In the last episode of The Envelope video podcastbefore 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.
L.A. has a long, storied history of hotels with deep musical connections. From the Hyatt House (now the Andaz) on Sunset Boulevard, known as the infamous “Riot House” as remembered in Cameron Crowe’s Oscar-winning “Almost Famous,” to Chateau Marmont and the iconic Sunset Marquis, both famed homes to touring rock stars for decades. But few, if any, have ever been as ambitious musically as West Hollywood’s Sun Rose Hotel.
Opening as the Pendry Hotel in 2021 on the location of the former House of Blues, the Sunset Boulevard property established its music credentials immediately by including Live at the Sun Rose, a state-of-the-art music venue inside the hotel. Four years later, last August, the Pendry was rebranded as the Sun Rose Hotel and the entire hotel became a sort of musical destination according to Grammy-winning musician/creative director Adam Blackstone.
Inside the lobby at the Sun Rose West Hollywood
(The Sun Rose West Hollywood)
“We have the atrium, the downstairs foyer, we have a bowling alley. There are so many things we can offer to the music space that other venues can’t. We’re going to use the entire rooftop, sometimes maybe play on top of the pool. Things like that are going to be an attraction to people that allow us to do some very incredible things,” Blackstone says. As Grammy season approaches, Blackstone says the hotel/venue will be offering full shows and events that you don’t have to leave the property for and will include more one-of-a-kind performances. “People can come play a 90-minute set that is not what they did the night before. Whoever is in that room gets a once-in-a-lifetime experience.”
Blackstone, who has played with everyone from Rihanna, Janet Jackson and Demi Lovato to Eminem, Dr. Dre and Al Green, prides himself on bringing the same diversity and surprise to the Sun Rose. “That’s how my legacy shows have been going — you never know who’s going to pop up, but you don’t want to miss it.”
To back up his claim, he cites bringing in surprise guests like John Legend, multiple times, Stevie Wonder, Justin Timberlake and more, as well as Dre for a live Q&A. That is only the beginning of his ambitious plans to make the Sun Rose a treasure trove of unexpected musical moments. “I am so excited about this partnership with Sun Rose. I think we have the power to be expansive in a way bigger role than anything in L.A. It’s not a jazz spot, a country spot or a gospel spot — we can do whatever there. We could have a DJ with a salsa band; I’ve had a Q&A with Dr. Dre and Marsha Ambrosius. That’s one of the highlights, and attractions the Sun Rose brings to L.A. for me, any time you walk in there, if you don’t know what you’re going for, you’re going to be in for an experience,” he says.
As for what some of those experiences might be, Blackstone references his wide range of gigs, like a recent one working with Andrea Bocelli at the Vatican, as an example of how creative he can get. “All of these things that are in my mind I’m going to do for other people, I’m going to be able to do at my spot,” he says. “And it won’t be weird coming from me because that is who I am, that is who I embody in music, that is who I’ve been able to work with. I’m thankful the Sun Rose is welcoming that with the mindset I have to be as creative and expansive as possible.”
Bowie’s Piano Man, Mike Garson, at Live at The Sun Rose
(Michelle Shiers/The Sun Rose West Hollywood)
To their credit, the Sun Rose is embracing that kind of artistic expression. It starts with Sharyn Goldyn, who books the music at the venue. She set the tone early by making pianist Mike Garson, best known for his work with David Bowie, but well versed in jazz and classical, the first artist she spoke to. She says he is exactly the type of artist she wanted to build the venue on.
“I knew I wanted to have a backbone of the best musicians in the world, and of legacy artists. So, Mike was the first person I met with, and he was just so open to ideas and building something,” she says.
Garson, the venue’s artist in residence, loves the core of him, Blackstone and Goldyn, as well as not being on the road all year.
“Adam is a wonderful musical director, and we bring what we bring. I was flattered that I was the original person Sharyn came to. But I had done so much touring with Bowie alumni after he passed, I somewhat got burnt out on it. I’m 80, so it’s nice to be home in 20 minutes. I do 30 or 40 shows a year and I do 10 at the Sun Rose and there’s nothing being compromised about my music,” he says. “I do whatever I want at the Sun Rose because I open up most of the sets with a jazz piece because that is my roots, then we move into the vocals. The vocals become duets like I did with David and not just me accompanying some song. I look for, ‘What can I add to “Space Oddity’” today?’ I stretch the limits, which is what David would have wanted me to do. He never believed in the comfort zone.”
Bowie will be celebrated in a special three-night residency this Thursday, which is his birthday, Friday and Saturday, the 10-year anniversary of his passing. Just as Blackstone does, Garson will be bringing in a number of friends. “This club’s really special because we work it with great singers. I’ve had Judith Hill there, I’ve had Luke Spiller, Evan Rachel Wood and now of course for David’s birthday and the 10-year celebration, we have a lot of great people,” he says. “We’ll have Billy Corgan [on] Saturday night and Andra Day on Friday and Judith Hill and Luke Spiller’s coming again, and a lovely singer named Debby Holiday. I’ll have Chad Smith stop in on Saturday night to play some drums from the Red Hot Chili Peppers. And I’m going to do a lot of the Bowie hits and a few obscure ones.”
