explained

Standard TV licences usually cost £174.50 annually, while the black-and-white licence fee now stands at £58.50

The standard TV Licence fee increased for many last year, with the Government raising the price to £174.50 in April 2025. This annual charge is generally required for households or businesses that watch live television or use the BBC iPlayer.

However, it may come as a surprise that certain people could qualify for a free or discounted licence under specific circumstances. These reductions could also be applicable to those with black-and-white TV sets, which typically incur an annual cost of £58.50 under the licence scheme.

According to Government guidelines, people over 75 years old who receive Pension Credit are primarily eligible for a free TV Licence. The same applies if you share a residence with a partner who receives Pension Credit, as the licence covers everyone at a particular address.

It’s essential to clarify that Pension Credit is distinct from the State Pension. It refers to a means-tested benefit for people over State Pension age on a low income, boosting weekly income to £227.10 if you’re single or £346.60 with a partner.

Those claiming Pension Credit can apply for a free TV Licence when they turn 74, but will still need to pay until the end of the month before their 75th birthday. After this point, they will be covered by the free licence, according to the Mirror.

The Government also confirms that people who are blind or residing in residential care are entitled to apply for a reduced-cost TV Licence. To qualify for the residential care home reduction, applicants must be either retired and aged over 60, or disabled. Those who meet the criteria will see the TV Licence cost drop dramatically to merely £7.50.

READ MORE: EDF’s first day of ‘free electricity’ – full eligibility explained

Housing managers at residential care facilities are also authorised to submit applications on their residents’ behalf. Meanwhile, anyone registered as blind, or living with someone who is, can secure a 50% discount on their TV Licence, bringing the cost of a colour licence down to £87.25.

Government guidance explains: “The licence must be in the blind person’s name – if it’s not, you can make a new application to transfer it into their name. You’ll need to provide your existing TV Licence number when you apply.”

People aged 75 and over who receive Pension Credit can apply for a free licence online or by phone. The Government’s official numbers for this are 0300 790 6071 (telephone) and 0300 709 6050 (minicom). Others who are registered blind can apply for a licence on the TV Licensing website.

For more information, head to GOV.UK or the official TV Licensing website.

Why did the licence fee change?

In 2024, the Secretary of State announced a 2.9% price rise, effective from April 1, 2025, aligned with annual CPI inflation. The official TV Licensing site confirms that this represents a daily increase of just over 1p and is only the second licence fee hike since April 1, 2021.

This adjustment has led to the annual colour licence fee rising to £174.50, while the black-and-white licence fee now stands at £58.50 per annum.

Future increases in the licence fee will be linked to CPI inflation for the next four years, concluding in 2027.

For the latest money-saving tips, shopping and consumer news, go to the new Everything Money website

The first three episodes of Mr Beast’s Beast Games season two are streaming now on Prime Video

*Warning – contains spoilers for Beast Games season 2*

A brand new season of Mr Beast’s Beast Games has finally landed on Prime Video promising to be bigger, better and more intense than ever.

The first three episodes have dropped on Wednesday (January 7) as 200 contestants all battle it out in the hopes of winning a staggering prize pot of $5,000,000 (which equates to around £3.7 million) making it one of the largest prize winnings in reality competition history.

Straight away, viewers are plunged into chaos as 200 hopefuls are split into 100 of the world’s smartest and 100 of the world’s strongest, but only 100 make it through to Beast City after a brutal first challenge.

Titled Strong Vs Smart, alliances have already been forming, as well as new relationships and bribes – but what may come as a surprise to fans, is a major season 2 twist that no-one was expecting.

Prime Video teases: “After a record-shattering first season, Beast Games is back! Bigger, bolder, and more intense than ever. MrBeast has assembled 100 of the planet’s strongest competitors and 100 of the world ’s smartest minds.

“Strong vs. Smart” will battle for an eye-watering $5,000,000 prize. As players face off in the ultimate collision of brain and biceps; alliances will form and trust will break. Every challenge pushes the limits of human strength, intelligence and strategy. What wouldn’t you do for $5,000,000?”

But what is the huge season 2 twist? We have put together all you need to know as the first three episodes drop.

Beast Games season 2 twist explained

Arguably the first jaw dropping moment of season 2 came during episode 1’s major cliffhanger when MrBeast brought the contestants their first bribe.

