last year

Just days after the fatal shooting of a Minnesota woman by a federal immigration agent, the Trump administration’s immigration policy was a top focus of California gubernatorial candidates at two forums Saturday in Southern California.

The death of Renee Nicole Good, a 37-year-old mother of three, inflamed the nation’s deep political divide and led to widespread protests in Los Angeles and across the country about President Trump’s combative immigration policies.

Former Assembly majority leader Ian Calderon, speaking at a labor forum featuring Democratic candidates in Los Angeles, said that federal agents aren’t above the law.

“You come into our state and you break one of our … laws, you’re going to be criminally charged. That’s it,” he said.

Federal officials said the deadly shooting was an act of self defense.

Rep. Eric Swalwell (D-Dublin) noted that the president of the labor union that organized the candidate forum, David Huerta, was injured and arrested during the Trump administration’s raids on undocumented people in Los Angeles in June.

“Ms. Good should be alive today. David, that could have been you, the way they’re conducting themselves,” he said to Huerta, who was moderating the event. “You’re now lucky if all they did was drag you by the hair or throw you in an unmarked van, or deport a 6-year-old U.S. citizen battling stage four cancer.”

Roughly 40 miles south at a separate candidate forum featuring the top two Republicans in the race, GOP candidate and Riverside County Sheriff Chad Bianco said politicians who support so-called “sanctuary state” policies should be voted out of office.

“I wish it was the 1960s, 70s, and 80s — we’d take them behind the shed and beat … them,” he said.

“We’re in a church!” an audience member was heard yelling during a livestream of the event.

California Democratic leaders in 2017 passed a landmark “sanctuary state” law that limits cooperation between local and federal immigration officers, a policy that was a reaction to the first Trump administration’s efforts to ramp up deportations.

After the campaign to replace termed-out Gov. Gavin Newsom was largely obscured last year by natural disasters, immigration raids and the special election to redraw California’s congressional districts, the 2026 governor’s race is now in the spotlight.

Eight Democratic candidates appeared at a forum sponsored by SEIU United Service Workers West, which represents more than 45,000 janitors, security officers, airport service employees and other workers in California.

Many of the union’s members are immigrants, and a number of the candidates referred to their familial roots as they addressed the audience of about 250 people — with an additional 8,000 watching online.

“As the son of immigrants, thank you for everything you did for your children, your grandchildren, to give them that chance,” former U.S. Health and Human Services Secretary Xavier Becerra told two airport workers who asked the candidates questions about cuts to state services for immigrants.

“I will make sure you have the right to access the doctor you and your family need. I will make sure you have a right to have a home that will keep you safe and off the streets. I will make sure that I treat you the way I would treat my parents, because you worked hard the way they did.”

The Democrats broadly agreed on most of the pressing issues facing California, so they tried to differentiate themselves based on their records and their priorities.

Candidates for California’s next governor including Tony Thurmond, speaking at left, participate in the 2026 Gubernatorial Candidate Forum in Los Angeles on Saturday.

(Christina House/Los Angeles Times)

“I firmly believe that your campaign says something about who you will be when you lead. The fact that I don’t take corporate contributions is a point of pride for me, but it’s also my chance to tell you something about who I am and who I will fight for,” said former Rep. Katie Porter.

“Look, we’ve had celebrity governors. We’ve had governors who are kids of other governors, and we’ve had governors who look hot with slicked back hair and barn jackets. You know what? We haven’t had a governor in a skirt. I think it’s just about … time.”

Former Los Angeles Mayor Antonio Villaraigosa, seated next to Porter, deadpanned, “If you vote for me, I’ll wear a skirt, I promise.”

Villaraigosa frequently spoke about his roots in the labor movement, including a farmworker boycott when he was 15 years old.

“I’ve been fighting for immigrants my entire life. I have fought for you the entire time I’ve been in public life,” he said. “I know [you] are doing the work, working in our buildings, working at the airport, working at the stadiums. I’ve talked to you. I’ve worked with you. I’ve fought for you my entire life. I’m not a Johnny-come-lately to this unit.”

The candidates were not asked about a proposed ballot measure to tax the assets of billionaires that one of SEIU-USWW’s sister unions is trying to put on the November ballot. The controversial proposal has divided Democrats and prompted some of the state’s wealthiest residents to move out of the state, or at least threaten to do so.

But several of the candidates talked about closing tax loopholes and making sure the wealthy and businesses pay their fair share of taxes.

“We’re going to hold corporations and billionaires accountable. We’re going to be sure that we are returning power to the workers who know how to grow this economy,” said former state Controller Betty Yee.

State Supt. of Public Instruction Tony Thurmond highlighted his proposal to tax billionaires to fund affordable housing, healthcare and education.

“And then I’m going to give you, everyone in this room and California working people, a tax credit so you have more money in your pocket, a couple hundred dollars a month, every month, for the rising cost of gas and groceries,” he said.

Billionaire hedge fund founder Tom Steyer said closing corporate tax loopholes would result in $15 billion to $20 billion in new annual state revenue that he would spend on education and healthcare programs.

“When we look at where we’re going, it’s not about caring, because everyone on this stage cares. It’s not about values. It’s about results,” he said, pointing to his backing of successful ballot measures to close a corporate tax loophole, raise tobacco taxes, and stop oil-industry-backed efforts to roll back environmental law.

“I have beaten these special interests, every single time with the SEIU,” he said. “We’ve done it. We’ve been winning. We need to keep fighting together. We need to keep winning together.”

Republican gubernatorial candidates were not invited to the labor gathering. But two of the state’s top GOP contenders were among the five candidates who appeared Saturday afternoon at a “Patriots for Freedom” gubernatorial forum at Calvary Chapel WestGrove in Orange County. Immigration, federal enforcement and homelessness were also among the hot topics there.

Days after Bianco met with unhoused people on Skid Row in downtown Los Angeles and Newsom touted a 9% decrease in the number of unsheltered homeless people during his final state of the state address, Bianco said that he would make it a “crime” for anyone to utter the word “homeless,” arguing that those on the street are suffering from drug- and alcohol-induced psychosis, not a lack of shelter.

Former Fox News commentator Steve Hilton criticized the “attacks on our law enforcement offices, on our ICE agents who are doing their job protecting our country.”

“We are sick of it,” he said at the Garden Grove church while he also questioned the state’s decision to spend billions of dollars for healthcare for low-income undocumented individuals. State Democrats voted last year to halt the enrollment of additional undocumented adults in the state’s Medi-Cal program starting this year.

Kanye West, the rapper now known as Ye, is suing his former project manager and his lawyers, alleging they wrongfully put a $1.8 million lien on his former Malibu mansion.

The suit, filed in Los Angeles Superior Court on Thursday, alleges that Tony Saxon, Ye’s former project manager on the property, and the law firm West Coast Trial Lawyers, “wrongfully” placed an “invalid” lien on the property “while simultaneously launching an aggressive publicity campaign designed to pressure Ye, chill prospective transactions, and extract payment on disputed claims already being litigated in court.”

Saxon’s lawyers were not immediately available for comment.

Saxon, who was also employed as West’s security guard and caretaker at the Malibu property, sued the controversial rapper in Los Angeles Superior Court in Sept. 2023, claiming a slate of labor violations, nonpayment of services and disability discrimination.

In Jan. 2024, Saxon placed the $1.8 million “mechanics” lien on the property in order to secure compensation for his work as project manager and construction-related services, according to court filings.

A mechanics lien, also referred to as a contractor’s lien, is usually filed by an unpaid contractor, laborer or supplier, as a hold against the property. If the party remains unpaid, it can prompt a foreclosure sale of the property to secure compensation.

Ye has denied Saxon’s allegations. In a Nov. 2023 response to the complaint, Ye disputed that Saxon “has sustained any injury, damage, or loss by reason of any act, omission or breach by Defendant.”

According to Ye’s recent complaint, he listed the property for sale in December 2023. A month later, he alleged, Saxon and his attorneys recorded the lien and “immediately” issued statements to the media.

The suit cites a statement Saxon’s attorney, Ronald Zambrano, made to Business Insider: “If someone wants to buy Kanye’s Malibu home, they will have to deal with us first. That sale cannot happen without Tony getting paid first.”

“These statements were designed to create public pressure and to interfere with the Plaintiffs’ ability to sell and finance the Property by falsely conveying that Defendants held an adjudicated, enforceable right to block a transaction and divert sale proceeds,” the complaint states.

The filing contends that last year the Los Angeles Superior Court granted Ye’s motion to release the lien from the bond and awarded him attorneys fees.

The Malibu property’s short existence has a long history of legal and financial drama.

In 2021, West purchased the beachfront concrete mansion — designed by Pritzker Prize-winning Japanese architect Tadao Ando — for $57.3 million. He then gutted the property on Malibu Road, reportedly saying “This is going to be my bomb shelter. This is going to be my Batcave.”

Three years later, the hip hop star sold the unfinished mansion (he had removed the windows, doors, electricity and plumbing and broke down walls), at a significant loss to developer Steven Belmont’s Belwood Investments for $21 million.

Belmont, who spent more money to renovate the home, had spent three years in prison after being charged with attempted murder for a pitchfork attack in Napa County. He promised to restore the architectural jewel to its former glory.

However, the property has been mired in various legal and financial entanglements including foreclosure threats.

