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Chalamet picks up best actor award for his role in sport comedy-drama Marty Supreme.

Hollywood actor Timothée Chalamet has nabbed his first Golden Globe at the 83rd edition of the annual awards ceremony.

Chalamet, 30, picked up the award for best actor in a musical or comedy on Sunday in recognition of his role in the sport comedy-drama Marty Supreme.

“My dad instilled in me a spirit of gratitude growing up: Always be grateful for what you have,” Chalamet said in his acceptance speech at The Beverly Hilton hotel in Beverly Hills, California.

“It’s allowed me to leave this ceremony in the past empty-handed, my head held high, grateful just to be here. I’d be lying if I didn’t say those moments didn’t make this moment that much sweeter.”

More to follow…

New documents filed Friday in the Rose Bowl’s breach-of-contract case against UCLA that also accuses Kroenke Sports and Entertainment of meddling on behalf of SoFi Stadium revealed communication between UCLA and a top Kroenke executive dating back as far as August 2024.

An email sent that month from UCLA chief financial officer Stephen Agostini’s assistant to executives from Kroenke Sports and Entertainment and SoFi Stadium sought coordination of a Zoom meeting between the parties in September 2024 under the subject heading “UCLA Football Discussion.” The importance level was listed as “high.”

A list of proposed meeting attendees included Agostini; UCLA athletic director Martin Jarmond; UCLA athletics chief financial officer Chris Iacoi; Kroenke Sports and Rams president Kevin Demoff; SoFi Stadium executives Greg Kish and Mike Forrester; and Mitchell Ziets, chief executive officer of Tipping Point Sports, a boutique sports advisory firm based in New Jersey.

“Please review the scheduling opportunities below and let me know what is possible,” wrote Shelley Stanley, Agostini’s executive assistant. “A reply sooner rather than later would be greatly appreciated, given that we are on the heels of the Fall quarter and the beginning of the UCLA football season.”

A subsequent email sent by Demoff to Agostini in late September 2024 under the subject heading “Next Get Together” inquired about another meeting.

“Steve,” Demoff wrote in the email, “I figured with all of the changes/craziness that I would give the group some time, but let me know when is a good time to get our teams together to go back through and financials/pro formas related to SoFi in order to help moving things along. Next week is poor for me personally but we are ready to jump in!”

As part of another email exchange between Demoff and Agostini in December 2024 under the subject heading “Updated Projections,” Demoff wrote that he “had our group re-run everything to really focus on reducing expenses and where we think there is opportunity for UCLA to grow revenue. Attached is the deck that they have provided. I’ve been scrambling all week between LA, Denver, Dallas and now NYC and haven’t had a ton of opportunity to connect on the phone, but wanted to share this with you ahead of the holidays so that you can start to dig in.”

In an email timestamped 13 minutes later, Agostini replied that he would “look at this now.”

The attachment that Demoff referenced was not included as part of the discovery documents related to the ongoing dispute between UCLA and the Rose Bowl Operating Co. and the City of Pasadena. The latter entities are trying to force the school to honor the terms of a lease agreement that does not include an opt-out clause and requires the Bruins to keep playing at the Rose Bowl through the end of the 2043 season.

The plaintiffs have alleged that UCLA abandoning the Rose Bowl, where the school has played home football games since 1982, would cause “irreparable harm necessitating equitable relief and for which monetary damages alone would be inadequate.”

According to court documents, the City of Pasadena faced $184,355,000 in outstanding debt on bonds issued to finance stadium modernization and renovations as of last June. Revenue from UCLA football games has been used to service the debt as part of the agreement between the entities, ensuring that Pasadena taxpayers would not be burdened with that expense through withdrawals from a general fund used to support city services.

The Rose Bowl is also expected to spend at least $28.5 million before the 2026 season to construct a field-level club in the south end zone that would enhance UCLA’s game-day experience and generate revenue for the school.

Meanwhile, UCLA’s athletic department is seeking new sources of revenue after running up $219.55 million in debt during the past six fiscal years, though an athletic department spokesperson has said that deficit has been covered by the university, bringing the balance to zero.

UCLA has not publicly stated its intentions for its football future other than to say it continues to evaluate its options. But the new documents show that the school has been contemplating the possibility of a move for more than a year.

Last month, Kroenke Sports and Entertainment and SoFi Stadium were added as defendants to the Rose Bowl’s complaint against UCLA and accused of tortious interference. UCLA and SoFi Stadium officials have said they would not comment on ongoing litigation.

A hearing on UCLA’s motion to compel arbitration and keep the proceedings out of open court is set to be heard Jan. 22 in Los Angeles Superior Court.

Alan Jackson steps down as lawyer for Nick Reiner, who is accused of killing his mother and father in December.

