John

This story contains spoilers for Episode 8 of HBO Max’s “Lanterns.”

From the very first time Tom King and DC Studios’ James Gunn ever talked about a Green Lantern show, they envisioned John Stewart as the kind of hero who could generate excitement and change the tide of any battle upon his arrival.

“The idea was to build a character as compelling and impactful as, say, Thor in the Marvel universe,” says King, the “Lanterns” co-creator, during a recent video call. “Someone who arrives in a movie with a thunderclap, and … the audience [just] screams when they arrive because you’re in love with that character … not just [for] the power set they have, but the integrity of that character.”

That hero officially takes flight in Sunday’s “Lanterns” finale.

Episode 8 of the HBO Max superhero crime drama, titled “Dirt and Stars,” sees John Stewart (Aaron Pierre) take up the mantle as Earth’s newest Green Lantern. After solving the mystery of his predecessor Hal Jordan’s (Kyle Chandler) death, Stewart claims Jordan’s power ring as his own, recites his oath and jets off toward his next adventure. (A second season of “Lanterns” has not been announced, but the character will appear in Gunn’s upcoming “Superman” sequel, “Man of Tomorrow.”)

Co-created by King, Damon Lindelof and Chris Mundy, “Lanterns” introduces Jordan as a grizzled, veteran member of the Green Lantern Corps, intergalactic space cops who are armed with a special ring that allows them to manifest objects and manipulate energy.

In the finale, John Stewart, left, claims Hal Jordan’s (Kyle Chandler) ring as his own.

(John Johnson / HBO Max)

Stewart is a new Green Lantern recruit, but when an investigation into the whereabouts of a killer alien robot on the run goes awry, they go their separate ways.

“One of the cool things about the canonical Green Lanterns is that, technically speaking, there’s only one ring delegated to this particular sector in which Earth fell,” says Lindelof of one of the show’s central conflicts.

The creative team knew from the jump that Stewart would be the one to bear that ring at the end of the season, but the idea that Stewart would be a child prodigy whose parents preordained his path to become the next Green Lantern developed over time.

“We [decided] the first part of John’s life is going to be [about] coming to terms with the fact that he doesn’t really want the ring — or he doesn’t want the ring on those terms,” Lindelof says. “Then there would have to be some period of time where he was living his dream. … Then and only then would he be able to wipe the slate clean, as it were, and gravitate back toward a healthy way to want the ring.”

In the comics, Green Lanterns are known for their oaths, which they recite when recharging their rings or to reaffirm their commitment to the group. In “Lanterns,” Stewart creates his own version that acknowledges his journey and perspective on becoming a Green Lantern.

“We talked a lot about it in the room, but the feeling was that he was changing the relationship with the Guardians in that moment,” Mundy says, referring to the immortal aliens that created the Green Lantern Corps.

In the end, Hal, left, is able to impart lessons that nobody else would have been able to teach John.

(John Johnson / HBO Max)

The Guardians had once considered Stewart an ideal replacement for Jordan because he was willing to blindly follow orders, but by the time he claimed Jordan’s ring, it’s clear Stewart has no plans to be affiliated with the Guardians or the Green Lantern Corps in that way, and the writers wanted his oath to reflect that.

“We wanted John to take [the role] on his terms,” Mundy says. “Even though Hal didn’t train him as well as he should have trained him, he taught him lessons that nobody else would have taught him. … [Including] how you need to be your own person even as you’re working for this organization.”

Besides his unconventional path to becoming a Green Lantern, Stewart is in possession of a unique lantern for recharging his ring that was forged by Sinestro, Jordan’s disgraced mentor.

The “Lanterns” showrunner remained coy when asked whether this lantern’s more ominous origins could lead to any unintended consequences for Stewart.

“It’s rife with possibility, is what I will say,” Mundy says.

In separate interviews, Mundy, Lindelof and King discussed the “Lanterns” finale, Stewart and Jordan’s bittersweet reconciliation and the show’s fiercely protective mothers. Their comments have been edited for clarity and length.

Because the “real” Hal is killed in 2026, his relationship with John is left unresolved. John shares a moment with the Halogram, the backup version of 2006 Hal’s consciousness, after working with him and the mystery is solved, but can you address that lack of proper closure for them?

Mundy: We talked about this thing as a love story between these guys in a certain way, but one of them has to die in order for them to truly come together. Even over the course of the Halogram being in the show, he never called John “Junior” ever. He always called him “trainee.” Until the last moment when he says … “I love you, too, Junior.” There’s something very bittersweet about the fact that the two people we spent all that time with don’t fully have their moment together.

King: What I think is hinted at between the Halogram and the final Hal we get is this Sinestro subplot. This is right from the comics, but Hal’s best friend, his mentor, the person who trained him, betrayed everything he trusted and Hal had to put him away. I think the trauma of that moment closed Hal up. It damaged him … so he was unable to see John for what he is and unable to listen to John the way he should. [With the Halogram] John finally encounters a Hal who hasn’t gone through that and they can have conversations they couldn’t have before. John can start to feel the empathy that Hal denied him, and he can see Hal for who Hal really is.