Last August, the notorious mansion was once again put on the market with a $4.1 million price cut after a previous offer reportedly fell through, according to Realtor.com.

The legal battle surrounding Ye’s former Malibu pad is the latest in a series of public and legal dramas that the music impresario has been involved in recent years.

In 2022, the mercurial superstar lost numerous lucrative partnerships with companies like Adidas and the Gap, following a raft of antisemitic statements, including declaring himself a Nazi on X (which he later recanted).

Two years later, Ye abruptly shut down Donda Academy, the troubled private school he founded in 2020.

Ye, the school and some of his affiliated businesses faced faced multiple lawsuits from former employees and educators, alleging they were victims of wrongful termination, a hostile work environment and other claims.

In court filings, Ye has denied each of the claims made against him by former employees and educators at Donda.

Several of those suits have been settled.

HARRISBURG, Pa. — Pennsylvania Gov. Josh Shapiro is running for a second term in the pivotal battleground state after a first term that put him on the Democratic Party’s radar as a potential presidential contender in 2028.

He made the formal announcement Thursday at an event at a carpenters’ union hall in Pittsburgh and, later, at a similar event in Philadelphia. Shapiro’s announcement demonstrated a unified party behind him — including introductions by the state party chair, labor leaders and top local Democratic officials — as he ticked off his accomplishments during a nearly 30-minute speech.

Shapiro warned that his opponents promise “darkness and division and extremism,” and — without mentioning President Trump by name — he slammed the “chaos and toxicity” emanating from Washington, D.C., that he said threatened livelihoods, rights and freedoms.

“Every step of the way, I’ve stood up for my fellow Pennsylvanians, sometimes in a court of law and other times simply refusing to back down, refusing to cast certain Pennsylvanians aside and always by speaking truth to power,” Shapiro said.

He added, “I will not let anyone mess with Pennsylvania and I will always have your backs.”

Although Shapiro hasn’t disclosed any ambitions for higher office, his reelection effort will be closely watched as another test of whether he’s White House material.

Ever since he won the governor’s office in a near-landslide victory in 2022, Shapiro has been mentioned alongside Democratic contemporaries like California Gov. Gavin Newsom, Illinois Gov. JB Pritzker, Maryland Gov. Wes Moore and others as someone who could lead a national ticket.

Shapiro, 52, has already made rounds outside Pennsylvania. Last year, he campaigned for Democrats running for governor in New Jersey and Virginia, and he’s a frequent guest on Sunday talk shows that can shape the country’s political conversation.

He was also considered as a potential running mate for Kamala Harris in 2024. She chose Minnesota Gov. Tim Walz instead.

A pivotal first term as governor

Shapiro’s first term repeatedly put him in the spotlight.

He was governor when Pennsylvania was the site of the first attempted assassination of Trump; the capture of Luigi Mangione in the killing of United Healthcare Chief Executive Brian Thompson; and the murder of three police officers in the state’s deadliest day for law enforcement since 2009.

Last year, an arsonist tried to kill Shapiro by setting the governor’s official residence on fire in the middle of the night. Shapiro had to flee with his wife, children and members of his extended family, and the attack made him a sought-out voice on the nation’s recent spate of political violence.

As Shapiro settled into the governor’s office, he shed his buttoned-down public demeanor and became more plain-spoken.

He pushed to quickly reopen a collapsed section of Interstate 95 in Philadelphia, debuting his new and profane governing slogan — “get s— done” — at a ceremony for the completed project.

He crossed the partisan divide over school choice to support a Republican-backed voucher program, causing friction with Democratic lawmakers and allies in the state.

Shapiro regularly plays up the need for bipartisanship in a state with a politically divided Legislature, and positions himself as a moderate on energy issues in a state that produces the most natural gas after Texas.

He’s rubbed elbows with corporate executives who are interested in Pennsylvania as a data center destination and thrust Pennsylvania into competition for billions of dollars being spent on energy, manufacturing and artificial intelligence.

A repeat winner in competitive territory

Shapiro has enjoyed robust public approval ratings and carries a reputation as a disciplined messenger and powerhouse fundraiser. For 2026, Pennsylvania’s Republican Party endorsed Stacy Garrity, the twice-elected state treasurer, to challenge Shapiro.

Garrity has campaigned around Pennsylvania and spoken at numerous Trump rallies in the battleground state, but she is untested as a fundraiser and will have to contend with her relatively low profile as compared with Shapiro.

Shapiro, meanwhile, keeps a busy public schedule and has gone out of his way to appear at high-profile, nonpolitical events like football games, a NASCAR race and onstage at a Roots concert in Philadelphia.

He is a regular on TV political shows, podcasts and local sports radio shows, and became a leading pro-Israel voice among Democrats and Jewish politicians amid the Israel-Hamas war, confronting divisions within the Democratic Party over the war.

He has tempered it with calls for more aid for Gaza’s residents and criticism of Prime Minister Benjamin Netanyahu’s handling of the war, but some activists argued against him being the party’s nominee for vice president in 2024.

Harris, in her recent book, wrote that she passed on Shapiro after determining that he wouldn’t be a good fit for the role.

Shapiro, she wrote, “mused that he would want to be in the room for every decision,” and she “had a nagging concern that he would be unable to settle for a role as number two and that it would wear on our partnership.” Shapiro disputed the characterization.

An audition on the 2026 campaign trail

In a September appearance on NBC News’ “Meet the Press,” the host, Kristen Welker, asked him whether he’d commit to serving a full second term as governor and whether he’d rule out running for president in 2028.

“I’m focused on doing my work here,” he said, sidestepping the questions.

His supposed White House aspirations — which he’s never actually admitted to in public — are also mentioned frequently by Garrity.

“We need somebody that is more interested in Pennsylvania and not on Pennsylvania Avenue,” Garrity said recently on a radio show in Philadelphia. On Thursday, the Republican Governors Assocn. accused Shapiro of being “more focused on his political ambitions” than leading Pennsylvania.

For his part, Shapiro criticizes Garrity as too eager to get Trump’s endorsement to be an effective advocate for Pennsylvania.

In any case, the campaign trail could afford Shapiro an opportunity to audition for a White House run.

For one thing, Shapiro has been unafraid to criticize Trump, even in a swing state won by Trump in 2024. As governor, Shapiro has joined or filed more than a dozen lawsuits against Trump’s administration, primarily for holding up funding to states.

He has lambasted Trump’s tariffs as “reckless” and “dangerous,” Trump’s threats to revoke TV broadcast licenses as an “attempt to stifle dissent” and Trump’s equivocation on political violence as failing the “leadership test” and “making everyone less safe.”

Many of Shapiro’s would-be competitors in a Democratic primary won’t have to run for office before then.

Newsom is term-limited, for instance. Others — like ex-Transportation Secretary Pete Buttigieg — aren’t in public office. A couple of other governors in the 2028 conversation — Moore and Pritzker — are running for reelection this year.

Levy writes for the Associated Press.

WASHINGTON — In a remarkable rebuke of Republican leadership, the House passed legislation Thursday, in a 230-196 vote, that would extend expired healthcare subsidies for those who get coverage through the Affordable Care Act as renegade GOP lawmakers joined essentially all Democrats in voting for the measure.

Forcing the issue to a vote came about after a handful of Republicans signed on to a so-called “discharge petition” to unlock debate, bypassing objections from House Speaker Mike Johnson. The bill now goes to the Senate, where pressure is building for a similar bipartisan compromise.

Together, the rare political coalitions are rushing to resolve the standoff over the enhanced tax credits that were put in place during the COVID-19 crisis but expired late last year after no agreement was reached during the government shutdown.

“The affordability crisis is not a ‘hoax,’ it is very real — despite what Donald Trump has had to say,” said House Democratic Leader Hakeem Jeffries, invoking the president’s remarks.

“Democrats made clear before the government was shut down that we were in this affordability fight until we win this affordability fight,” he said. “Today we have an opportunity to take a meaningful step forward.”

Ahead of voting, the nonpartisan Congressional Budget Office estimated that the bill, which would provide a three-year extension of the subsidy, would increase the nation’s deficit by about $80.6 billion over the decade. It would increase the number of people with health insurance by 100,000 this year, 3 million in 2027, 4 million in 2028 and 1.1 million in 2029, the CBO said.

Growing support for extending ACA subsidies

Johnson (R-La.) worked for months to prevent this situation. His office argued Thursday that federal healthcare funding from the COVID-19 era is ripe with fraud, pointing to an investigation in Minnesota, and urged a no vote.

On the floor, Republicans argued that the subsidies as structured have contributed to fraud and that the chamber should be focused on lowering health insurance costs for the broader population.

“Only 7% of the population relies on Obamacare marketplace plans. This chamber should be about helping 100% of Americans,” said Rep. Jason Smith (R-Mo.), chair of the House Ways and Means Committee.

While the momentum from the vote shows the growing support for the tax breaks that have helped some 22 million Americans have access to health insurance, the Senate would be under no requirement to take up the House bill.

Instead, a small group of senators from both parties has been working on an alternative plan that could find support in both chambers and become law. Senate Majority Leader John Thune (R-S.D.) said that for any plan to find support in his chamber, it will need to have income limits to ensure that the financial aid is focused on those who most need the help. He and other Republicans also want to ensure that beneficiaries would have to at least pay a nominal amount for their coverage.

Finally, Thune said there would need to be some expansion of health savings accounts, which allow people to save money and withdraw it tax-free as long as the money is spent on qualified medical expenses.

