce the Veil, Snoopy as pop star Charli XCX.

“When our social media team puts them up [online], there’s these comments among this generation that gets this, and they’re having conversations about it,” Huntsinger said. “It’s dynamic, it’s fun, it’s creative. It makes me feel like there’s hope in the world.”

The Schulz Museum’s “Passport to Peanuts” exhibition emphasizes the comic’s global reach.

(Brennan Spark / Charles M. Schulz Museum)

Laurel Roxas felt similarly when they first discovered “Peanuts” as a kid while playing the “Snoopy vs. the Red Baron” video game on their PlayStation Portable. For Roxas, who is Filipino, it was Snoopy and not the “Peanuts” children who resonated most.

“Nobody was Asian. I was like, ‘Oh, I’m not even in the story,’” they said.

Because Snoopy was so simply drawn, Roxas added, he was easy to project onto. They felt similarly about Hello Kitty; with little identifying features or dialogue of their own, the characters were blank canvases for their own personification.

Roxas visited Snoopy Museum Tokyo with their brother last year. They purchased so much Snoopy merchandise — “everything I could get my hands on” — that they had to buy additional luggage to bring it home.

For some Snoopy enthusiasts, the high volume of Snoopy products borders on oversaturation, threatening to cheapen the spirit of the character.

Growing up, Bella Shingledecker loved the holiday season because it meant that the “Peanuts” animated specials would be back on the air. It was that sense of impermanence, she believes, that made the films special.

Now, when she sees stacks of Snoopy cookie jars or other trend-driven products at big-box stores like T.J. Maxx, it strikes her as a bit sad.

“It just feels very unwanted,” she said. For those who buy such objects, she said she can’t help but wonder, “Will this pass your aesthetic test next year?”

Lina Jeong, for one, isn’t worried that Snoopy’s star will fade.

“[Snoopy is] always able to show what he feels, but it’s never through words, and I think there’s something really poetic in that,” said Lina Jeong.

(Brennan Spark / Charles M. Schulz Museum)

Jeong’s affinity for the whimsical beagle was passed down to her from her parents, who furnished their home with commemorative “Peanuts” coffee table books. But she fell in love with Snoopy the first time she saw “Be My Valentine, Charlie Brown,” which she rewatches every Valentine’s Day.

This past year, she was fresh out of a relationship when the holiday rolled around and she found herself tearing up during scenes of Snoopy making Valentine’s crafts for his friends.

“Maybe I was hyper-emotional from everything that had happened, but I remember being so struck,” that the special celebrated platonic love over romantic love, Jeong said.

It was a great comfort to her at the time, she said, and she knows many others have felt that same solace from “Peanuts” media — especially from its dear dog.

“Snoopy is such a cultural pillar that I feel like fads can’t just wash it off,” she said.

Soon, she added, she plans to move those “Peanuts” coffee table books into her own apartment in L.A.

The First Avenger is back — and appears to be a dad.

Marvel Studios finally (officially) released its first teaser for “Avengers: Doomsday” on Tuesday, confirming the much-anticipated return of Chris Evans as the super good super soldier Steve Rogers.

The short clip shows Rogers riding up to a house on his motorcycle, looking at his old Captain America uniform, then smiling gently at an infant cradled in his arms. The teaser ends with the words “Steve Rogers will return for ‘Avengers: Doomsday’” appearing on the screen before showing a countdown to the movie’s release.

“The character that changed our lives,” reads the caption shared with the teaser on “Doomsday” directors Anthony and Joe Russo’s joint Instagram page. “The story that brought us all here together. It was always going to come back to this…”

The Russo brothers, of course, made their Marvel Cinematic Universe debut at the helm of the the 2014 film “Captain America: The Winter Soldier.” They followed that up with “Captain America: Civil War” in 2016, before bringing the Infinity Saga home with “Avengers: Infinity War” (2018) and “Avengers: Endgame” (2019).

Rogers was last seen in “Endgame” passing the Captain America shield and mantle to Sam Wilson (Anthony Mackie) after he had chosen to travel back in time to live out a long and happy life with Peggy Carter (Hayley Atwell). Despite Evans bidding the character goodbye after wrapping filming on “Endgame,” Joe Russo had claimed Evans was “not done” with Steve Rogers.

It had been previously reported that Evans would be returning to the MCU for “Doomsday,” but his role remained unclear. Evans appeared in last year’s “Deadpool & Wolverine,” reprising his role as Johnny Storm from the past “Fantastic Four” films.

