life

Jan. 9 (UPI) — A shark attacked and killed a Minnesota woman while she swam in waters along Dorsch Beach in St. Croix, U.S. Virgin Islands, on Thursday afternoon.

The Virgin Islands Police Department received an emergency call reporting the shark attack at 4:28 p.m. local time, and marine units and fire and emergency medical services personnel responded.

They found a woman who lost an arm in the attack and searched for a possible second victim, but found no one else.

The woman later was identified as Arlene Lillis, 56, of Minnesota, and she eventually died from her injuries.

“Our hearts are with the family and loved ones of the victim, and with everyone who witnessed this tragedy,” Virgin Islands Gov. Albert Bryan Jr. said in a statement.

“We have been briefed on the information known at this time,” Bryan said. “We are grateful to the bystanders who acted immediately to render aid and to the first responders who worked urgently and bravely in an effort to save her life.”

The type of shark was not identified, and the attack remains under investigation.

It is the second fatal shark attack that was confirmed in the United States and its territories in recent weeks.

Erica Fox, 55, died when a shark attacked her in California’s Monterey Bay in December.

She initially was reported missing, but her body eventually was found.

A coroner said Fox died from “sharp and blunt-force injuries and submersion in water due to a shark attack.”

Good Morning Britain hosts Kate Garraway and Ranvir Singh were left stunned on Friday

A Good Morning Britain guest has revealed the “horrific” ordeal that left her “fighting for her life”. Friday’s (January 9) edition of the hit ITV breakfast show saw Kate Garraway and Ranvir Singh bring viewers the latest developments from Britain and beyond.

Weather presenter Laura Tobin was also on hand in the studio to provide crucial updates on Storm Goretti, following the Met Office’s stark “danger to life” alert.

During the programme, Kate and Ranvir interviewed Sara Platt, whose botched cosmetic procedure in Turkey left her facing serious health complications.

“The government has issued a fresh warning on botched cosmetic surgery, saying it’s going to take decisive action to crack down on rogue operators and treatments that offer, when you look at them, do seem too good to be true,” Kate explained, reports Wales Online.

Ranvir continued: “It’s the subject ITV News has been investigating for two years, and as part of that, we met Sara Platt. She travelled to Turkey for surgery, and she says it left her life at risk.”

Before the interview progressed, Ranvir cautioned viewers: “[The surgery] went horribly, horribly wrong. We’re going to show some pictures which might be distressing.”

As photographs of Sara’s injuries appeared on screen, she explained: “I lost 12 stone [during] Covid. I had severe excess skin, so I went and had an uplift implant and a tummy tuck, because I had constant skin infections.”

She continued, “[The surgery] just made it tenfold worse. What I’m left with now, not just body but my mental health, is really bad.”

As Sara delved into the difficulties she encountered, including multiple infections, Kate and Ranvir were visibly taken aback. “You thought you might die,” Ranvir said.

Sara responded: “It was extremely bad. I lost my right breast. I had gaping holes in my stomach. I was only supposed to have a tummy tuck and impact, but they cut from my arms, sides, and my back because, obviously, there was not enough skin to close me.

“On day nine, I was operated on awake and part of my body was placed by the side of my head.”

A shocked Kate replied: “Oh, Sara. We’re hearing this [and] it’s obviously horrific.”

The guest concluded: “We do get bad comments and this is why I’m trying to get change made, so people coming back from Turkey don’t use the NHS. It was life-saving surgeries for me. This is why we need regulations. The government need to take a stand.”

Good Morning Britain airs weekdays on ITV1 and ITVX at 6am

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

Elle Simone Scott, a chef and cookbook author best known for her work on “America’s Test Kitchen,” has died. She was 49.

Describing her as “one of [the organization’s] brightest stars,” “America’s Test Kitchen” Chief Content Officer Dan Souza confirmed in a statement Thursday that Scott died Monday after a long battle with ovarian cancer. The news was first announced Wednesday on “ATK’s” Instagram.

“Scott brought warmth and a vibrant spirit to everything she did,” Souza said. “Friends and colleagues will remember [her] for her ability to create community and provide opportunities for others, both inside and outside of work … Her legacy will live on at America’s Test Kitchen and in the homes and hearts of the millions of home cooks whose lives she touched.”

A Detroit native, Scott joined “America’s Test Kitchen” in 2016 and became the first Black woman cast member on the popular PBS cooking show. In addition to authoring cookbooks “Boards: Stylish Spreads for Casual Gatherings” and “Food Gifts: 150+ Irresistible Recipes for Crafting Personalized Presents,” she hosted “The Walk-In” podcast and worked as a food stylist.

In a tribute on Instagram, friend and fellow TV chef Carla Hall praised Scott for being “a force” and “a trailblazer.”

“At America’s Test Kitchen, Elle helped open doors that had long been closed — becoming one of the first Black women audiences saw in the test kitchen, and doing so with grace, authority, and joy,” wrote Hall. “Her voice mattered. Her work mattered. She mattered.”

According to WBUR, Scott, who lived in Boston, pivoted to a career in food in 2008 after she lost her home, car and job as a social worker during the recession.

“The thought occurred to me, ‘if I have to do something for the next 25 years of my life, it better be something I love,’ ” Scott said during a 2019 radio segment. “The only thing I could think of was cooking. It was the one thing that brought me peace and joy.”

She became an advocate for representation in food media and the culinary world, co-founding SheChef Inc., an organization for women chefs of color that provides mentorship to young women pursuing a career in the field, in 2013.

“I thought it would be a great way to create a network to bring those underrepresented people together to see how we could support each other, create a network where we can help each other grow professionally — also to just deal with the angst of being women in kitchens where we are the only women in the kitchen,” Scott told WTOP News in 2019.

Scott was first diagnosed with ovarian cancer in 2016, according to the Detroit News, but told the outlet she was cancer-free in 2020.

“Elle faced ovarian cancer with courage and honesty, using her platform to educate, advocate, and uplift even while fighting for her life,” Hall said in her tribute. “We honor you, Elle. Your legacy lives on in every kitchen you inspired and every cook who finally saw themselves reflected back.”

R. Scott Gemmill, the creator and showrunner of “The Pitt,” has always felt comfortable in a hospital.

He initially had ambitions of going into medicine — he studied gerontology, which explores the processes and problems of aging, and did some volunteer work at hospitals. He also took a nurse assistant course.

“I really thought I was going to try and get into a med school,” he said recently while seated in the recognizable lobby of the show’s fictional hospital set on the Warner Bros. lot in Burbank. “I just wanted to have a job and medicine seemed like there was always going to be a need. I’m comfortable in a hospital. I wish I followed through on a certain level because I loved that ability to go in and solve problems. But my writing kicked in and that’s it — I never went back.”

But in TV land’s school of medicine, Gemmill has gone far. He did a rotation at Chicago’s County General Hospital, joining the writing staff of NBC’s popular medical drama “ER” in its sixth season. And now his turn at Pittsburgh Trauma Medical Center, through HBO Max’s “The Pitt,” has been a breakout success, revitalizing the medical drama genre with a fresh spin on the format — each episode tracks one hour in a shift — and energizing its audience with a traditional weekly rollout. The Emmy-winning series returned Thursday for its second season that revolves around a shift on the Fourth of July. But the fireworks arrived well before that, with HBO Max announcing on the eve of the show’s premiere that the drama has been renewed for a third season.

In the hiatus before shooting began on this season’s finale, Gemmill, whose other TV credits include “Jag” and “NCIS: Los Angeles,” talked about the show’s momentum heading into the new season, navigating how personal to get with characters, and introducing a new doctor to the mix.

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1. Noah Wyle as Dr. Robby in Season 2 of “The Pitt.” (Warrick Page / HBO Max) 2. From left: Sepideh Moafi as Dr. Baran Al-Hashimi, Taylor Dearden as Dr. Melissa King, Katherine LaNasa as charge nurse Dana Evans, Gerran Howell as Dr. Dennis Whitaker and Supriya Ganesh as Dr. Samira Mohan in “The Pitt.” (Warrick Page / HBO Max)

You started breaking Season 2 last January, as people were discovering the show week to week. People love to be critical of sophomore seasons of a breakout hit. How did that shape the second season for you and the writers?

It was weird because we wrote [Season 1] without any feedback. Not just wrote it — we shot it and produced it. We had started thinking about Season 2 before people had responded. It was a slow build. I felt like the healthcare professionals found us first, then spread through word of mouth. We were just moving forward with what we thought were the next stages of these characters’ lives. It wasn’t until later on that the accolades came and there was more pressure then. When we first started, we didn’t know if anybody was going to watch or not. We had finished it without any pressure whatsoever because nobody had weighed in on it. It was a very rarefied situation, which was nice. We hope for the best. And it seemed to work out OK. There’s a little bit of concern going into the second season because we were successful, you wonder, can you maintain that? But we try not to focus on that, and just really focus on the characters and the stories and do what we did the first season — tell really authentic, strong stories.

The season picks up 10 months after that initial shift where we met everyone. How did you decide on the time jump, landing on July 4?

It really came from wanting to have Langdon [Patrick Ball] back, so I knew he had to do about 10 months of rehab. Then we were looking at what time of year would that be. We’re also somewhat limited by when we shoot in Pittsburgh. We decided to do the Fourth of July because it comes with a bunch of shenanigans.

Season 2 opens with a helmet-less Robby riding in on a motorcycle.

The motorcycle goes back to some part of Robby’s past. We don’t really talk about it, but it has a link to his father, and his father being a tinkerer of old cars and Robby needing a vacation, a hiatus of sorts. Pennsylvania is a no-helmet law [state]. And some of us who have motorcycles sometimes enjoy riding them without a motor helmet. It’s not a smart thing to do, and it speaks to Robby’s current attitude of a certain amount of carelessness on his part.

Yes, we learn that he’s going to be taking a three-month sabbatical. How soon will we discover what led to that? Is it an amalgamation of different things?

Yeah, he’s long overdue for a vacation. He knows that something’s not working in his life and this is one way he thinks that he can fix things.

How did you land on Head-Smashed-In Buffalo Jump in Canada as his choice for a getaway?

It was a place I knew about and it just sounded like an interesting place for him to go that has some foreboding associations with it.

A new doctor, Baran Al-Hashimi (Sepideh Moafi), center, is brought in to oversee the ER unit on the eve of Dr. Robby’s (Noah Wyle) three-month sabbatical.

(Warrick Page / HBO Max)

The season introduces a new character, Dr. Baran Al-Hashimi, played by Sepideh Moafi, who’s going to be taking over when Robby is out. She’s an advocate of generative AI and trying to get everyone on board with this idea of saving time with charting. What were your conversations with doctors in the field about that topic and what intrigued you about how healthcare professionals are thinking about this technology?

She’s someone who’s a little different with her approach, a little more contemporary and forward, as opposed to Robby; he bridges contemporary medicine and old-school medicine with his relationship that he had with Dr. Adamson, who showed him a lot of the old-school techniques that he still has in his wheelhouse if he needs them. AI is pretty much here to stay and it’s infiltrating every aspect of our lives — medicine is no exception. I would say it’s still in its infancy in the ER, but there are ways that it’s trying to be implemented. Like any other tool, it has potential to be used wisely and potential for disaster. We’re not really exploring the disastrous side of it yet but just what the realities are. The fear is that it will make the doctors more efficient, especially with things like charting, but then will that time go back to the patients or will they just have to see more patients? And so they’ll have even less time. That’s the challenge at this point.

How do you feel about it in your own industry?

I try not to think about it. I guess I’m probably in denial more than anything. I don’t have any place for it and I don’t really want to really know too much about it at this point.

We see a lightness to Robby this season. He’s involved in a situationship at work. This is a workplace drama. It hasn’t shown us the interior lives of its staff beyond the nuggets they share during their shift. How much do you want the viewers to know about them versus how much do you want your actors to just understand their characters?

It comes with the job. He’s not a monk. He’s in a relationship of convenience more than anything. I don’t think he’s a long-term planner. The fact that he hasn’t had a vacation in forever is proof of that. Robby is very good at putting on a good face until he’s not. I think what we’ll see over the course of the season is that facade start to slide.

It’s a process. The 15-hour nature of the show limits how much of that information you can dole out organically, but it also allows you to be authentic in terms of how much you actually learn about someone in a day. Most of us not just spilling our guts and saying our life story to the people we work with. As we start the season, we’ll think about: What is the journey we’re going to take this character on, and what information needs to be learned in order to achieve that? And then what medical stories will help maybe bring that out. You do it in little layers.

Is there something coming up that you think will be particularly illuminating?

There’s some stuff about Robby. We pulled back a lot on it, but we’ll learn a little bit about him. We’ll learn some things about Whitaker [Gerran Howell]. We know what Langdon is going through, his marriage.

After taking leave to seek treatment for prescription drug addiction, Dr. Frank Langdon (Patrick Ball) returns to work in “The Pitt.”

(Warrick Page / HBO Max)

To stay on Langdon — physicians and people in the healthcare profession are vulnerable to addiction for a variety of reasons. What was important for you in that storyline and what did you want to explore through him?

To show somebody who’s made a mistake and was doing their best to hide it as is sometimes the pattern of behavior. I don’t think most people enjoy their addiction. So, seeing someone who’s doing their best to try and heal themselves. Just because you’re going through the program and doing the steps, it doesn’t mean everyone’s going to welcome you back with open arms. There are still some bad feelings and you have to mend some bridges and fences along the way.

It’s not just Robby and Langdon. Langdon feels he owes a sort of mea culpa to almost everyone he works with, especially Santos [Isa Briones]. And whether or not she’s willing to accept that is debatable. Robby, obviously, has some really strong feelings about it because Langdon was his student, and he made Robby look kind of stupid. Robby is angry at himself for not seeing it.

How are you figuring out who’s going to shuffle in and out?

Some of it’s based on the reality; for instance — I was thinking of this today — next season would be Whitaker’s third year, so he has one more year to stay here, and then he would have to go. It’s really about where they are in their careers and what makes the most sense story-wise.

I want to talk about some of the procedures and cases that we’ll see this season because they’re pretty gnarly. Do you keep a log of cases and try to figure out how they can fit into the story as you go?

We never really start with the medicine. Sometimes we say the medicine is the wallpaper that reflects everything in the room, but what’s going on between the characters is really what’s at stake, and it’s either something going on between them and the patient, between the doctors and nurses, or internally. Ideally, it touches on a little bit of everything.

When we came back, I probably had 150 ideas of just cases. I don’t know how many of them we actually did. We had never done a hot toddler story, [where a child was overheated] but that is something that’s a real problem. That was one where we knew we were going to try and do that story, but whose is it going to be? Who does it reflect most? Then we work backwards into it. We pull from everywhere — things we think of, things we’ve heard, things we imagine. We don’t really do ripped-from-the-headlines, but we do things that seem like that because a lot of times we’re talking to professionals, asking them what was concerning them. What do they worry about? We’re extrapolating their concerns. That’s what happened with [Season 1’s] measles story. There was no measles outbreak when we wrote that story, but we knew, based on what was going on, that there would be eventually, and we just happened that the timing was in our favor.

Is there like a line you won’t cross in terms of squirm factor? Have you had to pull back?

I don’t think so, because we’ve never done anything for the sake of that. We’ve never done anything that’s not done in the ER. As long as it serves a story and a character, then I think it’s fair. We do something big for the finale that Abbot [Shawn Hatosy] and Robby are doing with a bunch of others — it takes all hands on deck. I’m interested to see how that comes out, and I’ve seen elements of it now that are terrific.

Can you share more of what kinds of topics or cases we’ll be seeing this season?

We did a sexual assault, [and] we’re looking at how budget cuts are affecting healthcare. There’s a story about someone who’s been rationing their insulin and the downsides of that.

When the One Big Beautiful Bill Act was signed into law by the president, did you have a lot of calls with professionals?

Oh, yeah, because it’s a huge issue. You figure out with the changes in the Affordable Care Act, if you suddenly have 8 to 10 million people that don’t have insurance, what’s going to happen is they’re going to stop going to their doctors. Anything that was an issue is going to get exacerbated by not being treated. So, where do they end up? Well, they’re going to end up in the ER, but they’re going to be even sicker than they would have been. We’re going to get more people, and their conditions are going to be worse. It only makes what’s already a strained system even more likely to break. Because we were just starting to shoot in the summertime, we could make some adjustments, but I don’t remember going back and changing things. We saw it coming.

I know there had been some discussion about an ICE story? Will we see that this season?

Yes, we have some ICE agents show up, and how that affects people in the hospital. That’s been a tricky one to try and get right without being heavy-handed and being fair to everyone on both sides of that conversation. What else do we do this year? Some fun stuff. The kind of things you would expect over the Fourth of July weekend.

How do you feel about the shipping that’s taking shape with “The Pitt” fan base?

I’m not on social media, I’m not really a part of that. My writers would tell me about things like that. The Langdon-Mel of it — I’m like, he’s married. That’s more of a big brother relationship. And Abbot and Robby — I just sort of shake my head. Our show’s not really like that. It’s not a show where people are sneaking off to have sex in a closet or anything. Those things are very subtle. And we do see a little bit this season between a couple of people, but it’s very much secondary because it’s not something we actually see, per se.

Just as he did last season, Noah Wyle is writing again this season. He’s also directing. Tell me what it’s like when you have the lead of your show involved in different aspects of the show’s creative elements?

It’s really great because he’s up to speed on everything. And because he is the centerpiece of the show, I rely on Noah a lot for guidance and help figuring out how to steer through all the icebergs. He’s a good writer and he’s a good director, and it just adds a whole other level to the writers room, in terms of the connection between us and the set. He’s there right up until, basically, we start shooting. Even when we are shooting, if he has a day off, he’s in the room or we’ll do meetings at lunchtime so he can join in and weigh in. It was Noah’s idea to do the Shema prayer for his breakdown. That was a very coordinated effort because I knew I was asking a lot of him. That’s what’s really nice about having Noah be a writer and a director. He has the vernacular to have these conversations about what he needs from me to get him to where he needs to be. It’s a very symbiotic relationship.