Sen. Jeanne Shaheen (D-N.H.), who is part of the negotiations on reforms and subsidies for the Affordable Care Act, said there is agreement on addressing fraud in healthcare.

“We recognize that we have millions of people in this country who are going to lose — are losing, have lost — their health insurance because they can’t afford the premiums,” Shaheen said. “And so we’re trying to see if we can’t get to some agreement that’s going to help, and the sooner we can do that, the better.”

Trump has pushed Republicans to send money directly to Americans for health savings accounts so they can bypass the federal government and handle insurance on their own. Democrats largely reject this idea as insufficient for covering the high costs of healthcare.

Republicans bypass their leaders

The action by Republicans to force a vote has been an affront to Johnson and his leadership team, who essentially lost control of what comes to the House floor as the Republican lawmakers joined Democrats for the workaround.

After last year’s government shutdown failed to resolve the issue, Johnson had discussed allowing more politically vulnerable GOP lawmakers a chance to vote on another healthcare bill that would temporarily extend the subsidies while also adding changes.

But after days of discussions, Johnson and the GOP leadership sided with the more conservative wing, which has assailed the subsidies as propping up ACA, which they consider a failed government program. He offered a modest proposal of healthcare reforms that was approved, but has stalled.

It was then that rank-and-file lawmakers took matters into their own hands, as many of their constituents faced soaring health insurance premiums beginning this month.

Republican Reps. Brian Fitzpatrick, Robert Bresnahan and Ryan Mackenzie, all from Pennsylvania, and Mike Lawler of New York, signed the Democrats’ petition, pushing it to the magic number of 218 needed to force a House vote. All four represent key swing districts whose races will help determine which party takes charge of the House next year.

Trump encourages GOP to take on healthcare issue

What started as a long shot effort by Democrats to offer a discharge petition has become a political vindication of the Democrats’ government shutdown strategy as they fought to preserve the healthcare funds.

Democrats are making clear that the higher health insurance costs many Americans are facing will be a political centerpiece of their efforts to retake the majority in the House and Senate in the fall elections.

Trump, during a lengthy speech this week to House GOP lawmakers, encouraged his party to take control of the healthcare debate — an issue that has stymied Republicans since he tried, and failed, to repeal Obamacare during his first term.

Mascaro and Freking write for the Associated Press. AP writer Matt Brown contributed to this report.

The Directors Guild of America announced its nominations Thursday for outstanding directorial achievement in theatrical feature film, offering one of the clearest snapshots yet of the Oscar race for director as guild voters begin to weigh in.

Nominated for the DGA’s top film award are Paul Thomas Anderson for “One Battle After Another,” Ryan Coogler for “Sinners,” Guillermo del Toro for “Frankenstein,” Josh Safdie for “Marty Supreme” and Chloé Zhao for “Hamnet.”

Winners will be announced at the 78th annual DGA Awards on Feb. 7 at the Beverly Hilton.

The DGA award remains one of the strongest predictors of Oscar success. Twenty of the last 23 recipients of the guild’s top directing prize have gone on to win the Academy Award for best director. Last year’s DGA winner, “Anora” director Sean Baker, went on to repeat at the Oscars.

Several of this year’s nominees are familiar figures to the guild. Anderson’s nod for “One Battle After Another” marks his third time being recognized by the DGA in the top film category, following his earlier nominations for “There Will Be Blood” and “Licorice Pizza.” Zhao, who won both the DGA Award and the Oscar for “Nomadland,” receives her second nomination for the wrenching period drama “Hamnet,” making her one of a small group of women — including Jane Campion, Kathryn Bigelow and Greta Gerwig — to be recognized more than once by the guild.

Del Toro, who won the DGA Award for “The Shape of Water,” earns his second career nomination in the category for his long-gestating “Frankenstein” adaptation, while Safdie receives his first DGA nomination for theatrical feature film for his gonzo sports drama “Marty Supreme.”

The DGA nominations often track closely with the Oscars in part because of overlapping membership: most directors in the Academy are also members of the guild. While the groups vote independently, that shared base has made the DGA one of the most reliable bellwethers in the Oscar directing race.

This year’s DGA nominations overlap significantly with the Golden Globe nominations for directing, which also included Anderson, Coogler, del Toro and Zhao. The Globes additionally recognized Jafar Panahi for “It Was Just an Accident” and Joachim Trier for “Sentimental Value,” two filmmakers who didn’t appear in the DGA lineup. The differences highlight the contrasting makeup of the Globes’ voting body of international critics and the DGA’s more industry-focused membership.

The guild also announced nominees for the Michael Apted Award for outstanding directorial achievement in a first-time theatrical feature film, a category that has increasingly served as a spotlight for emerging talent. This year’s nominees are Hasan Hadi for “The President’s Cake,” Harry Lighton for “Pillion,” Charlie Polinger for “The Plague,” Alex Russell for “Lurker” and Eva Victor for “Sorry, Baby.” Last year’s Apted Award winner, RaMell Ross, went on to earn a best picture Oscar nomination for “Nickel Boys.”

Television, documentary and other DGA nominations were announced earlier this week, recognizing directing work across drama, comedy, limited series and nonfiction programming. In dramatic series, nominees included “Severance,” “Andor,” “The Diplomat” and HBO Max’s “The Pitt,” while comedy series nominees included “The Bear,” “Hacks,” “The White Lotus” and Apple TV+’s “The Studio.”

During Oscar season, The Envelope also likes to celebrate actors in roles that might not otherwise garner awards attention. You can sense a whole life behind these portrayals; they draw you in and make you want to know more.

April Grace as Sister Rochelle, ‘One Battle After Another’

Amid the controlled chaos that is Paul Thomas Anderson’s “One Battle After Another,” young Willa (Chase Infiniti) is brought to a nunnery that used to be part of her parents’ revolutionary group French 75. What Willa doesn’t know is that her mother (Teyana Taylor) betrayed the group in order to save herself from prison, and is still alive.

Sister Rochelle, played by April Grace with seething intensity, sets her straight. “Your mother was a rat, and that makes you a baby rat,” she spits, and Willa’s world crumbles further.

Grace will be familiar to eagle-eyed PTA fans; in “Magnolia,” she played Gwenovier, the reporter who calmly destroyed Tom Cruise’s character. When the offer of Sister Rochelle came, “I didn’t need to look at the role, I trust Paul implicitly,” she says. “He is there for the actor, whatever you need.”

Grace has worked in film and television for over 30 years, “but I started out in theater, so character development is really important to me.” She created a backstory for Sister Rochelle, building up the reasons she was so hostile to Willa. “Sister Rochelle is all about community, and you don’t betray your community.”

Of Infiniti, Grace notes, “She was just lovely, and she made my job really easy, just looking at her” trying to act tough, “like you don’t even know you’re a baby.”

Jacobi and Noah Jupe as Hamnet and Hamlet, ‘Hamnet’

(Dania Maxwell / For The Times)

Jacobi Jupe plays the title role in “Hamnet,” as the ill-fated son of William Shakespeare (Paul Mescal) and Agnes (Jessie Buckley). He was thrown into the deep end on his first day, when his father leaves the family for London. “I didn’t really know Paul, and I had to get so intimate and so upset but hold it together, and I was a bit nervous,” Jacobi recalls. “But Paul is such a lovely person, and I instantly trusted him, so it was really easy to do that scene.”

His big brother Noah adds, “And it’s what spurs on your entire character, the courage from that scene, so it’s a big thing to start with.”

It gets harder from there. Jacobi depended on his mother (actor Katy Cavanagh), Buckley and director and co-writer Chloé Zhao — “they were my three mums on that shoot” — to help him process his own death scene. “It was shocking, really, because I spent so long being Hamnet and feeling his emotions, and having to let him go was really hard.”

Noah was hired to play the actor playing Hamlet just before the part was to be shot. “That is an opportunity you cannot turn down,” he says, even though he only had a week to prepare the most famous soliloquies in the Western canon. “I learned the sword fight in eight hours.”

During rehearsals onstage, there was no Globe audience before him except for Buckley. “I just found myself performing to her, which then made all of the scenes I was doing like a conversation between me and Jessie.”

Zhao showed Noah his brother’s scenes so that his Hamlet would carry echoes of the lost child. “It was like watching yourself without all of the self-consciousness or the criticism,” he says of seeing Jacobi’s portrayal, “and just truly marveling at a performance by someone that is literally part of your heart.”

Hadley Robinson as Belle, ‘The History of Sound’

With one glance at Hadley Robinson’s Belle, you can feel the weight of the baby in her arms, the sorrow in her eyes, and the exhaustion in her soul. The film, directed by Oliver Hermanus and written by Ben Shattuck, centers on Lionel (Paul Mescal) and David (Josh O’Connor), secret lovers who travel the American countryside to record folk music after World War I. After they part, Lionel writes David for years without hearing back, and finally travels to his home to see him again.

Unknown to him, David had married Belle, and died several years earlier. Lionel instead meets Belle, now remarried and with a baby.

In a powerful scene, Belle tells Lionel her own love story — meeting David, falling for him, losing him — fully aware that she’s talking about her great love to David’s great love. But her loneliness is so thorough, she’s almost grateful to have someone to share David with. Lionel barely speaks as he absorbs the information.