The high-profile lawyer representing Nick Reiner, who allegedly killed his father, director Rob Reiner, and mother Michele Singer Reiner in December, has resigned.

The announcement that lawyer Alan Jackson would step down from the case means that the younger Reiner will, at least for the time being, be represented by a public defender provided by the state.

During a news conference on Wednesday, Jackson did not provide a reason for his departure, instead citing the legal and ethical reasons he could not provide more details.

“Circumstances beyond our control and, more importantly, circumstances beyond Nick’s control have dictated that, sadly, it’s made it impossible to continue our representation of Nick,” Jackson said.

He added that, after weeks of investigation, “what we’ve learned, and you can take this to the bank, is that pursuant to the laws of this state, pursuant to the law of California, Nick Reiner is not guilty of murder. Print that.”

Jackson did not elaborate.

The lawyer had first appeared in court to represent the 32-year-old suspect just days after Rob Reiner and his wife were found dead on December 14 in their home in the upscale Brentwood neighbourhood of Los Angeles, California.

The cause of death was determined to be “multiple sharp force injuries”, another term for stab wounds.

Jackson, whose past clients include producer Harvey Weinstein and actor Kevin Spacey, did not explain how he was hired or who hired him after Nick Reiner was arrested for the killings.

On Wednesday, Deputy Public Defender Kimberly Greene took over Nick Reiner’s defence in the case.

That came as the defendant, standing behind glass in a custody area of the courtroom and wearing brown jail garb and with his hair shaved, briefly appeared in a Los Angeles court, where he was meant to be arraigned and enter a plea to two charges of first-degree murder.

Instead, the arraignment was postponed to February 23.

“The Public Defender’s Office recognises what an unimaginable tragedy this is for the Reiner family and the Los Angeles community,” Deputy Los Angeles Public Defender Ricardo Garcia said in a statement following the hearing.

“Our hearts go out to the Reiner family as they navigate this difficult time. We ask for your patience and compassion as the case moves through the legal process.”

Rob Reiner’s killing resonated across the world, reflecting the global impact of his films, which included the coming-of-age drama Stand By Me, the courtroom thriller A Few Good Men and the romantic comedy When Harry Met Sally.

Rob and Nick Reiner had previously worked together on a film, Being Charlie, which was partially based on the younger Reiner’s struggles with drug addiction and mental health.

Settlement comes after US Federal Trade Commission accused the entertainment giant of unlawfully collecting children’s data.

Disney has agreed to pay $10m to settle allegations that it breached child privacy laws in the United States, authorities have said.

A federal court approved the settlement to resolve allegations brought by the US Federal Trade Commission, the Department of Justice said on Tuesday.

The order also requires Disney to operate its YouTube channel in accordance with data-protection rules and establish a programme to ensure future compliance.

Disney had agreed to settle the claims brought by the US antitrust watchdog in September.

The civil case stems from allegations that Disney collected children’s personal data without parental consent via its videos on YouTube.

Antitrust officials alleged that Disney had wrongly designated more than 300 YouTube videos, including content from The Incredibles, Toy Story, Frozen, and Mickey Mouse, as not being aimed at children.

YouTube requires content creators to designate videos as “Made for Kids” or “Not Made for Kids” to comply with the Children’s Online Privacy Protection Rule.

Under the rule, companies in the US are prohibited from collecting data from children below 13 without parental notification.

Other major companies that have paid settlements under the rule, which has been amended several times since its enactment in 2000, include Google and Microsoft.

Disney did not immediately respond to a request for comment.

“The Justice Department is firmly devoted to ensuring parents have a say in how their children’s information is collected and used,” Assistant Attorney General Brett A Shumate said in a statement.

“The Department will take swift action to root out any unlawful infringement on parents’ rights to protect their children’s privacy.”

Disney, which has its headquarters in Burbank, California, is one of the world’s largest entertainment companies, with revenue for the fiscal year 2025 reaching $94.4bn.

Residents of Saint-Tropez paid tribute to French film icon Brigitte Bardot on Monday outside her home, a day after the actress died at the age of 91. The actress-turned-far-right agitator will be buried in a seaside cemetery near the southern town, local officials said.

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.

The holiday season is Hallmark’s Super Bowl.

This year alone, Hallmark has 80 hours of original holiday-themed programming, including two unscripted series, two scripted series, a holiday special and 24 movies with titles such as “The Snow Must Go On” and “Christmas at the Catnip Cafe” that run from mid-October to Christmas.

The company also has branched out into the experiences business with a Hallmark Christmas Cruise and the Hallmark Christmas Experience festival in Kansas City, Mo., where the company is based.

“I think that’s one of the most brilliant business decisions they’ve made, and they’re expanding there because they have to,” Anjali Bal, associate professor of marketing at Babson College, said of Hallmark’s experiences business. “It allows a connection between the consumer and the brand on a direct level in a way a movie can’t provide.”

