facing

ACTOR and director Timothy Busfield is facing allegations of child sexual abuse.

An arrest warrant has been issued for the Emmy-winning star, best known for his roles in “Field of Dreams” and the TV shows “The West Wing” and “Thirtysomething”.

A police probe into the film icon was launched in November 2024 when cops attended the University of New Mexico Hospital after a doctor made a report.

An officer reportedly spoke with two parents who said their children were actors on the FOX TV show “The Cleaning Lady” – where Busfield, 68, worked as a director.

The producer is alleged to have told the siblings to call him “Uncle Tim”, and was accused of tickling their stomach and legs, according to a warrant filed by Albuquerque police on January 4.

Hospital employees told police that it appeared the kids had been groomed, court documents say.

PORN STAR ‘PREDATOR’

Inside horrific rape & sex attack allegations made against Ron Jeremy

One of the minors claimed the alleged abuse started when he was seven years old.

Busfield allegedly touched the child five or six times on another occasion.

The director is said to have grown “closer to the boys” over the series shooting, the children’s’ parents say in the arrest warrant.

One of the minors told a therapist in 2025 that Busfield touched his “genitalia” and “bottom” while in a bedroom on the set of the TV show, according to an affidavit obtained by KTLA.

The document says that Busfield told an officer that he had engaged in “playful” contact with the children on set, but denied any wrongdoing. 

Busfield, also well-known for his role in “Revenge of the Nerds”, now faces two counts of sexual contact with a minor and child abuse. 

It is currently unclear whether or not the Hollywood star has been booked yet.

According to his arrest warrant, Busfield has previously faced sexual assault allegations dating back to 1994.

The Sun reached out to Busfield’s team for comment.

Busfield has over 700 credits as an actor, producer and director in TV and film.

He won an Emmy Award for his role as Elliot Weston on the hit series “Thirtysomething” in 1991.

The film industry giant is best-known for his role as Danny Concannon in several seasons of “The West Wing”.

But he has also appeared in several films including “Stripes,” “Sneakers” and “Quiz Show”.

Busfield married Melissa Gilbert in 2013, and the pair do not share any children.

Breaking news… More to follow…

Jan. 9 (Asia Today) — South Korean President Lee Jae-myung said Thursday that “extraordinary measures” are needed to address what he called a national crisis for young people pushed to the brink of employment amid “K-shaped growth,” a term used to describe an uneven recovery that concentrates gains on one side of the economy.

Lee made the remarks at the “2026 Economic Growth Strategy National Briefing” at the presidential office, calling for steps that mobilize the country’s full capabilities to support young people.

Lee said South Korea is facing “K-shaped growth,” in which the benefits of recovery are not broadly shared, and said the structure must be improved because it places a heavier burden on younger generations.

He said the impact of polarized growth is being concentrated on young people, threatening not only youth employment but also the country’s long-term growth potential.

“If national growth and corporate profits do not translate into job opportunities for young people, it is difficult to call that society healthy,” Lee said.

Lee said more than 400,000 young people have been pushed out of the labor market and are still being asked by employers to have work experience, while no one takes responsibility for providing a starting point. He urged officials to develop effective measures that break from existing policy frameworks.

Lee said the government is committed to ensuring people share in the fruits of growth and described this year as the first in which his administration will fully take responsibility for economic management.

He pointed to policies aimed at “normalizing” the economy, including efforts to foster the semiconductor industry, as a path to strengthening growth momentum.

However, Lee cautioned that even if external indicators improve compared with last year, many people may not feel the change. He said growth polarization should be treated as a structural challenge rather than a temporary cycle and called for efforts to ensure the benefits of growth are broadly shared.

— Reported by Asia Today; translated by UPI

© Asia Today. Unauthorized reproduction or redistribution prohibited.

WASHINGTON — Lawmakers are returning to Washington this week confronting the fallout from the stunning capture of Venezuelan President Nicolás Maduro — and familiar complaints about the Trump administration deciding to bypass Congress on military operations that have led to this moment.

Democratic leaders are demanding the administration immediately brief Congress. Republican leaders indicated over the weekend those plans are being scheduled, but some lawmakers expressed frustration Sunday that the details have been slow to arrive.

President Trump told the nation Saturday that the United States intends to “run” Venezuela and take control over the country’s oil operations now that Maduro has been captured and brought to New York to stand trial in a criminal case centered on narco-terrorism charges.

The administration did not brief Congress ahead of the actions, leaving Democrats and some Republicans expressing public frustration with the decision to sideline Congress.

“Congress should have been informed about the operation earlier and needs to be involved as this situation evolves,” Sen. Susan Collins (R-Maine) said in a social media post Saturday.