“It was absolutely a monologue,” says Robinson. “But I found that to be so much easier to prepare, because there was so much in there that the character couldn’t help but be specific, because I was given an exact template.” She journaled as Belle for a week before her one day on set. “I’ve never had a role that was that devastating before.”

Though Lionel says nothing, Robinson praises Mescal as a scene partner. “I have found listening to be extremely difficult, and the way Paul listens is like a superpower. He was so incredibly present in that room.” He stayed on set all day, even when he was offscreen, “and rehearsed with me as well. He really showed up in a way that not all actors do.”

The Galaxy could be without Riqui Puig for a second straight season, with the team confirming Friday that the midfielder will undergo a second surgery Saturday to repair the torn ACL that caused him to miss all of 2025.

Puig, 26, tore the ligament in his left knee in the 2024 MLS Western Conference final with Seattle. A week later the Galaxy won its sixth league title. But playing without Puig in 2025, the team stumbled through the worst season in franchise history, winning just seven games.

Puig, a product of Barcelona’s famed La Masia youth academy, returned to training with the Galaxy in the fall. But the Galaxy said he had a setback in his recovery after returning to Spain for the holidays. After consulting with the club’s medical staff and outside specialists, the Galaxy and Puig agreed to a second surgery.

The timeline for Puig’s return will not be determined until after the operation, but losing him for any amount of time will be another significant blow for the team since last year’s performance proved Puig is the Galaxy’s most irreplacable player.

Puig had career highs for goals (13) and assists (15) in 2024, when he also led the league in touches and passes, helping the Galaxy set an MLS record with four players scoring 10 or more times. Without him, the team’s possession-based attack suffered, scoring 23 fewer goals and seeing just one player, winger Joseph Paintsil, reach double figures in scoring.

The Galaxy did not place Puig on the season-ending injury list last season, hoping he would return at some point. If doctors determine he is unlikely to play this season, it’s unlikely the team would make the same mistake since shelving Puig would open up a designated-play spot. Puig, who made $5.78 million last season, the eight-largest contract in MLS, is signed through 2027.

Before the Puig news the Galaxy had enjoyed a productive offseason, acquiring Jakob Glesnes, a former MLS defender of the year, in a trade with the Philadelphia Union and signing defender Justin Haak to a free-agent contract.

Last year, women made up just 13% of directors working on the top 250 films.

That level represents a 3-percentage-point decline from 2024, when women led 16% of the top-grossing movies, according to a San Diego State University study released Thursday.

The troubling tabulation comes as Hollywood seeks to turn the page from a gut-punching year that included the Los Angeles wildfires, ongoing declines of local film and television production and the deaths of beloved filmmakers.

“Hamnet,” directed by Chloé Zhao; “Freakier Friday,” helmed by Nisha Ganatra; and “I Know What You Did Last Summer,” led by Jennifer Kaytin Robinson, were among the few notable exceptions.

The university’s Center for the Study of Women in Television and Film and its founder Martha M. Lauzen have tracked employment of women in behind-the-scenes decision-making jobs for nearly three decades. Roles included in the study are: directors, writers, executive producers, producers, editors and cinematographers. Data from more than 3,500 credits on top-grossing films were used to compile the report.

Lauzen launched her effort in 1998, assuming that pointing out the imbalance would cause doors to swing open for women in Hollywood. But despite countless calls for action, and a high-profile but short-lived federal investigation, the picture has stayed largely the same.

“The numbers are remarkably stable,” Lauzen said in an interview. “They’ve been remarkably stable for more than a quarter of a century.”

Overall, women made up 23% of all directors, writers, producers, executive producers, editors and directors of photography on the 250 top-grossing films in 2025, according to Lauzen’s report: “The Celluloid Ceiling: Employment of Behind-the-Scenes Women on Top Grossing U.S. Films.” In 2024 and 2020, the percentage was the same.

Her study found that, in 2025, women constituted 28% of film producers and 23% of the executive producers.

Among the ranks of screenwriters, only 20% were women.

Women also made up 20% of editors, matching the level in 1998, when Lauzen began her study.

“There’s been absolutely no change,” she said.

Among cinematographers, women occupied just 7% of those influential roles on the 250 top-grossing films.

The cinematographer serves as the director of photography, greatly shaping the look and the feel of a film. Last year marked a stark decline from 2024, when women constituted 12% of cinematographers.

There has been movement in the number of female directors since 1998. That year, only 7% of the top-grossing films were directed by women. Last year’s total represented a 6 percentage-point improvement.

Lauzen’s most recent report comes a decade after the U.S. Equal Employment Opportunity Commission began looking at alleged gender discrimination in Hollywood. But the 2015 review, which was sparked by a request from the American Civil Liberties Union, failed to get traction. A little more than a year later, President Obama left office and President Trump ushered in a sea change in attitudes.

Hollywood employment also has become more unstable in recent years because of a pullback in production by the major studios during the COVID-19 pandemic, followed by the 2023 writers’ and actors’ strikes.

Despite years of industry leaders vocalizing a need for greater diversity in executive suites and decision-making roles, and the chronic inequity remaining a punchline for award show jokes, the climate has changed.

Trump returned to office less than a year ago and immediately called for the end of diversity and inclusion programs.

Trump’s Federal Communications Commission chair, Brendan Carr, abolished diversity programs within his agency and launched investigations into Walt Disney Co.’s and Comcast’s internal hiring programs. Carr wants to end programs he sees as disadvantaging white people.

Paramount, led by tech scion David Ellison, agreed to dismantle all diversity and inclusion programs at the company, which includes CBS and Comedy Central, as a condition for winning FCC approval for the Ellison family’s takeover of Paramount. That merger was finalized in August.

Lauzen said she’s unsure what her future studies may find.

Corporate consolidation has added to the uncertainty.

Warner Bros., a signature Hollywood studio for more than a century, is on the auction block.

Last month, Warner Bros. Discovery’s board agreed to sell the film and television studios, HBO and HBO Max to Netflix in an $82.7-billion deal. However, the Ellisons’ Paramount is contesting Warner’s choice and has launched a hostile takeover bid, asking investors to tender their Warner shares to Paramount.

“Consolidation now hangs over the film industry like a guillotine, with job losses likely and the future of the theatrical movie-going experience in question,” Lauzen wrote in her report.

“Add the current political war on diversity, and women in the film industry now find themselves in uncharted territory,” Lauzen wrote. “Hollywood has never needed permission to exclude or diminish women, but the industry now has it.”

As “Avatar: Fire and Ash” headed to the big screen this month, theater owners held their breath.

In an uneven year that saw two billion-dollar hits and a viral “chicken jockey” craze, but also a disastrous first quarter and a nearly 30-year-low at the October box office, the end of December was the last chance for theaters to make up ground.

But even James Cameron and the Na’vi — the latest “Avatar” film has already grossed more than $472 million globally — couldn’t save 2025 from a disappointing conclusion.

Box-office revenue in the U.S. and Canada is expected to total $8.87 billion for the year, up just 1.5% from last year’s disappointing $8.74 billion tally, according to movie data firm Comscore. More troubling is that 2025’s domestic box-office haul is projected to be down more than 20% compared with 2019, before the pandemic changed audiences’ movie-going habits and turbocharged streaming in ways that the exhibition industry is still grappling with.

The problem: Fewer people are buying movie tickets. Theatrical attendance is running below last year’s levels, with an estimated 760 million tickets sold as of Dec. 25, according to media and entertainment data firm EntTelligence. Last year, total ticket sales for 2024 exceeded 800 million.

Part of the explanation for the falloff in cinema revenue and admissions lies in the movies themselves.

Industry experts and theater owners say the quality and frequency of releases led to dips in the calendar that put extra pressure on the other movies to perform. Once-reliable genres such as comedies and dramas are facing a much tougher time in theaters, and female moviegoers — who came out in droves in 2023 for “Barbie” — were underserved in a year that largely skewed toward male-leaning blockbusters.

“It’s fair to say that 2025 didn’t quite reach the levels many of us expected at the start of the year,” Eduardo Acuna, chief executive of Regal Cineworld, said in a statement. “A big part of that comes down to a lack of depth in the release schedule, and the struggle of many smaller titles to break through.”

Even big-name stars such as Margot Robbie, Colin Farrell, Dwayne Johnson and Sydney Sweeney couldn’t prop up attendance for films such as Sony Pictures’ “A Big Bold Beautiful Journey,” A24’s “The Smashing Machine” and Black Bear Pictures’ “Christy,” all of which flopped.

And despite the critical acclaim and stacked cast list for Paul Thomas Anderson’s “One Battle After Another,” the film has stalled domestically at $71 million, with a global total of $205 million.

“One Battle After Another” had a budget of about $130 million, while “The Smashing Machine” reportedly cost $50 million and has grossed just $21 million worldwide.

“The challenge facing Hollywood is how to reconcile the budgets of these films with how much they can earn in theaters and down the road, eventually, in streaming,” said Paul Dergarabedian, head of marketplace trends at Comscore.

Universal Pictures’ “Wicked: For Good” hauled in more than $324 million, but it was one of few big blockbusters targeted to women. (Taylor Swift’s “The Official Release Party of a Showgirl,” which brought in $50 million globally, was another.)

Though the summer was marked by a number of big films, including Warner Bros.-owned DC Studios’ “Superman,” Universal’s “Jurassic World Rebirth” and Apple’s “F1 The Movie,” most were geared toward male audiences.