Lindelof: I love the idea that that version of Hal and John are unresolved. There is no apology. There is no forgiveness. The only closure that John can get is from this earlier version of Hal who has a lot of sympathy and empathy, not just for John, but for himself. Obviously, this is a crazy sci-fi superhero show, but that feels more authentic to life. Sort of like when someone that you love is gone, and you find a note that they wrote or an old birthday card and you extrapolate new meaning from it even though it’s from an earlier version of them.

Viewers get some backstory on the romance between Kerry Kane (Kelly Macdonald) and Hal.

(John Johnson / HBO Max)

Why was it important to show more of 2026 Hal Jordan’s life before his death in the finale?

Lindelof: The only flavoring that we get of him directly [before this] is in the diner scene, when John comes for his apology and doesn’t get one. Only toward the very end of that scene after John has hit Hal, and Hal says, “Don’t let anybody know that you were here,” is there a flash that something has changed in this guy. It’s one thing for Kerry to tell us that they were in love, or to hear Hal’s “buttercup” voicemail, but I think that the audience needed to see it and experience it. Hal is not a changed man in 2026, but he’s an evolved man. And there’s real tragedy inherent in all of the decisions that he’s making because we know that all of those decisions basically lead him to be a corpse in the stands at a football game. The subtle differences by which Kyle plays older Hal versus Halogram Hal is really on sharp display in the finale.

With Noah being a Manhunter, it turned out that he and John were dealing with similar questions around lineage and legacy and nature versus nurture. How did the exploration into these themes evolve during the show’s development? Much of it is unpacked in their truck ride together.

King: The basic idea [was] that John had been one of these kids who had been told, “You’re going to be this when you grow up.” Like a Tiger Woods or Michael Jackson-esque child. We started talking about what that’s like — to be a prodigy, to be forced into [something]. The idea that you’re kind of programmed by your parents. And then we were talking about Manhunters. The problem with Manhunters is they’ve been programmed to do this one thing, and they can’t defy their programming [to eradicate mankind]. That’s why they had to eventually be erased. Then we started talking about the parallel of programming and overcoming programming, and what makes you human, what doesn’t, that parallel came first. Those were the very nascent ideas, and we took that to our brilliant writers room, and [Breannah Gibson], Justin [Britt-Gibson] and Vanessa [Baden Kelly] added their own personal experience to that and made it a much richer … and personal story.

Mundy: John still doesn’t know if he’s about to die in this car. Noah is trying to learn about himself and figure out if he wants to kill John or die himself. The important thing was to hold that tension and then kind of step that conversation through chapters. There’s anger about what happened to Zoe. After he understands that a little bit better, he says “these are the different ways my life could go.” And then John can actually bring a piece of himself. We talked all the time about the way John was raised and the programming of the Manhunters and what’s “programming” and what’s “being raised.” Then there’s a confession that ends up being false, but also this request to be killed. There were three distinct sections of that conversation, and we wanted them all to be meaningful and personal.

In the final scenes of the episode, John and Kerry have a conversation about what parents are willing to do for their children.

(John Johnson / HBO Max)

With both Hal and John, so much of their intergenerational trauma is tied to their fathers. But with Noah and John, you also see just how big of a role their mothers have played in shaping them. How did that aspect come about?

Mundy: Once we knew that Noah was a Manhunter, it felt too cheap and too easy for that to be the answer [to the mystery of Hal’s death]. But it felt key to the answer of it, and we were talking so much about parenthood and what you would do for your child and what it means. What’s protecting people and what’s not? It just became a given pretty early on that Kerry would be the answer at the end. It just fit into the same story Bernadette was going through. And [John’s] conversation with Kerry explains so much of that.

Lindelof: I think this all came from Vanessa Baden Kelly. We had written the pilot, where John’s father is shooting the apple off of his head, and then when Vanessa came on shortly thereafter, she’s like, “Where’s mom?” It is one of those moments where you realize it, particularly because we were three men, but also inside of the canon of these superheroes, it’s always a dad. So the idea was having Bernadette really be the mastermind of John’s upbringing as a way to provide a simultaneous salve for her husband’s shame about being afraid about losing out on the opportunity.

I think that Kerry is an equally fierce mother. Obviously, she loves Hal. But when you watch it a second time after you’ve seen the finale, you realize that there’s guilt there as well because of what she did to him, all in the name of her son.

John starts to reframe what Bernadette did as something for him, as opposed to something for her — in a lot of ways, it was a selfless act. She’s doing it knowing that her child will hate her, but that he’ll be the Earth’s Green Lantern, and there’s going to be an aspirational quality to that for generations to follow.

A couple of years ago, in a column about Father Greg Boyle, I noted that he is quite particular and even a bit preachy about the right way to eat a steak.

It should be medium rare, never well-done, and served with a proper elixir.

Doors drummer John Densmore took note. One thing led to another, and in July, Densmore, Boyle, former Times reporter Greg Krikorian and I went to dinner at the Smoke House in Burbank.

We did not necessarily follow Boyle’s meat and beverage protocols, but we jabbered away in a red leather booth, and a good time was had by all.

Then, in August, I got an email from Boyle.

“John walks into the Homeboy Art Academy,” he wrote, “and starts jamming as the homies are playing ‘Stand By Me.’”