“Avengers: Doomsday” will pick up sometime after the events of this year’s “Fantastic Four: First Steps” and “Thunderbolts*.” The massive crossover will see “Iron Man” actor Robert Downey Jr. take on the new role of the mysterious Doctor Doom. Other confirmed “Doomsday” cast members include MCU veterans Chris Hemsworth (Thor), Anthony Mackie (Sam Wilson/Captain America), Sebastian Stan (Bucky Barnes), Paul Rudd (Scott Lang/Ant-Man) and Tom Hiddleston (Loki); “Thunderbolts*” stars Florence Pugh (Yelena Belova), David Harbour (Alexei Shostakov/Red Guardian), Lewis Pullman (Bob Reynolds), Wyatt Russell (John Walker) and Hannah John-Kamen (Ava Starr/Ghost); and “Fantastic Four’s” Pedro Pascal (Reed Richards), Vanessa Kirby (Sue Storm), Joseph Quinn (Johnny Storm) and Ebon Moss-Bachrach (Ben Grimm).

“Doomsday” will also feature “X-Men” franchise actors Patrick Stewart (Professor Charles Xavier), Ian McKellen (Magneto), Kelsey Grammer (Beast), Alan Cumming (Nightcrawler), James Marsden (Cyclops) and Rebecca Romijn (Mystique).

“Avengers: Doomsday” will arrive in theaters Dec. 18, 2026.

MADE In Chelsea star Louise Thompson was forced to spend Christmas Eve in hospital amid her ongoing health battle, she has revealed.

The reality star, 35, has faced several health challenges including ulcerative colitis, lupus, and PTSD after giving birth to her son, Leo.

She had to previously undergo the removal of her entire large intestine (colon) due to her inflammatory bowel condition, which resulted in her getting her life-saving stoma bag.

But on Christmas Eve, Louise revealed she had spent a large chunk of time in hospital having a procedure.

Louise underwent a proctoscopy, which, according to the NHS, is an examination where an endoscopist looks directly at the anal canal with a small rigid proctoscope.

Taking to her Instagram page to reveal her hospital visit and explain what she had done, Louise shared some snaps in a gown.

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“Looks dramatic but it wasn’t. I had a proctoscopy today. It’s like a colonoscopy but not as invasive because I don’t have a colon so there isn’t very far the camera can go,” she penned over the first slide.

“Still bloody awkward and a tiny bit uncomfortable but fentanyl is a wonder drug,” she penned.

She then shared a photo of her with a nasal cannula on her face and inserted into her nostrils.

Louise went on to pen: “These appointments are so important and they managed to fit me in quite urgently so I jumped at the offering of a 24th December date, then when it came around I realised the magnitude of it being Christmas Eve.

“What it REALLY made me think was…

“Despite all the chaos of what I’ve been through, I still think we are incredibly lucky to have the NHS which NEVER clocks off in case of emergencies.”

She then added on the next slide: “The NHS never sleeps.

“I had a proctoscope today.

“A nice little Christmas Eve camera up my bum.

“The NHS was still running in full swing. Well not quite, but you know what I mean.

“It prompted me to say a big thank you to everyone that is working as part of the NHS over the bank holidays.”

She then concluded: “Thanks for keeping the country ticking along and for keeping our loved ones alive.”

Reasons for getting a proctoscopy include bleeding from your anus, pain in the lower abdomen (tummy), persistent diarrhoea or changes to your bowel habits.

If the Shakers have a lasting cultural legacy, it is their music — most famously “Simple Gifts,” the uplifting spiritual Aaron Copland immortalized in his ballet “Appalachian Spring.” It stands to reason, then, that a film about Ann Lee, the founding “mother” of this 18th century celibate Christian sect, would be a musical. But this was no conventional woman and “The Testament of Ann Lee,” directed by Mona Fastvold and opening in L.A. on Dec. 25, is no ordinary musical.

“Ann Lee was very radical and extreme,” says composer Daniel Blumberg, “and Mona is as well.”

As conceived by Fastvold and Blumberg, the entire tapestry of this film is musicalized — from the emphatic breathing, chest thumping and floor stomping that make up the worshipers’ rituals, to the songs, inspired by Shaker traditionals and performed by star Amanda Seyfried and the cast. Even the sounds of wind, the creaking of ships and a passing cow play a part.

“This cow walks past during the song ‘I Love Mother,’” says Blumberg, 35, visiting L.A. from his native England and speaking from a hotel room over Zoom. Bald with severe features but a soft and guileless disposition, he’s fidgety about the whole Hollywood press dance — this is only his fourth feature film score. But Blumberg is eager to dissect his music-making process and brag about his collaborators. “We were tuning the cows to the song,” he says.