Garson will be traveling to Dublin in February and celebrating his near 50-year friendship and musical relationship with Bowie. But he is choosing to spend Bowie’s birthday at the Sun Rose. It is not only the proximity to his home that appeals to Garson. “I’ve been the resident artist there for three years and I’ve done 46 shows there. I like the intimacy, I like the piano in the center stage of the room and I love working with Sharyn. After playing the Hollywood Bowl and Madison Square Garden with Bowie and Duran Duran, whatever, Nine Inch Nails, Smashing Pumpkins, I like the small clubs now,” he says.
Similar to Vegas hotels that book the biggest music superstars, like Adele or Rod Stewart, for extended residencies, the Sun Rose will make the Bowie experience a weekend retreat in the whole hotel.
“We’re able to bring the Bowie experience to other things, such as Bowie cocktails named after different songs and maybe changing our menu and maybe changing the suite names of the hotels. This celebration, particularly, we’re doing a hotel package. Because Mike only plays these particular shows at the Sun Rose, a lot of people fly in for it,” Goldyn says.
Rooftop pool at the Sun Rose in West Hollywood
(The Sun Rose West Hollywood)
Fans can expect that more as the hotel takes on the identity of the club. “Now that the hotel has taken on the name of the music venue, they really want the music venue to be a focus and something that the hotel is really proud of and highlighting. We’re going to really try and push a full property experience so you can get tickets to the show, stay at the hotel and never really leave the property,” she says.
Blackstone believes the success of the music club, under his artistic guidance, is what ultimately inspired the hotel’s name change. “I think what prompted the name change of the hotel was just seeing how the music space has impacted the hotel space in a great way. So, if we can continue the music experience going throughout the whole hotel, what better way to do that than have me curate not just the music room, but curate the entire hotel space?” he says.
After so many years on the road with other artists, Blackstone is thrilled to have what he calls his “playground.” “It feels so incredible; I’m able to try out some new ideas. One of the first things I want to do is to use the rooftop or bowling alley to do an all-day showcase of new music, new styles and new genres in different areas of the hotel. We’re going to start that, I’m going to curate that, get some incredible artists that always end up being your new favorite artist once you hear them,” he says. “I think that’s the other component I failed to mention: My reach has been able to permeate the entire globe. Now I can bring that reach directly to the Sun Rose.”
To win a championship in soccer a reliable goalkeeper is a must, and Palos Verdes has one of the Southland’s best in Greyson Porth.
The 6-foot-1 junior is one of many reasons the Sea Kings began the week ranked No. 1 in California and No. 14 in the country, and his skill was on display Tuesday night in the Sea Kings’ tense Bay League opener at Mira Costa — a match that featured Tucker Malinofsky’s equalizing goal in stoppage time before fellow co-captain LT Armijo netted the winner in double overtime.
“He’s very strong and when the ball’s in the air he calls for it and gets there first,” Armijo said of Porth. “We trust him.”
Porth has nine shutouts with 73 saves in 15 starts this winter and did not allow a goal for 340 minutes of action — a scoreless streak lasting four and a half games — before Noah Szeder snapped it on a rebound off a corner kick in the 70th minute Tuesday to give Mira Costa a short-lived 1-0 lead Tuesday. It was only the seventh shot to get behind Porth all season.
“It’s a great feeling because they’re our rivals and I hadn’t beaten them before — none of us had,” Porth said while savoring the Sea Kings’ first win at Mira Costa since 2017. “Shutouts are up there but as long as we win, I’m happy. Our defense is awesome — LT, Nathan Dorfman, Aiden Cruz and Dayton Chontos — our whole back line.”
Porth went nearly five full games without being scored on during the South Tournament, finally giving up a goal in the second half of the championship match versus another league rival Redondo Union. Palos Verdes prevailed 2-1 in overtime.
One save that comes to mind for head coach Derek Larkins was on a penalty kick with 15 minutes left in a nonleague contest Dec. 30 at Sultana that kept it scoreless. The Sea Kings scored shortly thereafter to avenge a 3-0 defeat in the Southern Section Division 1 quarterfinals last year.
“It’s one of the hardest places for a visiting team to win but Greyson came up huge that day,” said Larkins, who is trying to lead PV to its first CIF title since back-to-back crowns in 2006 (Division 4) and 2007 (Division 2). “We haven’t forgotten that loss because it ended our season and he helped us exorcise that demon.”
Porth was the backup last season to then senior Ben Forte, whom he called a “good mentor.”
“I didn’t get to play much last year, maybe five or six games, but I learned a lot from Ben,” said Porth, who started his soccer career in fourth grade as a midfielder but switched to goalie when he was 11. “I sort of got forced into the position because I was the tallest player on my AYSO Extra team so they needed me there. It’s nerve-racking at times but I take pride in knowing that I’m the last line of defense. So I can make or break the game.”
Larkins attributes the 17-year-old’s growth to hard work in the offseason and credits goalie coach Matthew McNab with helping Porth reach his potential.
“He’s receptive to learning and he’s taken responsibility for his game and the way he practices,” said McNab, a 2009 PV soccer alum who went on to play at Westmont College. “He’s taken up the leadership role. Being a goalkeeper requires a great deal of mental toughness but he’s taken to that, too.”
The two have formed a tight bond.
“Matt listens to me,” said Porth, who even made a slide tackle from midfield to thwart a potential breakaway earlier this season. “I tell him what I need to work on and he drills me. I’ve improved everything from last year…. angles, positioning, my shot blocking and my kicking. I can be aggressive or rely on my reflexes. I use my instincts to know what to do in certain situations.”