It may seem like a far cry from Hallmark’s roots as a greeting card purveyor, but company executives say the holiday feelings evoked by its cards, ornaments and gift wrap translate into the type of content they produce.

And that plethora of content has turned Hallmark into a Christmas juggernaut, fueling competitors such as Lifetime and Netflix, which also produce holiday romantic comedies in the vein of Hallmark movies.

But Darren Abbott, Hallmark’s chief brand officer, doesn’t seem overly concerned.

“There’s a reason everyone else is trying to do this, and it’s because consumers are looking for this,” he said.

Hallmark’s legacy is rooted in celebrating holidays and Christmas, he said, “and no other business or brand has that.”

Countdown to Christmas

Founded in 1910 by an 18-year-old entrepreneur hawking postcards, Hallmark built its brand over the years through cards, holiday ornaments and retail stores.

The family-owned business ventured into entertainment in 1951 with the television presentation Hallmark Hall of Fame. Today, Studio City-based Hallmark Media operates three cable networks, including the Hallmark Channel, which debuted in 2001, as well as a subscription streaming service.

Though Hallmark had aired holiday movies practically since the inception of its cable channel, the company doubled down on the season in 2009, rolling out “Countdown to Christmas,” a 24-hour-a-day programming block focused solely on holiday content, a tradition that has lasted for 16 years.

Hallmark produces about 100 movies a year, both holiday and non-holiday films.

As a privately-held company, Hallmark did not disclose its finances, though executives acknowledge the holiday season is a key driver of entertainment revenue.

The expansion into entertainment is a way for Hallmark to stay in the zeitgeist over multiple generations and to diversify its business beyond just cards and retail products, analysts said.

“Their television stations and experiences business allows them to stay culturally relevant while staying true to their origin,” said Bal, the marketing professor.

Holiday programming — and the breezy, romantic fare Hallmark has become known for — has become increasingly popular with audiences.

Holiday features, both old movies and new, typically make up more than a third of total movie viewing time in December, according to U.S. television data from Nielsen. That percentage has remained fairly consistent for the last three years, though it reached 42% in December 2021.

Hallmark’s television viewership also edges up in the months leading into the holidays. In October, Hallmark commanded 1% of total viewership across linear TV and streaming, ticking up to 1.2% in November, according to Nielsen data. During that same time, competitor A&E, which owns Lifetime, remained constant at 0.9%.

Hallmark’s feel-good movies typically resonate with audiences across the country. They invariably conclude with happy endings (and at least one kiss), where romantic misunderstandings, financial difficulties and family drama all get resolved. After years of criticism, the movies’ casts and plot lines are diversifying, though experts say there is still room for improvement.

“These films are designed to be highly appealing to broad audiences,” said Kit Hughes, associate professor of film and media studies at Colorado State University, who watched every single Hallmark film released in 2022 for research on the portrayal of small business owners. “They’re good consensus movies.”

To grow its audience and the types of stories it tells, Hallmark has increasingly turned to brand partnerships, including with the NFL.

Last year, the company released a movie centered around a Kansas City Chiefs romance; this year, it released one about Buffalo Bills fans. Hallmark also has a partnership with Walt Disney Co. to release a holiday movie next year set at Walt Disney World. The film stars Lacey Chabert, who Abbott describes as Hallmark’s “Queen of Christmas.”

Meeting Hallmark stars on cruise ships

Hallmark’s foray into the cruise business might seem odd, but it follows a long tradition of entertainment companies
creating real-world experiences with their fans, whether that’s on a ship, in a theme park or on a stage. As part of its massive tourism business, Disney operates its own line of cruise ships that promote the company’s classic characters.

Hallmark launched its first “Hallmark Christmas Cruise” last year on Norwegian Cruise Lines. The inaugural cruise from Miami to the Bahamas sold out even before a planned TV marketing campaign. After racking up a wait list of 70,000 people, Hallmark had to add a second cruise, Abbott said.

For this year’s cruise, from Miami to Cozumel, Mexico, Hallmark had to book a bigger ship to accommodate demand. During the November cruise, attendees participated in various Christmas festivities, such as ornament-making workshops and cookie-decorating, and mingled with Hallmark stars in various on-stage games.

The cruises even spawned an unscripted Hallmark show focused on the experiences of several attendees and their interactions with Hallmark actors.

Many are not exactly household names, but they’ve starred in dozens of Hallmark holiday movies over the years and have loyal fan bases.

Abbott joined the cruise last year, and while he’s not a “cruise person,” he said he was fascinated to see how guests interacted with the stars.

“We’re a bit of a respite from what’s going on in the world right now,” he said, “and these experiences sort of hit on that at the right time and the right place.”