Amanda Seyfried and Lewis Pullman in the movie “The Testament of Ann Lee.”

(Searchlight Pictures)

In a prologue about Lee’s harsh childhood in Manchester, England, her mother hums a tune to her based on the traditional Shaker hymn “Beautiful Treasures.” The melody is then completed on celeste in Blumberg’s score, surrounded by a liturgical choir. The entire film is this kind of holistic musical current: score, songs and environment all in conversation with each other, every component a part of the dance.

“The whole project was very dangerous,” says Blumberg, an indie singer-songwriter with a cult following in the U.K. and now an Oscar for last year’s “The Brutalist.” “It’s always on the edge. And for me that’s a good place to be when you’re making art.”

In one stunning montage, we see a newly married Lee subjugated to religiously-tinged sex (a catalyst for her dogmatic rejection of carnal relations), give birth to several babies, mourn their deaths and express her sorrow in a fervent dance for God. Erotic noises and the cries of childbirth weave together with prayerful moaning and a mother’s keening cries, all integrated into Blumberg’s instrumental score — a guided meditation for bells and strings — with Seyfried singing “Beautiful Treasures.”

“It was very important to me to try and create this hypnotic feel to the film,” says Fastvold, speaking on Zoom from her car during the awards-season whirlwind. “You had to understand it on a sensorial level. Because I think a lot of the appeal, especially early on, were these kinds of endless dance/voice/confession sessions that would last for days.”

“If it’s just someone preaching to you,” she adds, “I certainly can’t connect to that.”

The director, 44, grew up in a secular home in Norway, but her film about this radical American sect is strikingly earnest. Fastvold doesn’t judge Lee’s convictions; there isn’t an ounce of cynicism or condescension. After having a prophetic vision in which Lee is told she is the female incarnation of Jesus Christ, Seyfried sings, “I hunger and thirst / After true righteousness / I hunger and thirst” with utter heart-bleeding sincerity. The camera and the music share her faith completely.

“I never felt like I wanted to laugh at them,” says Fastvold. “I wanted to laugh with them and sometimes their naivete is funny and endearing. But I never wanted to ridicule them. Of course, it’s a very scary thing to try and do.”

When Seyfried read the screenplay two years ago, she experienced some of that intimidation.

“It was definitely the most confused I’ve been in a while reading a script,” she says, nursing a hot tea on Zoom, “because I’m seeing these placeholders for where the hymns will be, when the music comes in, when the diegetic sound goes out or if it doesn’t at all. It was all very foreign to me — which is not necessarily a bad thing. It just leaves me with so many questions.”

Fastvold co-wrote “The Testament of Ann Lee” with her partner, Brady Corbet, who directed “The Brutalist.” They were developing it while working on his breakthrough epic. Blumberg, who has made a number of solo albums and been part of several bands including Cajun Dance Party and Yuck, became friends with Corbet a decade ago. The trio became inseparable.

Fastvold was listening to Blumberg’s records when she decided to direct “The World to Come” in 2020, a warm historical romance about two women in a chilly frontier America. She remembers being captivated by the “beautiful dissonance” in his music. “There’s this mournful, slightly atonal quality to his compositions,” she says.

Fastvold hired Blumberg to score her film — his first — and invited him to the set in Romania to experience the time-traveling feeling of the woods and the sound of passing sheep. She even gave him a small on-screen part, selling a blue dress to Katherine Waterston’s character. It was emblematic of her and Corbet’s then-burgeoning philosophy: of making lavish films on a shoestring, using stunning foreign environments to portray a bygone America and roping crew members and family into the collaboration.

For her ambitious follow-up musical about the Shakers, Fastvold knew she needed Blumberg at the ground level, along with choreographer Celia Rowlson-Hall, a collaboration that required proximity. “We kind of move in together for a while and just start figuring it out,” Fastvold says.

“The whole project was very dangerous,” says Blumberg. “It’s always on the edge. And for me that’s a good place to be when you’re making art.”

(Ian Spanier / For The Times)

They discussed how to cast a spell on the audience and how, with cinema, “you’ve got these tools to use,” says Blumberg, “with image, sound, the writing of it all and just to push those as far as possible. Obviously with the edit you can move in time very quickly, and then with sound you can bring people into the room that the characters are in, but also bring them into the heavens. It was trying to use the materials that we had to make an experience — with the story, but inside the story as well. An immersive experience.”