The players were asked whether they wanted to take home $100k but they walked from the competition there and then.

But the game would not be down a few, instead, the players that chose to leave would instead be replaced… not just with anyone, but with familiar faces from the first season – including the winner.

Many took to social media to share their views as one person said: “Honestly Beast Games is pretty cool and i LOVED the cast reveal from last season.”

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

Another wrote: “Damn Jimmy brought back the season 1 contestants. What a great idea.” A third added: “Jeff is back!!! Can he go for back to back wins.”

However, a fourth replied: “People who have already stole hundreds of thousands of dollars being allowed the chance to play again doesn’t sit well with me?!”

Ten previous contestants had the opportunity to return, should anyone decide to go home.

In the end, it was Twana (player 830), Karim (player 406), Akira (player 539) Jeff (player 831), Jeremy (player 991), Deano (player 380), Mia (player 952), JC (Player 566), Gage Gallagher (player 974) and Courtney Ferris (player 424) who returned.

Who won Beast Games season 1?

Jeff Allen was season one’s winner when he took home $10m, beating 999 other competitors and taking home one of the largest cash prizes.

For Jeff, it was his family that spurred him on as he wanted to win the funds to put towards helping with his son’s rare disease. According to People, his eldest son Lucas was diagnosed with Creatine Transporter Deficiency at just 2 years old, which was first picked up on when he was “missing milestones”.

He said: “I need to take care of him. I want to make sure he’s taken care of at home, but also, can we invest into research to help ultimately find a treatment for him and other kids like him?”

Beast Games is streaming on Prime Video

The second series of Beast Games lands on Prime Video sooner than you think

YouTuber MrBeast will return to screens with a brand new season of Beast Games in just a matter of days.

Premiering this week, the brand new season will land on Prime Video as contestants battle it out in the hopes of winning a staggering prize pot of $5,000,000 which equates to around £3.7 million – making it one of the largest prize winnings in reality competition history.

It will also include a special edition crossover episode featuring the Emmy-Award Winning series Survivor, and its legendary host Jeff Probst.

The first season, which ran from December 2024 to January 2025, achieved massive success, becoming Prime’s most-watched unscripted show ever with 50 million viewers in just 25 days and it will now be back on screens on January 7.

Promising to be even bigger and better than before, 200 contestants will be split between 100 of the world’s strongest and 100 of the world’s smartest as they go head to head in the hopes of winning a life changing sum.

But fans may be disappointed to learn that not all episodes will be available straight away. Titled ‘Strong vs Smart’, the new season will see a weekly release, ending this month – here’s everything you need to know about the current release schedule.

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

Episode release schedule explained

• Episode 1-3 – January 7
• Episode 4 – January 14
• Episode 5 – January 21
• Episode 6 – January 28

Prime Video teases: “After a record-shattering first season, Beast Games is back! Bigger, bolder, and more intense than ever. MrBeast has assembled 100 of the planet’s strongest competitors and 100 of the world ’s smartest minds.

“Strong vs. Smart” will battle for an eye-watering $5,000,000 prize. As players face off in the ultimate collision of brain and biceps; alliances will form and trust will break. Every challenge pushes the limits of human strength, intelligence and strategy. What wouldn’t you do for $5,000,000?”

Beast Games will be blended with Survivor’s ground breaking format in an intense hybrid challenge which will include brutal twists and obstacles as Prime Video adds: “resulting in an episode that seamlessly bridges the worlds of content creators and traditional television.”

Many fans have been quick to share their enthusiasm as one person wrote on YouTube : “1st season was an emotional rollercoaster and a test of human psychology. Hope season 2 will be better than that.”

Another said: “OHHHHH MYYYYYYY GAAAAAAAWDDDD.” A third penned: “Prime video will be cooking in 2026.”

Prime Video also previously announced the show will return for a third series, however an official release date is yet to be announced.

Beast Games season 2 is available to stream on Prime Video on January 7

Some clubs eschew the host family approach in favour of a boarding system, in which players live together in dormitories on club property, the most famous being Barcelona’s La Masia.

“There are strengths and weaknesses to both models,” says Sam Bayford, Brentford‘s academy head of safeguarding.