R. Scott Gemmill on the pressure that comes with having a breakout hit: “There’s a little bit of concern going into the second season because we were successful, you wonder, can you maintain that? But we try not to focus on that, and just really focus on the characters and the stories and do what we did the first season — tell really authentic, strong stories.”

(Christina House / Los Angeles Times)

Do you ever worry about him being overextended?

Yes. That’s why I don’t mind when he has a day off. But he’s just gonna fill it with work.

In Hollywood, when something’s a success, there’s an immediate impulse to figure out a way to broaden that success. Has there been talks of spinoffs, ways to build out the universe?

No, not really. We’ve talked about doing a night shift. In time, maybe that’s something we’ll explore. The show still has lots of life in it, so I wouldn’t want to distract from what we’re doing now. But I think there’s a potential to do all the craziness that comes out at night.

Like Dr. Al-Hashimi, you’ve had experience being the newcomer joining a well-oiled machine. Tell me about becoming a writer on “ER” in Season 6.

I hated it when I first went on. They had done so many stories already, and there were multiple stories told per episode, so they had gone through so many stories that it seemed like anything I suggested was already done. They all felt like Ivy League professors and I was a college dropout; I felt like I so didn’t belong there. I remember calling my wife and saying, “I hate this. This is horrible. I should never have left ‘Jag.’” But over time, I found my way and found my voice on the show.

That was the season with one of the episodes I revisit often — when Dr. Carter (Wyle) gets stabbed.

I remember having a big debate over whether Kellie Martin’s eyes should be open or closed. I was adamant that she had to have her eyes open. I’m glad I won, but that was intense. The whole show was very intense.

George Clooney has teased that he would be open to the idea of appearing on “The Pitt.” Could you see a world where that happens?

I take that with a grain of salt but, hey, I’m up for anything. I’ll try anything once.

What I appreciated about the season finale last year, especially in this world of TV where you feel like you need to have this epic cliffhanger, was how true to life it felt. Since you’ll be shooting the finale in January, what can you share about how you’re thinking about it?

There’s something really fun at the end of this season. I hope that we do it as a little Easter egg for the fans in the finale, so I’m looking forward to doing that.

When Liz Wilson saw the Eaton fire advancing, from her home in Pasadena last year, she knew that life would never be the same in her corner of Southern California. On Wednesday, the one-year anniversary of the disaster, A Concert for Altadena felt like the most optimistic place to be.

“People didn’t just lose their homes, they lost their community,” Wilson said, in the lobby of the Pasadena Civic Auditorium where scores of local acts had gathered for the benefit show. Organizers booked it to raise funds for the Altadena Builds Back Foundation, and to give locals something hopeful to attend on the painful day of Jan. 7.

“This is not just a fundraiser, but a way to reconnect and show support for community that’s surviving,” she said. “Altadena was and is an arts community, that’s a big part of it. We have so many friends and neighbors continuing to figure out if they’re coming back, if they’re able to rebuild. The more distant you get from it, you may forget. But we haven’t.”

The anniversary of the Eaton and Palisades fires, beginning one of the city’s most difficult years in recent history, was largely marked by quieter reflections on the loss and how much work still laid ahead. But Altadena in particular was a historic community for musicians and artists. For them, getting together for a show felt like a natural way to honor the occasion and look ahead.

Kevin Lyman, the Vans Warped Tour founder and USC music industry professor, is a two-decade Altadena resident who was displaced from his home for four months after the Eaton fire. He organized the concert for the community to use the day to reconnect, and keep focus on the work left to do.

“In this business, I’ve got to be an optimist, and every day I see more trucks coming into Altadena with lumber and workers. You go away for a few days and see a frame of a new home. But then you go to the next block, and there are five empty lots,” he said.

“One of the hardest parts is that if you’re living up there, you can go two miles away and life just goes on,” he added. “You’ve got to remind people that we’re still here, people still can still use help. Artists that survived and reestablished themselves are here supporting artists that haven’t been.”

Altadena resident and actor John C. Reilly hosted the night, noting the resilience of rebuilding efforts and tossing barbs at the utility company Southern California Edison, whose equipment ignited the fire: “A company that prioritized profits for shareholders over improving infrastructure,” as he put it. He pilloried President Trump’s reactions to the blaze: “He told us to go rake leaves? Go f— yourself, dude.”

The night highlighted ground-level activism from organizers like Heavenly Hughes of My Tribe Rise, who led the crowd in a raucous chant of “Altadena’s not for sale.” But the live performances found poignancy in the city’s spirit as a music town. L.A. Latin rock group Ozomatli started the night with a jubilant jam down the aisles, while Everclear’s Art Alexakis noted between riffs that after the Eaton fire displaced him, “I had to live in a hotel for five months, but I’m lucky.”

Travis Cooper drove down from Northern California for the show, moved by the ways Altadena held to its cultural identity after the Eaton fire. His parents lost a home in a fire in Redding a few years back, so “I can relate to how devastating that feels,” he said. “Even the threat of it growing up was horrific, so to have that actually happen was another level. But my parents had people donate clothes, places to stay, and that meant a lot to them, so we wanted to come support this community too.”

The headline act of the night was the Altadena folk-rock group Dawes, whose founders lost homes and gear in the Eaton fire. They’ve become emissaries for the neighborhood within the music industry, performing at last year’s Grammys just weeks after the fire.

At the Pasadena Civic Auditorium, they led a round robin of acts including Brad Paisley, the Killers’ Brandon Flowers, Aloe Blacc, Jenny Lewis and Rufus Wainwright. They were accompanied by vocal virtuosos Lucius and blues-rock rippers Judith Hill and Eric Krasno, each fixtures in the local music community trying to rebuild itself in the wake of the Eaton fire.

Altadena is a deeply intergenerational community, and the crowd felt the decades of L.A. music history in Stephen Stills coming out for Buffalo Springfield’s “For What It’s Worth” next to a younger act like Lord Huron covering the Kinks’ “Strangers.”

Dawes is a veteran L.A. act, and songs like “All Your Favorite Bands” had new texture in the light of how the fire upended the lives of so many artists. “I hope the world sees the same person that you always were to me,” Taylor Goldsmith sang. “May all your favorite bands stay together.”

For those bands still trying to stay together, the night was redemptive. Jeffrey Paradise, the Poolside frontman who lost his home in the Palisades fire, DJed the concert’s official after-party. He’s since relocated to Glassell Park, and acknowledged that the fires are still a challenging topic, for him and for friends trying to support those displaced.

“It’s hard to talk about because so many things are mixed up in it,” he said. “It was the worst year of my life, but also great and heartwarming to see support from people. It’s so hard to answer how you’re doing because I don’t have an easy answer,” he said.

A concert like this was one way to acknowledge the gravity of last year’s loss, but also to raise money to help everyone get back to the land, people and music they love.

“It’s a disaster, and we’re getting through a disaster. I want to be resilient and help others, and do what I can to move forward,” he said. “It forces you to reinvent who you are and redefine what matters. I don’t have an option not to.”

In the last episode of The Envelope video podcast before the 2026 Oscar nominations, Joel Edgerton describes the transformative experience of making “Train Dreams.” Plus, our hosts share the names they’d like to hear called on nominations morning.

Kelvin Washington: Hello and welcome to another episode of The Envelope. Kelvin Washington, Yvonne Villarreal, Mark Olsen, and it’s great to have you both here as usual and especially when this is our last episode before Oscar nominations. So I’ll start with you, Yvonne. It could be a movie, a director, or some rising star or just anything that you hope once they read those nominations that morning, you’re gonna hear.

Yvonne Villarreal: I’m not going to say the usual suspects because that’s covered. I really want to see Chase Infiniti get nominated for her role in “One Battle After Another.” I just think she’s been such a revelation for me as somebody who watched “Presumed Innocent.” Seeing her in this role — and I don’t want to spoil anything, but she really finds herself in a hairy situation in this film and the way she sort of rises to the occasion and really has a moment of triumph for herself, I think it was just striking to watch. And she’ll be in “The Handmaid’s Tale” spin-off “The Testaments.” I’m really looking forward to see what she does there. But also I’ll say, as somebody who got thrown into the bandwagon of “KPop Demon Hunters” because of my 6-year-old niece, I wanna see that get some love in the animated category.

Mark Olsen: And in the music categories. Best song.

Washington: It better! Do you know how much I have to hear that song in my house with three daughters, 9, 7 and 4 [years old]? Like, I’m going to be “Golden.”

Villarreal: Are they memorized?

Washington: That’s an understatement. It’s to the point I got concerned. Is it like some robotic AI that’s taking over my daughter’s brain? Instantly. That and 6-7. I have to deal with that every day.

All right. Mark, swing it to you. What do you have?

Olsen: Well, you know, the actress Rose Byrne for the movie “If I Had Legs I’d Kick You.” She won a lot of critics’ prizes leading up to the nominations. And I think it’d be so exciting if the filmmaker on that, Mary Bronstein, also got recognized either for the screenplay or as director. You know, Mary’s someone that she made her first film, “Yeast,” more than 15 years ago and had not gotten a second project going and had sort of been living a life and doing other things. And to see her sort of reemerge with this project in particular, which is so powerful and so specific, it would be really exciting — as great as it is to see Rose being rightfully recognized — to see Mary get some attention as well.

Washington: So I’m gonna jump in with a couple. One, because she’s been on the radar for years as just a multitude of things, she’s multifaceted: Teyana Taylor can dance, she can sing, she’s just all of that and now acting alongside Leonardo DiCaprio. Very impressive for her. And not a debut, but maybe for those who aren’t familiar. So I’d be interested to see, I have a feeling we’re gonna hear her name. And then I’m going super popcorn, Raisinets, Junior Mints, going to the theater. “F1,” for me, I know it was kind of —

Villarreal: Whoa, that’s a throwback.

Washington: I know, but hear me out. It was fun. It was just fun. And it’s kind of one of those movies like, you know, you forget that you go to the movies, it’s gonna be a little fun, maybe a little cheesy, but dang it, I’m here. I’ve got my popcorn. All of that. That for me was another one that was like, “Oh man, that’s kind of the moviegoing experience sometimes we’ve forgotten.”

Olsen: And it’s always good to see the Oscars recognize a film like that as well. I mean, it helps just for attracting audience to the telecast. But I think it is important that the Oscars recognize a breadth of filmmaking styles and one of the things that’s so exciting about the movies is that it can be so many different things, from like a really small personal story to some big high-tech film like “F1: The Movie.” And so I think, yeah, to see that recognized in some of the major categories would be really exciting.

Washington: You know why I like Mark? Because he tried to legitimize my choice. And I’m OK with that.

Olsen: There’s no try. You don’t need the help.

Washington: Look at how I look in the camera. You know, why? Because I know someone’s going to be highbrowin’ me right now. And I get it. And I am with you. However, as we know, we can get all the types of mergers and some things will happen. Are people going to be going into movies anymore? And I was sitting in it going, “Oh, yeah, this is kind of what that feels like.” So ha! Take that.

Villarreal: My reaction was more, it had been a while since I heard the title.

Washington: It felt the same.

Villarreal: Sorry!

Washington: I like what I like, OK? I enjoyed it. That’s all I have to say about that.

All right, Mark, coming to you now. We’re talking about Oscar buzz, and just buzz and a lot of traction that someone can get from a role. Talk about Joel Edgerton playing a logger in Netflix’s “Train Dreams.” What was that conversation like?

Olsen: It was a really terrific conversation. This is a movie that premiered at Sundance last year and was picked up by Netflix there. And even though it has that machinery behind it, there is still something that feels very organic about the success of this movie. It genuinely feels like it’s word of mouth that people have been discovering the film. And it has just a really quiet power too. And a lot of that comes from Joel’s performance. You know, he originally pursued the rights to this book himself and wasn’t able to get it, the rights were already taken. And so he sort of like thought, “Oh, well, that’s that.” And then years go by and the project comes back around and he’s offered this role that he’d been so interested in playing. And he feels like it’s hit him at a very specific time in his life.

The [story] is set in the early part of the 20th century. He plays a logger in the Pacific Northwest. And it really is just a portrait of a life. And the story deals with grief and family, and Joel, in the subsequent years, has become a father himself. And he said how, if he’d have played this a few years ago, he thinks it’d be totally different than the way that [he’s] playing it now. Also he is a guy who’s been in the business for a few years now. He has, I think, some really sharp opinions, views on like what this business is, what the industry is like right now and where it’s going. So it was a really terrific conversation to have with him.

Washington: It sounds like it. Let’s get straight to it. Here is Mark and Joel right now.

Joel Edgerton in “Train Dreams.”

(Netflix)

Mark Olsen: As we’re talking, the movie has been building this sense of momentum around it with reviews and awards. And while there is an awards campaign around the movie, there is something about it that feels very organic. This movie seems to be catching on through word of mouth, just people seeing it and responding to it. How do you feel about the response to the movie?

Joel Edgerton: It feels very good. Coming from an independent film background, I love it when small movies make a lot of noise. And I can’t really analyze or diagnose why, but I get this feeling with “Train Dreams” that it means different things for different people and it holds up a bit of a mirror to their own experience, being that the film is really this celebration of an ordinary life and shows the majesty in that. What my character goes through, they’re universal experiences and so people find something of their own experience in it and I think that’s part of the reason why. It’s a small movie but it’s also a very big movie.

Olsen: The other side of that, in a way, you were recently on a red carpet and you were asked about some comments that James Cameron had made regarding movies on streaming services and the awards race. And I don’t know if you want to say anything more about that, but also do you feel like people do somehow hold it against “Train Dreams” that it’s on Netflix?

Edgerton: Look, the world we live in now is so in the hands of the audiences because of social media. I feel like in the old days, well before I was born, we were told who our movie stars were. The studios would make those decisions for us, and things were very narrow. And now people have the power to choose what they want to watch, who they want to watch, they choose the movie stars. They speak about the movies, and Letterboxd, for example, is such a big thing. And in that same vein, it’s really interesting to hear what people, regular people, moviegoers think of how movies should be exhibited, how they feel, regardless of whether they know about the business side of things or not, or why things are the way they are. They have feelings, sometimes very passionate points of view on where and how we should watch movies. And of course, for all of the business side, if we put it aside, I do believe people want to go to the cinema and watch movies.

My comments come from understanding now where I am in my life. I’m all about creativity and all about story, but I do understand business, and I feel like I emerged out of my bubble in Sydney and felt like the whole world of cinema had suddenly changed. My views on streaming had started to evolve just after we showed a movie at Cannes called “The Stranger.” Another very small movie we made down in Adelaide and Netflix picked up the movie and I remember thinking, “Should we go with them?” So many people saw that movie because it was on a streamer. And so my feelings are very mixed and they’re very much tailored to what the movie is — and therefore according to what the movie is and how big or small it is, where it should live. I’m all for pushing to fight for keeping cinema alive and I believe a younger generation feels the same thing. But I also feel like there are chances that some people have that are narrow as they get their start in the business, which means sometimes the first things you can do, you’re not necessarily going to get a 2,000-screen release on your very first movie. So I have many, many opinions about it. But I feel like we all need to fight for cinema. We also sort of hopefully don’t allow streaming, as great as it can be, to take over everything. That’s my feeling.

Olsen: You’re also a producer as well. This feels like we’re in the middle of a transformative moment for the industry. What is it like for you as a person in the middle of that tide, just trying to navigate that for yourself?

Edgerton: Again, it’s all about what is the story and where should it live. My feeling always is that if I ever get behind making something, I want as many people as possible to see it. I also want to have an exchange at the cinema. One of the great things about “Train Dreams” is I’ve done about 50 Q&As so far — I haven’t counted them up, but around that, and we’ll do a bunch more. We’ve been to a number of festivals and we have an exchange with the audience. We get to watch and see people’s reaction to the film in like an analog way. Sometimes the feeling with letting a movie go on streamer without any fanfare is that it feels like it disappears with a whisper, and you don’t get to have that exchange. And I think that’s very important.

My dream would be to make a film exhibited at the cinema, knowing that at some point it will end up on TV screens and in people’s lounge rooms all over the world. And finding the right way to get a balance of both. There’s nothing better than sitting in the cinema and watching a movie with a bunch of other people. The sad thing at the moment [is] it seems — and again, I don’t know the full diagnostics of it — you get a cinema release and you’re there for like two weeks and then you’re replaced by something else. I’m old enough to remember the days where a movie would sit in the cinema for six, seven, eight weeks if it was good.

Olsen: I don’t want to belabor the point, but I’m so curious about this. I’m assuming when you went to the Gotham Awards you were not thinking “I’m going to give James Cameron a piece of my mind tonight.” Do you find in the time that you’ve been doing this, now you may show up to something and you have no idea what someone’s going to ask you, you have to be ready to talk about just about anything?

Edgerton: You’re right, and I never expect a red carpet is a mine field. I do go home sometimes and think, “What did I say?” I knew what I said. And I also stand by what I said. What I don’t love is the process of reduction of someone’s comments. Someone had sent me this thing that said that I “lashed out” or used a word that was quite a violent one, like I was lashing back at James Cameron. I was like, “No, I wasn’t doing that at all.” I actually had a fair and balanced opinion about the fact that James is, excuse the semi-pun, a titan. He is a pioneer and an inventor and we’ve seen that he’s created technology that has made movies better. He can exhibit movies in this broad scale because he’s dared to dream big. And I feel like there’s a world where there are people who are never going to get their first film on 2,000 screens because it’s a small story, movies like “Sorry, Baby.” They’re not 2,000-screen release movies. There’s a world where they live somewhere, whether it’s in small art house cinemas or whatever. So I was like, “All right, don’t make it feel like I’m putting the gloves on and have a fight with James Cameron, because he’s probably going to win if that’s the case.” And that’s certainly not what I was doing at all. Just saying my point of view is slightly different. And I also understand his point of view. But [comedic wrestler voice] “I’ll meet you on the top oval, James. Let’s do it.” I’m not trying to start a fight. I’m a lover, not a fighter.

Olsen: To start talking about “Train Dreams,” you’ve talked a lot about how you read the book around 2018 or so and the rights weren’t available so you set that idea aside —

Edgerton: Sulked a bit.

Olsen: What do you feel like you were responding to then in that book?