Boyle sent a short video, and there’s Densmore, still keeping perfect time at 81.

John Densmore enjoys an upbeat moment while teaching a music class at Homeboy Art Academy.

I wasn’t surprised. Densmore’s a busy guy, with various charitable causes and artistic ventures. He and former Public Enemy rapper Chuck D just fused music genres on an album called “No Country for Old Men.” But he’s an admirer of Boyle and his decades-long mission of gang intervention and rehabilitation.

“Hey,” Densmore told the musicians he played with that day, “maybe I can do something here.”

He suggested that he return and stage a music workshop or a drum circle.

They said of course.

On Wednesday, before the music began, Densmore insisted that I see the Homeboy Art Academy, whose founder is artist Fabian Debora.

“I grew up in the projects when Father Greg first came in,” Debora told me, referring to Homeboy’s early days in the 1980s, when Boyle was pastor of Dolores Mission Church in Boyle Heights. “Through the arts, I found my way to healing and transformation. Then I said, ‘How can I fulfill a need that was missing in my life?’”

The answer is the academy he now runs with Dre Comers, located near Metro’s Chinatown station, providing art instruction to tens of thousands of people. On Wednesday, teachers were busy helping students with artwork in various stages of completion, including a painting of Boyle with a halo.

Most of the participants are young adults, many of whom were born decades after the Doors’ last album was released. One student, in his 20s, welcomed us and asked Densmore what he was known for.

“I’m a drummer,” Densmore said.

He was known to far more people in the music room, including longtime musician/instructors Joe Calderon and Martin Flores. They’re part of the Young Musicians Foundation’s Music Heals program, funded in large part by legendary songwriter Mike Stoller, who co-wrote dozens of hit songs including “Jailhouse Rock,” “Hound Dog,” “Poison Ivy” and “Stand by Me.”

The latter song appears on a brand new “Music Heals” album designed by art academy participants and released Tuesday, so with Densmore’s arrival on Wednesday, it was a big week for Homeboy arts.

“When you’re playing music,” Densmore told about 30 students and instructors, you can enter a state of timelessness. “It’s kind of like a meditation … A little bit of infinity creeps in … And everybody can get into that space. If you want to be a professional musician, cool. If you wind up playing the piano in a closet and nobody hears it, you’re still getting into this space that kind of heals and feeds you.”

And then it was concert time, with Densmore on drums and instructors Calderon on guitar, Flores on percussion and Mackenzie Azela on bass. Fabian Debora Jr. (bass and vocals) and Ralph Quintero (vocals) are both in the Homeboy rehabilitation program.

The band kicked off with a blues number called “Got My Mojo Working,” then it was Ben E. King’s “Stand by Me” followed by Cream’s “Sunshine of Your Love.”

It all went off pretty smoothly for a group that hadn’t worked together except for a quick minute on Densmore’s previous visit. The musicians were smiling, the spectators tapped and clapped, and that magical sense of timelessness was real, spanning multiple generations.

In a place filled with people confronting the challenge of rebuilding their lives, the lyrics of one particular song were a reverie.

No, I won’t be afraid.

Oh, I won’t be afraid.

Just as long as you stand by me.

Doors drummer John Densmore, right, leads a jam session while teaching a music class at Homeboy Art Academy in downtown Los Angeles.

Debora Jr., 27, told me it was pretty cool to be playing with a member of the Doors, a band he knew about through his elders. Quintero, 50, who is studying psychology and wants to be a drug counselor, said he still couldn’t believe he had just performed with a member of the Doors.

“It’s an honor,” he said.

Everyone in the room grabbed either shakers or a small drum, and with Densmore instructing and conducting, the ensemble conjured what he called the heartbeat of Mother Earth. The music rose and fell, rose and fell as the players became one, followed by an orchestrated hush that served as a silent accent.

“Like sex,” Densmore said.

He moved on to a brief Q&A, and one of the first questions was about what it was like to be around Doors lead man Jim Morrison.

“I miss his artistry,” Densmore said. “I don’t miss his self-destruction. So I’m 81. He died at 27. And there’s different ways to do this. Hopefully you guys will keep on breathing like I am.”

As Densmore packed up his things, a young man named Jeremiah asked the drummer if he’d record a short video for the family of his girlfriend. She had just lost her grandfather, a longtime Doors fan.

“That was their go-to music, every car trip,” Jeremiah said.

He sent the clip to his girlfriend and asked her what the family’s favorite songs were. “Riders on the Storm” was one. Along with “Break on Through,” “Touch Me,” and “L.A. Woman.”

John Densmore, right, congratulates musicians Joe Calderon, from left, Fabian Debora Jr., with bass, and Ralph Quintero after they performed.

At Homeboy, Boyle’s mission has been twofold, in a sense. To show love to his charges while preparing them for lives unlike the ones they’ve known. And through his books and teachings, to remind us all that we belong to each other.

There was a bit of that gospel in the note that Flores, program director at Music Heals, sent Densmore after his visit. He thanked him, telling Densmore he had “provided our students with not only an incredible artistic experience, but also a deep sense of connection, inspiration and hope as they navigate their journeys.”

Densmore answered immediately.