“The reason we went with our model is that we want to give the players a real break, a geographical and psychological separation rather than living with and sleeping next to the lads they’ve been training with all day.”

Adolescence is a key time for personal, physical and technical development in young footballers – done right, the management of an academy player’s living situation can propel them forwards.

From age 15 Theo Walcott spent two years living at Darwin Lodge, a boarding house run by Southampton until 2010, which the former England international credits with underpinning his successful career.

Walcott lived at the Lodge alongside players like Adam Lallana, Nathan Dyer, and Leon Best, and shared a bedroom with five-time Champions League winner Gareth Bale.

“Being around the other players all the time I found really hard at the start,” the former Arsenal winger tells BBC Sport. “But the environment was built to be like you were in a proper home.

“When you have a lot of good players in the same age group around each other constantly every day, you can feed off each other, always willing to do well together.

“People would act silly sometimes. You would come home and the lights would all be off and you’d know you were in trouble because Gareth and a lot of the other players would be waiting with their underpants on their head and batter you with pillows! You’d have to dart to your room but luckily I was quick.

“Put us all together in a room even now, it’s like we saw each other yesterday.”

Tom Hiddleston is set to make his anticipated return to The Night Manager after almost 10 years

Almost a decade after its explosive finale captivated over 10 million viewers, hit BBC spy thriller The Night Manager is officially back with a bang.

Based on the characters created by John le Carré, the series followed Jonathan Pine (Tom Hiddleston), a night manager of a luxury hotel in Cairo and a former British soldier, who was recruited by the manager of a Foreign Office task force to infiltrate the inner circle of a dangerous arms dealer.

The award-winning drama returns to BBC One tonight (January 1) at 9pm as Pine takes on an explosive new case. The official synopsis teases: “Jonathan Pine thought he’d buried his past. Now living as Alex Goodwin – a low-level MI6 officer running a quiet surveillance unit in London – his life is comfortingly uneventful.

“Then one night, a chance sighting of an old Roper mercenary prompts a call to action and leads Pine to a violent encounter with a new player: Colombian businessman Teddy Dos Santos.”

Pine later meets a businesswoman who reluctantly helps him infiltrate Teddy’s Colombian arms operation. Once in Colombia, Pine is plunged deep into a deadly plot involving the training of a guerrilla army.

The logline concludes: “As allegiances splinter, Pine races to expose a conspiracy designed to destabilise a nation. And with betrayal at every turn, he must decide whose trust he needs to earn and how far he’s willing to go before it’s too late.”

Alongside Tom Hiddleston, the new season also stars Diego Calva as Teddy, as well as Camila Morrone as Roxana, Indira Varma as Mayra, Paul Chahidi as Basil, and Hayley Squires as Sally.

Olivia Colman reprises her role as Angela Burr, alongside returning cast members Alistair Petrie as Sandy Langbourne, Douglas Hodge as Rex Mayhew, Michael Nardone as Frisky, and Noah Jupe as Daniel Roper.

Where was The Night Manager filmed?

The Night Manager filmed across several diverse locations for season two, including the UK, Spain, Colombia and France.

Colombia serves as a major backdrop for the new storyline, with filming taking place at a villa in Girardot – four hours from the capital of Bogotá.

On the preparations that took place before production began in South America, screenwriter David Farr explained at the season two premiere: “Colombia is a very, very complex country, massively misunderstood. Everyone thinks it’s just completely dangerous and it’s totally not true. But for me, I think it was really important to sort of engage in that seriously. So we did.

“We went there properly, we met people, fantastic people. That’s the great luxury of being writers.”

Director Georgi Banks-Davies added: “We went on a massive global adventure because I’m a realist… I think we shot 96, 97 days across six months because of the travel.

“That meant going to the depths of every place, and that’s brutal. It’s really, really hard. You just can’t fake it, and my god, it was hot!”

Executive producer Stephen Garrett concluded: “We ended up slightly mad, Georgi and I and a couple of others. There were a few of us who ended up in daily shirt wars, just because they would be destroyed on a daily basis, because we got, sorry to say, so sweaty.

“Weirdly, one of the challenges we had in post [production] was communicating the heat that we were actually experiencing.”

The Night Manager season 2 premieres on BBC One and BBC iPlayer from 9pm on Thursday, January 1

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

Warning: This story contains spoilers from the series finale of “Younger.”