Appearing on the Sunday news shows, Senate Minority Leader Chuck Schumer and House Minority Leader Hakeem Jeffries, both of New York, ticked through a growing list of unknowns — and laid out plans for their party to try and reassert Congress’ authority over acts of war.

“The problem here is that there are so many unanswered questions,” Schumer said on ABC’s “This Week.” “How long do they intend to be there? How many troops do we need after one day? After one week? After one year? How much is it going to cost and what are the boundaries?”

Jeffries told NBC’s “Meet the Press” that he was worried about Trump running Venezuela, saying he has “done a terrible job running the United States of America” and should be focused on the job at home.

In the coming days, Jeffries said Democrats will prioritize legislative action to try and put a check on the administration, “to ensure that no further military steps occur absent explicit congressional approval.”

As discussions over Venezuela loom, lawmakers also face major decisions on how to address rising costs of healthcare, prevent another government shutdown and deal with the Trump administration’s handling of the Epstein files.

Much of the unfinished business reflects a Congress that opted to punt some of its toughest and most politically divisive decisions into the new year, a move that could slow negotiations as lawmakers may be reluctant to give the other side high-profile policy wins in the lead-up to the 2026 midterm elections.

First and foremost, Congress faces the monumental task of averting yet another government shutdown — just two months after the longest shutdown in U.S. history ended. Lawmakers have until Jan. 30 to pass spending bills needed to keep the federal government open. Both chambers are scheduled to be in session for three weeks before the shutdown deadline — with the House slated to be out of session the week immediately before.

Lawmakers were able to resolve key funding disputes late last year, including funding for Supplemental Nutrition Assistance Program benefits, also known as food stamps, and other government programs. But disagreements over healthcare spending remain a major sticking point in budget negotiations, intensified now that millions of Americans are facing higher healthcare costs after lawmakers allowed Affordable Care Act tax credits to expire on Thursday.

“We can still find a solution to this,” said Rep. Kevin Kiley (R-Rocklin), who has proposed legislation to extend the tax credits for two years. “We need to come up with ways to make people whole. That needs to be a top priority as soon as we get back.”

Despite that urgency, Republican efforts to be the author of broad healthcare reforms have gotten little traction.

Underscoring the political pressure over the issue, four moderate House Republicans late last year defied party leadership and joined House Democrats to force a floor vote on a three-year extension of the subsidies. That vote is expected to take place in the coming weeks. Even if the House effort succeeds, its prospects remain dim in the Senate, where Republicans last month blocked a three-year extension.

Meanwhile, President Trump is proposing giving more money directly to people for their healthcare, rather than to insurance companies. A White House official said the administration is also pursuing reforms to lower the cost of prescription drugs.

Trump said last month that he plans to summon a group of healthcare executives to Washington early in the year to pressure them to lower costs.

“I’m going to call in the insurance companies that are making so much money, and they have to make less, a lot less,” Trump said during an Oval Office announcement. “I’m going to see if they get their price down, to put it very bluntly. And I think that is a very big statement.”

There is an expectation that Trump’s increasing hostility to insurance companies will play a role in any Republican healthcare reform proposal. If Congress does not act, the president is expected to leverage the “bully pulpit” to pressure drug and insurance companies to lower healthcare prices for consumers through executive action, said Nick Iarossi, a Trump fundraiser.

“The president is locked in on the affordability message and I believe anything he can accomplish unilaterally without Congress he will do to provide relief to consumers,” Iarossi said.

While lawmakers negotiate government funding and healthcare policy, the continuing Epstein saga is expected to take up significant bandwidth.

Democrats and a few Republicans have been unhappy with the Department of Justice’s decision to heavily redact or withhold documents from a legally mandated release of files related to its investigation of Jeffrey Epstein, a convicted sex offender who died in a Manhattan jail awaiting trial on sex trafficking charges.

Some are weighing options for holding Atty. Gen. Pam Bondi accountable.

Rep. Ro Khanna (D-Fremont), who co-sponsored the law that mandated the release with Rep. Thomas Massie (R-Ky.), said he and Massie will bring contempt charges against Bondi in an attempt to force her to comply with the law.

“The survivors and the public demand transparency and justice,” Khanna said in a statement.

Under a law passed by Congress and signed by Trump, the Justice Department was required to release all Epstein files by Dec. 19, and released about 100,000 pages on that day. In the days that followed, the Justice Department said more than 5.2 million documents have been discovered and need to be reviewed.

“We have lawyers working around the clock to review and make the legally required redactions to protect victims, and we will release the documents as soon as possible,” the Justice Department said in a social media post on Dec. 24. “Due to the mass volume of material, this process may take a few more weeks.”

