Seeking gift ideas for nature lovers, hikers, walkers, campers, adventurers and just plain outdoorsy folks in your life? We’ve got you covered with great gifts, from stocking stuffers to special finds.
Source link
Times are tough and inflation is real, but this holiday season, it’s still possible to shower your loved ones in luxury without breaking the bank.
There’s no rule that says indulgence has to come with a hefty price tag. As my friend Nicole likes to say, a luxury item is one that you wouldn’t think of buying yourself.
Does anyone need an iPhone case in rich pebbled leather? Probably not, but they absolutely might enjoy one.
On this list of gifts that feel expensive (but aren’t), you’ll find a rich smelling high-end candle alternative, an elevated bottle of indie nail polish with a display-worthy brass cap and one of the best olive oils you’ll ever taste from the fruit of 100-year-old California olive trees.
My editor challenged me to keep all the gifts under $40, and dear Gift Guide reader, I rose to the challenge — if you don’t count shipping costs. Remember: Luxury is a matter of extravagance, not price.
If you make a purchase using some of our links, the L.A. Times may be compensated. Prices and availability of items and experiences in the Gift Guide and on latimes.com are subject to change.
GLADIATORS fans will soon get the chance to live out the show in real life thanks to a new experience.
Birmingham will be getting The Gladiators Experience at the National Exhibition Centre (NEC), full of classic challenges seen on the popular TV show.
In total, the experience will sprawl across 10,000sqm and offer a gladiator ‘training facility’ as well as behind-the-scene insights.
Challenges include The Wall, Eliminator, Hang Tough, Duel and Travelator.
While little details have been revealed about what the different features look like, fans can expect the real-life challenges to be similar to the ones on the show.
For example, in Duel, contenders and gladiators face off on raised platforms, by trying to knock each other off.
Read more on travel inspo
Then for The Wall, two contenders race to climb a large wall, whilst being chased by two gladiators.
For the Hang Tough challenge, contenders must swing on a trapeze as gladiators try to drag them down.
Visitors will then also be able to see behind the scenes of the TV show in the Vault.
And if they want to develop their skills further, they can head to the Gladiator Training Facility.
There will also be a shop where fans can purchase exclusive merchandise.
The experience will be open to all ages and expected to launch in May 2026.
Ticket prices and when they will go on sale are yet to be announced.
The show originally launched back in the 90s and is currently in its third revival.
On the show, contenders compete against gladiators in a series of challenges to earn points.
The show finishes after a final race called The Eliminator, where the contender with the most points gets a head start.
The winner is then the first person to complete the obstacle course.
Dom Bird, senior vice president at MGM Alternative Television said: “Now, fans young and old will get one step closer to walking in the footsteps of their heroes, as we announce our brand new Gladiators Experience.
“Based at the NEC Birmingham, everyone finally has the chance to test their skills on the iconic games – from Duel and Hang Tough, to The Wall, and of course the legendary Travelator.
“Come and see if you’ve got what it takes!”
If you are looking for some other immersive experiences to head to, then there is a Titanic attraction with a major ‘wow’ moment.
Or you could head to the Paddington immersive experience in London with ‘train rides’ and street parties.
Former world heavyweight champion Joseph Parker says he is “focused and prepared” before Saturday’s fight against Fabio Wardley, who hopes to rely on his punching power to get through their bout at London’s O2 Arena.
READ MORE: ‘I watched Parker from the pub, now I’m fighting him’
Listen to Joseph Parker v Fabio Wardley on BBC Radio 5 Live, BBC Sounds and the BBC Sport website & app on Saturday, 25 October.
Netflix is looking to capitalize on the popularity of its animated movie “KPop Demon Hunters” — and continue its foray into the retail space.
Netflix on Tuesday announced a licensing deal with toy makers Mattel Inc. and Hasbro Inc. to make dolls, action figures, plushies, youth electronics and other items based on “KPop Demon Hunters,” a movie about a trio of powerful singers and demon hunters who protect the world from dangerous demons.