In the very last scene of “Younger,” Liza (Sutton Foster), wearing a chambray button-down shirt, tries to order a round of drinks at the bar. She’s frantically waving her shoe in an attempt to get the bartender’s attention when Josh (Nico Tortorella), dressed in a crisp white tee, interrupts her.

Josh: Whoa, you don’t wave a shoe, you never wave a shoe! In Thailand, that’s considered a capital offense.
Liza: And you’ve been to Thailand?
Josh: Ah, no. But I have been to Myanmar…
Liza: … which used to be Burma …
Josh: … back in the day.
Liza: I knew that!

Any devout fan watching this scene probably got a feeling of deja vu: Is this the first episode of the series or the last?

The answer, of course, is both. “After seven seasons, it’s tough to end a series in an elegant and satisfying way,” creator Darren Star told The Times. “We all thought it’d be great to have this full-circle moment where we go back to the pilot, if we could find a way to get there.”

It’s quite far from where the series finale began: Liza and Charles (Peter Hermann) are lying in bed and smiling about their reconciliation in the previous episode, in which he left Quinn (Laura Benanti) and told Liza he loved her. “I just know what makes me happy, and to pretend anything else would be just lying to myself,” he tells her. “Only the truth from now on, even if it hurts.”

The hourlong installment takes Charles’ words to heart. Consider the episode’s musical number, which literary agent Redmond (Michael Urie) asks Liza and Charles to watch as a potential investment opportunity. A cross between the “Chicago” roll call “Cell Block Tango” and the “Assassins” opener “Everybody’s Got The Right,” it equates Liza’s fibs about her age to schemes of infamous liars like Elizabeth Holmes, Billy McFarland, Bernie Madoff and Rachel Dolezal.

“When it’s the last season of your show, you want to do everything on your wish list,” said Star of the performance, with lyrics by parodist Ryan Raftery. “But it wasn’t completely gratuitous because it pushed the Liza-Charles story along by bringing the big lie back up again.”

Charles, however, says he has come to peace with that chapter. And it turns out he’s also OK with the fact that Kelsey (Hilary Duff) covertly sent her and Liza’s proposal for their unconventional e-book publishing app Inkubator to investors for a valuation, in case they can get a better deal as a standalone venture than with their publishing house, Empirical.

He already knew Kelsey did that but wanted to hear Liza cop to it herself. “Wait, so you were testing me?” she asks him. “Maybe — in a way, I was — but you passed,” he responds, an answer that visibly irks Liza.

“After everything they went through, Charles wanted a level of complete honesty between them,” said Star. “You see Liza realize that she was never going to be in a safe place with him. There would always be this cloud of suspicion over everything she did, and this would be a relationship where she’d be continually tested.”

Liza soon confesses that she secretly submitted Charles’ unfinished manuscript to the notable writers’ colony Yaddo — and he was accepted. While that’s great news, Charles isn’t thrilled. They discuss it while lying in bed later that night:

Charles: If I hadn’t gotten into Yaddo, would you have let me know?
Liza: Uh, I don’t know. Maybe not.
Charles: Yeah, why bother? Because I didn’t even know you applied. … It would’ve just been your little secret.

It’s a passive-aggressive response that doesn’t go unnoticed. “For Charles, even a white lie, or a lie of omission for the purpose of protecting somebody’s feelings, was considered a lack of integrity for him,” said Star. “We all tell little lies like that, and they’re forgiven. But Liza realized all the things that other people let slide very easily in their relationships weren’t going to slide with them.”

Liza then asks the big, honest question: “Hey, we’re not gonna make it, are we?” Charles shakes his head: “I don’t think so.”

“We wanted to have almost an unspoken moment between them when they really understood that, though they loved each other, it was going to be an impossible relationship to have because he was just never going to forgive her for the original big lie,” said Star. “She was being held to an impossible standard that nobody could ever maintain. So as much as they both wanted to make it work, it just wasn’t going to.

“Maybe, had they met each other under different circumstances, it might have worked,” he continued. “But then again, if they were being honest from the beginning, Charles would have had to meet Liza as a divorced housewife from New Jersey who wanted to get back into publishing, and she would have had to meet somebody who was looking at her like she was a divorced housewife from New Jersey.”