“I think I might have gotten more out of it than I gave.”

steve.lopez@latimes.com

McKinney has been endorsed by Hochman, the union that represents rank-and-file L.A. police officers and City Councilmembers Traci Park, John Lee, Tim McOsker and Monica Rodriguez. While McKinney has raised half a million dollars, independent expenditures have spent more than $3 million to support the veteran prosecutor.

More than $2 million of those funds have come from a political action committee run by Airbnb. The rental giant was sued by Feldstein Soto for price gouging after the destructive Palisades fire, but McKinney has dismissed criticism that he’s receiving massive financial support from a corporation that if elected, he’d be involved in litigation against.

“Airbnb is going to benefit from a safer L.A., because it’s going to boost tourism to the extent that they have properties and interests here,” he told The Times in May. “When they look at the current city attorney and they look at Marissa Roy, maybe they decided this guy is going to do a better job.”

Roy has the support of the L.A. County Democratic Party, the Democratic Socialists of America’s Los Angeles chapter, California Atty. Gen. Rob Bonta, U.S. Sen. Bernie Sanders (I-Vt.), City Councilmembers Ysabel Jurado and Eunisses Hernandez, L.A. City Controller Kenneth Mejia, L.A. County Supervisors Hilda Solis and Lindsay Horvath, the city attorneys of San Francisco and San Diego, the L.A. County Federation of Labor and a host of other labor unions and Democratic groups.

Mayor Karen Bass endorsed Feldstein Soto in the primary. She has yet to weigh in on the runoff.

John Green’s nine-year hiatus from fiction has ended, and his adult debut, “Hollywood, Ending,” comes right on time to explore the dark side of fame.

The novel centers on former child actor Juniper Castillo and Hollywood newbie Kai Laramie, who are cast in the artsy biopic “Andy Warhol Never Gets Old,” with hotshot movie star Matthew Malone in the title role. It’s Juniper’s chance to establish herself as an adult actor and Kai’s first foray into the spotlight, a position he quickly realizes doesn’t come without a personal cost.

“There’s no way I could have written this book without spending a lot of time on film sets,” Green told The Times in a recent call.

Over the last two decades, several of the author’s bestselling young-adult novels have been adapted for the screen. His debut, “Looking for Alaska” (2005), was adapted as a Hulu limited series in 2019, the same year Netflix released the feature film adaptation of his co-authored holiday anthology, “Let It Snow” (2008). On the big screen, “Paper Towns” (2008) made its film debut in 2015, while his bestseller “The Fault in Our Stars” (2012) became a box-office hit in 2014. Most recently, his 2017 novel, “Turtles All the Way Down,” received a feature film adaptation in 2024.

“I hope the book is a love letter to movies. But I also wanted to be honest about how difficult it is to make a work of art that, in order to be commercially successful, has to be loved by millions of people,” Green said. That’s where the Hollywood machine comes in. “It’s really hard to figure out how to get millions of people to pay to watch something, and that challenge leads to all kinds of compromises and sacrifices.”

While Green’s young-adult novels have often explored the teenage experience, he never felt confined by the YA genre. “I think teenagers have infinite intellectual capacity,” he said, adding that he doesn’t really think about which shelf will hold his novels inside a bookstore. In “Hollywood, Ending,” his main characters are navigating their early 20s, a period which Green finds especially interesting.

“The questions in this novel explore how it feels in those early years of adulthood when there are still so many possibilities, so many directions you might go,” he said.

The following conversation has been edited for length and clarity.

How did you land on Andy Warhol as a celebrity figure and metaphor to use in telling this story about Kai and Juniper?

I think Andy Warhol saw so much of our world coming. He saw that three-dimensional experience was going to be rendered in two dimensions. He’s most famous for taking cylindrical soup cans and making them flat, but he also saw celebrity culture coming.

There’s the famous quote about everybody being world-famous for 15 minutes. I think he understood that normal people were going to experience celebrity, and he also saw the way that the repetition of images, as I write about in the novel, would lead to a certain desensitization. So I think everything from screen-based experience to the ways that technology was going to reshape our lives, he was the patron saint of all of that.

One of the images that really struck me is when you talk about him dying wigless and being too uncomfortable with that to have friends come and visit him in the hospital.

I think Juniper says at one point that fame is a kind of armor. I don’t know how Warhol thought of his wigs, but I wanted it to be a sort of emblem of protection for him.

Your wife, Sarah, is an Andy Warhol scholar. Was that a major strength while you were writing this?

There’s a huge advantage to being able to fact-check something by shouting down the hall. I also wanted to include Warhol partly as a love note to Sarah … She co-wrote a book about Andy Warhol’s relationship with money and business called “Andy Warhol Enterprises.” After 25 years, our way of looking at art and the art that we’ve shared together is so deeply intertwined that anything I write is unimaginable without her. She’s my first reader and most important reader … It’s only thanks to her that Warhol’s in the book.

You really humanize the young actors in “Hollywood, Ending,” which, unfortunately, is a unique thing. This is an intimate, vulnerable portrayal of behind-the-scenes Hollywood — why was that important for you to examine?