Female-focused films are “are few and far between,” said Jeff Bock, senior box-office analyst at Exhibitor Relations, an entertainment data and research firm. “There should be something for everyone playing most of the time, and that isn’t the case.”

To be sure, there were some bright spots for the industry, including success from young audiences.

Warner Bros. Pictures’ “A Minecraft Movie” was the highest-grossing domestic film this year, with $423.9 million. Close behind was Walt Disney Co.’s live-action adaptation “Lilo & Stitch,” which collected $423.8 million in the U.S. and Canada and a total of $1 billion worldwide.

Counting those two, five of the year’s top 10 domestic-grossing films had PG ratings, including “Wicked: For Good,” Disney’s animated “Zootopia 2” and Universal’s live-action “How to Train Your Dragon.”

“In general, the good news about the year is that most of the big hits involved young audiences,” said Tom Rothman, chair and CEO chief executive of Sony Pictures’ motion picture group. “There is a bit of a youth-quake.”

Disney capitalized on the big year for family-friendly fare.

The Burbank entertainment giant recently crossed $6 billion at the global box office for the year, powered by billion-dollar hits such as “Lilo & Stitch” and “Zootopia 2,” and marking the company’s biggest year since 2019. (Though it wasn’t all sunny for Disney this year, as Pixar’s original animated film “Elio” misfired, as did the live-action film, “Snow White,” which was mired in controversy.)

Another notable youth driver was “Demon Slayer: Kimetsu no Yaiba Infinity Castle” from Sony Pictures in partnership with its anime banner, Crunchyroll. The film had a massive opening weekend haul of $70 million in July on its way to a domestic gross of $134 million and a global total of $715 million, highlighting the increasing popularity of anime.

“The mainstreaming of anime at the theatrical box office is a really significant part of what happened this year and a really good sign,” Rothman said. “You’re bringing in young audiences.”

Not surprisingly, established intellectual property — whether video games, known franchises, novels or comic books — still topped the charts this year, with nine of the top 10 domestic films tied to an existing title.

That familiarity at the box office counts when moviegoers, particularly families, are looking for movies to watch. Viewers can be choosy about how they spend their cash and time, and may not always want to gamble on a movie they’ve never heard of.

“Meaningful IP still has an advantage in getting people to come to the theater, though it’s not the only way to do it,” said Adam Fogelson, chair of Lionsgate’s motion picture group, which saw success this year with an adaptation of Stephen King’s novel “The Long Walk,” as well as franchise film “Now You See Me: Now You Don’t.”

Horror flicks also scared up plenty of business in 2025. Warner Bros., in particular, had a string of wins in fearful films, including Ryan Coogler’s “Sinners,” “The Conjuring: Last Rites,” Zach Cregger’s “Weapons” and “Final Destination Bloodlines.”

In one notable exception, Blumhouse had a rare miss with “M3GAN 2.0,” the follow-up to the 2022 cult favorite. In an interview on “The Town” podcast, Blumhouse Productions Chief Executive Jason Blum blamed the sequel’s shortcomings on a change in genre from the original.

As 2025 draws to a close, industry insiders and theater owners are more optimistic about next year’s box office prospects.

Several big films are set to release in 2026, including Christopher Nolan’s much anticipated “The Odyssey,” Disney and Marvel Studios’ “Avengers: Doomsday,” Denis Villeneuve’s “Dune: Part Three,” as well as Disney and Pixar’s “Toy Story 5” and “The Super Mario Galaxy Movie” from Universal, Nintendo and Illumination Entertainment.

That anticipation is also clouded by the uncertainty of the impending Warner Bros. deal and what that will mean for movie releases.

Many cinema owners fear that a takeover by Netflix will limit or eliminate the theatrical exclusivity of Warner Bros. films, though Netflix executives have said they will honor the company’s current and future commitments to the big screen. And if Paramount were to buy the company, theatrical exhibitors fear that the number of films would decrease, leaving them with less content to show. (Paramount CEO David Ellison has said the company did not plan to release fewer movies.)

Any deal is expected to take at least a year to complete.

In the meantime, Hollywood will wait to see how strong the 2026 slate truly is.

“There are a lot of great titles out there, and that’s why people have been calling 2026 a return to form,” said Bock of Exhibitor Relations. “Even though 2026 is very promising, can Hollywood keep delivering year-in and year-out?”

Conor McDermott-Mostowy would like to compete at the Milano Cortina Winter Olympic Games. And he certainly has the talent, desire and ambition to do so.

What he lacks is the money.

“You could definitely reach six figures,” David McFarland, McDermott-Mostowy’s agent, said of what the speedskater needs annually to live and train while chasing his Olympic dream.

In the last year, finding that money has been increasingly difficult because McDermott-Mostowy is gay. Since President Trump returned to the White House in January, bringing with him an agenda that is hostile to diversity, equity and inclusion, sponsors who once embraced LGBTQ+ athletes and initiatives have turned away from the likes of McDermott-Mostowy, with devastating effect.

“There’s definitely been a noticeable shift,” said McFarland, who for decades has represented straight and gay athletes in a number of sports, from the NFL and NBA to professional soccer. “Many brands and speaking opportunities that previously highlighted LGBTQ athletes are now being pulled back or completely going away.”

“And these aren’t just symbolic partnerships,” he added. “They’re vital income opportunities that help athletes fund training, fund their competition and their livelihoods.”

The impact is being felt across a wide range of sports where sponsorship dollars often make the difference between winning and not being able to compete. But it’s especially acute in individual sports where the athletes are the brand and their unique traits — their size, appearance, achievements and even their gender preferences — become the things that attract or repel fans and financial backers.

“What’s most frustrating is that these decisions are rarely about performance,” McFarland said. “They’re about perceptions in the LGBTQ community. And that kind of fear-driven retreat harms everyone involved because, beyond the human costs, it’s also very short-sighted. The LGBTQ community and its allies represent a multitrillion-dollar global market with immense buying power.”

Travis Shumake, the only openly gay driver on the NHRA circuit, ran a career-high five events in 2022 and said he once had deals with major brands such as Mission Foods, Procter & Gamble and Kroger while using a rainbow-colored parachute to slow his dragster.

Kroger is the only one whose support has yet to shrink and as a result, Shumake had to keep his car in its trailer for the final eight months of the year.

And when he did race, his parachute was black.

Travis Shumake competes at the NHRA Nationals at Las Vegas Motor Speedway in November 2024.

(Marc Sanchez / Icon Sportswire via Getty Images)

“It was looking very optimistic and bright,” said Shumake, who spends about $60,000 for an engine and as much as $25,000 for each run down the dragstrip. “Being the only LGBTQ driver would have been very profitable. I ended last season with plans to run six to eight races. Great conversations were happening with big, big companies. And now it’s, I did one race, completely based on funding.”

“When you’re asking for a $100,000 check,” he added, “it’s very tough for these brands to take that risk for a weekend when there could be a large backlash because of my sexual identity.”

A sponsorship manager for a Fortune 500 company that had previously backed Shumake said he was not authorized to discuss the decision to end its relationship with the driver.

Daniel T. Durbin, director of the Institute of Sports, Media and Society at the USC Annenberg school, said there could be several reasons for that. A shrinking economy has tightened sponsorship budgets, for example. But there’s no doubt the messaging from the White House has had a chilling effect.

“It certainly makes the atmosphere around the issue more difficult because advertising and promotion tied to social change has come under fire by the Trump administration,” Durbin said.

In addition, corporate sponsors that once rallied behind diversity, whether out of conviction or convenience, saw the election results partly as a repudiation of that.

“We may be pissing off 50% of the population if we go down this path. Do we really want to do that with our brand?” Durbin said of the conversations corporations are having.

Backing away from causes such as LGBTQ+ rights doesn’t necessarily mean those corporations were once progressive and are now hypocritical. For many, the only color of the rainbow they care about is green.

“You’re trying to give people a philosophy who don’t have a philosophy,” Durbin said. “And even if they believe in causes, they’re not going to self-destruct their company by taking up a cause they believe in. They’re going to take it up in part because they think it’s positive for the bottom line.

“That’s the way it works.”

As a result, others have had to step up to try to help fill the funding gap. The Out Athlete Fund, a 501(c)(3) organization, was recently created to provide financial assistance and other support to LGBTQ+ athletes. McDermott-Mostowy was the first to get a check, after a November event in West Hollywood raised more than $15,000.

“We’re here to help cover their costs because a lot of other people aren’t doing it,” said Cyd Zeigler, a founding board member of the group and co-founder of OutSports, a sports-news website focused on LGBTQ+ issues.

That kind of retrenching, from deep-pocketed corporate sponsors to individuals giving their spare change, is threatening to derail the careers of athletes such as McDermott-Mostowy, who relies on his family and a modest U.S. Olympic & Paralympic Committee stipend for most of his living and training expenses. And since he’ll turn 27 before the Milano Cortina Olympic Games open in February, he may not be able to wait for the pendulum to swing back to have another chance at being an Olympian.

“I’m 99% sure I qualify for [food] stamps,” said McDermott-Mostowy, who medaled in the 1,500- and 500-meter events in October’s national championships, making him a strong contender for the U.S. heading into the Olympic long track trials Jan. 2-5 in Milwaukee. “What really saves us every year is when we travel. Almost all of our expenses are paid when we’re coming [with] the team.