Mira Costa has won five consecutive league championships and is trying to equal PV’s string of six in a row from 2011-16. The teams square off again January 23.
“Something we emphasized heading into the season is how are we going to defend the box and set pieces,” Larkins said. “We gave up five goals off of throw-ins and two on free kicks in our three losses to them last year. We’ve stressed the importance of that.”
Larkins, who is also an English teacher, believes sports is a metaphor for life and likes quoting athletes, philosophers and musicians to motivate his players. This season’s mantra is “be yourself, be legendary” — a lyric from the hip-hop group Coast Contra’s “Breathe and Stop Freestyle.”
“This is the best team we’ve had since 2014,” said Larkins, who is in his 15th season. “We have seven guys who are three-year varsity players. A lot of them went to middle school together so it’s an older, more experienced team. We’ve got a lot of grit, we can play different styles depending on the opponent and we have the talent.”
Palos Verdes (14-2) has won 10 straight since back-to-back one-goal road losses to Santa Monica and Servite. Senior co-captain Willie Knotek has a team-best eight goals, forward Ian Alonzo has a team-high 20 points (six goals, eight assists and Malinofsky has six goals and five assists.
Happy New Year, and welcome back to the Times of Troy newsletter. So much has happened since we last hit your inbox. The USC-Notre Dame rivalry officially was scrapped (until 2030, at least). D’Anton Lynn took the defensive coordinator job at Penn State, his alma mater. And USC finished its season with a brutal last stand at the Alamo Bowl.
Now the most critical offseason of Lincoln Riley’s tenure with the Trojans lies ahead. The next few weeks especially could make or break the coach’s future at USC. And it all starts with hiring a new defensive coordinator.
Fight on! Are you a true Trojans fan?
Whoever is hired steps into a pressure cooker from the very start. The heat already has cranked up on USC’s coach. If the Trojans don’t make the College Football Playoff, Riley and his coordinator-to-be-named-later could be looking for new jobs at this time next year. And just making the playoff is going to require serious progress on a defense that must replace key players at every level and faces Indiana, Ohio State and Oregon next season.
It might be tempting, with that in mind, to try to maintain continuity, to circle the wagons and promote from within, hoping it’s enough to push USC into the playoff. This idea started taking hold as days dragged on after Lynn’s exit and fans’ panic started to pique: Maybe it was most prudent, the logic went, to promote defensive line coach Eric Henderson to coordinator.
After all, he called defensive plays in the bowl game. He’s a beloved assistant and top-notch recruiter. Not to mention that Georgia Tech, his alma mater, is interested in him for its staff.
Hiring someone else might mean not only losing Henderson in the staff shuffle, but also potentially losing key players or recruits along his defensive line. Several of those players, including five-star freshman Jahkeem Stewart, have publicly endorsed Henderson for the job.
Look, Henderson is a really good coach. And it’s great that his players think so highly of him. But now is not the time to make him — or anyone else on USC’s staff — the defensive coordinator.
That’s not a reflection on Henderson or secondary coach Doug Belk so much as it’s a reflection on the moment. Riley can’t afford for this coordinator hire, his third in five years, to fail. Not after all the resources that USC has poured into this next season being the culmination of its overhaul of the football program. To hand the defense to anyone other than a proven coach with a track record of immediate success is a risk that Riley just can’t take. Not now.
The question is whether any proven coaches are willing to take a risk with USC.
That’s not to say the right coach can’t step in next season and immediately make the Trojans a top-25 defense. Pete Kwiatkowski seemed to fit that profile. He has deep college experience, a close connection to athletic director Jennifer Cohen and a defense that just two years ago was among the top in college football. That he was let go by Texas just before USC lost its coordinator seemed like kismet.
But as of Sunday night, according to the Athletic, Kwiatkowski was trending toward becoming Stanford’s defensive coordinator.
Stanford.
Now I don’t know where Kwiatkowski stood in the pecking order of candidates for USC. Nor is USC doomed if it doesn’t hire him.
But that’s the profile of a coordinator that should get the job. A proven coach capable of getting the best out of USC’s talent and turning the Trojans into a playoff-caliber defense in the way his predecessors couldn’t.
Because if this doesn’t work, Riley won’t get the chance to hire a fourth.
Transfer portal notes, Week 1
Former Auburn wide receiver Cam Coleman, the most coveted player who’s not a quarterback in the portal, is scheduled to meet with USC.
(Michael Woods / Associated Press)
—Iowa State cornerback Jontez Williams became the first big-name commitment out of the portal for USC, and he’s a big get indeed. Williams started just five games last year before suffering a season-ending injury but was a standout and All-Big 12 second-team selection in 2024. Securing a No. 1 cornerback was always a top priority for USC in the portal, and the Trojans managed to find one within two days. A good start. Presumably Williams was paid to start next to Chasen Johnson or Marcelles Williams next season.
—USC is in the market for a top receiver and has a visit set up for Thursday with Cam Coleman, the most coveted portal player who’s not a quarterback. Landing Coleman, a top-five prospect in the 2024 class who played at Auburn, would be a huge coup — and Riley has shown a propensity for pulling in top transfer receivers in the past. Coleman, though, is an Alabama native and is considering Alabama, Texas, Texas Tech and Texas A&M too. His previous recruiting cycle revolved around SEC country. He’s also going to command a massive payday, maybe the largest for any player outside of a quarterback. USC may find it more prudent to use that money elsewhere.