I wanted to write about the machine that takes private experience and commodifies it, and I think that machine is especially challenging to navigate when you’re young, when you’re in early adulthood, because you don’t yet have those relationships that are going to carry you through. You don’t have the love that you need to survive all that you’ve got to survive. When my work became very successful, I was in my 30s. I was married. I had two kids. I lived in Indianapolis. I had best friends. I was pretty grounded, and it was still very disorienting.

How so?

It’s a completely different life to have everybody have opinions about your work than it is to take your kids to school every day. So I was thinking partly about that, but I was also thinking about the influencers I’ve known, and the actors I’ve known who’ve had to go through that [while] much younger, and what that’s been like for them as well.

You do a really good job of examining the dark side of the attention economy. Why was this especially of interest?

Well, it used to be that the attention economy was mostly a problem for actors and other celebrities, but now the attention economy is something we all participate in. We’re all taking our private experiences and packaging them up for public consumption on Facebook and Instagram and Twitter and Reddit, and I think we gain something from that, or we wouldn’t do it. But we also lose a lot.

I wanted to try to be honest about what we gain, and also be honest about what we lose. My last novel, nine long years ago, was about a young woman with OCD. I also have OCD, and I had to make a decision when I was promoting that book, about whether I would talk about having OCD, and I decided that I would, and that became a huge part of talking about the novel — talking about my own experiences with mental illness, and it was a gift in many ways because so many people have said to me that it helped them to see that it’s possible to have a good and fulfilling life while living with a serious mental illness, and it was helpful for me because it helped me feel less alone in it.

But it was also complicated because there are real costs when you share something. It’s not yours anymore in ways that are a relief, but also in ways that are difficult.

You’re offering it up for scrutiny in a way that can be really scary.

It is really scary to have your private life scrutinized in that way, right? And there’s an element of judgment that comes with creative expression that’s a natural and healthy part of conversations about what art is and what art should be, but being in the middle of those conversations isn’t always fun.

I think you capture that in Kai’s experience. He is really pressured to come out and talk about his traumatic experience, and he doesn’t want to. The “machine” wants to sell tickets and exploit his trauma in the process.

It’s one thing to try to make good art. It’s another thing to try to make good art that lots of people interact with, and a portion of that second issue is inevitably finding ways to interest an audience, and nothing interests an audience quite like a personal story, especially a personal story of overcoming difficulty.

Was the movie star Matthew Malone based on anyone specifically?

I have aphantasia, this brain condition that causes me not to be able to imagine anything visually. I have no visual imagination, and so I can’t see actors when I’m writing. I can’t see characters when I’m writing. I can’t see anything. Everything’s made out of language, and so there’s no way I could have cast the movie in my mind or had somebody in mind for the character. It’s been great to hear all the folks who people were thinking of. I’m curious who you were thinking of.

I thought of Tom Cruise a couple of times. Have other people said that?

A couple people have said that as well. Yeah.

That’s so interesting about your work with language solely. Do you think that’s been a strength with you as a writer? Because you create such vibrant visuals for your readers.

It’s the only way I’ve ever been. I never knew that other people had this vibrant visual imagination until I was in my 40s, and my wife said I think maybe the reason you don’t have a sense of direction and you have to open up all the cabinets when you put away the dishes and you don’t know whether there’s a rug in the living room is because you don’t have a visual imagination, and I was like, of course I don’t. Nobody does, and she was like, you can’t picture an apple in your head? And I was like, no, nobody can picture an apple in their head. They say they can, but they mean it metaphorically … And Sarah explained to me that, in fact, the vast majority of people can see an apple, which still seems fictional to me, like science fiction stuff.

Some people don’t have that inner voice in their head (anendophasia).

I do have an inner voice. I think. But this all gets to something really interesting about being a person, though, which is that you’re stuck the whole time you’re here inside of one consciousness and looking at the world through one set of eyes. And I have no idea what it’s like to be you. The great thing about writing fiction for me is that act of imagination, that attempt to empathize, that attempt to escape the self and imagine what it would be like to be somebody else with some clarity, but of course, there’s always a limit to my ability to do that, and that problem has fascinated me my whole career.

Your books have meant so much to so many people, and in recent years, I’ve reported quite a bit on your book, “Looking for Alaska,” being one of the most commonly banned books. How do you feel about that?

I’m really concerned about attempts to limit intellectual freedom in the U.S., especially when it comes to libraries and schools. We have professionals we’ve trained to make collection decisions and to make curricular decisions in schools, and those professionals are teachers and librarians, and I’m very disturbed when other people come into that conversation and try to usurp the work that teachers and librarians are doing. I think a lot of times authors get most of the credit for the fight against book bans, and the truth is, all the credit should go to the teachers and librarians who are often putting their jobs on the line, making really difficult decisions to try to do the best by the kids that they’re representing and working with.

John Green will be in conversation with Julia Whelan to discuss “Hollywood, Ending” at 7 p.m. Tuesday, Oct. 13, at a ticketed ALOUD event hosted at Saban Theatre. 8440 Wilshire Blvd., Beverly Hills.

Strictly Come Dancing 2026 fans think they already have their winner of this year’s Glitterball Trophy, amid speculation over which pairing will be first from the line-up to leave

Fans of Strictly Come Dancing think they know who will win the series already, after week one.