Rep. Robert Garcia, the top Democrat on the House Oversight Committee, told MS NOW last week that pressure to address the matter will come to a head in the new year when lawmakers are back at work.

“When we get back to Congress here in this next week, we’re going to find out really quick if Republicans are serious about actually putting away and taking on pedophiles and some of the worst people and traffickers in modern history, or if they’re going to bend the knee to Donald Trump,” said Garcia, of Long Beach.

Syria’s new leader has been trying to stabilise his country and reintegrate it globally since he took office in January.

But outbreaks of sectarian violence are threatening President Ahmed al-Sharaa’s efforts to rebuild the country after 14 years of civil war.

The latest flare-up on Sunday saw protesters from the Alawite minority group come face to face with supporters of the government in the coastal cities of Latakia and Tartous. Government troops sent to stop the violence were attacked. The once-powerful community says it is being marginalised.

How big a security threat are the protests and violence?

How can President al-Sharaa calm tensions?

Presenter: Adrian Finighan

Guests:

Fadel Abdulghany – Founder and executive director of the Syrian Network for Human Rights.

Gamal Mansour – Specialist in comparative politics and international relations

Labib Nahhas – Director of the Syrian Association for Citizens’ Dignity

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

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

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

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

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

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

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

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

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

(Netflix)

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

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

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

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

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

1

2

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

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

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

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

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

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

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

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

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

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

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

(Netflix)

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

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

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

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

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

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

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

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

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

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

(Jason Armond / Los Angeles Times)

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

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

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

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

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

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

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

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

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

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

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

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

1

2

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Were you on time with that draft?

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

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

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

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

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

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

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

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

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

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

(Netflix)

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

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

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

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

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

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

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

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

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

Ross: We’re definitely gonna go.

Lim met Englishman Humphries in the first round of the 2021 World Championship and, on that occasion, Lim was a 3-2 winner.

The odds of a repeat are unlikely, given Humphries – who is 41 years younger than Lim – has gone on to have a spell of nearly two years as world number one and won multiple major titles, including the world crown in January 2024.

“If anything, I’m thankful for Paul winning that game because it changed me as a player and it changed me as a person,” Humphries said after beating Ted Evetts in round one.

“Three months later, I’d lost about four stones and I was in a major final [at the 2021 UK Open]. It helped my career.”

On those comments, Lim said: “To come across a champion who is as humble as him – when he said that, it was really a compliment to me. I’ve got nothing ever bad to say about Luke.

“With every defeat or every win, there is a spark somewhere – you’ve got to find it to spark you in the right direction. I can’t say that loss made him a world champion, but maybe it created that spark within himself to look at something differently and it turned out well for him.

“He is definitely a different Luke Humphries. He was good then, now he is great. It’s an honour to hear him calling me a legend.”

SIMON Cowell could be locked in another copyright row after it emerged a group of British rockers also share the same name as his newly formed group.

Tattooed Scottish band December Tenth told the music mogul to get his lawyers to call them over the name dispute.

This week Netflix announced his new show Next Act will feature his latest band – December 10.

The seven-piece group – which conissits of Nicolas Alves, 16, Cruz Lee-Ojo, 19, Hendrik Christoffersen, 19, John Fadare, 17, Josh Olliver, 17, Danny Bretherton, 16, and Seán Hayden, 19 – released their new music earlier this week.

But they have an unexpected rivalry in the form of the Glasgow-based metallers, who are named after the date their pen pal was executed on death row.

They have challenged Simon after he and Netflix announced the new boy band with a very similar name to their group.

READ MORE ON SIMON COWELL

SI’S NEXTFLIX

Simon Cowell’s new band December 10 set for new doc about first crack at fame

POP SENSATION

Watch Simon Cowell’s new boyband December 10’s debut video Bye Bye Bye

In a post on social media the lead singer of the band said: “It came to light over the last few days that Simon Cowell, Netflix and Universal Music, are involved in a new boy band that share, to some extent, our name December Tenth.

“Now if anyone in Simon’s team, Universal or Netflix, would like to get in touch with ourselves and our legal team they can do so.

“I would like to point out, the hundreds of new followers we have over the last few days are most welcome, but I’m not entirely sure they are all genuine.”

The band, who formed in 2020, have also been swamped with messages with confused boy band fans who mistakenly followed them online.

He added: “Our social media accounts have blew up and we had no idea why. It turns out that Simon Cowell has released a new Netflix show, called “December 10”.

“We are now being inundated with well wishes from fans of the show thinking we are that band.”

It’s not the first time Simon has faced issues over a pop group’s name.

In 2011 X Factor was forced to change their girl band Rhythmix to Little Mix after a disabled children’s charity in Brighton with the same name threatened them with legal action.