—If USC can’t land Coleman, there still are plenty of viable options available. Expect USC to be aggressive in finding at least one transfer receiver to join the fray. North Carolina State wideout Terrell Anderson, who led the Wolfpack in receiving, visited USC on Sunday. Texas wideout DeAndre Moore Jr. spent time at St. John Bosco and Los Alamitos High, where he was teammates with outgoing Trojans wideout Makai Lemon.
—Linebacker remains a position of significant need, and USC managed to snag the first one that came to visit. Washington’s Deven Bryant was third on the Huskies in tackles. But while he doesn’t strike me as a difference-maker at that position, he was graded higher against the run than any of USC’s linebackers.
—Others to watch on the defensive line: Penn State end Zuriah Fisher, who visited this past weekend, and Clemson tackle Stephiylan Green.
Jaden Brownell, right, may have been the only Trojan to have a good game against Michigan.
(Ryan Sun / Associated Press)
—Of the football players who have yet to be signed, three stand out: Quarterback Husan Longstreet, defensive tackle Jide Abasiri and defensive back Alex Graham. Longstreet is obvious. As a five-star passer prospect, he’d be the heir apparent after Jayden Maiava if he decides to stick around. But it’s a surprise these days if anyone does. Abasiri is an athletic marvel with a ton of unrealized potential as a pass rusher, and Graham earned a ton of praise before having his freshman season derailed by injuries. Keeping two of the three would be a coup.
—The USC men were dominated by Michigan in a 30-point loss. Now Michigan State awaits in East Lansing. That’s a brutal one-two punch coming out of the holiday break, and the Trojans didn’t look ready for the fight Friday. Michigan jumped out to an 11-0 lead, forcing six turnovers in the process, and USC never fully bounced back. No one, outside of maybe reserve forward Jaden Brownell, had anything approaching a good game. The Trojans don’t have long to bounce back, with Michigan State on tap at Breslin Center on Monday. The Spartans are coming off a tough loss at Nebraska and will have something to prove. USC will have its work cut out for it.
—The USC women don’t have the frontcourt to hang with teams like UCLA. Lindsay Gottlieb wasn’t able to lure any top-tier transfer bigs in the offseason, and while that lack of a frontcourt doesn’t always show up against lesser or smaller teams, it was an obvious issue against UCLA and Lauren Betts. I’m not sure where Gottlieb goes from here with the frontcourt if she hopes to be competitive against UCLA the next time around. Maybe Gerda Raulusaityte takes a step forward in the coming weeks before their next meeting. Maybe Kennedy Smith, at 6 feet 1, could just start at the five? (Only half-kidding.) Whatever she does, Gottlieb will be working around this problem the rest of this season.
—Everyone agrees that the college football calendar has to change. So let’s do something about it. There are still two weeks until the College Football Playoff title game. The regular season ended the last weekend of November. That’s way too long to wait even before you consider that three of the four teams that had byes — and the long layoff that comes with them — lost in this playoff. Teams with a bye are now 1-7. But the problems with the calendar go deeper than that. Eventually, when the playoff moves to 16 teams — or more — we’ll do away with conference championship week and move everything up. If you played the first round during championship week, you could be done by the latest on Jan. 8. That’s much more reasonable.
Claire Danes as Aggie Wiggs and Matthew Rhys as Nile Jarvis in “The Beast in Me.”
(Courtesy of Netflix)
Netflix has had a good year in the slow-burn, psychological thriller department, and “The Beast in Me” is another worthy entrant into that group. Claire Danes stars as an author still paralyzed by the sudden loss of her son to a car accident. When she decides to write about her new neighbor — the mysterious real estate scion Nile Jarvis, who is played by Matthew Rhys — she becomes obsessed with determining if the rumors that Jarvis killed his wife are true.
I could do without Danes’ signature lip quiver, but the always-tremendous Rhys is a creepy revelation. Certainly worth your time for a quick, eight-episode binge.
Until next time …
That concludes today’s newsletter. If you have any feedback, ideas for improvement or things you’d like to see, email me at ryan.kartje@latimes.com, and follow me on X at @Ryan_Kartje. To get this newsletter in your inbox, click here.
American Reich: A Murder in Orange County, Neo-Nazis, and a New Age of Hate
By Eric Lichtblau Little Brown and Company: 352 pages, $30
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Have you heard of Orange County? It’s where the good Republicans go before they die.
It should come as no surprise that Orange County, a beloved county for the grandfather of modern American conservatism, Ronald Reagan, would be the fertile landscape for far-right ideology and white supremacy. Reaganomics aside, the O.C. has long since held a special if not slightly off-putting place, of oceanfront leisure, modern luxury and all-American family entertainment — famed by hit shows (“The Real Housewives of Orange County,” “The O.C.” and “Laguna Beach,” among others). Even crime in Orange County has been sensationalized and glamorized, with themes veneered by opulence, secrecy and illusions of suburban perfection. To Eric Lichtblau, the Pulitzer Prize winner and former Los Angeles Times reporter, the real story is far-right terrorism — and its unspoken grip on the county’s story.