As all of the line-up performed routines for the fist time with their professional dance partners, there was mixed feedback from the judges. But fans were sure it was clear already who might win the show.

Not only that, other fans were convinced they had already figured out who would leave the competition first, when the vote-off airs next week. Taking to social media, fans shared their thoughts and theories, with a winner ‘sealed’.

While EastEnders actress Lacey Turner initially won people over with her fab routine, Love Island’s Dani Dyer soon became a favourite. Towards the end of the show it was content creator John Nellis who stormed to the top of the leaderboard though, with pro partner Katya Jones.

He scored four marks of eight from the judges, giving him 31 points overall. But it might not even be John who wins, as Australian actress and singer Delta Goodrem’s own performance proved popular with fans.

So much so, fans called her their winner. One fan said: “Ummm, having seen Delta smash that samba in week 1… I think she could be in contention to win it.”

Another fan agreed: “Delta, in it to win it.” A third fan posted: “QUEEN DELTA calling it now,” as another comment read: “She the one to watch for sure. A final comment said: “Delta Goodrem is the one to watch.”

It comes as the cast of EastEnders shared their hopes that Strictly fans will “fall in love with” Lacey Turner as she takes to Strictly. Former Strictly star Emma Barton, who plays Honey Mitchell on EastEnders, told the Mirror: “I’ve heard great things.

“Lacey is just the most adorable woman and the audience is gonna fall in love with her. Whatever she tackles, whatever she’s given, she goes in 10 out of 10, 100 percent.

“I really hope she does well. She is gonna have a wonderful time, and she will deliver.” Meanwhile, she could have a soap rival in terms of getting the trophy.

Emmerdale’s Lawrence Robb could go all the way and win Strictly 2026, his soap co-stars reckon. Katie Hill and Jeff Hordley are supporting the Mack Boyd actor, and reckon his personality alone could bag him the Strictly trophy.

Katie shared: “I think he was brilliant [last week]. I think everyone will love him. He’s such a lovable person. He’s so positive. He’ll give it his best go. I think he’s going to be incredible.”

Jeff added: “He’s a joy. I share a dressing room with him, and he’s just such a lovely man. We all love him and we all want him to do brilliantly, and I think he will because he’s a really dedicated human being.

“He’ll give it 110 per cent. He’s done musical theatre so he’ll know how to shake those hips.” When asked if they were backing Lawrence, Jeff quipped: “If it goes on a personality contest, Lawrence will win hands down. I don’t know about the dancing, but we’ll see.”

Strictly Come Dancing airs Saturdays and Sundays on BBC One and BBC iPlayer. * Follow Mirror Celebs and TV on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .

Hallmark films have mastered the art of escalating low-stakes situations into high-stakes emotional emergency plotlines. They have made a lucrative business out of absurdities.

The town’s ice sculpture competition is in danger of being canceled forever. How can the Christmas celebration in Colorado go forward without a nice spruce? The only way to really save the bakery is to have a life-size gingerbread house competition.

It’s a proven formula that leans into the ridiculousness of mundane situations but earns its audience every holiday season. Whether it’s watching the movies for comfort or to turn a viewing party into a drinking game, millions of people tune in to laugh or cry watching them.

The Hallmark situations can be predictable, comfortable and wholesome, which can come off as absurd for a film plotline. Their sincerity and humor come from the cast’s commitment to the mundane, said Ron Oliver, writer and director of many Hallmark films.

A scene from “The History of Concrete.”

(Magnolia Pictures)

“Funny is only funny if you don’t think it’s funny,” he said. “We know that’s ridiculous. But at the same time, if the actor commits to it, it makes it seem real, then the audience gets it.”

He likes to think they’re laughing along with the idiosyncratic elements of the movies, and as long as it is creating a communal atmosphere, Oliver is all for it.

“If there’s anything we need these days, it’s a sense that people belong somewhere,” he added.

The formula isn’t what makes a movie a Hallmark movie. The structure has existed since God wore shorts, said Oliver. The channel’s achievement has been its ability to turn the structure into a recognizable brand through its stories.

When filmmaker John Wilson was in between jobs after finishing his HBO show “How To With John Wilson” during the writers’ strike, he attended a seminar on how to write and sell a Hallmark film.

After seeing what makes the Hallmark brand recognizable, Wilson decided to adapt the style into his own genre of making a documentary about concrete titled “The History of Concrete,” hoping the structure would help him finance the film.

John Wilson in “The History of Concrete.”

(Magnolia Pictures)

“But it’s very loose and almost impossible to even identify at points,” he said.

Instead of mocking the genre, Wilson subverts the Hallmark elements into his style of documenting, which finds the filmmaker recording trivial life moments — a person sitting on a pole, for example, or someone ruining a perfectly good jar of peanut butter by dipping their fingers into it — alongside his contextualizing narration.

“I both embrace but betray certain rules,” he said.

The seminar told him to avoid mentioning Christianity in the context of Christmas, so he pivoted to a Buddhist community with an annual tradition of running around a school in New York. The formula prefers to stay away from trauma. Instead, he made the death of one of his subject’s fiancées one of the main plotlines of the film.