“KPop Demon Hunters” has been a worldwide hit since its release in June, becoming Netflix’s most-watched film with more than 325 million views in its first 91 days on the streaming service.
The licensing deals come as Netflix has been aggressively partnering with brands to expand the fandom of its shows and movies.
Next month, Netflix will open the first of several planned physical locations called Netflix House where it will host experiences based on its programs and sell food and merchandise.
“KPop Demon Hunters unleashed a global fan frenzy,” said Marian Lee, Netflix’s chief marketing officer, in a statement. “Netflix, Mattel and Hasbro joining forces on this first-of-its-kind collaboration means fans can finally get their hands on the best dolls, games, and merchandise they’ve been not-so-subtly demanding on every social platform known to humanity.”
Under the partnership, Hasbro and Mattel will both become global co-master toy licensee to “KPop Demon Hunters.”
Netflix has had other partnerships with other toy makers, including Squishmallows for shows like sci-fi series “Stranger Things” and Lego sets based on pirates tale “One Piece.”
The Los Gatos, Calif., company has also launched in-person experiences such as balls based on the Regency era romance series “Bridgerton.”
“KPop Demon Hunters is a powerful pop culture phenomenon with global resonance—one that aligns seamlessly with our portfolio of iconic brands and our commitment to innovation,” said Tim Kilpin, Hasbro’s president of toy, licensing, and entertainment, in a statement.
It’s confusing enough that senior Maggie Kearin attends Louisville High in Woodland Hills and will soon attend the University of Louisville in Kentucky on a full scholarship.
Let’s forget about the two Louisvilles for a moment. Did you know she has a scholarship awaiting her based on her skills in field hockey? And the high school she attends doesn’t have a field hockey team.
She earned the offer based on her play in club field hockey. At Louisville High, she’s perfectly happy playing volleyball and soccer when outsiders have no idea she’s one of the top field hockey players in Southern California.
Her father is Jeff Kearin, the former Loyola High and Cal State Northridge football coach who’s the JV football coach at Crespi and has been transporting her for years to competitions. He consulted with others about whether Maggie should go to a high school that has field hockey, and they told him being good in several sports will help her versatility in field hockey.
Maggie has been playing the sport since she was 5.
“She came home one night from a sleepover, ‘I want to play the game with a stick.’ I thought it was lacrosse,” her father said.
Now she has a way to pay for her college education. “No one is happier than Mom and Dad,” her father said.
This is a daily look at the positive happenings in high school sports. To submit any news, please email [email protected].
Los Angeles County is poised to pay out an additional $828 million to victims who say they were sexually abused in county facilities as children, months after agreeing to the largest sex abuse settlement in U.S. history.
The award, posted on the county claims board agenda Friday, would resolve an additional 414 cases that were not included in the $4-billion sex abuse settlement approved this spring. Both the supervisors and the county claims board will need to vote on the payout before it is finalized.
The record $4-billion settlement covered more than 11,000 people, who say they were abused inside county-run juvenile facilities and foster homes as children. The individual payouts will range from $100,000 to $3 million.
The newest payout would break down to an average of roughly $2 million per person. It involves cases from three prominent law firms: Manly, Stewart & Finaldi, Arias Sanguinetti Wang & Team, and Panish Shea Ravipudi.
The firms declined to comment on the potential settlement until the vote by the Board of Supervisors.
The announcement follows reporting by The Times that found nine plaintiffs who say they were paid by recruiters to sue the county over sex abuse. Four of them have said they were explicitly told to make up claims. All had lawsuits filed by Downtown LA Law Group, or DTLA.
The firm has denied any involvement with recruiters who allegedly paid plaintiffs to sue. DTLA said previously it would never “encourage or tolerate anyone lying about being abused” and is conducting new screenings to remove “false or exaggerated claims” from its caseload.
The county said any claims brought by DTLA will undergo an additional level of review before payments are made, citing reporting by The Times. The extra screening “may require plaintiff interviews and additional proof of allegations,” the county said.
DTLA did not immediately respond to a request for comment Friday.
The exterior of Downtown LA Law Group’s offices in Los Angeles.