Fastvold and Blumberg immersed themselves in the thousands of songs the Shakers left behind, including hymns and what the group called “gift songs” and “dance songs.”

“What is our dialogue with this tradition and what is it that we’re bringing to this conversation?” Fastvold remembers them asking each other. “Because really that, to me, is what folk music is. It’s passed on, it’s transformed — it turns into something else and then passed on again.”

They found several Shaker songs that fit the needs of given scenes and moments; whenever they couldn’t, Blumberg wrote an original. The Jewish composer recalled the niguns — wordless, improvised prayers — that he grew up hearing in synagogue, and he drew on that sense memory. Many Shaker songs are mantra-like prayers addressed to God, simple rising and falling melodies based on a short repeated phrase. Blumberg got creative with the harmonies, creating demos that he sang himself.

“It was very nerve-racking,” he says, “because score is a moment where you can fix things — you do it after the edit — but this was going to define the pace of the film. There’s quite high stakes of it working.”

Seyfried was nervous too. Even though she’s a trained singer, with film credits including “Mamma Mia!” and “Les Misérables,” this peculiar religious epic required an enormous leap of faith.

“I knew Mona was going to shoot it beautifully,” Seyfried says, “and I knew that Daniel was going to be there every step of the way. And I knew that I was in good hands — but I didn’t know at that point that I could trust myself as a singer, as a musician. It was completely new territory for me. Terrifying.”

The songs were prerecorded for playback on set. The first thing Seyfried recorded in studio was an a cappella song for a scene late in the film — the lyric is “How can I but love my dear faithful children?” She says she felt miserable.

“I was just like: I sound terrible,” Seyfried says sincerely. “This song is not fun to sing. It’s beautiful, but I don’t sound beautiful. I don’t like the way I sound. And we kept doing it and my voice was dry.”

Blumberg patiently worked at finding the most comfortable key for her voice. “I had no idea how lucky I was,” she says.

Amanda Seyfried in the movie “The Testament of Ann Lee.”

(TIFF)

In the process of working with Blumberg, Seyfried says she came to a deeper appreciation of the character as well as her own singing voice. “I was so critical of it,” she remembers, but the role gave her a different kind of freedom. “I was playing somebody who didn’t necessarily have to be a beautifully trained singer,” she says. “She sang because she wanted to feel alive, and she wanted to feel free, and she wanted to feel connected to her faith — and that already just liberates the performer.”

After extensive rehearsals that continued throughout production, Fastvold shot the film in Budapest. Blumberg was always on set, accompanying the actors with a small keyboard. (Thomasin McKenzie and Lewis Pullman are among the cast members who also sing in the film.) Sometimes the actors had a simple click track in an earpiece, other times a “stomp track” from the foot choreography. They would sing live in addition to lip-syncing to playback and Fastvold amassed a huge variety of live tracks — vocals, breaths and other bodily sounds — for her final mix.

“I wanted all of that life and that natural feel to it,” she says, “to not have it feel polished at all, to just be really raw. Because they weren’t singing to entertain. It’s never performative. It’s always from this place of prayer or pain.”

With her principal cast surrounded by Hungarian extras, Fastvold roped everyone, from the dialect coach to the first assistant director’s son to Blumberg’s sister, into the dance.

“If you came to visit, you were in the movie,” she says. “The cast is the crew and the crew is the cast. It’s how I like to do it.” Once again, Daniel Blumberg appears on-screen, in scenes of Shaker worship; he also sings an original duet, “Clothed by the Sun,” with Seyfried under the end credits.

But at this point his work was only half done. Armed with a cut of the film, pillared by the songs he wrote and arranged, Blumberg crafted a score that subtly teed up song melodies and established a sense of spiritual trance. He gravitated toward the sound of bells; he and Fastvold found a handbell from Ann’s era that they used in early demos and he ended up renting some 50 church bells, in different keys, all laid out on the floor of his London flat.

He extended the bell idea with the jangly celeste, also known as a bell piano, and he augmented those bells with a small string ensemble, a choir and, at one point, even an electric guitar.

It was Blumberg’s idea to have two veteran improvising singers, Phil Menton and Maggie Nichols (who also appears in the film), to each record a track where they improvised along to the entire film. Working with mixer Steve Single, Fastvold and Blumberg would occasionally bring up one of these stems and layer it into the rest of the soundtrack for an added color.

“We’d say, ‘Let’s hear what Maggie was doing at this point,’” Blumberg says, “and then we’d bring up her stem and be like, ‘Oh, wouldn’t it be nice if she follows that character there?’ Or, ‘Wouldn’t it be nice if she’s humming outside the window?’ Or if it’s almost like the heavens speaking down on Ann?”