“The actual Hallmark of it all fits in a way because that’s the kind of living proof that this rhythmic cyclical way of storytelling is actually soothing and attractive to people over long periods of time, to be able to return to this thing that they can trust and understand,” he added.

A scene from “The History of Concrete.”

(Magnolia Pictures)

In Wilson’s film, the entrance point is concrete, but what begins to unravel is a romance story involving a boy who has a movie idea, needs money to make a movie and tries everything he can to sell it — a signature love trope for most Hallmark movies.

Throughout the film, Wilson goes from pitch meeting to pitch meeting trying to finance his art. In the process, Wilson meets other eccentric characters that share his passion of filmmaking but have their own interests, like clearing gum from a sidewalk, immortalizing a person’s tattoo after they’re dead, and music.

“I’m just finding different ways to court this industry that doesn’t seem ready for this relationship,” Wilson said. “I’m trying to find some consensual way into it, but I eventually just need to perform the romantic gesture of doing what feels right and what comes naturally to me.”

The love story is the kind of theme that sometimes it’s OK to lean into, even though he’s constantly battling whether he should explore it in his films, Wilson added.

A scene from “The History of Concrete.”

(Magnolia Pictures)

Oliver believes that battle is a product of the cynicism that exists in society. Pledging love and respecting someone or a relationship can make people feel so uncomfortable that leaning into these tropes of life can feel humorous, and that’s where the laughs from a Hallmark film come from.

“They’re realizing that they’re being emotional about somebody who can’t find the right Christmas sweater,” he said.

The people in “The History of Concrete” aren’t funny because Wilson makes them out to be ridiculous. He doesn’t emphasize their eccentricities or tell the audience what makes them funny. He simply lets them be themselves. He captures their personality through a curiosity lens.

The humor comes from their passions not seeming worthy of the level of seriousness with which they pursue them. These people love something so much that their devotion mirrors the kind of energy normally reserved for higher stakes.

“There’s no definition of normal that sticks,” Wilson said.

A Christmas celebration isn’t objectively a life-or-death situation, and neither is concrete. But when people care deeply about them, those seemingly mundane things can take on an emotional significance the audience understands.

“Even if it’s something absurd … [the casts] are also committed to the idea of making it real,” Oliver said.

Sept. 22, 2026 7:23 AM PT

WASHINGTON — Republican Sen. John Curtis of Utah is calling on the Senate Judiciary Committee to investigate whether Donald Trump Jr. used his proximity to the presidency for financial benefit, after his recent wedding party was partially bankrolled by a Russian oligarch.

In a letter sent Tuesday, Curtis called on the committee to subpoena Trump Jr. over his business dealings, relationships with foreign individuals and entities, gifts or other benefits he has received and any instances in which his relationship to President Trump, a Republican, “was invoked or understood to provide value.” Curtis called for the same scrutiny of Hunter Biden, the son of former President Joe Biden, a Democrat.

“The country should not have to accept one standard for the family of a Republican president and another for the family of a Democratic president,” Curtis wrote in the letter addressed to GOP Sen. Chuck Grassley of Iowa, chairman of the committee, and Sen. Dick Durbin of Illinois, the top Democrat on the committee.

The letter comes as a few Republicans have shown a growing willingness to criticize Trump after largely avoiding public breaks with the president during much of his second term. The unpopular war in Iran, high gas prices and mounting concerns about the GOP’s prospects in November’s midterm elections have brought increased scrutiny of the president from within his own party.

The Trumps say it was a generous gift from a dear friend

ProPublica first reported last week that Umar Kremlev, who has close ties to Russian President Vladimir Putin, helped pay to rent a private island and for a fireworks show when Trump Jr. and socialite Bettina Anderson were married in the Bahamas in May.

In a subsequent post on her Instagram page signed by the couple, Bettina Trump wrote that Kremlev, head of the International Boxing Association, was a “dear friend” who “very generously hosted two incredible nights of celebrations for us AFTER our wedding.”

The president, who did not attend his son’s wedding, defended Kremlev’s involvement but said the money would be paid back.

Curtis calls the funding ‘corruption’

Curtis, first elected to the Senate in 2024, vowed upon taking office not to shy away from disagreeing with Trump. He has publicly broken with the president several times since, including rejecting Trump’s calls to eliminate the Senate filibuster. In a July Wall Street Journal op-ed, Curtis wrote that “under no circumstance” would he support efforts to end or alter the filibuster, which requires 60 votes to advance most legislation in the 100-member chamber.

Curtis’ criticism involving Trump’s son goes beyond those policy disagreements. Curtis last Friday called the gift “corruption” and vowed to say more in the coming days.

“A Russian oligarch paid for a lavish wedding after-party for Donald Trump Jr., which to me just stinks. It’s corruption. I don’t like it,” Curtis said in a video posted on social media.

On Tuesday, Curtis wrote on social media that Republicans “nearly wore out the subpoena machine investigating Hunter Biden’s foreign relationships” and that they “should not unplug it now.”

Any congressional committee can launch an investigation at any time. In 2017, Grassley led a Senate Judiciary Committee investigation of the Trump campaign’s ties to Russia, including a meeting that Trump Jr. held with Russians in 2016. The panel has also conducted multiple investigations of Hunter Biden.