After their breakup, Liza and Charles are back at the office, where she tells him that she plans to resign. But Charles, it turns out, is seizing the opportunity to go to Yaddo and finish his book. He plans to leave Empirical in her hands while he’s gone — and maybe longer. In their final scene together, they genuinely thank each other.

“You have to remember that, for most of the seasons, they were projecting ideas onto the other person, and they didn’t really have a lot of time to actually be their authentic selves together,” Star explained. “It’s also a lot of projection and wish fulfillment from the audience as well — this idea of ‘These two look like they should belong together, so they do belong together.’ In fact, there are a lot of reasons why they aren’t really that suited for each other.

“But they had a passionate love affair, and Charles, through his relationship with Liza, discovers a way to reinvent his life,” he added. “I think he gets so much out of his relationship with her. Finding a partner may not necessarily be what he needs. What he might really need is to feed his creative side, and she helps him find a way to do that.”

The episode concludes with the ladies celebrating their collective good news: Liza’s new role at Empirical, Maggie (Debi Mazar) and Lauren’s (Molly Bernard) respective romances, and Kelsey’s next adventure on the West Coast, after Inkubator finds a home with a Los Angeles-based company. (A spinoff about Kelsey’s next chapter would’ve been “a bit of a female ‘Entourage,’” and is unlikely to move forward due to Duff’s commitment to a new series.)

“Regardless of the spinoff, that was gonna be her path,” said Star. “She had to get out from under publishing and completely set off in a different direction. We felt she needed a fresh start — her own reinvention.”

Liza then heads to the bar and runs into Josh. They look similar, though not exactly the same to how they did when they first met. “Seven years later, Liza and Josh have each grown up a little bit,” said costume designer Jacqueline Demeterio.

Some of the tweaks? Foster wore a denim Celine shirt (instead of the Current/Elliott top from the pilot) and waved a Prada leopard-print shoe rather than a nondescript black flat “to show a slight evolution in her personal style.” (Once Foster tried on the outfit in her final fitting with Demeterio, they both got teary-eyed.)

Tortorella, who wore a burnout’s white T-shirt in the first episode, was updated with a Saint Laurent tee, complete with a tattoo heart design just below the neckline. “I didn’t want it to look like we were trying too hard or distract from what was happening,” said Demeterio. “I just wanted it to be subtle and keep the focus on them two in this moment that’s going to be the end of the whole series.”

After they repeat their meet-cute, she says offhandedly, “Sorry, I didn’t see you there.” He gives her a layered, puzzled look. “Really?” he says. “Because you know what? I’ve been right here, by your side, all along.”

His response is visibly unexpected by Liza — and, likely, the viewer, who hadn’t seen much of Josh all season. “We knew it was worth having him sit back for a while so we could have that beautiful moment at the end of the series,” said Star. Writing those key lines, Star “wanted to keep it simple, heartfelt and real.”

The camera zooms out as they continue to repeat the banter of their first meeting — a decision that leaves their fate up for debate. Does this mean Liza ends up with Josh after all?

“There’s always been a real authenticity between them since the beginning of the series — even though she did lie to him, that lie was revealed by the end of the first season, so he certainly knows her better than any man on the show,” said Star. “I think Josh really loves her, and I think she really loves him.

“In that very last moment, after everything with Charles, Liza is definitely looking at him through fresh eyes and seeing him from a whole new perspective,” he continued. “I don’t know if they’re gonna be together, but I think they’re open to the fact that they’re always going to be in each other’s lives.”

Those final frames — and Star’s explanation — might be unsatisfying to anyone who’s been waiting for years for a more definitive answer about Liza’s love life. “But the show was never about Liza finding a man; it was always about Liza reinventing herself,” reminded Star. “She’d already had a marriage, she was looking to have a career.

“So I never really thought it was such a binary thing — Josh or Charles,” he added. “And I didn’t felt the pressure or obligation to have this big, romantic endgame for her because, to me, at its heart, that was never really what the show is about.”

Death in Paradise returns for a festive special episode tonight, with a guest cast set to join DI Mervin Wilson

Death in Paradise is gearing up for another festive special episode, ahead of welcoming a fresh series in 2026. The BBC programme has proved a massive success since it first hit our screens in 2011, with Ben Miller originally taking the lead detective role.