Edgerton: I’ve heard the term neo-western, which I understand now, but it didn’t really make sense to me at the time. When I first read the book, we come into the story with this violent act towards the Chinese worker, for anyone who’s seen the film. And I didn’t know Denis Johnson’s work at all at the time. The book had been gifted to me as a wrap gift on “Boy Erased.” I thought, “If someone gives you a book, it means they think there’s some meaning in it for you, that it will resonate with you,” and it did. But I thought, “Oh, this is a western.” And then within a handful of pages, I realized it was a different kind of western. It would look and feel like a western, but it was a rumination on a life itself. Not that it was going to answer the big elusive question of the meaning of life, but swirling questions of what is the purpose of a life and what is in the extraordinary details of a life we may never care to remember because the person is not the great inventor, the great general, the great president or superhero. I love the ordinariness, I love the idea that it resonated with something that my parents had always instilled in me, which is that every single human being has a great story to tell and that we all shouldn’t be considered insignificant. And I just was so moved by the sort of glimpses of one man’s entire life. Wanted to get my hands on it, couldn’t, and I’m happy to say that it’s good that I didn’t get my big fat lumberjack hands on it then. Mostly because I think [director and co-writer] Clint [Bentley] is a remarkably sensitive, excellent filmmaker [and] has done a much better job than I ever would if I was in control of things. And because in the four years since he reached out to me to be in the film, I’d become a dad. And that was like everything to me. And if you’ve seen the film and you know what’s inside of the film, I really believe that my performance, I don’t know what my performance would have been like pre-Joel the Dad, but now that I am a dad, it’s like there’s stuff inside of me that makes this performance possible.

Olsen: But when it came back to you, do you feel like you responded to it differently? Did you recognize that difference right away?

Edgerton: One hundred percent. And I know it, there was a significant moment. Clint came to meet me in Chicago, I was shooting “Dark Matter” and I was very excited that this had somehow come around to me, knowing that I loved the book and the character so much. Then I watched “Jockey” and knew that he was a really solid filmmaker. His adaptation was extraordinary. And then when I met him, I realized as a filmmaker he was like a director version of the central character of the film — kind, honest, generous, a really great observer. And I went home and I spoke to my wife, and she obviously, her two big questions every time I want to do a project [are] when and where. Because it means moving us around, uprooting our family. I told her and Spokane didn’t exactly make her click her heels, because her life is about being plugged into big cities. She said, what’s the story about? And I started trying to tell her the story, and when I got to the stuff that happens to Robert in the middle of the film, and my 1 1/2-year-old twins are in the other room, I couldn’t even finish telling her the story. And I realized then how much the story now kind of terrified me. But also was so much more connected for me. And she watched me, my chin was quivering and and she was like, “All right, I guess we’re going to Spokane.”

Olsen: Have you done a project that felt this personal before? And did that have its own kind of anxiety attached? Did you have any reluctance to do this for the reason that you were connecting to it so strongly?

Edgerton: I feel like I learn something about myself on every job and every time I approach a new job, I always describe it in rudimentary terms, like a toolkit. What aspects of myself do I bring to this? Which parts do I leave behind? And how would I approach this? For example, “Gatsby” for me felt like, “This is about me turning myself up to 11 out of 10, bringing something bigger.” And with “Train Dreams” what I’ve really learned was how much in the past I’ve tried to hide from myself. And I feel like it’s a trap a lot of actors fall into, is thinking they’re not enough and you have to adorn a performance to be really seen or heard or impress. And I realized how much I’ve avoided playing characters that are very much like me. And though Robert’s a lumberjack, I’m putting all the trappings of it aside on an emotional level. How much is a character like you? And I’m constantly trying to play dress ups and really interested in being people that I’m not and I think that my favorite actors have often been transformative character actors. So I felt like my task in my mind was always to do something different and run away from the idea of just showing my own self really. And I realized that as a husband, as a father and as a guy who’s constantly guilty and struggling with the idea of being away from my family for work, these are all things that Robert is [dealing with], just doing a different job. A contract worker, which I am too except I’m not chopping down trees. And I have my greatest fears around my kids and the safety of my kids. So it felt to me like this was a chance to be very open about my own feelings and bring that to the work without feeling like I had to put too much garnish on things. And that’s a bit scary for me. But it now makes me realize it’s probably a better path in the future to do a bit more of that, just be a bit more open rather than hiding who I am, if that makes any sense.

Olsen: Completely. Because a lot of reviews of the movie, I sort of said this myself, have noted how it feels almost as if your career has been building to this performance, leading to it somehow. Does it feel like that to you?

Edgerton: I know that in decades to come I’ll look back and say always that “Train Dreams” is one of the great experiences I’ve ever had. The process and the result. I think the movie’s fantastic, but what I got out of it personally, it was extraordinary. Look, I hope that I’m building towards something else extraordinary in the future, and it’s like a new mission with each film and each story and each character. But this one definitely feels special for me, and it feels like I use the word “suitable,” which feels so boring. But I played characters that are not suitable for me in the past, and I’ve really challenged myself to bend into shapes that are different from who I am, rhythms that are different from what I’m like, successfully or relatively unsuccessfully. I can’t really judge it for myself. But this felt really suitable. It felt like it belonged to me.

Olsen: You’re also a director, writer, producer. What is it like for you when you show up to a project and you’re just an actor? Does it allow you to focus more on your performance? Or are you always like, “I was thinking you could put the camera over there.”

Edgerton: It’s such a relief. I think directing is the best job in the world, but I wouldn’t want to be doing it every time I went to work, because there’s a lot of stress, a lot of responsibility. Many times I’ve described the difference between acting and directing. An actor is like a child. Literally you could turn up to work in your pajamas, somebody will put makeup on you, dress you, you have one — well, I don’t want to be reductive about it — but you have one job, to play your character and fit into the story, serve the story. As a director you’re running the household. You’ve got to do everything. You’ve got to stock the fridge, you’ve got to make all the decisions about everything in the household, and there’s so much responsibility to that.

I was curious after I directed my first film, how I would be walking onto another director’s set. And it would just be a sin to walk onto someone else’s set and start to look over their shoulder and check their homework and sort of impose yourself on that process. I realized the two things that fascinated me the most were what lens was being put on the camera according to what the shot was. So I just became like really quietly observant. Actors who direct get this sort of great luxury of visiting so many sets and watching other directors and learning from them, good and bad things. And behavioral stuff. It’s not just about how their craft works or how they apply themselves as filmmakers, but how they conduct themselves as people, how they treat their crew, how they elicit the best out of their heads of department and give them freedom or not. Like Clint, for example, on “Train Dreams” is amazing at deputizing his heads of department, giving them freedom, and I think that’s the greatest show of power as a director, the confidence of relinquishing control because you hired the great people and you’re trusting them to collaborate with you. So as an actor I love the freedom of just being there to serve the story. And then watching and putting little things in my ideas bag for next time if I’m lucky enough to be the director again.

Olsen: You were recently on [“Late Night With Seth Meyers”] and he said that he thought it was a very wonderful performance and he noted how you don’t have very much dialogue in the movie and you said you think it’s wonderful because there isn’t much dialogue. And you were kidding, but I wonder if you could unravel that a little bit. How do you think the lack of dialogue in the movie impacted your performance?

Edgerton: Words are there to confuse us in the world. There’s the things we say, what they actually mean, there’s so many layers to any conversation you have with any person. There’s something really interesting about people who don’t speak very much. There’s a mystery often to them. I think there’s a lot of mystery to men that I grew up with in my life. I find myself drawn to people that don’t speak very much because I’m wondering what they think, what do they think of me, what’s going on in their mind. As an actor, I guess I really cut my teeth on “Loving” with Jeff Nichols. He’s a character, again, a very good man who had a lot of feelings and a lot to say, but for whatever reason or for different reasons, with Richard Loving and with Robert, chooses not to say things or doesn’t know if he has the right to say certain things. As an actor I think what becomes the focus is knowing that the camera sees, is looking into your soul. The thought is the imperative, to put the thoughts in the right place, to just be present, knowing that the camera will read those things. And of course the story’s job is to help guide us along and we have a narration. But I was always hoping that the camera will see what’s on my mind and for me to then fill that with words would actually kind of be counter to what the character is, which is one of these very stoic nonverbal men that I think we can all identify with or that we’ve met in our lives. So it’s just putting the right thoughts in my head.

Olsen: It is remarkable how often in the movie it’s as if we’re just watching you feel, you’re sort of taking in your surroundings, you’re not really saying much, but it does feel like we’re in your head, that we can understand what the character is thinking and what you’re conveying as a performer.

Edgerton: Thank you. I was smiling because I was remembering the square root of eight. Do you know what I’m talking about? There’s an episode of “Friends” — is it Joey who’s the actor? — he’s like, “When you’ve got to act and you’ve got to look like you’re really trying to work something out, you’ve just got to think of the square root of eight.” It actually works. But I wasn’t using it in “Train Dreams.”

Olsen: The story does build to this scene with Kerry Condon where your character actually does explain himself. What was it like to flip the switch and have to be verbal and emotional in a more conventional way?

Edgerton: Talking about emotion was one of the tricky things with “Train Dreams.” Clint and I had many conversations, very cerebral conversations, theoretical conversations about story — and emotion was one of them. So Robert’s a character, one of these men who is not really willing to show his emotions. And when he does he’s very quick to put them down, or in the case of the film he apologizes for showing his grief. But it’s all building to this moment, and this is one of the things I love about the film, is that it illuminates the importance of human connection. Robert meets this character Claire that the audience feels like maybe there’s a romance about to happen, which I love that it doesn’t steer in that direction. These chance encounters with strangers that we maybe don’t know that we need to have met on our journey, that are a chance for us to express ourselves. And he has a chance to, whether he knows it or not, he’s going to tell her about his feelings of strange complicity in something he had no responsibility for. And we knew that we were building towards this and yet at the same time we’re still trying to keep a lid on the emotions, but finally Robert gets to speak and it makes so much more sense of his silence up until that point if he we finally hear him string more than a sentence together to try and talk about what’s inside of him and those scenes we shot them in a short one-and-a-half hour window of magic hour with Kerry, who’s just extraordinary. And it felt like time was standing still, even though you would think that there would be a sense that we were rushing. It felt like we had hours.

Olsen: As you’re making the movie, are you talking with Clint or William H. Macy or Felicity Jones, having these kind of big picture, thematic conversations? Because the movie invites these questions of, what makes a life? How do you define being a man? Are you having those conversations while you’re making the movie?

Edgerton: There’s something fascinating about “Train Dreams.” Something I say is so special about Clint is, I know this because I read so many screenplays and I think about story all the time, is this draw to tell an audience what to feel all the time. Whether it’s through words, the story itself, music. “Train Dreams” does this thing that as much as I can speak about it objectively, and it’s the same in the novella, these moments that aren’t telling you what to feel, they’re just layering on top of each other, and I feel like there’s some compression of all these things. It pulls something out of people in their own way. They find their own experience out of it, which can be quite emotional and quite cathartic in a good way. Particularly anyone who’s been through moments where they’re being knocked down in life. I think there’s some sort of hopefulness in watching Robert’s story. It’s hard to define, but there’s a confidence in the way Clint’s rendered it. It’s not telling you each time what to feel. Robert’s not telling you, it’s not screaming to the heavens. There’s nothing sort of overly melodramatic or cathartic about it. And yet these layers build and compress. I had a very similar experience watching “Into the Wild,” Sean Penn’s film. It’s another character isolating himself in in nature. The credits roll and something in me just was like it was like, “I needed to feel something.” I call them a happy cry movie. You know, you’re crying but also happy at the same time.

Olsen: There’s a a moment in the film that I find so haunting and I’ve been trying to unravel it for myself. It’s late in the film, it’s the 1960s, you’re portraying the character as an old man. And in the voice-over the narrator Will Patton says something like, “He never spoke on a telephone.” And there’s something about that I just find deeply moving and really haunting. And I’m struggling to even define for myself what it is about that idea that really gets me.

Edgerton: Because there’s these great things in the movie that I call little sidecars or whatever, this idea that the world is sort of moving so quickly it’s going to leave us behind. It reminded me of my grandmother, who when I pointed a video camera at her for the first time, she didn’t move because she was thinking I was taking a photo of her. And I was saying “It’s OK, this is a camera that’s gonna capture you moving.” She was like Robert. She never saw some of these things. She never experienced a lot of things. I think she went on an airplane, like a jumbo jet, once in her life. And there’s a great thing in the book actually, about Robert and his point of view on the world and as he’s aging, and it talks about his body and his spine and the way his shoulders moved. For example, that scene where Robert goes up to the window and realizes he’s staring at a man walking on the moon and he’s looking up at the sky, wondering, “How is that even possible?” There’s this sense of his physical dilapidation as he moves. It’s this guy that every time he turns his head has to move his entire body from all the hard work. But all this is sort of just a general sense of wonderment that I remember in my grandmother’s eyes when she would look at new things. But this sort of awe and childlike wonder at the world, which I found very special.

Olsen: Part of the story also deals with just how to know when your time has past. And you and I are about the same age and it’s something I grapple with a lot, wanting to be sure that I still have something meaningful to contribute. Do you worry about that for yourself? In a way it comes back to where we started this conversation, that there are people who would tell you that movies are on the way out.

Edgerton: Relevance is a weird thing. I always saw myself as the youngest person in the room. I started very young. I was young at drama school. I was always young, and now I’m not. The beauty of being an actor if we’re allowed to keep doing what we’re doing, if AI doesn’t mess everything up, as long as my brain keeps working, I can keep learning about the new versions of myself as I get older. You know, “Train Dreams” is a good chance for me to see myself in the middle of my life. But I wonder about relevance. I wonder about my character staring at a chainsaw in the movie and wondering how it’s going to affect his world. I wonder at that for myself, as I’ve never downloaded ChatGPT. I’m sort of terrified, but I also feel like I need to not turn a blind eye to it. I have young kids. I’ve got to accept this thing. But I do worry about what it’s going to do to movies. What I feel optimistic about [is] — I always evoke Jonathan Glazer’s film, “Zone of Interest.” Because I think the genius of that film is the beautiful human thought behind the point of view of setting a Holocaust film in the general’s house over the wall in an opulent setting. And I keep thinking, “I don’t think AI is going to come up with an idea like that, think outside the box.” I think it pushes us into more of a challenge of the unique thought, the unique piece of art, doing things that are bespoke. I don’t think we’ll ever want to stop watching human beings or listening to human stories told by humans, starring humans, music made by humans, paintings painted by humans. I hope. Yes, we can enjoy the wildness of what computers create for us. But I don’t think zeros and ones are going to entirely ruin our lives. But then I can be pessimistic too. I won’t rant on that.

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Molly-Mae Hague and Tommy Fury’s relationship is once again under the spotlight in the new episodes of her Prime Video documentary after the couple decided to give their romance another go

The new Molly-Mae Hague documentary series will focus on her moving back in with Tommy Fury as she tells fans: “My life’s gonna change, everything’s gonna be different.”

The trailer for the final part of the second series of Molly-Mae: Behind It All dropped online tonight ahead of the launch on Prime Video on January 16. It initially shows how Molly’s sister Zoe has moved in with her to help her with childcare and growing her business Maebe.

But also in the 80 second clip, Molly is shown trying to gain self confidence ahead of moving back in with Tommy. She tells the cameras: “I am very proud of me and Tommy for working through things. It’s just gonna bring us even closer as a family.”

As the trailer shows a removal van she adds: “I’m closing the door and leaving behind such an incredible chapter of my life. It’s very bittersweet. It’s also just that fear of not knowing what to round the corner. So just a few things going on.”

Molly-Mae is engaged to Tommy after the couple met on Love Island in 2019. They became the most famous and celebrated romance from the ITV series. But after they got engaged and had their daughter Bambi together, they split in August 2024 amidst rumours Tommy had cheated, something he has always denied.

In the first series of the Prime Video documentary released a year ago, things had been very different and Molly-Mae and Tommy were not together and living apart. Tommy only featured on the phone and not in scenes on screen.

At that time on screen she said: “The last couple of months have been like the worst couple of months of my life. The feeling of a break up, it’s like a physical pain, like your heart actually hurts. For everyone else, it’s news, a bit of gossip. But for us, it’s real life. Your whole world just feels like it’s over.

“You don’t see a light at the end of the tunnel. I’m dealing with the falling apart of our relationship.” But in a look toward what ended up happening in the future she also told the cameras her love for Tommy “didn’t disappear overnight” after they were spotted kissing at a party on New Year’s Eve to see in the year 2025.

Some of the problems at the time had been blamed on alcohol. Molly said back then: “There were exterior issues going on for him that were causing our relationship to have problems. It was drinking isn’t it?

“I never, ever wanted to be with someone that drank, because my mum had a period of time in her life where she struggled because her marriage of 25 years had just ended, and she turned to drink, probably more than she should have.

“I was only about 14,15 when that happened, and I saw my mum in some like states, going through a really, like vulnerable time. So I have never, ever, ever been around it in a positive light.

“Tommy wanted to have a family life, but then also have the life of a 25-year-old boy with no responsibilities. And the two don’t go hand in hand. He’s never had an alcohol problem. It’s just that alcohol caused problems for us. It got to a point where I wasn’t really looking forward to anything, because alcohol affected it so much.”

In the new trailer Tommy is shown with Bambi in a clear sign they are back together as a family. They have recently all been to the Maldives and posted photos showing them all together on social media.

Molly-Mae: Behind It All Series 2 Part 2 (Episodes 4-6) will launch on 16th January 2026.

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In Jafar Panahi’s acclaimed thriller “It Was Just an Accident,” it’s a distinct sound that alerts Vahid (Vahid Mobasseri), a mechanic, that the man who tortured him in prison might be dangerously close.

After hearing it, he embarks on a rage-fueled mission to kidnap and kill the interrogator. But Vahid is not certain he has the right man, so he enlists a group of other victims to help identify him. What ensues is a brilliantly taut ensemble piece.

The latest from the Iranian master earned the Palme d’Or at the Cannes Film Festival and is now a major contender this awards season, representing France at the Oscars in the international feature category. Iran would not submit the politically charged film.