Clare Slattery, a spokesperson for the Senate Judiciary Committee, confirmed that the committee had received Curtis’ letter but indicated that a hearing before the end of the year would be difficult, citing the limited Senate schedule and the amount of time it takes to prepare for an investigative hearing. She did not say whether the committee will investigate.

Republicans investigated the Bidens

Grassley worked alongside House Republicans in 2023 and 2024 to investigate whether Hunter Biden used his father’s name and political position to benefit his business dealings with foreign interests. The Biden family dismissed the investigations as politically motivated and denied any wrongdoing.

The GOP effort culminated in a report accusing Joe Biden of participating in a conspiracy to use his public office to enrich his family. But the House never voted on articles of impeachment against him.

“‘Trust us’ was not enough then, and it is not enough now,” Curtis wrote.

Democrats have foreshadowed plans to investigate Trump and his family if they win control of Congress in November, with particular scrutiny on the family’s financial interests. Rep. Robert Garcia, the top Democrat on the House Oversight Committee, said in a statement that the revelations surrounding Trump Jr.’s wedding “may be the most serious allegation against you to date.”

Cappelletti and Jalonick write for the Associated Press.

After Moses Itauma and Conor Benn both experienced losses when skipping the British title route and heading straight for world title glory, Brown said he wants to go on the “journey”.

Chris Billam-Smith and Lawrence Okolie are two examples of those who have recently held the British cruiserweight title and gone on to win world honours.

Brown now holds the British and Commonwealth titles, and could look to European title-holder Viddal Riley next.

Riley, 29, last fought in April when he secured a unanimous points decision win over former world title challenger Mateusz Masternak.

When speaking to BBC Sport on Wednesday, the view of Old Trafford – the home of his beloved Manchester United – sat in the background.

Not since 1993, when Chris Eubank and Nigel Benn’s unification bout ended in a draw, has the stadium hosted a boxing match.

Brown said one day headlining at Old Trafford would mean more to him than belts.

Most importantly, Matchroom promoter Eddie Hearn sees the vision: “Pat Brown, world championship, Old Trafford. I see it.”

Brown still has a long way to go if he’s to be mentioned in the same breath as former world champion Hatton, but he’s used his latest opportunity to make his mark.

John Bishop Wisdom of the Crowd mades its debut over the weekend and some BBC viewers were left turning off the gameshow

BBC’s Wisdom of the Crowd has left fans divided after just one episode.

The new gameshow, hosted by comedian John Bishop, kicked off on Saturday (September 19) night and is inspired by a remarkable scientific discovery.

Over 100 years ago, a scientist called Francis Galton visited a farmers’ fair where a competition was being held to guess the weight of an ox. Over 800 people entered and the person with the best guess won the ox.

The scientist looked at all the guesses and what he saw blew his mind: The average guess of everyone put together was so accurate that it was even better than the best individual guess.

He called his discovery The Wisdom of the Crowd and the theory transformed the worlds of politics, economics and philosophy and now this science is about to be put to its use as a new big-money Saturday night game show.

In each show, individual contestants get three chances to beat the Wisdom of the Crowd. The whole studio is asked a question and if the contestant’s guess is better than the average guess of the Crowd then they win £10,000.

If the Crowd win, then the contestant gets another chance. If the contestant doesn’t manage to beat the Crowd on their third attempt, they’re out of the game and leave with nothing.

The £10,000 is then put in the CROWD FUND and, at the end of the show, everything left in that CROWD FUND will be shared equally by the Crowd which gives the contestants in a dilemma.

Before they’re knocked out, they can give in, forfeit the £10,000 and take a seat in the Crowd in the hope of taking a smaller share of the winnings at the end of the show.

The first episode left viewers watching at home divided with some switching off in minutes. Taking to X, formerly known as Twitter, one fan penned: “#WisdomOfTheCrowd I gave up after 20 minutes generally I thought it was boring @BBCOne.”

Another added: “This show’s all over the place, I completely lost the thread of what was happening #WisdomOfTheCrowd.” A third person said: “lasted 3 minutes and changed channels. Pish with a capital P #wisdomofthecrowd.”

However, some viewers enjoyed the programme with someone else writing: “Think #WisdomOfTheCrowd is great. Biggest compliment that it feels like an established show already. Fun & playable.” Another agreed: “I will say that #WisdomOfTheCrowd feels like its been on for years. Loving it.”

Speaking to the BBC about the new show, John previously said: “I like the idea of doing a Saturday night show that all the family can watch. Since I started in television, the landscape has changed quite a bit but one of the things that remains constant is that if you’re ever going to get the family together, it’s on a Saturday night and the format of Wisdom attracted me as an opportunity to do that.

“A lot of the questions took me by surprise because you’re always going to get random answers. If you say to people how many mobile phones does the average person have, you’re always going to get someone say something daft at either end.

“But what struck me was when you’ve got a group of people together how unified the answers were. I think that says that as a nation, we’ve got more in common with each other than we think. We all think in a certain parameter.”

Wisdom Of The Crowd continurs on Saturday, September 26 at 8.45pm on BBC iPlayer and BBC One