Don Gilet has stepped into Death in Paradise as the newest lead detective, DI Mervin Wilson, making his debut in the 2024 Christmas Special before headlining the complete Series 14 in early 2025, replacing Ralf Little.

Discussing his return to the role of Detective Inspector Mervin Wilson, Don Gilet shared with the BBC: “It felt good. Slightly daunting, but in a positive sense because you want to do the same again, if not better.

“I jokingly describe it as the second album. The first album went really well, but you can’t rest on your laurels and be complacent, there’s still more audience out there to win over. So, I went out to Guadeloupe with a renewed appetite. It was great to come back and reconnect with the characters and the actors,” reports the Express.

The BBC has now revealed what audiences can anticipate from the Christmas special, scheduled to broadcast tonight (December 28) on BBC One, featuring a new guest lineup appearing in this year’s standalone episode.

Death in Paradise Christmas special 2025 cast

• DI Mervin Wilson- Don Gilet
• Detective Sergeant Naomi Thomas- Shantol Jackson
• Officer Sebastian Rose- Shaquille Ali-Yebuah
• Catherine Bordey- Elizabeth Bourgine
• Officer Darlene Curtis- Ginny Holder

Guest cast

• Josie Lawrence (Outside Edge)
• Kate Ashfield (Shaun of the Dead)
• Pearl Mackie (Doctor Who)
• James Baxter (Waterloo Road
• Billy Harris (Ted Lasso)
• Oriana Charles
• Alix Serman

Death in Paradise Christmas special 2025 plot

The BBC has revealed a thrilling plot for the upcoming Christmas special of Death in Paradise. The office Christmas do takes a sinister twist when four colleagues wake up with pounding heads, only to find an unknown man shot dead in their villa’s pool.

DI Mervin Wilson and his squad manage to locate the murder weapon, but they’re left scratching their heads when they realise it was locked away in a drawer at the time of the shooting… and that drawer was thousands of miles from the crime scene, all the way back in Swindon. All the suspects insist they’ve never crossed paths with the deceased before.

As the team delves deeper into a tangled web of secrets and criminal activity, it becomes apparent they’ll need all the assistance they can muster to crack this perplexing case. Maybe a familiar face spending the festive season back in the UK could be persuaded to chip in.

Meanwhile, the Yuletide celebrations on Saint Marie are in full swing. The annual nativity is underway, and Mervin has a role to fill. But the DI has other matters preoccupying him.

A few months ago, he reached out to a brother he’d only recently discovered, but he’s yet to hear back. Can Mervin sort out his family issues and embrace the holiday cheer for the sake of his team and the island?

The Death in Paradise Christmas special airs Sunday, December 28 at 8:30pm on BBC One

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

Cynthia Erivo’s aggressively feathered Balenciaga at the “Wicked: For Good” New York premiere. Alexander Skarsgård’s Ludovic de Saint Sernin halter top and snug leather pants at the London premiere of the BDSM dramedy “Pillion.” Jacob Elordi’s Celine suit — in monster green, no less — at the Newport Beach Film Festival as the actor promoted “Frankenstein.”

If these recent outings haven’t convinced you that Hollywood is in its method dressing era, well, where in the Law Roach have you been?

From left: “Pillion’s” Alexander Skarsgård, “Marty Supreme’s” Timothée Chalamet and “Frankenstein’s” Jacob Elordi.

(Photos by Getty Images)

For those not familiar, method dressing is when stars wear looks on a press tour inspired by the movie they’re promoting. The practice has been around since the days of Old Hollywood, when actors like Audrey Hepburn, in “Breakfast at Tiffany’s” and “Sabrina,” melded their star personas with their characters. More recently, Geena Davis and Gwyneth Paltrow channeled their projects with their premiere fits in the 1990s, and the casts of 2015’s “Cinderella” and 2018’s “Black Panther” did the same.

But experts say the current method dressing trend — exemplified by Margot Robbie’s Andrew Mukamal-styled candy-colored juggernaut for “Barbie,” Zendaya’s dystopian desert and tennis chic in her Law Roach-styled appearances for “Dune 2” and “Challengers,” and the relentless, two-year press tour for the “Wicked” movies — is a different animal.