“Because the auditory sense of prisoners is usually strongest above all the other senses, I thought that I would begin the film with a sound,” a stoic Panahi says via an interpreter in a hotel room in Santa Monica. “In prison, you keep trying to guess if this voice that you hear belongs to an older person, a younger person, what he looks like and what he does in life.”

A scene from “It Was Just an Accident.”

(Neon)

Panahi is no stranger to being deprived of his freedom. Arrested in 2022 for his outspokenness against the regime’s practices, he spent seven months in prison. It wasn’t until he went on a hunger strike that his right to legal representation was granted.

Without an attorney present, Panahi explains, interrogators blindfold detainees and stand behind them, either asking questions directly or writing them on a piece of paper and handing it to the detained, who lifts their blindfold just enough to read it. An interrogation nearly identical to that description plays out in last year’s Oscar-nominated film “The Seed of the Sacred Fig” by Mohammad Rasoulof, one of Panahi’s longtime collaborators.

“I had not actually seen Rasoulof’s film because when we make films clandestinely, we don’t talk about them, even with our close friends,” he explains. “I didn’t even know what his film was about. Only when I got to France to mix [‘It Was Just an Accident’], and Rasoulof’s film was out in theaters there, that’s when I saw it.”

Making films on the outskirts of legality under an authoritarian regime entails high-stakes discretion. The script for “It Was Just an Accident” never left Panahi’s sight when casting.

“To all of the actors, I gave the script in my own apartment,” he recalls. “I told them, ‘Read it here, don’t take it with you. Go and think about it for 24 hours, and then tell me whether you want to be a part of it.’” Everyone in the stellar cast, composed of dissident artists with varying degrees of experience in front of the camera, was aware of the risks it entailed.

Jafar Panahi.

(Kate Dockeray / For The Times)

Mobasseri had appeared in Panahi’s previous effort, “No Bears,” while Majid Panahi, who plays a groom swept up in the scheme by his vengeful bride, is the director’s nephew. Mariam Afshari, as a photographer who also joins the plot, had minimal acting experience, but had been involved in other productions in below-the-line roles. Panahi says he casts actors based on how their physical traits resemble the character he has in mind.

That was the case with the tall and lean Ebrahim Azizi, who appears as Eghbal, the man the group believes was their ruthless captor. For a scene near the end where Eghbal breaks down, thinking he’s about to be killed, Panahi placed his trust in Azizi — who only acts in underground films, not state-approved projects — to convey the tempestuous humanity of a presumed villain.

“I felt a huge burden on my shoulders when I left prison that made me feel I owed something to my fellow prisoners who were left behind,” Panahi says. “I said this to Ebrahim Azizi, ‘Now the entire burden of this film is on your shoulders with your acting, and you have to put that burden down with utmost commitment.’”

The first time Panahi shot that searing scene, he sensed it wasn’t coming together. After all, his only experience with real-life interrogators was from the receiving end of their questioning. “I went to one of my friends, Mehdi Mahmoudian, who has spent one-fourth of his life in prison,” he says. “I told him, ‘Because you know these personality types very well, come and tell this actor what to do.’ He guided [Azizi] and we took two or three more takes and it was done.”

Amid the hard-hitting moral drama of “It Was Just an Accident,” moments that warrant a chuckle for their realistic absurdity might surprise some viewers. However, a touch of sardonic levity has always been part of Panahi’s storytelling.

“Humor just flows through life. You cannot stop it,” he says.

To make his point, Panahi recalls a morbid memory from when he was around 10 years old. One of his friends had lost his father. Disturbed, the boy threatened to take his own life. Panahi and his other friends followed him to try to stop him if he did in fact attempt to hurt himself.

Determined, the boy announced he would stand in the middle of the road and throw himself in front of a large vehicle. “We were lucky because we were in a very isolated part of town and there were no real big cars passing by,” he says. “Two hours later we were all sitting in a movie theater. Humor is always there. It’s not really in my hands.”

IOWA CITY, Iowa — As I sat at a corner table inside another Courtyard by Marriott over the weekend, a floor-to-ceiling window protecting me from the 25-degree chill on a dreary morning, it struck me how much easier this would all be to do from home.

Nap until game time. Pick up the remote. Get a closeup view of every play.

Of course, that approach would also have deprived me — and Times readers — of so much over the last 10 years of being the only full-time traveling beat writer with the UCLA men’s basketball team.

Feeling a piece of stray confetti float against my cheek inside Lucas Oil Stadium after the Bruins reached the Final Four.

Seeing Prince Ali bound down a hallway inside Oregon’s Matthew Knight Arena while yelling, “This is highway robbery, baby!” after the Bruins came back from nine points down with 51 seconds left.

Chatting with master storyteller Hep Cronin inside Kentucky’s Rupp Arena the day before an NCAA tournament game.

Interviewing Jaime and Angela Jaquez poolside in Maui before their son and daughter became on-campus celebrities.

People like to say they have the best seat in the house. Mine has often been 11F, window, on a United Airlines flight to some far-flung game that has made me cherish this decade of memories inside arenas all over the country.

There’s been so much more besides the palpable tension one can only feel sitting courtside, or in one of the media seats increasingly far removed from courtside in recent seasons. I caught a glimpse of Jake Kyman’s teammates dousing him with water after he made seven three-pointers against Washington and assistant coach Rod Palmer obligingly pushed the locker room door open a little wider than usual on his way out. Scanned cardboard cutouts of fans and pets inside San Diego State’s Viejas Arena. Wrote on deadline at Colorado while a trash collector roamed the stands blaring old Pink Floyd favorites from his boom box.

Yes, there have been annoying travel delays, crummy hotels and way too much time spent away from home. (A quick check of my Lifetime Titanium Elite status with Marriott shows 1,592 nights — the equivalent of nearly 4½ years — since 2003 while traveling for The Times in a variety of roles.)

But this is something I’m thrilled just to have the chance to do.

It takes an incredible financial commitment in a time of shrinking media resources to send someone on the road for every game with a college basketball team in 2026. That’s why I’m so grateful to my bosses for letting me take all these trips over the years.

Fortunately, I’m not the only one who realizes how special this is. Every time he sees me at a road game, Chris Carlson, UCLA’s longtime associate athletic director, has made a point to thank me for being there. He did it again Saturday, inside a club room deep within Iowa’s Carver-Hawkeye Arena, after UCLA’s frantic rally had fallen short against the Hawkeyes.

Fans often ask me if I travel on the team plane. That would be a resounding no, leading to innumerable layovers at Chicago O’Hare on the way to somewhere else in Big Ten country while the Bruins travel nonstop via charter. I don’t mind in the least.

Life on the road with the Bruins always packs a wallop, even during down seasons. A few years ago, during coach Mick Cronin’s only losing season with the team, it had just snowed in Pullman, Wash., when I exited a regional jet onto an icy outdoor ramp. I took two steps and fell backward onto my head with such a violent thud that my glasses flew back into the cabin. (I survived, or you wouldn’t be reading this.)

Along the way, there’s been far more laughter than frustration, let alone the need to Google “subdural hematoma.”

I’ve enjoyed every destination in an old conference (Pac-12) without truck stops and a new one (Big Ten) with plenty. I’ve sparked a Twitter war with the Memphis International Airport over a baggage office being closed shortly after sundown. I’ve stood in a hallway when coach Steve Alford threw his players under the bus at Cincinnati — “If you lose,” Alford said, “you get in the gym on your day off and you figure things out, not wait and get in the gym when we meet with you” — not long before the firing of Alford led to the hiring of Cincinnati’s coach.

I’ve heard that new coach — Cronin — yell at his team from two rooms over inside T-Mobile Arena after a loss to Baylor. I’ve also heard Cronin’s teams silence arenas with huge early runs against Stanford, Marquette, Maryland and San Diego State.

Traveling to cover the Bruins has had its side benefits, of course. I’ve seen family in Portland, visited wine country in the Willamette and Napa valleys and taken memorable trips to Arizona and the Bay Area during the COVID-19 season in 2020-21. The enduring image from those trips was the bizarre game against Stanford in Santa Cruz (because of health restrictions in Palo Alto), which featured an equally bizarre ending on an inbounds pass to Cardinals forward Oscar da Silva for a buzzer-beating layup.

There have been white-knuckle prop plane flights from Seattle to Pullman and white-knuckle drives across the Bay Bridge thanks to gephyrophobia. Tense drives from Spokane to Pullman because of the dreaded Colfax speed trap and walls of fog that can blindside you like a fearsome backcourt press.

Including stints covering USC basketball and an additional UCLA season under coach Ben Howland, I’ve logged three trips to the Maui Invitational — including one played in Honolulu — one to the old Great Alaska Shootout and one to Mexico for an exhibition game. The one trip that I really wanted to take — to China in 2017 — and was told no because a boss didn’t think it would be worthwhile ended in an international ordeal. Maybe it was the basketball gods’ way of telling him to keep me on the road.

As the pandemic made the prospect of taking flights seem perilous during the 2020-21 season, I covered a handful of road games off television. Admittedly, it was great to get replays and instant injury reports before hopping on a Zoom for postgame interviews.

But something just didn’t feel right. It wasn’t until the Bruins made the NCAA tournament and I accompanied them for every game on that unforgettable run in central Indiana that I fully understood one of the most important rules of quality coverage.

Being there matters.

Olympic sport of the week: Women’s gymnastics

Jordan Chiles helped UCLA rally to win the Best of the West Quad in Seattle by placing first in all four events.

(Courtesy of Jamie Mitchell)

Trailing California after two rotations in its season-opening meet, the UCLA women’s gymnastics team could rely on something else no one had in its comeback bid.

Jordan Chiles.

Predictably, the Olympic gold medalist helped the fourth-ranked Bruins rally to win the Best of the West Quad at Alaska Airlines Arena in Seattle by placing first in all four events.

Sticking her double layout dismount on the uneven bars, Chiles scored a 9.925 to help UCLA overtake the No. 20 Golden Bears and move into third place after the third rotation. Chiles topped herself with maybe her best beam performance at the college level, earning a 10 from one of the two judges and a 9.975 score.

UCLA senior Ciena Alipio contributed a 9.925 on the beam, helping her team edge Cal, 196.875 to 196. Host Washington finished third with 195.625 and No. 19 Oregon State was fourth with 195.550.

The Bruins next face No. 1 Oklahoma, No. 2 LSU and No. 5 Utah on Saturday at the Sprouts Farmers Market Collegiate Quad in West Valley City, Utah. The meet will be televised live on ABC at 1 p.m. PST.

Opinion time

With two months left before the NCAA tournament, UCLA men’s basketball is teetering on the bubble, with bracketmatrix.com — an aggregator of bracket projections — listing the Bruins as a No. 9 seed before they lost to Iowa on Saturday. Where do you think UCLA finds itself on Selection Sunday?

An elite finish leads to a protected seed

A solid Big Ten run puts it in Nos. 5-7 range

The Bruins just barely make it into the tournament

They’re left out for the second time in three years

Click here to vote in our survey.

Poll results

We asked, “What was your favorite UCLA sports moment of 2025?”

After 453 votes, the results:

The women’s basketball team’s trip to the Final Four, 49%
The men’s water polo team’s national championship, 21%
The football team’s three-game winning streak, 19%
The baseball team makes the College World Series, 9%
The softball team makes the Women’s College World Series, 2%

In case you missed it

Lauren Betts and No. 4 UCLA rout No. 17 USC in a commanding performance

UCLA’s second-half surge can’t erase ‘unbelievably soft’ start in loss to No. 25 Iowa

UCLA’s Bob Chesney rounds out his coaching staff with many joining him from JMU

Jerry Neuheisel is leaving UCLA to rejoin Chip Kelly at Northwestern

Cori Close, passionate about the growth of women’s basketball, wants the media to do its part

Chip Kelly is named offensive coordinator at Northwestern. Can he repair his reputation?

Have something Bruin?

Do you have a comment or something you’d like to see in a future UCLA newsletter? Email me at ben.bolch@latimes.com, and follow me on X @latbbolch. To order an autographed copy of my book, “100 Things UCLA Fans Should Know & Do Before They Die,” send me an email. To get this newsletter in your inbox, click here.

SUNSHINE fan Scott Dixon has spent every winter in Benidorm for the past seven years and the canny traveller insists the annual pilgrimage SAVES him money.

The 55-year-old takes his work with him on his annual lengthy getaways, saying he sleeps better and returns to the UK refreshed and energised. Sound too good to be true? Here, he explains how he gets such “staggering value’ on his winter sunshine breaks.

“It’s a no brainer,” says Scott, as he preps to jet away from his “freezing” home for the Spanish holiday resort. 

“Many people think extended winter sun breaks are a luxury but I say it’s smart budgeting.

“Covid has opened up a whole new world of possibilities to work and live anywhere affordably

“I’ll have no food bills, no heating bills, no petrol bills and I’ll be spending my days in 20C sunshine instead of enduring it in freezing Edinburgh.”

For the past few years, Scott has tried out several different kinds of accommodation in Benidorm’s Old Town for the season, including self-catering long term lets, but this year he has booked two, three week half-board holidays with Jet2. 

The digital nomad’s Benidorm package deals will include breakfast, evening meals with half a bottle of wine each night, flights, transfers and WiFi. 

The ‘snowbird’, a name for people who move to sunnier climes for the winter, says the three weeks in December costs him £1,443 and the three weeks in February £1,205, totalling £2,648.

This, he has worked out, breaks down to a spend of £63 a day. 

“To put it into perspective, my one bedroom flat in Edinburgh costs me up to £45 a week for electricity,” says Scott, who is mortgage free.

“Food is another £30 a week plus a load of other household costs.  

“At home, I’m paying hundreds of pounds just to sit around in the cold, cooking for myself and keeping the heating on.

“The value for money I’m getting abroad is staggering – I’m getting sunny weather, daily cleaning with no housework and cooked meals.”

Thousands of Brits head to Benidorm every winter, with the resort’s long-stay visitors attracted by its weather and British-style pubs and shops. 

“I’ve got to know a few familiar faces over the years,” says Scott, who is single and travels solo.

“Regular winter visitors, locals, bar staff and people who have become friends. 

“You see a lot of the same people each year and there’s a real community feel.

“It’s become quite common for people to escape the UK winters, especially pensioners, remote workers and anyone who realises they can live well for less in the sun for a few weeks.”

While the lively, budget-conscious destination in Southern Spain has been unkindly dubbed ‘Blackpool with sunshine’ by some, the writer insists Benidorm’s Old Town is a true hidden gem.

Filled with whitewashed buildings, narrow streets and traditional architecture, this area is known for its tapas bars and vibrant nightlife. 

“The Old Town is traditionally Spanish and a polar contrast to the New Town, which is where everyone forms their ‘Brits abroad’ and ‘Blackpool with sunshine’ negative opinions,” says Scott.

“People who have seen my photos can’t believe how nice and clean it is, with pristine beaches and everything you can wish for.

“It’s reliable, warm, affordable, has everything I need and only a two-and-a-half-hour flight each way.

“Benidorm is a completely different place compared to the summer peak season in general – it’s calm, clean and more chilled out.”

The weather in the winter is mild and pleasant, with an average of six hours of sunshine each day compared to less than two hours back in the UK.

“The weather is the biggest draw,” says Scott.  

“It’s perfect. Not too hot, not too busy and the weather is warm enough to sit outside with a beer on the beach front, go for long walks or just have a snooze on the beach without getting burned.

“Once you’re into January and February, it can sometimes be a bit too hot to sit out in.” 

Moderate exposure to sunlight is a primary source of vitamin D for most people and this vitamin produces the ‘happiness hormone’ serotonin that positively affects people’s mood, appetite and sleep.   

It could be why wintering in the holiday resort always has a positive effect on Scott’s mental wellbeing.  

“I started going during the winter in 2018 because I realised I didn’t need to spend it in the UK, freezing, paying high bills and feeling miserable,” he explains. 

“And the first time I tried it, I honestly couldn’t believe the difference in how I felt – more energy, better sleep, a better mood and a different mindset. 

“That made it a yearly habit.

“I eat better and walk more, and return home refreshed and energised – not run-down and drained.”

Scott, a consumer rights expert known as The Complaints Resolver, takes his work with him on his extended holidays – and says he usually isn’t the only digital nomad around. 

“Since I freelance, I’ve built flexibility into my schedule,” he explains.

“WiFi is good, and hotel staff are used to digital nomads now.

“I have stacked my work in advance so I can relax, and do some light work in the sunshine if necessary.”

So as Scott packs his suitcase for Spain, he has a simple message for anyone thinking of becoming a ‘snowbird’: do it. 

“You don’t need to be wealthy,” he says.

“Package deals in winter are cheaper than many people think and if you compare it to the cost of staying at home you may find it’s not that expensive.

“The endless days of blue skies and warm sunshine really lift your spirits and benefit your mental health, you can’t put a price on that.

“It’s a place where you can relax without thinking about life admin, bills and the day-to-day drudgery of winter in the UK.

“I couldn’t imagine spending winters anywhere else.”

Court sentences journalists in absentia over alleged links to violent unrest after ex-PM Imran Khan’s May 2023 arrest.

A court in Pakistan has sentenced several journalists and social media commentators to life imprisonment after convicting them of inciting violence during riots in 2023 linked to the arrest of former Prime Minister Imran Khan.

An anti-terrorism court judge, Tahir Abbas Sipra, announced the verdict on Friday in the capital, Islamabad, after completing trials held in absentia.

The convicted include former army officers-turned YouTubers Adil Raja and Syed Akbar Hussain; journalists Wajahat Saeed Khan, Sabir Shakir and Shaheen Sehbai, commentator Haider Raza Mehdi, and analyst Moeed Pirzada, according to the court’s decision.

None of the accused was present in court as they have been living abroad after leaving Pakistan in recent years to avoid arrest.

The convictions stem from cases registered after unrest in May 2023 saw some of Khan’s supporters attack military facilities and government property in response to his brief arrest in a corruption case.

Since then, the Pakistani government and military have launched a sweeping crackdown on Khan’s party and dissenting voices, using anti-terrorism laws and military trials to prosecute hundreds accused of incitement and attacks on state institutions.

The Committee to Protect Journalists said in 2023 that the investigations amounted to retaliation against critical reporting.