“If I didn’t make the World Cup one year, I would be ruined.”

McDermott-Mostowy’s past success and his Olympic potential are what he pitches to sponsors, not that he’s gay. But that’s what makes him stand out; if he qualifies for Milano Cortina, he would be one of the few gay athletes on the U.S. team.

“I have always been very open about my sexuality. So that wasn’t really a debate,” he said.

“I have definitely heard from my agent that, behind closed doors, a lot of people are like ‘Oh, we’d love to support queer athletes. But it’s just not a good time to be having that as our public face.’”

The debate isn’t a new one, although it has evolved over the years. Figure skater Amber Glenn, who last year became the first out queer woman to win the U.S. championship, remembers gender preferences being a big topic of discussion ahead of the 2014 Games in Russia, where public support for LGBTQ+ expression is banned.

“At that point I wasn’t out, but I was thinking, ‘What would I do? What would I say?’” Glenn said. “Moving forward I hope that we can make it where people can compete as who they are and not have to worry about anything.

“Figure skating is unique. We have more acceptance and more of a community in the queer space. That’s not the case for all sports. We’re definitely making progress, but we still have a long way to go.”

Conor McDermott-Mostowy hopes to be competing for the U.S. in speedskating at the Milano Cortina Olympic Games in February.

(Dean Mouhtaropoulos / Getty Images)

In the meantime, athletes such as McDermott-Mostowy and Shumake may have to find ways to re-present themselves to find new sources of support.

“It’s not like I’m going back in the closet,” said Shumake, who has decided to rent out his dragster to straight drivers next year rather than leave it parked and face bankruptcy. “It’s just that maybe it’s not the main storyline at the moment. I’m trying a bunch of different ways to tell the story, to rebrand.”

“It’s been weird to watch,” added Shumake, who once billed himself as the fastest gay guy on Earth. “I know it will swing back. I also fear, did I make the right choices when I had a partnership with Grindr and I had rainbow parachutes? Like did I come on too strong?

“I’ve chosen to go the gay race car driver route and it’s just a little bit of a slowdown. I don’t think I need to blame myself. It’s just a fear people are having at the moment.”

A fear that’s proving costly to the athletes who can least afford to pay.

The First Avenger is back — and appears to be a dad.

Marvel Studios finally (officially) released its first teaser for “Avengers: Doomsday” on Tuesday, confirming the much-anticipated return of Chris Evans as the super good super soldier Steve Rogers.

The short clip shows Rogers riding up to a house on his motorcycle, looking at his old Captain America uniform, then smiling gently at an infant cradled in his arms. The teaser ends with the words “Steve Rogers will return for ‘Avengers: Doomsday’” appearing on the screen before showing a countdown to the movie’s release.

“The character that changed our lives,” reads the caption shared with the teaser on “Doomsday” directors Anthony and Joe Russo’s joint Instagram page. “The story that brought us all here together. It was always going to come back to this…”

The Russo brothers, of course, made their Marvel Cinematic Universe debut at the helm of the the 2014 film “Captain America: The Winter Soldier.” They followed that up with “Captain America: Civil War” in 2016, before bringing the Infinity Saga home with “Avengers: Infinity War” (2018) and “Avengers: Endgame” (2019).

Rogers was last seen in “Endgame” passing the Captain America shield and mantle to Sam Wilson (Anthony Mackie) after he had chosen to travel back in time to live out a long and happy life with Peggy Carter (Hayley Atwell). Despite Evans bidding the character goodbye after wrapping filming on “Endgame,” Joe Russo had claimed Evans was “not done” with Steve Rogers.

It had been previously reported that Evans would be returning to the MCU for “Doomsday,” but his role remained unclear. Evans appeared in last year’s “Deadpool & Wolverine,” reprising his role as Johnny Storm from the past “Fantastic Four” films.

“Avengers: Doomsday” will pick up sometime after the events of this year’s “Fantastic Four: First Steps” and “Thunderbolts*.” The massive crossover will see “Iron Man” actor Robert Downey Jr. take on the new role of the mysterious Doctor Doom. Other confirmed “Doomsday” cast members include MCU veterans Chris Hemsworth (Thor), Anthony Mackie (Sam Wilson/Captain America), Sebastian Stan (Bucky Barnes), Paul Rudd (Scott Lang/Ant-Man) and Tom Hiddleston (Loki); “Thunderbolts*” stars Florence Pugh (Yelena Belova), David Harbour (Alexei Shostakov/Red Guardian), Lewis Pullman (Bob Reynolds), Wyatt Russell (John Walker) and Hannah John-Kamen (Ava Starr/Ghost); and “Fantastic Four’s” Pedro Pascal (Reed Richards), Vanessa Kirby (Sue Storm), Joseph Quinn (Johnny Storm) and Ebon Moss-Bachrach (Ben Grimm).

“Doomsday” will also feature “X-Men” franchise actors Patrick Stewart (Professor Charles Xavier), Ian McKellen (Magneto), Kelsey Grammer (Beast), Alan Cumming (Nightcrawler), James Marsden (Cyclops) and Rebecca Romijn (Mystique).

“Avengers: Doomsday” will arrive in theaters Dec. 18, 2026.

People place bets at Santa Anita Park, where purses have declined along with the number of horses racing and lack of money coming from off-site betting.

(Getty Images)

Figuring out the purse for 34 of the 35 graded stakes races at Santa Anita is, for horsemen anyway, maddeningly simple: Just look up the minimum purse required in North America.

For a Grade 1 race, that’s $300,000. It drops to $200,000 for Grade 2 races and $100,000 for Grade 3s.

Even the one local exception, the Santa Anita Derby, pays “only” $500,000 after offering $750,000 from 2021-24. The current amount is half the purse on offer for the top 3-year-old races at Gulfstream Park (Florida Derby) and Fair Grounds (Louisiana Derby), and just one-third what Oaklawn Park pays for the Arkansas Derby.

Last year the Santa Anita Derby attracted only five entries, which reduced the number of Kentucky Derby qualifying points available in the race. That almost kept Baeza, who finished second to Journalism in the Arcadia race, from qualifying for the Derby (he made it in the field only after another horse was scratched and wound up placing third).

It’s the same story for older horses, where Gulfstream offers the $3-million Pegasus World Cup next month plus turf races for $1 million and $500,000. Oaklawn Park has a half-dozen races worth at least $500,000 (two at $1.25 million), and Fair Grounds has three between $250,000 and $500,000. No Grade 3 race at any of those tracks offers less than $150,000.

All of that makes it harder for Santa Anita to attract top horses from those states, which increase purses with money from slot machines or casinos, something not available to California tracks. Santa Anita, however, has hiked its purses this meeting for maiden and allowance races.

The holiday season is Hallmark’s Super Bowl.

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

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

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

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

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

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

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

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

Countdown to Christmas

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Meeting Hallmark stars on cruise ships

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

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

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

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

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

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

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

It’s been an uneasy year for science. While there were significant milestones, like breakthroughs in gene editing for rare diseases and novel insights into early human evolution (including fire-making), the U.S. science community at large was rocked by institutional challenges. Drastic federal cuts froze thousands of research grants, and the Trump administration began actively working to dismantle the National Center for Atmospheric Research. Meanwhile, fraudulent scientific research papers are on the rise — casting a shadow over academic integrity.

Our picks for this year’s best in arts and entertainment.

Thankfully, we can still turn to our bookshelves — and podcasts — to ground us. We tapped science doyenne Alie Ward, the host of the funny cult favorite “Ologies” podcast, to share her picks for the best science books of 2025.

Spanning fascinating subjects from bees to human anatomy, Ward’s insightful list reminds us that books remain a timeless vessel for truth and knowledge.

“Ferns: Lessons in Survival From Earth’s Most Adaptable Plants”
By Fay-Wei Li and Jacob S. Suissa
Hardie Grant Books: 192 pages, $45

“Dr. Li is the botanist of our dreams… the way he talks about ferns and why he loves them, and about growing up in Taiwan (in essentially a fern forest), and how the sexual reproduction of ferns has been a great way to draw attention to the LGBTQ and nonbinary community is so charming and funny. They even named a whole genus after Lady Gaga because they were listening to ‘Born This Way’ a lot in the lab and also because there are sequences in their DNA that are ‘GAGA.’

“Laura Silburn’s illustrations are gorgeous — they really put a lot of texture into some of these plants that are really tiny. Every page is like looking at a botany poster. As we’ve seen so much science research being underfunded, especially in the last year, there’s this big question by the culture at large of why does it matter? Why does studying the fern genome matter? It has real-world impacts — that’s fewer pesticides on your crops because we figured out something from a foreign genome. I always love when something is overlooked or taken for granted and because of someone’s passion and their dedication to studying it, we learn that it can change our lives.”

“The ABCs of California’s Native Bees”
By Krystle Hickman
Heyday: 240 pages, $38

“Krystle is an astounding photographer and an incredible visual artist. Her passion for native bees is infectious. A lot of people, when they think of bees, they think of honeybees. And honeybees are not even native to North America. They’re not native to L.A. They’re not native to this country. They’re feral livestock. What I love about her book is it opens your eyes to all of these species that are literally right under our noses that we wouldn’t even consider — and that a lot of people wouldn’t even identify as bees.