(Carlin Stiehl / Los Angeles Times)
Supervisor Kathryn Barger, who recently launched an investigation into the $4-billion settlement following The Times’ reporting, said the vetting will ensure “money goes only to the true victims of abuse.”
“Our settlements balance our obligation to compensate victims and treat their experiences with compassion with the need to put strong protections in place to protect taxpayers from fraud,” she said.
County Counsel Dawyn Harrison says she wants to see the law changed so “unscrupulous lawyers don’t get windfalls at the expense of survivors of abuse.”
“The conduct alleged to have occurred by the DTLA firm is absolutely outrageous and must be investigated by the appropriate authorities,” said Harrison. “Not only does it undermine our justice system, it also deprives legitimate claimants of just compensation.”
All cases will be reviewed by retired judges before the money is allocated, the county said.
If a judge believes a claim is fraudulent, the plaintiff will not get any money, the county said Friday. The county’s original plan stated that if the county found a fraudulent claim, the plaintiff could be offered $50,000 to resolve it or remove the case from the settlement so that it could be litigated separately.
The flood of claims was unleashed with the passage of Assembly Bill 218 in 2020, which changed the statute of limitations and gave survivors a new window to sue their abusers. Since then, school districts and governments have faced many decades-old claims, for which they say there are no longer records kept on file to allow for vetting.
Dominique Anderson, pictured above around age 11, is among the plaintiffs who sued the county for alleged sexual abuse and would stand to receive payouts as part of a new settlement announced Friday.
(Courtesy of Dominique Anderson)
County supervisors have been increasingly critical of the law, which they argue has left them defenseless against claims dating back to the 1950s. If the supervisors approve the new settlement, the county will have paid out nearly $5 billion in child sex abuse lawsuits this year — with more to come.
The county is still facing an additional 2,500 cases, which they say will further strain the region’s social safety net. The county recently required most departments trim their budgets to pay for the $4-billion settlement.
“L.A. County and other local governments must balance their obligations to past victims with the need to avoid ruinous financial impacts,” said acting Chief Executive Joe Nicchitta.
A curse befell Jacob Elordi when he was a child. It happened in the aisle of a Blockbuster Video. The culprit for the incantation was the image of the now emblematic Pale Man from “Pan’s Labyrinth,” flaunting eyes on his palms on the back cover of the DVD.
“My mother remembers this,” an energetic Elordi tells me in a Hollywood conference room. “I came running through the corridor and I was like, ‘I need this DVD.’ And she was like, ‘That’s so much blood and gore. You can’t watch it.’”
“She told you, ‘I’ll get it if you promise never to work with that director,’” Guillermo del Toro, the filmmaker behind the Oscar-winning dark fantasy, chimes in, sitting next to Elordi.
His wish granted, Elordi watched “Pan’s Labyrinth” at a young age. The fable set against the Spanish Civil War forever changed him. “From that moment, because of the way that Guillermo wills magic into the world and into his life, I feel like there was some kind of curse set upon me,” the actor says. “I do genuinely believe that, as out there as it sounds.”
Now, Elordi, 28, has become one of the Mexican director’s monsters in his long-gestating adaptation of Mary Shelley’s “Frankenstein” (in theaters Friday, then on Netflix Nov. 7). Under intricate prosthetics and makeup, Elordi plays the Creature that arrogant scientist Victor Frankenstein (Oscar Isaac) breathes life into — an assemblage of dead limbs and organs imbued with a new consciousness.
Elordi with writer-director Guillermo del Toro on the set of “Frankenstein.”
(Ken Woroner / Netflix)
Receptive to tenderness but prone to violence, the nameless Creature now has, in Elordi, a performer suited for all its unruly emotions. “It was the innocence in Jacob’s portrayal that kept getting me,” says makeup artist and prosthetics designer Mike Hill. “The Creature could snap on a dime like an animal.”
Capable of complex thought, Del Toro’s version of the monster ponders the punishment of existence and the cruelty of its maker. “They’re almost like John Milton questions to the creator,” the director says of the Creature’s dialogue. “You have to give it a physicality that is heartbreakingly uncanny but also hypnotically human.”