“Authorities must immediately drop these investigations and cease the relentless intimidation and censorship of the media,” CPJ Asia programme coordinator Beh Lih Yi said.

Journalist Sabir Shakir, who previously hosted a popular television programme on ARY TV before leaving Pakistan, told The Associated Press news agency on Friday that he was aware of his conviction.

He said that he wasn’t in the country when police accused him of encouraging mob violence.

“The ruling against me and others is nothing but a political victimisation,” Shakir told AP.

Under Friday’s court order, those convicted have the right to file appeals within seven days.

The court also directed police to arrest them and transfer them to prison should they return to Pakistan.

This article contains spoilers from the series finale of “Stranger Things.”

At this moment, somewhere on the internet, “Stranger Things” fans are rabidly and rapidly giving their feedback on how the series resolved the years-long plight of horrors faced by their favorite ragtag troop from Hawkins. But for Noah Schnapp, it didn’t matter how the story concluded. When filming on the final season wrapped last December, it was a bleak ending. At least initially.

The Netflix drama, to this point, had taken up half of Schnapp’s life. When he was 11, he began portraying Will Byers, the baby-faced boy who was abducted while biking home at night from a friend’s house and pulled into an alternate dimension known as the Upside Down. It was the catalyst that linked Will to its powerful creatures that tormented him and his inner circle for years. All the while, Schnapp and his fictional alter ego became increasingly intertwined. Like Will, he was a boy coming of age in his own upside down dimension — fame — while stepping into his true self.

“I will never forget that last day and how that last scene felt — it was just so surreal,” he said. “The goodbye was hard. I grappled with this feeling like my life is over and I’m in a crisis, this is my whole identity and all I’ve ever known, and now it’s ending.”

But for Will, “Stranger Things,” created by Matt and Ross Duffer, concluded on more hopeful terms. He began the two-hour series finale — released in the closing hours of 2025, both on the platform and in select movie theaters nationwide — knowing he had no secrets that could be weaponized against him, making him better positioned to help put an end to the Upside Down — and its otherwordly creatures.

Over two separate interviews from New York — a video call and, later, a phone call 20 minutes after I viewed the final episode — Schnapp discussed the complexity of amassing fame as a child actor, the parallel sexual identity journeys he and his character took, and life after “Stranger Things.”

Lucas (Caleb McLaughlin), Nancy (Natalia Dyer), Dustin (Gaten Matarazzo), Steve (Joe Keery), Jonathan (Charlie Heaton), Mike (Finn Wolfhard), Will (Noah Schnapp) and Robin (Maya Hawke) in “Stranger Things.”

(Netflix)

How does it feel to have it finally be out there?

Oh, man, it’s such a relief, honestly. No more worrying. It’s a happy, happy relief.

How did you spend the past two hours? I know you saw the finale with the cast already. Did you watch it again with the public?

Absolutely not. I’m celebrating the New Year, trying not to over stress about what people are saying and stay distracted.

So you’re not going to look at fan reaction tonight?

Probably not. My friends are texting me already, like, “Oh my God, I loved it,” or “Oh my god, I’m sobbing right now.” But no, I haven’t checked anything online.

We get a glimpse of Will’s fate. This idea that he finds his place, deep happiness and acceptance … and maybe love. What did you think of Will’s ending?

I think it was perfect. It felt really hopeful to see what the future can hold for a character like that, that I also kind of relate to, at least in terms of sexual identity. It was nice to see him get his happy ending and learn that it was it was never about Mike. It was about finding the person that was right for him, and in the meantime, kind of just loving himself. I’m just happy he got his happy ending. That’s that’s what he deserved.

Do you think he’ll remain good friends with Mike, Dustin, Caleb, Max — everyone?

Of course. They are forever tied together. Their books stand on the shelf, all next to each other, and especially Mike. They have that conversation which was actually written — now I can say it. It was not originally in the script, but I had the Duffers include it.

Oh, tell me about that. Why did you think it was important for them to have that conversation?

That scene on the tower, it’s a short little moment, but I felt like, with the coming out scene, there wasn’t enough closure between Will and Mike. So they included that moment, just so you get to see that Mike loves him as a best friend, and they will always be friends, which was nice. This relationship has been a slow burn for so many years, and so many people have an attachment and hopes for how it would come to a close. The coming out scene was so focused on on Will’s feelings that there wasn’t time for them to have a separate conversation, so I just felt like it was necessary for them to close out their specific chapter together. It feels very real to many situations I’ve had in my life where I’ve had a best friend that I’ve fallen for, and they ended up being straight and they love me still, just the same. It doesn’t make things weird. It felt very authentic to many experiences I’ve had in my life, and I’m glad it ended positively for him.

Series finales leave viewers to fill in the blanks beyond the chapters they close. We don’t have a real sense of how these characters are going to process the aftermath of what they’ve experienced, or how they’ll handle the trauma. Is that something you think about?

Of course. The story leads the audience to hope that these characters come to acceptance and peace after all these years of suffering. We end together as a group, this show started together as a group in Mike’s basement, and it’s right back to that core lesson of the show — believing in the magic of childhood and friendship and nurturing that and keeping that alive. And when they all say, “I believe that Eleven still exists,” I think it’s a metaphor that they’re saying they believe that the magic of childhood will exist forever and they hold on to that and take that with them into their lives.

I want to talk more about Eleven. Before we get to the theory that Mike has, what do you remember about shooting the scene where Eleven decides to stay back? Each one of you were so emotional in that moment.

I think of Millie as my own sister, so I tried to just make it feel as real as possible for me and imagine what that would feel like to see my own sister be taken from me. And it was so easy to access the emotions for that, because Millie does feel like family to me. I personally believe that she [Eleven] is still alive. I am hopeful about it. What I think is interesting is so many people expected so many people to die, a big massacre —

Did you think that it would go that way, at any point?

Our show has never been a show that’s killing off main characters left and right. I think, too, the big part of this season was tying it back into Season 1 and bringing things full circle. Eleven’s goodbye scene with Mike felt really perfectly full-circle and not traumatic and left the viewers with a question, but still hopeful and satisfied. I’m sure everyone’s going to have lots to say, positive and negative as they always do — that’s OK — but I personally loved how the Duffers closed it.

Earlier in the episode, there’s the exchange between Will and Henry, where Will is in his mind, and he sees what happened to Henry in that cave and is trying to appeal to his humanity. What did that unlock for you about the journey of these two young men and how they navigated their respective traumas?

It was satisfying for me as a viewer to understand these two characters, though, they are so polar opposite in their places in the story, are really inherently the same and come from the same emotions and sensitivity. The only difference is that the villain gives into this evil and Will fights it. It was just really cool as an actor to play those parallels and shooting it, we had to move in the same physical ways when his hand goes back in the same way — and watching how he [Jamie Campbell Bower] did a scene and matching it perfectly was really fun.

There were quite the needle drops in this episode from Prince — “When Doves Cry” and “Purple Rain.” Also “Heroes” from David Bowie. Were these songs played a lot on the set while filming this last episode?

“Heroes” by David Bowie, they were playing over and over on those last takes. “Purple Rain,” they were playing out loud. Usually we don’t get to actually listen to songs while we’re filming, but just to get a vibe, they were playing it on the speakers while we were in the truck. It was a fun episode to film, and also so difficult because they didn’t give us the freaking script for Episode 8 for so long. They were so lock and key about it. And you’re reading it in parts. We didn’t get a screener for it, so I only got to watch it once recently. It felt like watching a brand new episode when I watched it. When those credits hit … man.

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1. Will Byers (Schnapp) “comes out” to his inner circle in Episode 7. (Netflix) 2. Will (Schnapp) is embraced by his brother and friends — Eleven (Millie Bobby Brown), Jonathan (Charlie Heaton) and Mike (Finn Wolfhard). (Netflix)

Will had a big moment in Episode 7. Fans have long felt that the undercurrent of Will’s journey was his sexuality. How was it to face that moment as Will?

I knew this scene and this moment was coming for years, and I’d just been anxiously awaiting it, to see how it would be written, how I would perform in it. I’d been building it up in my head for years. I remember reading it alone in my room for the first time and I just cried. Then in the performance, I was so nervous because I always thought it would be a one-on-one with Joyce, but it was the full cast. It also came at a time close to when I came out personally and I never had that moment to come out to the whole cast in my own life. It almost felt like this extra pressure of, “Oh, it’s this personal thing too that I’m now having to share with them” and “are they gonna judge me personally for …” I don’t know, there’s all these layers of pressure for the performance, and the personal part of it and making sure it’s good.

We were filming the scene on the stages at like 3 a.m. and I was so tired and worried that I would mess it up, but it was cathartic as hell. I totally felt a stronger bond with everyone in the cast. Regardless of the critics and the excitement of the show, this is actually going to touch so many kids out there. If I was sitting there watching that at 12 years old with my parents and saw how all the characters hug him after it and embrace him and cheer him on and say, “We love you,” I might have come out right there and then too. I think this will have a real positive impact on so many young little boys and girls out there like me.

How would you say your relationship to your identity has changed as you’ve gotten older? How did Will help you? And how do you think you helped Will?

When I was younger, I always felt this pressure — like interviewers would ask me, “Do you feel a personal connection? Anything personally close to the character?” I would always kind of deflect. And I would say, “Well, no, he’s [Will] not queer. He’s just growing up slower, and he’s suffering from his trauma.” I felt defensive over Will, to almost make sure that he wasn’t gay because I felt it personally, and I was kind of like compensating for it. Our stories there were intertwined and, eventually, as I got older, I noticed how people, they really dive deeper into that sexual identity for him. And I saw people with such positive reactions to it. It definitely had an impact on me, like, “Oh, people don’t care as much as I used to think they did.” It helped me in my own journey. I think having accepted it publicly before having done this scene, changed everything for me. It allowed me to to fully be vulnerable and feel all the real emotions as much as possible in that scene, which was my goal, to make it feel just like I was living it. If I was still hiding, I wouldn’t have been able to really authentically show that.

Noah Schnapp on connecting with his character’s coming out journey: “I think having accepted it publicly before having done this scene, changed everything for me. It allowed me to to fully be vulnerable and feel all the real emotions as much as possible in that scene, which was my goal, to make it feel just like I was living it.”

(Evelyn Freja / For The Times)

You said you knew about Will’s sexuality for years — was it since the start of the show or did that conversation come later?

To be honest, we never sat down and had an explicit conversation of “Look, your character is gay.” It was more just hinted at from the beginning. I always thought about it, but pushed it down because of my own internal things. I think by Season 3 and 4, it became so obvious that it didn’t have to be said. It was just clear. I think once we got to Season 5, there was this unspoken, agreed upon thing that it was coming. It’s been building to this moment of acceptance so it’s going to be this season. It wasn’t in the first six after the table read, so then I started needling them, like, “Is it in [Episode] 7? Is it in 8? How are you going to write it? I need to see, I need to see, I need to see.” And they’re like, “just let us write it.” They were nervous. I could tell they were scared to have others see it because I’m sure it’s hard to write something like that and not make it corny or inauthentic.

Because most people don’t have a big coming out moment like that.

That’s also the thing. What I struggled with in the scene was I wanted to make sure I’m not coming out as Noah in 2023 on TikTok. This is Will coming out in 1987, or whatever year it is — it’s a totally different landscape, and you really have to separate the two as much as it was part of my own journey.

Your character is coming out at a time when he would be considered, for lack of a better term, the monster.

Totally. It’s such a good queer character. It’s so well-written, with the monster and Vecna as the parallel of his own identity; to harness these powers, he has to accept his own inner struggles.

How does your experience of coming out as a young adult under the spotlight parallel the fears Will feels in this fictional world populated by monsters?

It was different. It’s the pressures of the job and the career. I was like, “Why do I have to talk to my agents and my publicists about my sexual identity, who I want to be with in bed?” But they’re like, “No, this is something you have to consider because it affects the roles you get and how people perceive you. This is a conversation we have to have if you tell the public or if you just keep it personal.”

With Will, in the ‘80s, he’s suffering from this whole AIDS epidemic that was going on during the Reagan administration, where the president wouldn’t even acknowledge that gay people existed. If you were, if you did come out, people thought that you were contagious and had a disease and would get other people sick. It was a totally different landscape. I really made sure to educate myself on that difference. But I’d be lying if I said I wasn’t trying to take some personal anecdote into it. Right before the scene, I reread all the “coming out” texts I sent and tried to listen to the songs that I would listen to when I was trying to build up the courage to come out to my mom. I did try to bring in myself to [that scene], but also understand that it’s not exactly the same.

Is it too personal to ask you to share the name of one of the songs?

This is so embarrassing, but I listened to “Brave” by Sarah Bareilles because she’s like, “Say what you want to say, and let the words fall out …” It would always just give me the confidence. Every time. Every person I came out to, I listened to that before and was like, “OK, I can do it now.”

In Vol. 1 of the final season of “Stranger Things,” Will Byers (Schnapp) develops significant powers that allow him to control Demogorgons and fight Vecna by channeling the Upside Down’s hive mind.

(Netflix)

I want to return to that other moment this season, which had the fandom on the edge of their seat: Will coming into his powers. Have you seen the TikToks of people recording themselves as they watched that reveal?

Yeah. I’m fully on TikTok, but I’ve made sure to have my friends keep me up to date and send me the edits and what people are saying. My friends were sending me TikToks to be, like, “Noah, people are saying Will is hot.” I’m like, [bashfully hides his face with his hands] “What?” I knew people would freak out at the reveal, it’s such an exciting moment. But I did not at all expect people would be calling Will Byers hot. That’s funny, but it’s cool. As a kid, I always wanted to be the Spider-Man, and this was kind of my Spider-Man-superhero “Save the Day” moment. And it’s so fun doing that stuff because there are no rules. And the Duffers definitely put a lot of trust into me with that this year.

It was a demanding sequence — you popped your blood vessels.

I look back at some of those scenes and I was giving too much for what it was, these little moments. You never know how they cut it together and what ends up being important and what ends up being a tiny little moment. A lot of this stuff is very physical that they have me do, and it was me screaming all night, at the top of my lungs. Even the way my neck tensed up — I couldn’t, move my neck after some of these days because you’re straining.

The show is, in part, about kids coming of age. Tell me about your upbringing and life in Scarsdale, N.Y., before “Stranger Things.”

I had a very normal childhood. All the guys were into sports; I tried doing that growing up, and I just hated it and never felt like I was good at it or fit into those boys and what they were doing. I remember my dad being like, “He’s gonna do sports.” And my mom was like, “No, stop putting him in sports. He’s picking the flowers at the outside of the baseball field. That’s not for him. Let’s put him in the arts.” They put me in this class where you do acting, singing, dancing. And I just thrived. I did that for a few years and the teacher saw that I loved it so much and recommended that I audition in front of an agent. I started doing real auditions. By fifth grade, sixth grade, I got my first films. It was a great place to grow up and having that normal childhood and not growing up too fast was always very important to me. And still now, that’s why I’m in college and didn’t just rush into adult life.

You say that, but your first big on screen role was as Tom Hanks’ son in ”Bridge of Spies,” which was directed by Steven Spielberg. What stands out from that experience?

I just look back and think like, how crazy that my first thing was with these legends of Hollywood. I remember Tom Hanks never sticking to a script; he always just made it work for what was right for the scene, right for the character. They’re just so down to earth, such great people. And what a place to start.

Would you say you were ambitious as a child? How did you view the acting thing?

I looked back at a video the other day — I was 9 or 10. I went to a pond with my mom, and I was like, “One day, I’m gonna be a huge actor. And following my dreams.” It made me realize, when I was younger, I did have that passion and hope to do this long term.

“I went to a pond with my mom, and I was like, ‘One day, I’m gonna be a huge actor. And following my dreams,’” Schnapp recalls. “It made me realize, when I was younger, I did have that passion and hope to do this long term.” (Evelyn Freja / For The Times)

I will never know what it’s like to be a young person thrust into the global spotlight. I want you to pretend like I am an alien or a Demogorgon with no concept of this world, and tell me what it has been like growing up in the spotlight.

My problem was I’m so unapologetically myself, and I’ve always been like that, so I never learned to be properly media trained and curated into a certain way. I always just existed and did what I wanted to do. I learned over time, it’s good to create some privacy and distance for your own mental health. When the show came out, I was 10 years old. I was at camp and I didn’t have any contact with the outside world and my mom would send me emails that I was getting fan pages and blue check marks, and people started recognizing me, and I loved it. I love my fans so much. I would get their phone numbers and meet up with them, and my parents would be like, “Noah, this is not normal. You need to create boundaries with them.” Now I look back, and more of my life has been this than not now, so it’s all I’ve ever known was being famous and it just feels normal.

Coming of age on its own is so hard. You’re leaving one stage of your life and going into another. But to do that and have everything you say, your mistakes magnified, seems overwhelming.

It’s the worst; the fact that it’s all public, every weird look I’ve worn, every bad thing I’ve said. I hate that, but it is what it is. That’s what it is growing up in the spotlight, everything has its pros and cons.

Has there a moment where it felt too overwhelming? How do you protect yourself?

Every few weeks I’m like, “Oh, this is too overwhelming. I can’t do this anymore.” When I put my phone away, it all becomes OK. I learned that social media and all that is not real life. It just feels like so much pressure when you live so deep in your phone and what everyone’s saying and having to live up to these standards and feel like your life is over if you don’t do this, or this person doesn’t like whatever. Trying to please everyone in this industry is impossible and the only way to accept that is to detach from the online world and just live in the real world. I remember how much I love it and how many real, loving fans support me, and how I actually make a difference in a lot people’s lives, genuinely, and that actually matters.

Noah Schnapp says Winona Ryder, who played his mother Joyce on “Stranger Things,” was a motherly figure in real life, too. “I adore her truly.”

(Netflix)

Winona Ryder plays your mom, and she knows what it’s like navigating fame at a young age. Did she give you any advice or was she protective of you on set?