“One of the reasons I decided to focus on Orange County is that it’s not the norm — not what you think of as the Deep South. It’s Disneyland. It’s California,” Lichtblau says. “These are people who are trying to take back America from the shores of Orange County because it’s gotten too brown in their view.”
His newest investigative book, “American Reich,” focuses on the 2018 murder of gay Jewish teenager Blaze Bernstein as a lens to examine Orange County and how the hate-driven murder at the hands of a former classmate connects to a national web of white supremacy and terrorism.
I grew up a few miles away from Bernstein, attending a performing arts school similar to his — and Sam Woodward’s. I remember the early discovery of the murder where Woodward became a suspect, followed by the news that the case was being investigated as a hate crime. The murder followed the news cycle for years to come, but in its coverage, there was a lack of continuity in seeing how this event fit into a broader pattern and history ingrained in Orange County. There was a bar down the street from me where an Iranian American man was stabbed just for not being white. The seaside park of Marblehead, where friends and I visited for homecoming photos during sunset, was reported as a morning meet-up spot for neo-Nazis in skeleton masks training for “white unity” combat. These were just some of the myriad events Lichtblau explores as symptoms of something more unsettling than one-offs.
Samuel Lincoln Woodward, of Newport Beach, speaks with his attorney during his 2018 arraignment on murder charges in the death of Blaze Bernstein.
(Allen J. Schaben / Los Angeles Times)
Lichtblau began the book in 2020, in the midst of COVID. He wanted to find a place emblematic of the national epidemic that he, like many others, was witnessing — some of the highest record of anti-Asian attacks, assaults on Black, Latino and LGBTQ+ communities, and rising extremist rhetoric and actions.
“Orange County kind of fit a lot of those boxes,” Lichtblau says. “The horrible tragedy with Blaze Bernstein being killed by one of his high school classmates — who had been radicalized — reflected a growing brazenness of the white supremacy movement we’ve seen as a whole in America in recent years.”
Bernstein’s death had been only two years prior. The Ivy League student had agreed to meet former classmate Woodward one evening during winter break. The two had never been close; Woodward had been a lone wolf during his brief time at the Orange County School of the Arts, before transferring due to the school’s liberalness. On two separate occasions over the years, Woodward had reached out to Bernstein under the pretense of grappling with his own sexuality. Bernstein had no idea he was being baited, or that his former classmate was part of a sprawling underground network of far-right extremists — connected to mass shooters, longtime Charles Manson followers, neo-Nazi camps, and online chains where members bonded over a shared fantasy of harming minorities and starting a white revolution.
“But how is this happening in 2025?”
These networks didn’t appear out of nowhere. They had long been planted in Orange County’s soil, leading back to the early 1900s when the county was home to sprawling orange groves.
Mexican laborers, who formed the backbone of the orange-grove economy (second to oil and generating wealth that even rivaled the Gold Rush), were met with violence when the unionized laborers wanted to strike for better conditions. The Orange County sheriff, also an orange grower, issued an order. “SHOOT TO KILL, SAYS SHERIFF,” the banner headline in the Santa Ana Register read. Chinese immigrants also faced violence. They had played a large role in building the county’s state of governance, but were blamed for a case of leprosy, and at the suggestion of a councilman, had their community of Chinatown torched while the white residents watched.
Gideon Bernstein and Jeanne Pepper Bernstein, center, parents of Blaze Bernstein, speak during a news conference after a 2018 sentencing for Samuel Woodward at Orange County Superior Court.
(Jeff Gritchen/Pool / Orange County Register)
Leading up to the new millennium brought an onslaught of white power rock coming out of the county’s music scene. Members with shaved heads and Nazi memorabilia would dance to rage-fueled declarations of white supremacy, clashing, if not worse, with non-white members of the community while listening to lyrics like, “When the last white moves out of O.C., the American flag will leave with me… We’ll die for a land that’s yours and mine” (from the band Youngland).
“It’s come and gone,” says Lichtblau, who noticed these currents shifting in the early 2000s — and over the years, when Reagandland broke in certain parts to become purple. Even with sights of blue amid red, Trump on the landscape brought a new wave — one that Lichtblau explains was fueled by “claiming their country back” and “capturing the moment that Trump released.”
It can be hard to fathom the reality: that the Orange County of white supremacy exists alongside an Orange County shaped both economically and culturally by its immigrant communities, where since 2004, the majority of its residents are people of color. Then again, to anyone who has spent considerable time there, you’ll notice the strange cognitive dissonance among its cultural landscape.
It’s a peculiar sight to see a MAGA stand selling nativist slogans on a Spanish-named street, or Confederate flags in the back of pickup trucks pulling into the parking lots of neighborhood taquerias or Vietnamese pho shops for a meal. Or some of the families who have lived in the county for generations still employing Latino workers, yet inside their living rooms Fox News will be playing alarmist rhetoric about “Latinos,” alongside Reagan-era memorabilia proudly displayed alongside framed Bible verses. This split reality — a multicultural community and one of the far-right — oddly fills the framework of a county born from a split with its neighbor, L.A., only to develop an aggressive identity against said neighbor’s perceived liberalness.
It’s this cultural rejection that led to “the orange curtain” or the “Orange County bubble,” which suggest these racially-charged ideologies stay contained or, exhaustingly, echo within the county’s sphere. On the contrary, Lichtblau has seen how these white suburban views spill outward. Look no further than the U.S. Capitol insurrection on Jan. 6, also the book’s release date.