The imposingly lanky, gracefully handsome Elordi, born in Australia, has risen in profile over the last few years, thanks to roles in the hit series “Euphoria” and the psychosexual class-climbing thriller “Saltburn.”
“It came from some other place,” Elordi says about the pull to the role of the Creature. “It felt like a growth, like a cancer in my stomach that told me that I had to play this thing.”
(Bexx Francois / For The Times)
“Frankenstein,” however, seems to have been calling his name for a long time.
“Early in my career, I had been reading what folks on the internet would say about me and someone had written after my first film, ‘The only thing this plank of wood could play is Frankenstein’s Creature. Get him off my screen!’” Elordi recalls. “I went, ‘That’s an absolutely fantastic idea.’”
The thought reentered Elordi’s mind while making Sofia Coppola’s 2023 “Priscilla,” in which he played a moody, internal Elvis Presley to Cailee Spaeny’s title character. Long before he was offered the part, the hair and makeup team on “Priscilla” shared with him their next job was, in fact, Del Toro’s “Frankenstein.”
“I looked at [hair designer] Cliona [Furey] and I said, ‘I’m supposed to be in that movie.’ And she said, ‘Did you audition?’ And I was like, ‘No, but I’m meant to be in that movie.’”
“It came from some other place,” Elordi further explains. “It felt like a growth, like a cancer in my stomach that told me that I had to play this thing. I’ve heard stories about this from actors, and when you hear them, you kind of go, ‘Sure, you were meant to play this thing.’ But I really feel like I was.”
Due to scheduling conflicts, Andrew Garfield, originally cast as the Creature, dropped out in late 2023. With production set to start in early 2024, Del Toro had limited time to find a new actor. When Elordi finally heard he was being considered, he had to read the screenplay within hours of receiving it, and be willing to dive into the darkness.
“I had a few weeks to prepare, but I was lucky to have also had my whole life — and I mean that sincerely,” he says, a grin crossing his face. “Playing this was an exploration into a cave of the self, into every experience with my father, with my mother, my experience with cinema, my scraped knees when I was 7.”
Del Toro says he knew Elordi would make the perfect Creature from speaking with him over Zoom. He remembers immediately messaging Isaac, his Victor, convinced that Elordi could play both “Adam and Jesus,” which are the two facets that the creature represents for the director.
Jacob Elordi as the Creature in the movie “Frankenstein.”
(Ken Woroner / Netflix)
“I don’t think I’ve experienced miracles many times in my life,” Del Toro says. “And when somebody comes to your life in any capacity that transforms it, that happened here. This man is a miracle for this film.”
As he typically does for all the actors in his films, Del Toro sent Elordi several books ahead of working together. Elordi’s deep-dive reading list included the bedrock Taoist guide “Tao Te Ching,” Stephen Mitchell’s well-regarded translation of the Book of Job and a text on the developmental stages of a baby.
The most complex element of the performance, Del Toro believes, is playing “nothing,” meaning the blank, pure state of mind of a living being in infancy. “A baby is everything at once,” Elordi says. “It’s deep pain, deep joy, curiosity. And you don’t have chambers for your thoughts yet.”
Right before “Frankenstein,” Elordi had been shooting Prime’s World War II miniseries “The Narrow Road to the Deep North” in Australia, an experience he describes as “grueling,” one that involved losing substantial weight. He repurposed his body’s subsequent fragility as a dramatic tool.
“My brain was kind of all over the place,” he remembers. “I had these moments of great anguish at around 3 a.m. in the morning. I’d wake and my body was in such pain. And I just realized that it was a blessing with ‘Frankenstein’ coming up, because I could articulate these feelings, this suffering.”
Aside from being an outlet for his exhaustion, the transformation also helped Elordi to recalibrate. “Frankenstein” arrived at a time where he found himself wrestling with a crisis of purpose.