“The other reason why I love this book is that she puts these essays into it that are about her experiences going to find the bees. So you’re getting to see these gorgeous landscape pictures. You’re getting to see what it took to find the bee, how to look for it, and more about this particular species. It’s organized in these ABCs that you can pick up at any chapter and check out a bee you’ve never heard of before.”

(Little, Brown and Company)

“Humanish: What Talking to Your Cat or Naming Your Car Reveals About the Uniquely Human Need to Humanize”

By Justin Gregg

Little, Brown: 304 pages, $30

“Justin is hilarious. He is such a good writer, and his voice is really, really approachable. The way that he writes about science is through such a wonderful pop culture and pop science lens. You feel like you’re reading a friend’s email who just has something really interesting to tell you.

“This book is all about anthropomorphizing everything from our toasters to why we like some spiders but hate other spiders. This is a discussion that is so important in this time when we literally have bots on our phones that are like, ‘I’ll be your best friend.’

“Justin speaks to human psychology and our need to want to be friends or villainize objects —or technology or animals — and project our own humanity onto them in ways that are sometimes helpful and sometimes dangerous.

“As a science communicator, you can tell people the most fascinating facts and can give them the best stories. But unless you can give people a takeaway, then a lot of times it doesn’t stick or the interest isn’t there. He really addresses the question of ‘Well, what does this mean for my life?’”

“Replaceable You: Adventures in Human Anatomy”
By Mary Roach
W.W. Norton & Co: 288 pages, $28.99

“I’m a long term simp for Mary Roach.

“The humanity that she brings is such a wonderful base for how our bodies fail us sometimes and what we are trying to do to bring them back. From her being present during orthopedic surgeries and the way that she describes the sound of hammer on bone (and just the kind of jovial atmosphere in an operating room that, as a patient, you would never be clued in about because you are passed out half dead on a slab). She really soaks up a vibe that you would never have access to. She goes to Mongolia to learn about eye surgery there in yurts. She takes you to places you would never be able to go. She’s rooting around in archives and old papers — she just makes anything interesting.

“Mary really is both an ally and an outsider, and I think that that’s a really beautiful thing in her book.”

“The Double Tax: How Women of Color Are Overcharged and Underpaid”
By Anna Gifty Opoku-Agyeman
Portfolio: 256 pages, $29

“Anna Gifty Opoku-Agyeman is an absolute force. I’ve followed her work in economics and in equity for years, and I was really excited for this book to come out. We did an episode on kalology, which is the study of beauty standards, years ago and I have always loved the conversation of how different members of society have a certain tax on them — these extra resources that they are expected to provide.

“I was really excited to read about specifically women of color, because that is something that I don’t feel is discussed at large. Anna combines the sociology of it with the reality of her experience and other women of color. Because she is so deft when it comes to policy and economics, she also considers, ‘What can we do about this?’ It’s not just enough to discuss this, but what can be done?

“She has totals of what the gender gap is and what the double tax is, and it’s written up like a receipt. This book really addresses the double tax in a way that, even if you have no insight or it’s something that you haven’t thought about — or you are someone who hasn’t experienced this — it’s laying it out economically in a way that is really accessible and has a lot of impact.”

Recinos is an arts and culture journalist and creative nonfiction writer based in Los Angeles. Her first essay collection, “Underneath the Palm Trees,” is forthcoming in early 2027.

EUGENE, Ore. — Perhaps it was James Madison going for it twice on fourth down on its first drive of the game.

Or, maybe it was coach Bob Chesney calling for a wide receiver pass on the Dukes’ second series of the evening. Even 12th-ranked James Madison successfully pulling off a fake punt could have adequately explained what the scoreboard failed to convey.

It was clear that the fifth-ranked Oregon Ducks were in a different class than their visitors in a 51-34 win in a College Football Playoff first round matchup Saturday at Autzen Stadium. Oregon led 48-13 midway through the third quarter before the Dukes added three late touchdowns to make the final score appear closer than the game really was.

“I think the scoreboard itself, every time we got down there we kind of shot ourselves in the foot,” said Chesney, who takes over as UCLA’s head coach after the JMU loss. “If we did not do that, if we did not end with 13 penalties, is this a little bit of a different game? Maybe. But at the same point in time, that’s a tough offense to stop, and I think it’s tough for a lot of teams in the entire country to stop.”

With James Madison’s loss, Group of Five teams fell to 0-4 all-time in CFP games. No. 17 Tulane fell 41-10 to No. 6 Mississippi on Saturday, too, while Penn State beat Boise State 31-14 in last year’s Fiesta Bowl. Alabama topped Cincinnati 27-6 in a 2022 CFP semifinal at the Cotton Bowl.

Following their loss to Ole Miss, Green Wave head coach Jon Sumrall brushed aside any notion of his team not belonging among the last 12 standing.

“We’re our conference champion and the rules are what they were, and I think there should be access for at least one G5 team moving forward,” Sumrall said. “I do. I think you should have given the American champion an opportunity before the ACC champion this year because we beat the ACC champion. So Duke won the ACC Championship; we beat them.”

To Sumrall’s point, Tulane beat a pair of Power Four teams in Northwestern and Duke, but those schools combined to go 14-11 in 2025.

James Madison, meanwhile, lost to its only Power Four opponent this season, with Louisville beating it 28-14 in a game in which the Dukes mustered just 263 yards of total offense. Most of the season, James Madison ran with the ball with ease against its opponents, rushing for over 300 yards in a game five times and over 200 yards in a game nine times.

But on Saturday, the Dukes mostly abandoned the run after quickly falling behind, and instead often turned to Sun Belt player of the year and quarterback Alonza Barnett III, who attempted a career-high 48 passes in the contest. Even so, Barnett was confident his team belonged in the CFP over other Power Four schools.

“I believe people saw that we were meant to be on this level. When you look at the Power Four teams and whatever, the destiny is really — the ball is in your court. You control your own destiny,” Barnett said. “Most of those teams that didn’t make it, they controlled their own destiny, and we handled what we could handle and we didn’t give into outside noise.”

Among Group of Five schools, James Madison did fare the best of any of them on offense in the CFP. The other three programs scored a combined 30 points in their respective playoff games, a total James Madison eclipsed against the nation’s eighth-ranked scoring defense.

But where the Dukes fell flat was slowing down the Ducks’ ninth-ranked scoring offense. Oregon ran the ball with ease, averaging more than 7.7 yards per attempt against James Madison’s run defense that entered the contest allowing the second-fewest yards per game in the country.

As has often been the case in matchups between Power Four and Group of Five teams, the greatest discrepancies existed in the trenches. To a man, James Madison could not adequately match up with Oregon, just as Tulane couldn’t with Ole Miss and many other Group of Five programs before them both failed to do.

“I think there were moments today where I feel like we could play with them,” Chesney said. “ And I think that today, the complimentary football, and us playing in the way we needed to just did not exist.”

Destin writes for the Associated Press.

A daunting rainfall forecast isn’t expected to stop Californians or the rest of the U.S. from traveling in record numbers over the end-of-year holiday season.

An estimated 122.4 million people — more than a third of the entire national population — will travel at least 50 miles from home between Dec. 20 and Jan. 1, according to the American Automobile Assn.

That would represent a 2.2% increase over last year, when a record 119.7 million travelers hit the road or took to the skies for the holidays.

“Year-end travel is a mix of family road trips, friend getaways and tropical vacations,” Stacey Barber, vice president of AAA Travel, said in a statement.

Holiday festivities are different for everyone, but “a common thread is the desire to travel, whether it’s returning to your hometown or exploring new destinations,” Barber said.

As always, though, winter weather could pour cold water on some of those festive getaways. A Pacific storm is forecast to bring heavy rain to Southern California over the Christmas holiday — potentially snarling travel and increasing the risk of flooding, said Adam Roser, a meteorologist with the National Weather Service’s San Diego office.

“The storm will move through the region from north to south, starting as early as Tuesday,” Roser said.

Roser said he is confident there will be slick roadways and possible aviation disruptions because of heavy rains.

The peak of the storm for Southern California is likely to start Tuesday and continue through Christmas Eve and Christmas Day, according to Bryan Lewis, a meteorologist with the National Weather Service office in Oxnard. In Orange County, the Inland Empire and San Diego County, light showers may start Tuesday, but the heaviest rainfall is expected to be on Christmas Eve.

Meteorologists say light to moderate showers are forecast for Christmas Day and into the weekend.

AAA expects to see across-the-board increases in modes of travel this holiday season. For example, a projected 109.5 million people will travel by car — a 2% increase compared to last year, according to AAA. For Californians commuting with gas-fueled vehicles, the average price of a gallon of gas this week is $4.33, a 2-cent increase compared to last year.

Approximately 8.03 million travelers will take to the skies to reach their holiday destination, a 2.3% increase compared to last year. AAA said this is the first time more than 8 million domestic air travelers are expected over the end-of-year holiday season.

Boarding passes have burned a hole in many holiday budgets, however. AAA said a round-trip domestic flight is 7% more expensive this year, averaging nearly $900 a ticket.

About 4.9 million travelers will use another mode of transport such as a bus, train or cruise.

PinkPantheress broke out in 2021 with a series of charming and inventive singles that placed her high, breathy vocals over skittering beats built around easily recognizable samples. It was as though the English singer and producer were trying to insert herself into pop-music history from behind a laptop in her bedroom — which is pretty much what ended up happening.