So protective. She always says, she never had kids, so we were her secondary children. I look back at our texts from 2017, when the show was first starting, and I had to do my first crying scene or all these “first” things I was so nervous for, and she would send these paragraphs being like, “Oh, sweetie, you’re nervous. Don’t worry a second. Come meet me before the scene. I’ll sit down with you and we’ll run through it. I’ll make sure you’re OK.” I remember I sent her a picture and I had this rope burn from Season 2 because I was screaming in a chair and my wrists were all scabbed and I was crying because it hurt, and she ran me to the set medic and stayed with me all night and made sure I was OK. She was such a mother figure to me, and I adore her truly. Even now, it’s nice to see our relationship has grown from her being protective over me to me feeling protective over her.

We see Nancy, Jonathan, Steve and Robin up on the rooftop talking about not losing touch, making a point of staying in contact. There’s also Dustin’s valedictorian speech. Each had moments that felt like they paralleled the ending of this unique experience you’ve all gone through together. Did you all make a similar pact?

Oh, absolutely. That day of graduation, we felt like we were really graduating. I loved the coda part of the episode. That last day of shooting was hard, when I was putting my book on the shelf, that was when they told me, “OK, Noah, this is your last shot.” I broke down. I couldn’t do the freaking take, every time, it was just so emotional. Luckily, there’s one that I’m little less emotional, but that day was just so sad. I remember when they said “Cut!”, and that was it, and we — me, Caleb, Gaten, Finn and Sadie — standing in that little set, arms around each other, huddled up, not saying any words, just crying. It was complete silence outside. There were hundreds of people waiting [outside on the set] for us to cheer and celebrate, and we were waiting in there, like, “We go out when we’re ready.” We all agreed, gathered ourselves and walked out of that set to 100 people cheering, screaming, there was confetti dropping, clapping and we gave speeches. It didn’t feel real. You’re so in it for so many years, and then it’s just over.

What do you remember about the day after wrapping?

We ended up sleeping on the set. We made a little fort in the D&D basement. It was so cute, so wholesome — a perfect way to end it. I remember driving back with Caleb [McLaughlin, who plays Lucas] the next morning and he dropped me off. It was really foggy that day, really gloomy, and just so somber and tense. And we said goodbye so quietly. It felt like we left a funeral, like grieving something. The next day, I had to fly to L.A. for a call back, and I was just sitting alone in a hotel room — I felt so empty. This is all I’ve this all I’ve ever been attached to, this is my whole identity, my whole life. But then, the next day, I was like, “Oh, life keeps going. And it’s OK.” It was really just that one day after that was tough.

To your point, this isn’t your first professional on screen role, but it is your longest. How do you feel you’ve grown as an actor across these 10 years, these five seasons?

This show has taught me so much. When I was younger, I felt like scared to have any kind of opinion or perspective or speak up on what I felt was right for the character; now, I’m like, “No, I played this character for 10 years. I have a right to say, ‘No, he would wear this’ or ‘he would say this’ or ‘this scene doesn’t work or represent the story well.’” Just learning to not be bound to the script; it’s OK to play and explore and try different things. That’s what makes it feel authentic when you have those spontaneous little moments that aren’t written. I’m excited to continue to learn and grow in different ways in film and theater.

So it feels like the right time for you to say goodbye to Will?

Totally. It’s kind of crazy how right of a time it is. I’m graduating in a few months at the same time as this show is ending. I’m an adult now. It all happened at the right time, and this season came at the perfect time with my sexual identity journey. Everything was timed really well.

Are you thinking about what you want next? The kind of projects you want to do or the way you want to move through your career?

Oh my God, absolutely, the second I wrapped last year, I was like, “What’s next?” I’d love to do theater. I loved doing that as a kid and want to explore that. And do other films. But no set path, I’m just excited for what’s next.

The Duffer Brothers call you in 10 years and say we have an idea for how to revisit Will Byers, are you in?

I think my work is done with that character. The story for him has been told. So if that ever happened, I would honestly probably stray away from that. But of course, I would love to work with the Duffers again on another project. But this story is done.

DAVID Beckham sent out a major olive branch to estranged son Brooklyn tonight in a series of emotional family posts.

The proud dad, 50, shared pictures of his brood, including son Brooklyn, 26, who has been absent from all family occasions this year, on Instagram and wrote: “You are my life [heart emojis]. I love you all, love daddy. On to 2026 x”

One black and white image saw wife Victoria on a sofa cradling baby daughter Harper and snuggling up to her three sons Brooklyn, Romeo and Cruz.

Even more tellingly, David posted a picture of him and Brooklyn cheek to cheek and wrote: “I love you all so much.”

Brooklyn, who lives in LA with wife Nicola Peltz and is eight hours behind his Cotswolds based dad, has yet to post ahead of the New Year.

The loving family posts from David follow hot on the heels of his 2025 highlights reel, none of which featured Brooklyn.

READ MORE ON DAVID BECKHAM

BECKS SNUB

David Beckham posts tribute to family but Brooklyn & wife are left out of snaps

BECKS’ APPEAL

David Beckham sends emotional message to son Brooklyn amid family feud

Among his greatest hits were huge life milestones like turning 50 and being knighted by King Charles.

Other features included Victoria’s Paris Fashion Week show and snaps of his children Romeo, 22, Cruz, 20 and Harper, 13, on holiday enjoying quality time together.

David wrote: “I feel very lucky to have had the year I’ve had in 2025 full of moments that I will never forget from my 50th to my knighthood (still pinching myself ) and then finishing with winning the MLS as an owner.“

Despite not mentioning Brooklyn by name, David sweetly praised his “kids” and shared his love for them.

He added: “I‘m so grateful to my incredible wife, my amazing children, my friends and team I work with every single day nothing would have been possible without you all… But as Sir Alex Ferguson would say ‘On to the next‘.

“Thank you for the incredible memories I will forever remember 2025. Victoria I love you & our kids.”

Today, former Manchester United ace Becks also wished his old boss Sir Alex a happy birthday.

Meanwhile, Brooklyn and Nicola put on a united front this week as they continued their festive love-in Stateside.

In a photo, the pair were seen relaxing on a sofa in matching clothes.

Writing next to the picture, Nicola said: “We didn’t plan our outfits.”

Replying to her post, her husband wrote: “You’re my sweetie pie!”

WEDDING NO SHOW

The post came days after Brooklyn skipped childhood pal Holly Ramsay’s wedding.

The Ramsays and Beckhams are longtime friends and Brooklyn was once close pals with Holly as they grew up in LA together.

All of his family were in attendance to see Holly marry Olympic swimmer Adam Peaty on Saturday at Bath Abbey.

Victoria even designed the mother-of-the-bride’s dress.

Adam hailed the 200 guests’ support during his own “difficult time” after banning his mum Caroline from the wedding. 

FAMILY FALLOUT

The Beckham family feud has been rumbling on for most of the year, worsening since Brooklyn and Nicola snubbed his dad’s 50th birthday in May.

The couple have also shared subtle digs at his family in recent days after his brother Cruz revealed the Beckhams woke up to being blocked by the couple.

In a TikTok post after Cruz spoke out, Brooklyn played Lady Gaga’s song Telephone and wrote the lyrics: “Sorry I cannot hear you I’m kinda busy.”

Nicola also penned: “I love being home” in a selfie posted to social media, after the couple both shared photos from their Christmas with her parents.

CHRISTMAS APART

Victoria and David revealed a glimpse of their Christmas in Oxfordshire without Brooklyn.

In a touching video shared on social media, the couple – who have been together for 28 years – sang to each other as they slowed danced on Christmas Day.

And in what appeared to be a pointed message to their estranged son, Brooklyn the couple delivered the lyric: “And we’ve got nothing to be sorry for…”

They were dancing to Guilty sung by Barbra Streisand and Barry Gibb.

Sharing the video, Victoria penned: “David and Victoria giving their very best Barry and Barbra on Christmas Day xxx kisses from us both xx @davidbeckham.”

“The Princess Bride” star Cary Elwes says he will remain in mourning long after the shocking deaths of beloved friend Rob Reiner and his wife, Michele Singer Reiner, earlier this month.

“Because my heart still aches every time I think of you, I know the grief of losing you too soon will likely never go away,” Elwes wrote Tuesday in an Instagram tribute to his longtime friends.

Elwes published his heartfelt remembrance of the Reiners more than two weeks after they were found dead in their Brentwood home on Dec. 14. “Enough time has passed that I can finally put my grief into words,” Elwes began his post.

The actor, 63, looked back on his time working with Reiner on 1987’s “The Princess Bride” and their relationship over the years since then, sharing behind-the-scenes footage from filming and a charming snippet from a reunion celebrating the 25th anniversary. He recalled meeting Reiner nearly 40 years ago when he was cast as Westley, the farmboy-turned-hero of the beloved fantasy film.

Elwes, who had been a Reiner fan before working with the filmmaker, wrote that “from that very first meeting I fell in love with him.”

The “When Harry Met Sally…” and “Stand By Me” director was “someone I wanted in my life,” Elwes continued, recalling the filmmaker’s authenticity and efforts to find the best in people. Looking back on his time with Reiner on “The Princess Bride,” Elwes wrote, “I can’t remember a single day without laughter.”

The actor’s social media post also paid tribute to the Reiners’ relationship and their longtime devotion to progressive political causes. “In a town where many talk the talk, they truly walked it,” Elwes wrote.

Elwes celebrated Reiner’s effortless comedy and dedication to “finding the joy.” He also compared making Reiner laugh to winning the lottery.

“His laugh was one of the greatest sounds I’ve ever known,” Elwes wrote, “so heartfelt it still rings in my ears.”

Elwes and Reiner maintained a bond long after “The Princess Bride” and collaborated again in 2015 on “Being Charlie.” Nick Reiner, the filmmaker’s second son, co-wrote the movie about a successful actor with political ambitions and a son addicted to drugs. The younger Reiner, 32, has been charged with murdering his parents after years of struggling with addiction and other issues.

Elwes, the latest Hollywood figure to salute the Reiners, concluded his post channeling a memorable line from his “Princess Bride” character.

“Sure, death cannot stop true love,” he wrote, “but life is pain without you.”

It was the last story I wrote before everything changed.

It was Jan. 5, 2025, and I was marveling at the Rams gumption in their short-handed loss to the Seattle Seahawks.

“It was weird,” I wrote. “It was wild.”

I was so witty. I was so wrong.

Two days later, I was fleeing for my life, steering my car down narrow Altadena streets with a fireball at my back and a nightmarish future sprawled across the smoke-filled streets ahead.

Now that was weird and wild.

The year 2025 was more tumultuous than any silly football game and its accompanying overwrought metaphors. It was a year that knocked me flat, tearing me apart from so many things that once anchored me, setting me afloat in a sea of guilt and despair and ultimate uncertainty.

Today, I have a home but no home. My days are filled with the beeps and growls of bulldozers. My nights are draped in the silence of emptiness. What was once one of the coolest secrets in Los Angeles has become a veritable ghost town, the vast empty spaces populated by howling coyotes and scrounging bears.

And I’m one of the lucky ones.

A lot has changed in the 12 months since the Eaton Fire spared my house but destroyed my Altadena neighborhood. I say a daily prayer of thanks that I did not endure the horror of the 19 people who lost their lives and thousands more who lost their homes. I am beyond fortunate to live in what was left behind.

But virtually nothing was left behind. Venerable manicured homes have been replaced by weed-choked vacant lots. Familiar local businesses are now empty parking lots. There is the occasional sighting of new construction, but far more prevalent is “For Sale” signs that have seemingly been there for months.

After living in the limbo of hotels and Airbnbs for two months while my home was remediated, I was blessed to return to four walls and running water, but beset with the guilt of having a front-row seat to the pain of so many who lost everything. I was spared, but nobody in Los Angeles was spared, and it wasn’t until halfway through the year that I noticed a consistent light from the strangest source.

Dodgers two-way star Shohei Ohtani points as he rounds the bases after hitting a solo home run during Game 3 of the World Series.

(Gina Ferazzi/Los Angeles Times)

Every night, I would watch the Dodgers. At least once every couple of weeks, I would attend a Sparks game with my daughter, MC. Soon, there would be Saturdays with one of our college football teams, then Sundays with the NFL then, the baseball playoffs, leading to the insane Game 7 and morphing into the annual Lakers winter drama.

By the final weeks of December, I realized that one thing has consistently kept my spirits strong, perhaps the same thing that has helped keep our city upright through trials much tougher than mine.

Sports.

The highs, the lows, the dramatics, the desperation, it was all there when nothing was there, it was the feeling that even with everything gone, you still belonged to something.

UCLA women’s basketball players celebrate as confetti falls after they beat USC to win the Big Ten tournament title.

(Michael Conroy/AP)

From Dodgers exhilaration to Laker despair, from USC football frustration to UCLA women’s basketball greatness, sports has been the bright wallpaper on a year of Southland darkness.

It is sports that kept me grounded, kept me steady and somehow kept me believing.

In the worst year of my life, it was sports that saved me.

The path back to normalcy began two weeks after the Eaton fire, when I left my temporary hotel room to attend a press conference for the Dodgers’ latest Japanese import, Roki Sasaki.

“Invincible,” I wrote about the team’s rebuilt roster, a word that was so comforting during such a time when everything in life felt tenuous.

I came back to the hotel after the press conference, wrote my story then, like thousands of others in my situation, packed up and moved to another hotel.

Lakers guard Luka Doncic claps hands with forward LeBron James during a game against the Clippers on March 2.

(Mark J. Terrill / Associated Press)

Soon thereafter I was awakened late one night with the news of the Lakers stunning acquisition of Luka Doncic. I wrote this column from a rental house while preparing to move to yet another new place. My clothes were in a plastic grocery bag. My house was still in shambles. In Doncic, as least, there was hope.

Several days later I attended the Doncic press conference, asked a question, and Doncic asked me to repeat it. Turns out, it wasn’t a language barrier, it was a sound barrier. I was speaking too softly. It was then I noticed that the trauma from the fire had exacerbated my Parkinson’s Disease, which affected my voice, one of the many symptoms which later led me to acknowledging my condition in a difficult mid-summer column.

Yeah, it was a helluva year.

Good news returned in early March when it was announced that the Dodgers had made Dave Roberts the richest manager in baseball, giving him a new four-year, $32.4 million contract. In a bit of dumb luck that hasn’t stopped me from bragging about it since, 10 years ago I was the first one to publicly push for Roberts’ hiring. In such unstable times in our city, Roberts had become the new Tommy Lasorda, and his presence became a needed jolt of smile.

Dodgers manager Dave Roberts salutes fans during the team’s World Series celebration at Dodger Stadium on Nov. 3.

(Carlin Stiehl/For The Times)

In early April, I wrote a column I never thought I’d write — that Bronny James had been transformed from circus to contributor. I also wrote a column that I maybe wish I hadn’t written so soon, that JJ Redick was a Laker success.

By then, writing stories about Laker conflicts was a refreshing respite from dealing with fire hassles. We were back in the house, but were we safe? Did we test enough for toxins? And how can we look our next-door neighbor in the eye when she comes to examine the giant empty scar where her house once stood?

In late May I sadly said goodbye to my second family when I wrote about the end of my 22-year run on ESPN’s popular “Around the Horn” game show. It wasn’t the first time in 2025 that a column brought me to tears, witness the video immediately after the fire. Agreed, I spent the year showing so much emotion for someone who had gotten so lucky. But I’m guessing I wasn’t alone.

Two weeks later I wrote about my new family, the group of boxers I have joined in my fight against Parkinson’s. That was the toughest column I have ever written, as I was acknowledging something I refused to admit for five years. But the fire had seemingly set the disease ablaze, and I could hide it no longer.

The year continued with columns about the soon-to-be-retiring Clayton Kershaw, the greatest Dodger pitcher with the greatest entrance song. Hearing “We Are Young” when he took the mound consistently gave me hope that, through the treacheries of a summer that marked the escalation of those insane ICE raids, we can continue to strive for rebirth.

That’s what sports consistently provided in 2025, the hope that from beneath the rubble, we could all fly again.

I voiced this hope in a Rams preview column that predicted they would go to the Super Bowl. I later wrote a Rams column predicting they would actually win the Super Bowl. I stand by my stories.

All of which led to a series of Dodger playoff columns that hopefully reflected the building energy of a town enthralled. After their Game 7 victory against the Toronto Blue Jays, I was so spent that I hyperventilated for what felt like an hour.

Dodgers pitcher Yoshinobu Yamamoto holds up the MVP trophy after beating the Blue Jays and winning the World Series.

(Robert Gauthier/Los Angeles Times)

“In the end, they not only ran it back, they sprinted it back, they slugged it back, and then, finally, they literally Will-ed it back,” I wrote.

In hindsight those words could have been written not only about a team, but a city, fighting back, staying strong, the results of its struggle mirroring the Dodgers’ consecutive championships, punching through desperation, from struggle to strength.

In 2025, sports showed me that life can get better, life will be better, that if we hang in there long enough we can all hit that Miggy Ro homer, make that Andy Pages catch, stay forever young.

And thus I offer a heartiest and hopeful welcome to 2026.

Bring it on.

As the new year begins, novelists send characters to great heights in Tibet and Wyoming, to the great depths of the 19th century Atlantic and back in time, to early 20th century Pakistan. Meanwhile, nonfiction authors contemplate a Spanish shipwreck, a racially motivated murder, the origins of great ideas and how laughter can change our lives. Happy reading!

FICTION

Call Me Ishmaelle: A Novel
By Xiaolu Guo
Grove Press: 448 pp., $18
(Jan. 6)

Guo, whose 2017 memoir “Nine Continents” detailed her difficult road to personal and artistic freedom, pours that experience into Ishmaelle, a young woman from England’s coast who joins the crew of a whaling ship named the Nimrod. Yes, it’s a retelling of Herman Melville’s “Moby Dick” and yes, it’s well worth your time. By adding in new characters while adhering to the original story, the author creates something new, strange and thrilling.

The Last of Earth: A Novel
By Deepa Anappara
Random House: 252 pp., $29
(Jan. 13)

Set in 1869, when Europeans were forbidden to enter Tibet, this slow-paced yet tense novel follows the perspectives of Balram, an Indian surveyor, and Katharine, a woman of mixed English and Indian heritage, as they both attempt expeditions for different purposes. During their treks both characters meet a man named Chetak, whose eerie folkloric tales underscore the power structures they’ll each have to surmount before reaching their goals.