While popular belief might assume these insurrectionists came from deeply conservative areas, it was actually the contrary, as Lichtblau explains. “It was from places like Orange County,” he says, “where the voting patterns were seeing the most shift.” Some might argue — adamantly or reluctantly — that Jan. 6 was merely a stop-the-steal protest gone wrong, a momentary lapse or mob mentality. But Lichtblau sees something much larger. “This was white pride on display. There was a lot of neo-Nazi stuff, including a lot of Orange County people stuff.”
As a society, it’s been collectively decided to expect the profile of the lone wolf killer, the outcast, wearing an identity strung from the illusions of a white man’s oppression — the type to rail against unemployment benefits but still cash the check. Someone like Sam Woodward, cut from the vestiges of the once venerable conservative Americana family, the type of God-fearing Christians who, as “American Reich” studies in the Woodward household, teach and bond over ideological hate, and even while entrenched in a murder case, continuously reach out to the victim’s family to the point where the judge has to intervene. The existence of these suburban families is known, as is the slippery hope one will never cross paths with them in this ever-spinning round of American roulette. But neither these individuals nor their hate crimes are random, as Lichtblau discusses, and the lone wolves aren’t as alone as assumed. These underground channels have long been ingrained in the American groundscape like landmines, now reactivated by a far-right digital landscape that connects these members and multiplies their ideologies on a national level. Lichtblau’s new investigation goes beyond the paradigm of Orange County to show a deeper cultural epidemic that’s been taking shape.
Beavin Pappas is an arts and culture writer. Raised in Orange County, he now splits his time between New York and Cairo, where he is at work on his debut book.
As we head into 2026 and Democrats try to figure out how to regain power, their New Year’s resolution should be simple: Manage egos better.
In recent years, they seem to have forgotten the time-tested necessity of placating people. In other words, doing the same basic drudgery the rest of us rely on to get through this chaotic world.
This effort cannot merely be directed toward voters, as important as they are. It must also include elite stakeholders, some of whom might (rightly) be considered kooks, weirdos and otherwise high-maintenance eccentrics.
Lest you think Dems should simply shrug off these folks and say “good riddance,” consider this: Both Trump terms might have been avoided if Democrats had been more willing to nurture the nuts in years gone by.
Let’s start with their treatment of America’s top crank: Robert F. Kennedy Jr.
As journalist Michael Scherer, who profiled RFK Jr. for The Atlantic, told Alex Wagner of “Pod Save America”: Once Kennedy’s own 2024 presidential campaign started to flounder, he and his campaign manager began “to make sort of outreach to Democrats … to see if they can open a conversation with Biden to sort of trade something.”
Unfortunately, “the Democratic response [was] silence.” They wouldn’t meet with him, they wouldn’t talk to him.
Later, as Scherer recounts: “A friend of [Kennedy’s] connects him with Tucker Carlson who connects him with Donald Trump. And that night, just hours later, they’re talking, and Trump at that point wants to make a deal.”
The rest is history.
Now, I know what you’re thinking. “But Kennedy is a nut! Why should Democrats have humored him?”
How about this: Because Trump narrowly won the presidency in 2024 by forming a disparate coalition held together by duct tape, resentment and (possibly) a cursed amulet.
This motley crew included more prominent Dems than just RFK Jr. Remember when Biden basically ghosted Elon Musk for that big 2021 White House electric vehicle summit? Even Kamala Harris — who happily agreed with Biden on just about everything except her own polling numbers — called that a huge mistake.
Then again, Harris committed her own costly slight when she decided against going on Joe Rogan’s podcast.
For an entire decade now, Democrats have consistently alienated allies — with devastating results. I’m talking about the snubs that might have prevented Trump’s first presidential run entirely.
Not just the famous humiliation of Trump at the 2011 White House Correspondents’ Dinner. Here’s the more tragic prequel: Former “Meet the Press” host Chuck Todd told the Bulwark’s Tim Miller that before Trump went full birther, he actually called the Obama White House offering “ideas on how to improve the state dinner.”
That’s right. Donald J. Trump — future leader of the free world — just wanted to talk about better parties. Shrimp trays. Tablecloths. Maybe a chocolate fountain.
Just as the world would have been better had the Washington Senators signed Fidel Castro to a huge baseball contract before he got too interested in politics, America might have been better if Obama had made Trump the White House state dinner czar.
But as Todd put it, “The last thing the Obama White House was going to do was placate a guy like Donald Trump.”
Understandable — until you consider that the alternative to humoring him was, you know … President Trump. Twice.
Look, I totally understand why a U.S. president might think he or she shouldn’t have to stoop to kissing some crank’s ring or placating some gilded, phony billionaire. But let’s be honest: It’s part of the job.
Instead of performing this sort of ego cultivation, Democrats — whether because of snobbery, elite gatekeeping, geriatric aloofness or a disciplined disdain for “time burglars” — have repeatedly alienated potential allies (or at least neutral parties). Then they act shocked when these same people drift into the MAGA solar system like space debris.
If Trump is truly an existential threat — and Democrats say this approximately 87 times a week — then maybe, just maybe, they should Return. A. Phone. Call.
Otherwise, Donald Trump will. Probably at 3 a.m., while eating a Big Mac.