In 2023, her song “Boy’s a Liar Pt. 2,” a collaboration with Ice Spice, went to No. 3 on Billboard’s Hot 100; several months later, she landed a song on the hit soundtrack of Greta Gerwig’s “Barbie.” Last year she went on the road as an opening act for Olivia Rodrigo, and now she’s nominated for her first two Grammy Awards: dance/electronic album for this year’s “Fancy That” and dance pop recording for the project’s opening track, “Illegal.”

With nine songs in only 20 minutes, “Fancy That” maintains the TikTok-era economy of PinkPantheress’ early work. It’s also full of samples from the likes of Underworld, Basement Jaxx and Panic! at the Disco — one reason, perhaps, the singer, 24, describes it as a mixtape rather than an album. (An accompanying remix set, “Fancy Some More?,” features appearances by Basement Jaxx, Kylie Minogue, Sugababes, Ravyn Lenae and Groove Armada, among many others.)

Yet “Fancy That” showcases an expanding emotional palette too — it’s by turns funny, wistful, horny, melancholy and unimpressed. She spoke about it over matcha lattes in Los Angeles, where she lives when she’s not back home in London. “If you’re a musician, it’s sold as the place to be,” she says of L.A. “I was trying not to like it, but I really do.”

You’re enjoying the city despite yourself.
I think for me, it was just a case of: When I’m comfortable somewhere, I don’t enjoy exploration. What I know to be safe is where I stay.

Why?
It’s something with the way my brain works — I don’t think it’s a choice. My brain associates change — different environments and travel — with fear. I don’t go on holiday because of that reason. I find it very difficult because I genuinely don’t feel safe. Doesn’t matter where I am.

What do you do in L.A.?
I hang out with my friends. I get food. I do all the regular things. But it’s taken me years. When I first got here, I wasn’t like, Oh my God — the Hollywood sign! It was just like, Lemme find my footing. I think getting my house was when I was OK. I don’t like the stress of going out somewhere and being worried about how I come across to people.

If you’re at a restaurant, it’s hard for you not to think about the fact that someone might know who you are.
On occasion, if I’m not disguised well enough.

What are the disguises?
I think I’m gonna stop wearing my hair out in public.

So pop stardom — enjoyable or not?
It’s as absurd as everyone says. But it is 100% what I’ve always wanted to be. So I can’t complain now.

I mean, you could.
But I shan’t.

That would be poor form?
I’m a big believer of my words having an effect on everything I do going forward. So if I was to become comfortable complaining about my job — when I worked so hard to get here — then it’s gonna carry with me and it’ll come out in my behavior.

Do you drive?
I love driving. That’s another reason I like it here, because I can drive.

You like driving here more than in London?
I have a nicer car here. Well, actually, I don’t have a car in London anymore. The police took it.

Why?
Don’t know.

You must know.
I actually just don’t know. I literally got there and it was gone, and I was like, Fine. It was so cheap — like 2,000 pounds.

What kind of car was it?
A Peugeot 208.

In a recent interview with Zane Lowe, you named the people you called your blueprints: M.I.A., Kelela and Tinashe. All are well–regarded trailblazers, but none of them, I would say, is a pop superstar. That made me wonder: Do you want to be top of the pops?
I feel like in order to be top of the pops, I’d have to compromise a lot about my artistic choices. However, if the post-“Brat” era has taught us anything about music, it’s that you can actually be as experimental as you want, and if it translates, it will translate. So actually it’s not necessarily a recipe that’s too formulaic, as one would think.

Do I want to be top of the pops? I think that might be too much pressure. I don’t enjoy having to explain myself, and I worry that being big would make me have to explain a lot about myself. However, I do want to be well-regarded. I do want to be influential. And I do want to not have to worry, How well will this do? It’s less about top of the pops and more about having a very loyal fan base, which I prioritize above everything else.

I spoke with Lorde recently, and she told me she aches to be understood even though she wishes she didn’t. You said you don’t like explaining yourself. But do you feel compelled to?
I would say I definitely under-explained myself early on. And unfortunately that was a crucial error because — had I been on top of explaining my music and my musical mind from the jump — maybe now I’d be taken more as a producer. But because I didn’t, and because of the way I present myself, I do think people take me as more surface-level pop, and I’m actually not — I’m actually fully an art girl, like all the women I’ve mentioned.

So it’s kind of gone from not explaining myself to explaining too much. I hated that, too, because then it got people asking me more questions. Now I don’t want to explain anything anymore.

You’ve got the Sugababes on your remix album. Great example of an act that’s beloved in England but couldn’t get arrested in the States. Why do you think some U.K. acts cross over and some don’t?
If you have someone on your marketing team that prioritizes America, then I’m 99% sure you can always do it. I don’t think American people are put off by Britishness — I don’t think the music is too crazy for them to get it. The reason I did well in America was because I used a platform where the majority of users are American.

You mean TikTok. Did you use TikTok because that was the platform you were good at or because you knew it was the platform with the broadest reach?
I had no idea how it worked — I just thought about what has the most reach. I’m a child of the internet. I’ve always been online.

What’s bad about the internet?
There was a time when I would have said nothing.

At what age?
Sixteen — even older, honestly. The whole push of generated stuff has made it so unbelievably different. Back when I was on the internet, you wouldn’t have to second-guess any post you saw.

Whereas now you have to question whether something is real or AI.
Is this propaganda or is this not? That’s bad.

Is TikTok still fun?
I don’t really go on social media at all, so I don’t know.

You just make your posts —
And dip. Or I interact with people that help me towards my craft. People that make fan edits, I love it, so I’ll interact with them. But I don’t really scroll.

Did someone say to you, “Listen, you need to stop scrolling”?
No. I actually have no vices, so I didn’t have a problem with it.

Everyone’s addicted to scrolling.
Hell no — I’m not. If I want to stop something, I can stop right now.

Do you drink? Smoke weed?
I can’t do any drugs. I get drunk once or twice a month, and that’s my limit. I make sure to count that.

Why no drugs?
I’m a hypochondriac.

What are you afraid of happening?
Dying. Also, it’s just not enjoyable for me. When I get drunk, that’s the best amount of chaos I can experience in my inner self.

Dying?
Too much coke could kill you — cause an arrhythmic heart. And as I’ve said, if I fear something, I’m not gonna step foot towards it.

“I don’t think American people are put off by Britishness,” says PinkPantheress. “I don’t think the music is too crazy for them to get it.”

(Jason Armond / Los Angeles Times)

Who said no to being on the remix album?
No one said no. But I don’t ask people that I know are gonna say no — I just refuse to ask them. There was one person that was like, “Oh, I saw this too late” [makes “Yeah, right” face]. And one person didn’t reply. Maybe two people didn’t reply.

Were your feelings hurt?
No. Yeah. Maybe. When it comes to features and everything like that, I very much understand — I get how the mind of a singer works. I think people that get hurt are maybe not putting themselves in their shoes.

Surely you’ve said no to people at this point.
It’s a horrible feeling. And I try and make it work as much as possible. But sometimes it just doesn’t make sense. The vibes are off.

Have you heard the Lily Allen album?
Yes.

Thoughts?
Really good. And earnest.

She’s just laying out all her business.
She’s a Brit — that’s what we do.

Are Brits essentially earnest?
I think there’s something in our music that’s extremely earnest. That’s why you get someone like an Adele or someone like a Raye right now. You can feel them bleed. They’re bleeding out onto the stage — bleeding out onto the pieces of paper.

Beyond what we’ve talked about, I know virtually nothing about your personal life.
Exactly.

Whereas now I know a tremendous amount about Lily Allen’s. What do you make of that impulse to dump everything out into the world?
What I love about Lily Allen is that she’s always been very honest from Day 1. She’s an open book in interviews — she’s an open book everywhere. It works for her because it makes her very personable and makes her music all that more enjoyable because we feel like we’re actually experiencing her as a human being.

I would love to be that earnest. I simply don’t think I’ve gone through half the amount she’s gone through in her life. Because I fear so much, I end up not being in very exciting or controversial situations, and that could translate as boring. But I wouldn’t say I was a boring person. I relish in the mundaneness of interacting with others and the excitement of being myself. I’m actually obsessed with myself. When I’m with my best friend, we’re just so fun together. Other people, they’re like, “The f—?”

You’re on Coachella next year. You’ve talked about festivals not being your ideal performance venue.
I’m definitely better now, for sure. Two years ago, I was pretty s—.

What’d you learn from the tour you just finished?
Oh, a lot. I learnt that I’m in control of my body. I learnt that I’m in control of pretty much every element when I’m onstage. One thing I’m realizing as I talk is that the reason I don’t like drugs is because I like full control. When I’m onstage, for some reason, I always imagine that I’m gonna lose control — I’m gonna have to faint or have to run. I don’t know why, but that’s my biggest fear with performing, and hence why I’ve always been quite nervous.

But doing that tour made me realize that I can choose if I want to have a good time right now. And I chose to have a really good time — it was a really fun experience. I’m still learning how to dance. I’m still learning how to look good onstage. I think I’m built in quite a funny way, which makes me look long. And when you’re shaped in a long way and you have long limbs, you look bad at dancing.

You’re taller than I expected.
Every single person says that.

Why do we all think you’re going to be shorter?
My voice is quite high. I also think I shrink myself — less in physical ways and more in how I portray myself. I’m not like [shouts], “I’m here!” I’m more like [whispers], “I’m here.”