“Method dressing often becomes prologue to the film itself — it sets the tone and the context of the film and makes you curious about it,” says Ross Martin, president of marketing agency Known. “[But it’s also] a signal that the actor you like really is deeply invested in this film. They’re not just showing up, they’re actually embodying the character in the world of the film.”

‘Wicked’ stars Cynthia Erivo and Ariana Grande.

(Photos by Getty Images)

Martin cites Timothée Chalamet’s orange-hued campaign for “Marty Supreme” as a particularly skillful deployment of the trend. “If your favorite actor keeps showing up in the same way over and over again, that used to be rewarded,” he says. “Now there’s this pressure on Hollywood stars to define and then redefine themselves … [you] don’t want to see the same Chalamet that [you] just saw playing Bob Dylan. What you’re seeing is really modern marketing tools applied in very strategic ways to the traditional medium of films. It’s really necessary because 90% of the movies that are released don’t get the marketing dollars they need to launch. So this is innovation by necessity.”

Savvy stylists are also driving the red carpet cosplay. “Previously, stylists were responsible for making sure that stars appeared on trend,” says Raissa Bretaña, fashion historian and lecturer at New York’s Fashion Institute of Technology. “As they gained more prominence in the movie industry, it was less about making sure the stars were on trend and more about making sure the stars were setting the trends.”

Setting trends and creating meme-worthy, TikTok- and Instagram-friendly moments that often reach more eyeballs than the films themselves. An image of “a star wearing a beautiful gown isn’t enough anymore,” says Bretaña. “It is meant to engage with the algorithm. How do we get people talking more about this movie? How do we get more eyes on it by having a different manifestation of it in our real life?”

Indeed, during the “Challengers” press tour, online chatter peaked each time Zendaya stepped out in a new tennis-centric look. “I’m a storyteller, and the clothes are my words,” Zendaya’s stylist Law Roach recently said to Variety. As for his work with the actor on “Dune: Part Two” — including Thierry Mugler’s sartorial mic drop — Roach told Vogue the “looks served as an extension of the wardrobe from the movie; it was intentional and purposeful.”

Zendaya in outfits inspired by her movie “Challengers”

(Photos by Getty Images)

Pop culture commentator Blakely Thornton has been following method dressing closely, posting frequently on press tour fashions. “Maybe [Zendaya] walked so Cynthia and Ariana could run,” he says. “The stars are taking it upon themselves to be like, ‘I have to invest in myself in this capacity to get what I need out of it.’” It’s an important distinction, he notes, as film execs aren’t always footing the bill for stylists. “The studios are pretending that it’s not something they have to pay for when it’s something in the internet era you must require. Because if these people came out wearing a turtleneck to every premiere, you wouldn’t be happy.”

Enrique Melendez, the stylist behind Jenna Ortega’s viral red carpet looks for the “Beetlejuice Beetlejuice” press tour, believes his work was key in boosting interest for new demographics. “Jenna being of a newer generation, wearing pieces and looks celebrating the original film had a whole new wave of young people researching the references and Easter eggs with their parents who understood exactly what they meant.”

Still, you can’t guarantee virality: There’s a fine line between a “Spider-Man” triumph and a “Madame Web” tragedy. Some of it can be attributed to an actor’s commitment, says Martin, contrasting Chalamet’s enthusiastic campaign with Dakota Johnson’s reluctant “Madame Web” tour. It also depends on the film itself. Bretaña says method dressing tends to work best with sci-fi or fantasy projects because of the inherent drama in their costuming.

She’s excited by an upcoming period film, Emerald Fennell’s adaptation of “Wuthering Heights,” starring on-theme veterans Margot Robbie and Jacob Elordi. “I think ‘Wuthering Heights’ will be our litmus test to see if method dressing will spill over into historically inspired garments,” says Bretaña. “In the past, whenever actors promoted period films, they try to look as contemporary as possible in order to distance themselves.”

Actors actually looking like themselves on the red carpet? Groundbreaking.

Following a $1-billion-grossing, Oscar-winning smash could have left writer and director Jared Bush and director Byron Howard feeling like rabbits in the headlights, but they seem to have outfoxed the challenge. “Zootopia 2” has already stampeded past $1 billion to surpass its predecessor, and the awards nominations have just begun slithering in. But how did the sequel survive such high expectations, stay as socially relevant as the original and navigate the peril of too many cooks in the kitchen?