So grovel if you must. Fake interest. Smile like you’re not dying inside. Do the basic humiliations the rest of us perform daily to get hired, get promoted or get a date.
It’s the least you can do. So make it your New Year’s resolution and honor it.
But if you think you’re too good to perform the basic glad-handing and ego-stroking, even for the nuttiest eccentrics, bad things will happen.
Trust me — I’ve seen this movie. And we’re only a year into his second term.
John Mayer calls it “adult day care”: the historic recording studio behind the arched gates on La Brea Avenue where famous musicians have been keeping themselves — and one another — creatively occupied since the mid-1960s.
Known for decades as Henson Studios — and as A&M Studios before that — the three-acre complex in the heart of Hollywood has played host to the creation of some of music’s most celebrated records, among them Carole King’s “Tapestry,” Joni Mitchell’s “Blue,” Guns N’ Roses’ “Use Your Illusion” and D’Angelo’s “Black Messiah.”
In 1985, A&M’s parquet-floored Studio A was where Quincy Jones gathered the all-star congregation that recorded “We Are the World” in a marathon overnight session; in 2014, Daft Punk evoked the studios’ wood-paneled splendor in a performance of “Get Lucky” with Stevie Wonder at the 56th Grammy Awards.
A soundstage on the property has seen nearly as much history, including filming for TV’s “The Red Skelton Show” and “Soul Train” and the production of the Police’s MTV-defining music video for “Every Breath You Take.” More recently, Mayer and his bandmates in Dead & Company took over the soundstage to workshop their cutting-edge residency at the Las Vegas Sphere, not long after Mayer cut his most recent solo LP, 2021’s “Sob Rock,” at Henson.
“I used to come here even if I didn’t quite have anything to do,” says the Grammy-winning singer and songwriter known for his romantic ballads and bluesy guitar heroics. “I just wanted to be around music — to have a place to go as an artist to find some structure in my life.”
Now, with an eye on preserving the spot at a moment of widespread upheaval in the entertainment industry, Mayer and his business partner, the filmmaker McG, have finalized a purchase of the lot, which they bought for $44 million from the family of the late Muppets creator Jim Henson and which they’ve renamed Chaplin Studios in honor of the silent-film giant who broke ground on it more than a century ago.
Their vision for Chaplin, which takes up half a city block between Sunset Boulevard and De Longpre Avenue, is ambitious. “We’re doing our best to create kind of a Warhol’s Factory thing of like-minded artists bumping into each other to do their best work possible,” says McG.
And the duo already have some powerful support behind them.
“A lot of my friends and I were very happy to see that Henson was being taken over by some great people,” Paul McCartney tells The Times in an email. The rock legend, who made 2001’s “Driving Rain” and 2018’s “Egypt Station” at Henson, admits that news of the studio’s changing hands left folks in his world “worried that it might not be handled sensitively.”
“However, we realize now we have no reason to be as John Mayer and McG seem to be doing a fantastic job in keeping the famous studio alive.”
Still, the challenges they face are real: Thanks to advances in cheap audio equipment — and with the economics of streaming having cut into once-lavish recording budgets — even A-list artists often opt these days to record at home rather than shell out to book into an old-line studio like Chaplin. (Consider that at least two of the songs nominated for record of the year at February’s Grammys ceremony — Billie Eilish’s “Wildflower” and Chappell Roan’s “The Subway” — were constructed primarily at home.)
“Everyone with a computer and a microphone has a studio,” Mayer says, and that’s not even accounting for the proliferation of music conjured up by AI out of the digital ether.
On the film side, the ongoing exodus of production from L.A. raises natural doubts about the ability to keep a soundstage busy with clients — doubts, one presumes, that led the owners of Occidental Studios near Echo Park to put that lot up for sale last summer.
“The real estate guys weren’t necessarily saying what a prudent business move this was,” says McG, who directed the 2000 blockbuster “Charlie’s Angels” and executive produced TV’s “The O.C.” “But it’s not about the dividend or the monthly spit-out. I admire John for throwing down.”
Says Mayer: “I love doing things that people tell me aren’t gonna work. That’s how I know I’m onto something.”
McG inside the soundstage at Chaplin Studios.
(Jason Armond / Los Angeles Times)
Mayer, 48, and McG, 57, are lounging on a December afternoon in Mayer’s ranch-hand-chic office, which occupies what once was the mill where wood for Charlie Chaplin’s movie sets was cut. Last night the co-owners threw a holiday party for the studio’s staff and friends; McG breakdanced — “My neck hurts today, but I got through it,” he says — while Mitchell turned up and played the piano in Mayer’s personal Studio C, where she liked to work in the ’70s.
As we talk, Mayer is sipping no fewer than three different smoothies — an approach he says he picked up from the late Apple founder Steve Jobs, who evidently would order multiple smoothies to ensure he wasn’t missing out on a new discovery.
“There’s something I relate to about that,” Mayer says, his Double RL boots propped on a coffee table in front of him. “I’m gonna have this smoothie and a little bit of these other smoothies to figure out: Does that smoothie beat this smoothie as my all-time-favorite order? What if there’s a smoothie out there in the world that you haven’t tried yet that could be your favorite?”
He puts down one cup and picks up another. “This one has wheatgrass in it,” he reports. “Not for me.”