“At that time in my life I really wanted to hide,” Elordi says. “I really wanted to go away for a while. I was desperate to find some kind of normalcy and rebuild the way that I acted and how I approached making movies,” Elordi says. “And when the film came along, I remember being like, ‘Ugh, I really wanted to go away right now.’ And I realized immediately the Creature was where I was supposed to go away to. I was supposed to go into that mask of freedom.”
Was he trying to escape the pressures of dawning fame? Elordi says it was much more philosophical than that.
“Who do I think I am? Who do I present myself as? What do I like? What don’t I like? Do I love? Can I love? What is love? Every single thing of being alive,” he says with a radiant smile. “The unbearable weight of being.”
“At that time in my life I really wanted to hide,” Elordi says of the moment just before taking on Del Toro’s version of the classic. “I really wanted to go away for a while. I was desperate to find some kind of normalcy and rebuild the way that I acted and how I approached making movies.”
(Bexx Francois / For The Times)
The part entailed physically burying himself in another body. It allowed Elordi to renounce any hang-ups, surrendering to a fugue state of mind. Every moment felt like a discovery.
“I was liberated in this makeup,” he adds. “I didn’t have to be this version of myself anymore. In those six months, I completely rebuilt myself. And I came out of this film with a whole new skin.”
Elordi sat for 10 hours in the makeup chair on days that required full body makeup — only four if they were only shooting the Creature’s face. “Jacob wanted to wear the makeup and he knew it would be grueling,” Hill says.
“It was nothing short of a religious experience,” Elordi says. “The excitement I had even just getting my body cast — I was buzzing.”
Hill believes that the decision to make the Creature bald for the scenes where he is a “baby” is what makes Del Toro’s take unique within the “Frankenstein” mythos.
“Instead of what happens in cloning where a baby grows, Victor literally did make a baby, just a big one,” says Hill. “The Creature learns quickly because its brain and its bodies have already lived once. God knows what this Creature knew before he forgot and needed to be reminded.”
As for the skin, Del Toro envisioned a marble-statue look that he had been pursuing in earlier movies like “Cronos,” “Blade II” and “The Devil’s Backbone.”
“Mike took it and made it incredibly subtle: flesh with the violets and the purples and the pearlescence,” Del Toro says. “He bested every concept I’ve ever imagined by making it look like parts of exsanguine bodies. That was so brilliant.”
“It was the innocence in Jacob’s portrayal that kept getting me,” says makeup artist and creature designer Mike Hill, here seen working on a model for “Frankenstein.”
(John P. Johnson / Netflix)
A Frankenstein’s monster with rainbow-colored flesh, Hill says, could only exist in the context of a Del Toro picture.
“He had to look beautiful, like a phrenology head or an anatomical manual,” Del Toro adds. “We agreed — no scars. No sutures. No vulgarity.”
Del Toro’s casting of Elordi was fully validated when the actor walked on set for the first time in full makeup. “The whole process was anticipation,” Elordi says. “And then I opened my eyes and he was looking back at me, and it was exactly what I thought it would be when I first read the screenplay.”
For Hill, it was watching Elordi doing an interview, where his limbs seemed loose and relaxed, that convinced him he was the right actor to sculpt the Creature on. “I was like, ‘Look at those wrists.’ And then he turns, and he has these lashes,” Hill says. “Big eyes are beautiful for makeup. And structurally, Jacob has an unassuming nose, so you can build on that.”
“And he has a big chin,” Hill continues amid Del Toro’s boisterous laughter. “I was like, ‘I’m not going to glue one on.’”
Amused at his anatomy being dissected in front of him, Elordi claps back, mock-defensively: “He was grotesque to look at, but he was somewhat gifted. A deformed skinny freak.”
By the time Elordi got out of the makeup chair, he says, the electricity in his body had shifted. He stepped on set physically depleted but in the ideal headspace to embody the creature as it navigates an inhospitable reality.
“He’ll forever be fused into my chemistry,” Elordi says. “He was always there and now I have a little place for him. But I can’t rationalize him.”
Whether by curse or by miracle, Elordi’s Creature lives. And the actor feels reborn.