“Animation’s a team sport,” says Howard, referring to the sheer number of people who worked on the film over five years. “It’s 700 in the crew, but in this building, it’s about 1,000 and another 300 in Vancouver. So it’s everyone’s collective ideas, saying, ‘Here’s where we can do better.’ So everyone has skin in the game and they all want these movies to be great. It’s an emotional investment.”

The creative team screened “Zootopia 2” for all of Disney Animation multiple times in various stages of development. A feedback system enabled every employee to respond.

Bush says Disney regularly seeks internal reactions after screenings, “but we asked way more direct questions for this one, like at an audience preview. Then we shared that feedback, unfiltered, with the entire building. That allowed people to see that their feedback mattered because you could actually see ideas that came in [manifest] from screening to screening.”

Bush and Howard acknowledge that having that many collaborators keeps the inspiration flowing but also allows fragments of the colossal group brain to sneak into the film unnoticed. Even they aren’t sure where all the in-jokes are planted.

A “story jam” — reminiscent of a TV writers room — was just one of many avenues for collaboration in the making of “Zootopia 2.”

(Disney)

Like its predecessor, the sequel is packed with movie references and animal puns — “A Moose Bouche”; “Gnu Jersey” — and the directors are quick to spread the credit (or blame). “ ‘A Moose Bouche’ — we’ve gotten emails about that one,” says Howard. “Cory Loftis, our production designer, came up with it.”

There’s a “Star Wars” cantina bit, a soupçon of James Bond in the score at a fancy gala and dashes of Steven Spielberg in the camerawork. It’s easy to spot “Ratatouille” when an animal chef is revealed to have a rat under its hat, but Bush asserts there’s a second reference in that moment — the animal declaring “I knew it!” isn’t just any raccoon, but “Raccacoonie” from “Everything Everywhere All at Once.” That character is itself a “Ratatouille” reference (and, Bush points out, “EEAAO’s” Oscar-winning supporting actor Ke Huy Quan voices “Zootopia 2’s” lead snake, Gary). So it’s a reference coupled with another reference to another film’s reference to the first reference. Whew.

Those Easter eggs, including an extended callback to Stanley Kubrick’s “The Shining” — the realization of which they credit to animator Louaye Moulayess, a “Shining” superfan — speak to a willingness to cater to audiences beyond kids. Presumably, most children attending “Zootopia 2” haven’t watched Kubrick’s film. That’s a shoutout to the grown-ups for bringing the kids and, hopefully, discussing the historical practice of redlining with them after the show.

Byron Howard, left, and Jared Bush.

(Christina House / Los Angeles Times)

The first “Zootopia” was not notable just for funny talking animals but also the fact that the funny animals were talking about bigotry and stereotyping. Perceptive viewers may have noticed a mammalian bias in the original — there were no reptiles to be found in its near-perfect society. It turns out they were discriminated against as a class and denied their rightful place as residents, as we learn in “Zootopia 2.” Bush said that concept fit right in with “continuing this discussion about how we as human beings have a hard time looking past each other’s differences.”

Howard says the diversity-as-strength theme plays out not just in grand terms but also in the dynamic between the two protagonists, Judy (a rabbit, voiced by Ginnifer Goodwin) and Nick (a fox, voiced by Jason Bateman): “Nick and Judy are such different, contrast[ing] characters that are really stronger [together] because of those differences, and that speaks to something we really value, which is differences between each other as a working pair,” he gestures to Bush and himself. “We continue to thrive in that way.”

Howard agrees with the comparison of him and Bush to conductors of a giant orchestra, listening for notes being played just right. He thinks of composer Michael Giacchino “onstage with those virtuosos at their respective instruments; we work with masters all around us, so we have a lot of trust in them.”

However, he admits with all those voices, “Writers have a tough time here because we scrutinize these movies and redo them over and over and over again. Jared is a great example of someone who thrives in this environment.”

Bush, explaining he came from the culture of TV sitcoms and all their constant revisions in writers rooms, says, “We have this amazing luxury of being able to rewrite and rethink and absorb these better ideas over years. It is an extreme luxury.

“There’s nothing else like this in Hollywood that I’ve seen — that level of deep collaboration and iteration. There’s no place I’m ever going to be that I will love as much as this.”

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.