This Is Where the Serpent Lives: A Novel
By Daniyal Mueenuddin
Knopf: 368 pp., $29
(Jan. 13)

While most of this stunning book takes place in Pakistan, an important section leads two brothers to college at Dartmouth in the United States, a place about as far in every respect from their Rawalpindi origins as possible. Mueenuddin, whose gift for satire shines whether he’s describing society matrons or gangsters, never loses sight of his theme: How do any of us ever manage to justify our treatment of the underserved?

Crux: A Novel
By Gabriel Tallent
Riverhead: 416 pp., $30
(Jan. 20)

A “crux” refers to the toughest point in a climb; it also means a decision point, as well as a place where two things cross. For Tallent’s sophomore novel, two characters who are climbers have reached an important moment in their teenage lives. Daniel and Tamma (he’s straight, she’s queer) have been close friends for years, scrabbling all over Joshua Tree peaks, but as their home lives and individual paths diverge, their bond wavers.

Vigil: A Novel
By George Saunders
Random House: 192 pp., $28
(Jan. 27)

It seems unfair that, after his spectacular “Lincoln in the Bardo,” Saunders returns with not just another novel featuring a ghost, but with a new novel even more spectacular than the last. “Who else could you have been but exactly who you are?” says the newly incarnated Jill “Doll” Blaine, sent to comfort nefarious oil tycoon K. J. Boone in his last hours alive — a statement that in no way diminishes the political urgency of this spare, lovely book.

NONFICTION

Humor Me: How Laughing More Can Make You Present, Creative, Connected, and Happy
By Chris Duffy
Doubleday: 272 pp., $29
(Jan. 6)

We’ve all heard that laughter is the best medicine; funny stuff isn’t merely diversion, but essential to our health. Author Duffy, who hosts the TED Talks podcast “How to Be a Better Human,” believes that anyone, from age 10 to age 103 (he gives examples of each), can make you laugh, help you form community and even lead you to make better decisions. One of the latter? Learn to laugh at yourself; it can signal “general intelligence and verbal creativity.”

The Legend of Wyatt Outlaw: From Reconstruction Through Black Lives Matter

By Sylvester Allen Jr. and Belle Boggs
University of North Carolina Press: 296 pp., $30
(Jan. 27)

The titular Outlaw was the first Black constable of Graham, N.C. In 1870, he was killed by lynching by members of the local Ku Klux Klan, no doubt in part due to his efforts to build coalition between members of different races and social classes. Allen, a native of Graham and a playwright who wrote a drama based on Outlaw’s legacy, and Boggs, a scholar, connect the terrorism and hatred behind this man’s murder to the present day.

How Great Ideas Happen: The Hidden Steps Behind Breakthrough Success

By George Newman
Simon & Schuster: 304 pp., $30
(Jan. 27)

So many cartoons depict great ideas using light bulbs that we’ve forgotten many of the greatest ideas come about from long deliberation and careful winnowing. Canadian professor Newman uses archaeological terms for the process: surveying, gridding, digging and sifting. Who knew that Jordan Peele rewrote “Get Out” 400 times, or that Paul Simon composed his “Graceland” album by combing through all of his previous work?

Neptune’s Fortune: The Billion-Dollar Shipwreck and the Ghosts of the Spanish Empire

By Julian Sancton
Crown: 384 pp., $33
(Jan. 27)

In 1708 the San José, a treasure-laden Spanish galleon, sunk off the coast of Colombia. In 2015 a man named Roger Dooley found the galleon’s wreck and brought back artifacts proving it. Unfortunately, with little education, few bona fides and a sketchy reputation, Dooley received no credit for the discovery. Sancton tracked down Dooley — now in his 80s and somewhat reclusive — and thus is able to provide a fascinating conclusion to the tale.

Mattering: The Secret to a Life of Deep Meaning and Purpose

By Jennifer Breheny Wallace
Portfolio: 288 pp., $30
(Jan. 27)

Loneliness pervades our society and to heal it, people need to feel that they actually matter to others — something author Wallace saw when she researched and wrote her 2023 bestseller “Never Enough,” which focused on adolescents and burnout. Now Wallace shares her findings from talking with people of all ages and hearing what a difference it makes when connections are made and individuals are recognized for even the smallest contributions.

Patrick is a freelance critic and author of the memoir “Life B.”

2025 was challenging for Angelenos. The year began with the double firestorms, and chaos and uncertainty continued into June when immigration agents and protesters clashed, as the Trump administration deployed thousands of National Guard troops to the city. Unquestionably, these news events were among the most-read articles published by the Los Angeles Times this year.

However, several other stories made the list, including two notable faith-focused stories, how Cesar Galan joined the priesthood after belonging to a violent L.A. street gang and how the hosts of a popular evangelical podcast known as “Girls Gone Bible” have become unlikely religious authorities.

To look back on the diverse stories that defined this year, we compiled our most-visited coverage into three categories: The articles that attracted the highest number of readers, the stories our audience spent the longest time reading (most of them are accompanied by audio) and the most popular stories that only our subscribers get to read.

Most-read stories | Deep reads | Subscribers’ favorites

Most-read stories

(ranked by overall number of visits)

1

The Times published countless live blogs, stories, investigations and feature pieces related to the catastrophic January fires that blazed through thousands of acres, killed 31, forced the evacuation of roughly 100,000 people and destroyed more than 16,000 structures.

These stories, undoubtedly, received the highest number of visits, as the Eaton and Palisades fires brought disruption, displacement and uncertainty across the city.

Residents received faulty emergency alerts, exposing early on the systemic failures in preparedness, evacuation protocols and emergency response. The Times reviewed the aftermath of L.A.’s double disaster to call city and county officials to account, reveal critical gaps and make the case for ensuring that we’ll be better prepared next time.

2

The news of the killings of “When Harry Met Sally” director Rob Reiner and his photographer wife, Michele Singer Reiner, sent shock waves across Hollywood and the country’s political establishment — Reiner championed progressive causes and was involved in efforts to challenge the proposition that had banned same-sex marriage in California in 2008. Reiner’s son Nick, who struggled with addiction for years, was arrested on suspicion of murdering his parents.

What we know about Nick’s addiction struggle and the hours before the director and his wife were killed.

3

A massive earthquake of magnitude 8.8 in Russia brought tsunami alerts to a wide swath of the Pacific. After the tsunami waves arrived in California, advisories were downgraded and canceled for much of the state. Southern California saw only modest waves and the highest tsunami waves reported on state shores peaked around 4 feet in Crescent City, about 20 miles from the Oregon border, where a dock was damaged. For how monstrous the earthquake was, why was there so little damage?

4

In September, detectives discovered a girl’s badly decomposed remains in an abandoned Tesla registered to rising singer D4vd at a Hollywood tow yard. Authorities identified the remains as those of 15-year-old Celeste Rivas, an Inland Empire resident who was reported missing in April 2024. According to court documents reviewed by The Times, the LAPD is now investigating Rivas’ death as a homicide.

5

The fifth-most read story of the year was those pertaining to the June immigration raids and protests in L.A. On June 6, U.S. Immigration and Customs Enforcement agents carried out a series of immigration sweeps, including two downtown that sparked a tense standoff. In the following days, immigration agents and protesters clashed across L.A. In a show of force, President Trump sent 2,000 California National Guard troops to the city, marking the first time in 60 years that a president had deployed a state’s National Guard without a request from that state’s governor.

Read more about what happened in the days following the National Guard’s arrival in L.A. and find more immigration stories here.

6

As the wildfires raged into Wednesday, Jan. 8, scores of fire hydrants in Pacific Palisades had little to no water flowing out and all water storage tanks in the area quickly “went dry.” Gov. Gavin Newsom ordered an investigation into the causes behind the dry fire hydrants that hampered firefighting efforts and L.A. City Council called on the city’s water utility to explain why firefighters ran out of water and why a key reservoir was offline.

Nearly a year later, residents and experts are examining the weaknesses of L.A.’s water systems and are calling to redesign Southern California’s water infrastructure.

Also widely read: State to probe why Pacific Palisades reservoir was offline, empty when firestorm exploded

7

Seven-month-old Emmanuel Haro disappeared on Aug. 14 after his mother, Rebecca Haro, said she was assaulted by an unknown man in a sporting goods store’s parking lot and was rendered unconscious. The missing baby’s mom told investigators that when she awoke, her son was gone. More than a week later, baby Emmanuel’s parents were arrested on suspicion of murder.

According to a news release from the San Bernardino County sheriff’s department, the couple faked the story about their son being kidnapped. In November, Jake Haro, Emmanuel’s father, was sentenced to 25 years to life for the murder of his son.

8

In late January, after President Trump said on social media that the U.S. military had “entered” California and “TURNED ON THE WATER,” the U.S. Army Corps of Engineers dramatically increased the amount of water flowing from two dams in Tulare County. In a visit to L.A. the previous week, Trump had also vowed to “open up the valves and pumps” in California to deliver more water. Local water managers were caught off-guard by the decision, but they said they convinced Army Corps officials to release less water than originally planned.

9

A week after the Palisades fire began, several areas reopened to residents as officials continued to investigate the cause of the wildfire. Officials focused their efforts on a popular hiking trail that reveals the famous Skull Rock and views of the Pacific Ocean. The general area was the site of a small fire on New Year’s Eve that burned for a few hours before fire officials said they extinguished it.

In October, authorities offered a detailed timeline about what they allege caused the fire: The Jan. 1 blaze, now known as the Lachman fire, rekindled to become the Palisades fire days later. They also simultaneously announced the arrest of a 29-year-old man whom they suspected of setting the initial fire on New Year’s Eve. He has now been charged with deliberately setting the Lachman fire.

A Times investigation later found that firefighters were ordered to leave the smoldering burn site, instead of monitoring the burn area for reignitions.

10

Over the first weekend of the January fires, firefighters were able make progress with the help of calmer winds and higher humidity. As a fleet of aircraft worked to prevent the Palisades fire from scorching homes in Brentwood and Encino, officials warned that Santa Ana gusts were expected to pick up again the following week and cautioned the public to stay on alert.

Most-read stories | Deep reads | Subscribers’ favorites

Deep reads

(ranked by average time spent on the page)

1

This is the story of Father Cesar Galan, a chaplain at St. Francis Medical Center, who experienced the lowest moment of his life and found the grace to change in the very hospital in which he now listens to patients’ fears, prays with them and offers to hear their confessions if they are Catholic. Galan grew up in the heart of Chivas and belonged to its street gang until a bullet spun him down to the ground on his stomach.

2

For Alejandro Sánchez, reclaiming a gold mine in Mexico, which was taken over by the sons of the drug lord Joaquín “El Chapo” Guzmán, was more than a business proposition. It was a reckoning with his past.

For years, Sánchez had worked to revive the mine, encountering corrupt officials and cartel operatives who demanded hefty bribes. He once had to dive for cover during a firefight. But now he was close to resuming operations at the mine with deposits worth billions.

Why did the billion-dollar mine matter so much to Sánchez and was he able to reckon with his past and reclaim the billion-dollar mine?

3

Angela Halili and Arielle Reitsma are best friends who both have a background in modeling and acting. Nearly every week for the last two years, the two have shared heart-to-hearts that are at the core of “Girls Gone Bible,” their faith-based podcast they launched in 2023. The evangelical podcast now has millions of listeners and as a result, Halili and Reitsma have built a two-microphone megachurch. They have gone on a national live tour and prayed at President Trump’s pre-inauguration rally.

The co-hosts of this podcast that tops religious charts on Spotify predict that a Southern Californian Christian revival is coming.

4

Times staff writer Christopher Goffard revists old crimes in L.A. and beyond, from the famous to the forgotten, in his series “Crimes of The Times.” In this installment of the series, Goffard examined the 1968 assassination of Robert F. Kennedy in California, after the Trump administration released a cache of classified files.

Convicted gunman Sirhan Sirhan’s current attorney, Angela Berry, said a team of researchers is combing the files for new evidence. Have they been able to find anything of use?

5

As the Eaton fire devastated parts of the San Gabriel Valley, Santa Anita Park stepped up and fulfilled its role as a community citizen. Even though the 80-year-old track was unaffected by the fires and the air quality was well within the range for safe racing, the park canceled racing the first week after the fires and opened up its expansive space to be used as a center for donation collection and distribution among other charitable gestures.

But horse racing is decades past the days when spectators lined up to watch the sport. As attendance continues to decline from what it was years ago, many battle with the unfathomable idea that the track may soon close or be sold.

6

This is the story of Jerardyn, a 40-year-old refugee from Venezuela, who at the height of the immigration raids and protests in Southern California, confronted a painful decision: After entering the United States last year with her family in hopes of obtaining asylum, Jerardyn would migrate again, this time, voluntarily.

7

Authorities initially ruled the 2023 death of 18-year-old Amelia Salehpour an open-and-shut case of accidental overdose. The medical examiner’s office agreed, deciding against a more thorough autopsy. But Salehpour’s family was unconvinced. They hired a high-end investigative firm that uncovered evidence that Amelia was being groomed for sex work, that she was strangled to death and that her death had been made to look like an overdose.

The contradictory findings have since triggered internal conflict among L.A. County prosecutors and detectives from the LAPD’s homicide and narcotics units.

8

From Andrew Garfield to Zendaya, Daniel Craig and Demi Moore, Hollywood’s biggest stars dressed to impress at the 82nd Golden Globe Awards.

Also widely read: Oscars red carpet 2025: Ariana Grande, Mikey Madison and all the best looks

9

Since L.A. experienced its first wide-scale homelessness during the Great Depression and the housing crunch after World War II, it has suffered chronic homelessness. Former Times staff writers Mitchell Landsberg and Gale Holland explored the key events and policies that shaped L.A. to become the homeless capital of the U.S.

10

In April 2024, USC hired a new coach for its men’s basketball program. USC athletic director Jennifer Cohen declared the day Eric Musselman was introduced as a “transformational day for USC men’s basketball.” Almost a year later, in March, Times USC beat writer Ryan Kartje joined Musselman toward the end of a hard first season.

Most-read stories | Deep reads | Subscribers’ favorites

Subscribers’ favorites

(subscriber-exclusive stories ranked by number of visits)

1

A new California housing bill, which took effect July 1, has changed the way homeowners associations are allowed to discipline homeowners. The changes came just in time for Jinah Kim, who was set to be fined up to $500 per day for fixing a doorway inside her condo even though her homeowners association said she couldn’t. Under the new rules, she now owes only $100.

Will the new rules allow homeowners to get away with things they shouldn’t and abuse community rules?

2

In July, talk show host Phil McGraw’s TV network, Merit Street Media, which launched last year, filed for bankruptcy protection from creditors and sued its distribution partner, Trinity Broadcasting Network. During a nearly three-hour hearing in Dallas in October, U.S. Bankruptcy Judge Scott Everett said that he’d “never seen a case” like the Chapter 11 filing Dr. Phil’s company was attempting.

How did the genial celebrity psychologist’s media network crash?

3

Entering the job market can be a stressful endeavor for new graduates and for a fresh generation of students behind them who are preparing to start their college journeys. The unemployment rate for recent college graduates is at its highest nationwide since 2021. What are the lowest- and highest-paying majors according to a Federal Reserve Bank of New York report?

4

This investigation was so popular, it also landed on our list of deep reads.

5

Every year for the last 13 years, The Times has published its essential guide to L.A.’s dining scene. This year, Times restaurant critic Bill Addison took the challenge further and spent months journeying California to find the best restaurants that depict the state’s eclectic food scene accurately. Instead of ranking the restaurants that make the Golden State, in Addison’s words, a “culinary juggernaut,” the list, which is only a beginning, offers a glimpse into the cultures and diversities that make up California. Start eating!

Also widely read: These are the 101 best restaurants in Los Angeles

6

This is the grisly story of Patrice Miller, 71, who was found dead with her right leg and left arm partially gnawed off in her kitchen and whose autopsy determined, officials said, that she had probably been killed by an animal after it broke into her home. Miller’s death marked the first known instance in California history of a fatal bear attack on a human and has sparked increasingly heated battles around predators in the state.

What solutions are lawmakers representing conservative rural districts in the state’s rugged northern reaches pushing forward? Would measures to ward off California’s predators increase safety?

7

Tulsa Remote is a program that pays remote workers to relocate to Oklahoma’s second-largest city for at least a year. Since its inception in 2019, the program has attracted more than 3,600 remote workers. More than 7,800 Californians have applied to the program and 539 have made the move.

Why are Californians moving to Tulsa through the program, cementing California as the second-most popular origin state behind Texas?

8

In a more recent edition of the “Crimes of the Times” series, Goffard writes about a 50-year-old West Virginia man, Alex Baber, who dropped out of high school and taught himself codebreaking. Baber now says he has cracked the Zodiac killer’s identity, and in the process solved the Black Dahlia case as well.

9

This series attracted a high number of readers and also landed on our list of deep reads.

10

Artificial intelligence’s coding capabilities and tools are rapidly advancing, making experienced engineers more productive. But these improvements now outpace entry-level programmers, making job prospects for early-career software engineers more difficult to find.”We don’t need the junior developers anymore,” said Amr Awadallah, chief executive of Vectara, a Palo Alto-based AI startup. “The AI now can code better than the average junior developer that comes out of the best schools out there.”

Welcome to Screen Gab, the newsletter for everyone who is mindlessly scrolling on their phones before the futile New Year’s resolution to curb the habit begins.

In our annual year-end edition, we expand our usual “ICYMI” feature, highlighting 2025’s most-read stories about film and television. It’s a hearty mix of celebrity profiles, insightful criticism and deep dives into the most talked-about pop culture that defined the year.

And we couldn’t do it without the support of our subscribers. We know there’s an endless stream of TikToks, Reels, articles and, ahem, other newsletters competing for your attention in any given minute — not to mention, TV and movies! — so we’re incredibly thankful for the time you choose to give this newsletter each week. We hope to continue guiding you through all the exciting film and television that greets us in 2026.

Until then, happy reading and happy watching! See you in the new year!

Take care,

Yvonne Villarreal

(The writer who tries to pull this whole thing together each week, with the help of my tag-team partner Maira Garcia.)

P.S.: Shout out to my amazing colleagues who never make me grovel for contributions, even with their demanding work loads. And to the copy editors who remain the true heroes of this place.