The final result is utterly unique to Blumberg and Fastvold, a period character study by way of trance and an experiential approximation of religious fervor. By exploring a distant and somewhat alien community through the device of music, they somehow tapped into something universal.

One of Blumberg’s favorite moments in the film is a scene where a group of sailors, transporting Lee and her disciples to the new world, shout at the Shakers to stop singing. “They really sound like this out-of-tune rabble, and you hear what maybe other people might have heard,” he says. “And then a few minutes later they’re praying on the ship and I’ve used all these reverbs and there’s all these choirs singing in the background — it’s almost like what they felt from within.”

Like the Shakers and their songs and prized furniture, “Ann Lee” was made with craft and care by a small and familial utopian community of its own.

“There were no notes from film people,” says Blumberg. “It was our bubble. So the only fear was just them trying to release it and everyone going, ‘No, that’s just mad.’ But what I was trying to do from the start was: If I got to something that seemed good, how can I push that further? Like, really trying to push everything to the extreme.”

The 2025 celebrity festive special of Gladiators aired on Christmas day – with two winners crowed after a batch of stars took on the professional athletes – and the daunting travelator

Two celebrities have been crowned winners of the 2025 Christmas special of Gladiators. The festive edition of the revived sports entertainment TV show saw a number of stars take on the titular athletes and race through obstacle courses.

But in the end, only two stars could be crowned the winners of the latest episode of the show. Fitness coach Joe Wicks – who arguably had an advantage when it came to taking on the challenges due to his sporty background – was one winner.

While TV presenter and podcaster Vogue Williams proved her worth in the arena and was also found to be a champion. The pair succeeded after facing off against other celebrities, Made in Chelsea star Sam Thompson and boxing champ Nicola Adams.

READ MORE: M&S’ coffee and cake hampers are now under £5 in time for Christmas giftingREAD MORE: The real reason Nicola Adams split with adult star girlfriend who was 15 years younger

After winning, Joe, 40, explained that he was truly challenged by the physicality of the special. He said: “Even though I had a bit of a breather, I still found that travelator hard. It’s much harder doing it in real life than watching it on TV. I’m really chuffed that I won but I have to say Sam has been an amazing partner.”

In defeat, Sam remained gracious and laughed about the self appointed Gladiators name he had awarded himself. He told the Utilita Arena in Sheffield: “El Cockroacho, baby – you can’t stamp him out!”

Meanwhile, Vogue, who won after only being two-hundredths of a second ahead of her opponent Nicola, gushed: “I honestly cannot believe it, I’ve had the best day ever. The crowd when I was doing so badly were so nice to me so thank you.”

And the Olympic gold medallist said in defeat: “I came down on the zipline and landed funny on my ankle and I just couldn’t get it going again. This is the first silver medal I’ve had!”

Nicola was the first woman to win Olympic gold in her sport when she took the flyweight title at London 2012, and successfully defended her crown in Rio four years later. Another four years later, she appeared on Strictly Come Dancing – making Strictly history as the first same-sex couple to perform after she was partnered with professional dancer Katya Jones.

Vogue’s time on Gladiators comes soon after her stint in the Australian jungle as a contestant on the 2025 season of I’m A Celebrity… Get Me Out Of Here! The mum-of-three – who has been married to former Made In Chelsea star Spencer Matthews. Fans of the couple were concerned when Spencer failed to fly to meet his wife after she was ditched from the series.

Vogue was greeted by her manager – leaving some fans to fear for her marriage, which has been notoriously rock solid since they swapped vows in 2018. However, the reality star later took to social media to applaud his wife – even though they were far apart from each other.

Sharing a snap of themselves on holiday, he captioned his upload: “Disappointed to hear that my gorgeous Vogue is out of I’m A Celeb but I’m so proud of the brave stint she did in there. She showed heart, courage and fearlessness in challenges and, as always, was such a positive and pragmatic figure in camp! I would have loved nothing more than to have been there for her when she came out and am sending so much love from Antarctica.

“On the positive side, we can now all FaceTime – I know she will have missed the kids like mad and I can’t wait to hear her voice and for us to all be reunited next week.” His message came after Vogue had previously told fans that her husband was off on a wild adventure of his own.

Before her stint in the jungle, she wrote on social media: “Spence has landed in Antarctica – as I knew he would. This will be the most gruelling part of the whole challenge, but if anyone can push through it, it’s him.”

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