Diane Morgan as Philomena Cunk in “Cunk on Life.”

(Netflix / BBC / Broke & Bones)

How far will Philomena Cunk go to get a laugh? ‘If he breaks my nose, it’ll heal’: Diane Morgan, the actor who plays know-nothing TV pundit Philomena Cunk, explains how series like ‘Cunk on Life’ come together. (Jan. 2)

Billy Bob Thornton unpacks ‘Landman’ finale, details his hopes for Season 2: The actor, who stars as the fixer for a Texas oil company in the hit Taylor Sheridan drama, breaks down the season finale and discusses the prospects for Season 2. (Jan. 12)

Laura Dern’s letter to David Lynch: You wove L.A. into our dreams: The Oscar-winning actor reflects on a lifetime of work with the filmmaker, with whom she collaborated on ‘Blue Velvet,’ ‘Wild at Heart’ and ‘Inland Empire.’ (Jan. 22)

In deathbed audio, Paul Reubens recalled pain of being falsely labeled a pedophile: The recording is featured in HBO Documentary Films’ ‘Pee-wee as Himself,’ which premiered Thursday at the Sundance Film Festival. (Jan. 23)

Sundance is moving to one of 3 cities. Here’s what we know about their bids: Boulder, Cincinnati and a combined Salt Lake City and Park City are competing to become the new home of the Sundance Film Festival. (Jan. 24)

How Karla Sofía Gascón turned a historic Oscars first into a historic Oscars nightmare: With a series of resurfaced tweets, the lead actress nominee for ‘Emilia Pérez’ has caused an awards season uproar — and plenty of culture war confusion. (Feb. 4)

(Stephanie Jones / Los Angeles Times; Getty / JB Lacroix)

Justin Baldoni’s tumultuous road to the center of a Hollywood scandal: The actor-director built a career blending his Bahai values and storytelling. Now allegations involving Blake Lively and ‘It Ends With Us’ threaten his image. (March 5)

‘Severance’ stars explain Season 2’s harrowing finale and the ‘love hexagon’: Actors Adam Scott, Britt Lower and Dichen Lachman, director Ben Stiller and series creator Dan Erickson discuss “Cold Harbor,” the mind-blowing Season 2 finale. (March 21)

What happened on the shocking ‘White Lotus’ Season 3 finale: Who died? Did Gaitok shoot? What happened to the lorazepam? As Mike White’s HBO anthology wraps up it’s third season, we’re here to explain it all. (April 7)

Two new mysteries show the tariff-proof resilience of Arthur Conan Doyle and Agatha Christie: “Sherlock and Daughter,” a paternal twist on the Holmes legend and a new adaptation of Agatha Christie’s “Towards Zero” debut on the CW and BritBox, respectively. (April 16)

Natasha Lyonne portrays Charlie Cale in Peacock’s “Poker Face.”

(Christina House / Los Angeles Times)

Natasha Lyonne remains unconventional as a sleuth in ‘Poker Face’ and in her career: The actor is back as Charlie Cale in ‘Poker Face,’ Peacock’s murder mystery series, and for Season 2, Lyonne is adding director to her list of duties on the show. (May 8)

‘Good Night, and Good Luck’ CNN live broadcast brings George Clooney’s play to the masses: The actor’s Broadway play, based on his 2005 film, allowed viewers at home to see the actor’s much-hyped turn as Edward R. Murrow through CNN’s live television event. (June 7)

‘And Just Like That…’ seems determined to insult women over 50. And under 50: The reboot of HBO’s groundbreaking series ‘Sex and the City’ has failed to mature the women at the center of the show, or their relationships, much to this viewer’s dismay. (July 3)

Up, up and … eh? A rebooted ‘Superman’ gives the Man of Steel a mind of marshmallow: Director James Gunn launches his DC Extended Universe with a high-energy Superman played by David Corenswet, joined by co-stars Nicholas Hoult and Rachel Brosnahan. (July 8)

Stephen Colbert’s ‘Late Show’ is canceled, but he won’t go quietly into that goodnight: CBS announced that ‘The Late Show With Stephen Colbert’ would end in 2026. (July 18)

How ‘The Fantastic Four’ post-credits scene brings us one step closer to ‘Doomsday’: Yes, ‘The Fantastic Four: First Steps’ includes two post-credits scenes. Here’s how that big reveal sets up what’s coming in Phase 6 of the MCU. (July 24)

“The Wizard of Oz,” as presented in the Las Vegas venue Sphere.

(Rich Fury / Sphere Entertainment)

‘Wizard of Oz’ at Las Vegas’ Sphere feels more like a ride than a movie (with Disneyland-level pricing): The cherished 1939 fantasy has been expanded by generative AI to fit the giant parameters of the Las Vegas immersive venue. Has too much creative license been taken? (Sept. 3)

After 15 years of ‘Downton Abbey,’ Hugh Bonneville and Michelle Dockery can’t quite say goodbye: The actors reflect on their father-daughter roles in ‘Downton Abbey,’ the end of an era and honoring Maggie Smith’s legacy in ‘The Grand Finale.’ (Sept. 5)

How an O.C. teen joined Kanye West’s inner circle and filmed him unfiltered for six years: Director Nico Ballesteros followed Ye at close range, capturing the artist’s rawest highs and lowest lows in the new documentary “In Whose Name?” (Sept. 10)

Shutdown of Corp. for Public Broadcasting, recipient of Governors Award, elicits boos at Emmys: The Corp. for Public Broadcasting, which last month announced it would be shutting down after federal funding cuts, received the 2025 Governors Award at an earlier ceremony. (Sept. 14)

Jenny Han on ‘The Summer I Turned Pretty’ series finale and why Belly had to go to Paris: The author, producer and showrunner knows fans are restless about how her hit Prime Video series might end, but she says she “loves surprising people.” (Sept. 15)

A look at the scene outside the El Capitan Entertainment Centre, where the late-night show “Jimmy Kimmel Live!” is staged, in the wake of the show getting pulled from ABC.

(Jae C. Hong / Associated Press)

ABC’s decision to pull Jimmy Kimmel’s show has echoes and contrasts of Roseanne Barr firing: The news that ABC would be pulling ‘Jimmy Kimmel Live!’ indefinitely was reminiscent of the cancellation of Roseanne Barr’s eponymous sitcom, which had been rebooted in 2018, but had significant differences. (Sept. 18)

What Jon Stewart, Stephen Colbert, Jimmy Fallon and Seth Meyers said about Jimmy Kimmel’s suspension: The four late-night hosts weighed in on ABC’s decision to suspend Jimmy Kimmel’s show indefinitely in their monologues and in other segments. (Sept. 18)

Jimmy Kimmel returns to ABC with emotional monologue defending free speech: ‘We have to stand up’: The host returned Tuesday to his late-night show on ABC, where he addressed his comments on Charlie Kirk’s death and thanked those who have supported him in the past week. (Sept. 23)

‘South Park’ quietly ended Season 27, jumping into Season 28 with new episode roasting Peter Thiel: The adult animated comedy series returns Wednesday to Comedy Central with a new episode that also marks a new season. (Oct. 15)

This is a column about lies. Big lies. Presidential lies. Dumb lies. The type of lies that have made life in the United States a daily dumpster fire of bad news. The kind of lies that would’ve made Frank Sinatra want to knock out a palooka.

More on Ol’ Blue Eyes in a bit.

For now let me tell you about one victim of President Trump’s mountain of lies whose brush with the administration defined our 2025.

On June 7, Brayan Ramos-Brito drove east on Alondra Boulevard from Compton toward a Chevron in Paramount to buy some snacks. It was his day off. It also was the weekend when Trump unleashed his deportation Leviathan on Southern California in a campaign that hasn’t stopped.

Ramos-Brito, a cook, had no idea that was going on as traffic froze on Alondra in front of a Home Depot. A “stay-at-home type of guy,” he didn’t even vote in the 2024 election because “politics isn’t my thing.”

But as the slender 30-year-old sat in his car, he saw federal immigration agents who had gathered across the street from the Home Depot fire flash-bang grenades at protesters who were screaming at them to leave. That’s when the moment “got to me.”

Ramos-Britos, a U.S citizen, got out of his car to yell at la migra, accusing those who looked Latino of being a “disgrace.” He said one of them shoved him into a scrum of protesters. After that, “all I remember were knees and kicks” by agents before they dragged him on the pavement and into the back of a van.

For hours Ramos-Brito and others stayed zip-tied inside as “craziness” erupted outside. Hundreds more residents arrived, as did L.A. County sheriff’s deputies. Smoke from blazes set by the former and tear gas canisters tossed by the latter seeped inside the van — “we kept telling agents we couldn’t breath, but they just ignored us.”

Photos and footage from the Paramount protest went viral and sparked an even bigger rally the following day near downtown L.A. that devolved into torched Waymo cars and concrete blocks hurled at California Highway Patrol vehicles. Soon, Trump called up the National Guard and Marines to occupy the City of Angels under the pretense that anarchy now ruled here — even though protests were confined to pockets of the metropolis. Siccing the National Guard on cities is something Trump has since tried to replicate across the country in any place that has dared to push back against immigration sweeps.

Ramos-Brito spent two weeks in a detention facility in Santa Ana stuffed in a cell with undocumented immigrants facing deportation. He faced federal felony charges of assaulting a federal agent and was accused of being one of the Paramount protest’s ringleaders as well.

Prosecutors tried to scare him into pleading guilty with threats of years in prison. Despite having no money to hire a lawyer, he refused: “I wasn’t going to take the blame for something I didn’t do.”

Federal public defender Cuauhtémoc Ortega represented Ramos-Brito during a two-day September trial. Ortega screened video footage to the jury that proved his client’s version of what happened and easily caught federal agents contradicting each other and their own field reports.

The jury took about an hour to acquit Ramos-Brito on misdemeanor assault charges. He wants to move on — but the mendacity of the administration won’t let him.

The lies it used to try to railroad an innocent man turned out not to be an aberration but a playbook for Trump’s 2025.

The stretch of Alondra Boulevard in Paramount where a June 7 protest against immigration agents resulted in the arrest of 30-year-old Compton resident Brayan Ramos-Brito on allegations he assaulted one of them. A jury found him not guilty.

(Gary Coronado/For The Times)

Lies, of course, have fueled the president’s career from the days he was was a smarmy New York developer riding the coattails of his daddy. This year he and his apologists employed them like never before to try to consolidate their grip on all aspects of American life. They lied about the economy, about the contents of the Epstein files, about the efficacy of vaccines, the worth of diversity, equity and inclusion initiatives, our supposed noninterventionist foreign policy and so much more.

Above all, or at least most malignantly, Trump and his crew lied about immigrants. The big lie. The lie they thought everyone would believe and thus would excuse all the other lies. They have lied about and maligned just about anyone they don’t see worthy of being a so-called “heritage American,” aka white.

Trump ran for reelection on a promise to focus on targeting “the worst of the worst” but has shrugged his shoulders as most of the people swept up in raids have no criminal record and are sometimes even citizens and permanent residents. He vowed that deporting people would improve the economy despite decades of studies showing the opposite. Trumpworld insists immigrants are destroying the United States — never mind that the commander in chief is the son of a Scotswoman and is married to a Slovenian while vice president JD Vance’s in-laws are from India.

The administration maintains unchecked migration is cultural suicide even as cabinet members sport last names — Kennedy, Rubio, Bondi, Loeffler — once seen by Americans of past generations as synonymous with invading hordes.

This is where Frank Sinatra comes in.

Over the Christmas weekend, White House deputy chief of staff Stephen Miller posted on social media that his family watched a Christmas special starring the Chairman of the Board and his fellow paisan, Dean Martin.

“Imagine watching that and thinking America needed infinity migrants from the third world,” Miller sneered. It didn’t matter that the crooners were proud children of Italian immigrants who arrived during a time where they were as demonized as Venezuelans and Somalis are now.

Take it from Sinatra himself.

In 1945 he released “The House I Live In,” a short film in which he tells a group of boys chasing one of their Jewish peers to embrace a diverse America. In 1991 as his Republican Party was launching an era of laws in California targeting illegal immigrants, Sinatra penned a Fourth of July essay for The Times opposing such hate.

“Who in the name of God are these people anyway, the ones who elevate themselves above others?” Sinatra wrote. “America is an immigrant country. Maybe not you and me, but those whose love made our lives possible, or their parents or grandparents.”

As 2025 went from one hell month to another, it really felt like Trumpworld’s lies would loom over the land for good. But as the year ends, it seems truth finally is peeking through the storm clouds, like the blue skies Sinatra sang about so beautifully.

Trump’s approval ratings have dropped greatly since his inauguration even among those who voted for him, with his deportation disaster playing a role. Judges and juries are beginning to swat away charges filed against people like Ramos-Brito like they were flies swarming around a dung pile. Under especial scrutiny is Border Patrol commander Gregory Bovino, the public face of Trump’s deportation ground game.

In November, U.S. District Judge Sara L. Ellis ruled the federal government had to stop using excessive force in Chicago after months of agents firing pepper balls and tear gas at the slightest perceived insult. Her decision reasoned that Bovino’s sworn testimony about a Chicago under siege by pro-immigrant activists was “not credible” because he provided “cute” answers when he wasn’t “outright lying.”

Among the victims of those lies: Scott Blackburn, who was arrested for allegedly assaulting Bovino during an immigration raid even though videos showed the migra man tackle Blackburn like they were playing sandlot football, and Cole Sheridan, whom Bovino claimed injured his groin while arresting him during a protest; federal prosecutors quickly dropped all charges against Sheridan when they realized there was a lack of evidence to back up Bovino’s story.

And then there is Ramos-Brito, who had to endure a federal trial that hinged on Bovino insisting he was guilty of assaulting a federal agent in Paramount. He shook his head in disgust when I told him about Bovino’s continued tall tales.

“Justice was served for me,” Ramos-Brito said, “but not for others. I got lucky.”

Brayan Ramos-Brito, 30, of Compton, was found not guilty of assaulting a federal agent during June’s immigration enforcement protests in Los Angeles County.

(Gary Coronado/For The Times)

We spoke in front of the Home Depot where the June 7 protest happened, where Trump’s year of immigration lies went into overdrive. The day laborers who used to gather there for years weren’t around. The gate where la migra and protesters faced off was closed.

Ramos-Brito still drives down that stretch of Alondra Boulevard for his snacks from the Chevron station that stands a block away from where his life forever was changed. It took him months to go public with his story. Scars remain on his ribs, back and shoulders.

“There’s times when little moments come through my head,” he acknowledged.

What finally convinced him to speak up was think about others out there like him. He now realizes speaking out against Trump’s lies is the only way to stop him for good.

“Whoever is going through the same that I did, keep fighting,” Ramos-Brito said softly. “They should look at my experience to give them hope.”

George Clooney, wife Amal Clooney and their 8-year-old twins are officially citizens of France, as of the day after Christmas.

The news was reported by multiple French outlets as well as the Guardian, all citing an announcement published in a French government journal.

The Clooneys bought property in France — a farm, he recently told Esquire — in August 2021, when their twins were 4. He said it was a “much better life” there for Ella and Alexander.

“Yeah, we’re very lucky. … A good portion of my life growing up was on a farm, and as a kid I hated the whole idea of it. But now, for them, it’s like — they’re not on their iPads, you know?” he said in the interview, published in the magazine’s October/November issue.

“I was worried about raising our kids in L. A., in the culture of Hollywood. I felt like they were never going to get a fair shake at life. France — they kind of don’t give a s— about fame. I don’t want them to be walking around worried about paparazzi. I don’t want them being compared to somebody else’s famous kids.”

George Clooney married Amal Alamuddin in September 2014 in Venice, Italy.

Domaine Le Canadel in France is, according to Hello, “an enchanting and sprawling 425-acre Provence wine estate” that cost the Clooneys a reported $8.3 million. It has a pool, tennis court, gardens, a lake, an olive grove and a 25-acre vineyard, the outlet said. But, you know, it’s just a farm.

Other celebrity couples have put down roots in the area, of course, with less than charmed results over time. Then again, those folks weren’t French citizens, for the most part.

Clooney’s remarks about the French attitude toward fame echoed previous comments made by Johnny Depp, who years ago found refuge in France for himself and his children, Jack and Lily-Rose, until he split in 2012 from longtime partner Vanessa Paradis, a French singer, model and actor.

The country “afforded [Depp] the possibility of living a normal life. Really a simple life,” the “Pirates of the Caribbean” actor told SFGate in 2001.

In 2010, Depp told People, “With Vanessa and the kids, we live in a sort of little village in the south and I have the impression of being in paradise … and you know what I do there? Absolutely nothing.”

Depp, who started dating his “The Rum Diary” co-star Amber Heard the year he broke up with Paradis, listed his Provence property for sale for almost $26 million in June 2015, then reportedly put it on the market again in the years that followed for more than twice the price. However, despite containing an entire village in its 37 acres, the property appears not to have sold.

Heard and Depp married in 2015 but divorced two years later amid allegations of abuse. Of course, dueling defamation lawsuits followed. It got ugly.

Meanwhile, Clooney’s buddy Brad Pitt and Pitt’s ex, Angelina Jolie, have been battling in court for years over the 2021 sale of her half of their Provence wine estate, Chateau Miraval, which actually produces wine. The former couple signed a long-term lease on the property in 2008 and later bought a controlling interest in the company that owned it.

Pitt and Jolie married at Chateau Miraval in 2014 after meeting in 2004 on the set of “Mr. and Mrs. Smith” when he was still married to Jennifer Aniston. (They went official as a couple the following July after Aniston filed for divorce in March 2005.) Jolie and Pitt had kids and adopted kids together over the decade leading up to the wedding, but Jolie filed for divorce after only two years as husband and wife following a fight on a private plane. That also got ugly.

The story of the Pitt-Jolie court battle over the chateau and its winery is long and complicated, but it began with Pitt alleging that he and his ex had an agreement that if either wanted to sell their half of the place, the other would have to consent. Jolie, who sold her shares to Stoli’s wine division, Tenute del Mondo, said they had no such agreement in place.

Although the winery lawsuit remains active, Pitt and Jolie finally reached a divorce settlement in December 2024.