The singer met McG, whose real name is Joseph McGinty Nichol, in 2024 through the studio’s longtime manager, Faryal Ganjehei. Each had ample experience on the lot: In the 1990s, McG shot music videos on the soundstage for the likes of Sublime and Smash Mouth; Mayer first recorded at Henson in 2005 when he cut a version of “Route 66” for the soundtrack to “Cars.”
“You’d think John and I would have known each other just from around here or from Ari Emanuel’s or whatever,” McG says. “But this was actually a bit of an arranged marriage” between two people who’d separately heard rumblings that the Jim Henson Co. might be looking to move its operations. (The company, which makes a variety of children’s television shows, is now headquartered at Studio City’s Radford Studio Center.)
“One year in, we’re still performing vigorous lovemaking,” McG says of his and Mayer’s union.
“Can’t wait to see that in Times New Roman,” Mayer adds.
Herb Alpert, left, and Jerry Moss at A&M headquarters in 1966.
(Bettmann Archive / Getty Images)
Charlie Chaplin, who was born in London, began building the lot in 1917 in a white-and-brown English Tudor style; he went on to direct some of his best-known films, including “Modern Times” and “The Great Dictator,” on the property. After Chaplin left the United States in 1952, the lot was used for episodes of “The Adventures of Superman” and “Perry Mason.”
In 1966, Herb Alpert and Jerry Moss bought the place and made it the base for their A&M Records; they converted two of the lot’s soundstages into high-end recording studios that drew the the likes of Sergio Mendes, the Carpenters, Stevie Nicks, U2 and John Lennon. Henson took over in 2000 and continued to cultivate what many of the studio’s regulars describe as a cozy family vibe.
“It was truly my home away from home,” says John Shanks, who produced hit records by Sheryl Crow, Miley Cyrus and Ashlee Simpson, among many others, at Henson. “My kids celebrated birthdays there — they knew where the candy was in Faryal’s office.”
Mayer and McG say they’re putting $9 million into improvements on the lot — “an up-to-speed-ovation,” the director calls it — but have no plans to make significant structural or stylistic changes. Ganjehei’s staff of around 22 engineers, techs and runners will stay on, as will artists who maintain offices and studios on the property, among them Daft Punk’s production company and the duo of Wendy Melvoin and Lisa Coleman.
“We’ve all seen places we loved get renovated and then you go, ‘Yeah, I don’t like it there anymore,’” McG says.
Such as?
“The Four Seasons on Doheny,” Mayer responds. “They took out the old dining room and put in a Culina, and it’s no fun anymore.” Of Chaplin, he says, “This place has a beating heart. All we have to do is effectively not kill it, right?” He laughs. “Just stay away from the big red button that says, ‘I got an idea.’”
Adrian Scott Fine welcomes that attitude.
“It’s what we like to hear — it’s not what we often hear,” says the president and chief executive of the Los Angeles Conservancy, a nonprofit dedicated to historic preservation. “When places transfer out of long-term stewardship, that always raises our spidey senses: What does this mean for the future? Sometimes they go into safe hands with the next owner. Oftentimes it means radical change, loss of character, maybe demolition or redevelopment. So we’re very hopeful when someone says that because it doesn’t happen enough in L.A.”
John Mayer, right, and McG inside Studio B at Chaplin Studios.
(Jason Armond / Los Angeles Times)
As a show of historical continuity, Mayer and McG initially wanted to call the property Chaplin A&M. But Mayer says he couldn’t get Universal Music Group, which controls the A&M brand, to sign off on the name.
“I’ve never seen fruit so close to the ground before,” he says of the idea to bring back A&M. “Everyone I spoke to did the thing that people at record companies do, where it starts to get very gauzy as it moves up the flagpole: ‘Listen, I get it, but I can’t get the person above me to see it.’” (Moss died in 2023, and a spokesperson for Alpert said he wasn’t available for an interview. A UMG spokesperson didn’t respond to a request for comment.)
More disappointing, Mayer and McG say, was the Henson family’s decision to take down the 12-foot statue of Kermit the Frog — dressed as Chaplin’s Little Tramp character — that presided for 25 years over the lot’s front entrance.
“It was important to the Hensons to have Kermit — that was expressed very early on,” Mayer says of the statue, which the family is donating to the Center for Puppetry Arts in Atlanta. “We might have had the delusion of a reprieve. But they didn’t change their mind.”
“I talk to people I know and they say, ‘My kids go to school on La Brea, and every day we drive by and say, “What’s up, Kerms?”’” McG says. “It saddens me that the people of Los Angeles won’t be able to share in Kermit looking over them. If I sold Randy’s Donuts to a barbecue place, I’d hope the barbecue guy would keep the giant doughnut. It’s in the ‘I Love L.A.’ video with Randy Newman, OK?
Until recently, a 12-foot statue of Kermit the Frog presided over the front entrance to the Henson property on La Brea Avenue.
(AaronP / Bauer-Griffin / GC Images)
“This isn’t a McG thing,” the director adds. “It’s not a John Mayer thing. With the greatest respect, it’s not even a Henson thing. Kermit, to me, had transcended all of that and become a part of the fabric of this community.”
Did they make that emotional case to the Hensons?
“We tried,” Mayer says.
And it fell on deaf ears?
“Indeed,” says McG. (A spokesperson at the Jim Henson Co. declined to comment.)
Mayer has seen the comments on social media blaming him for Kermit’s disappearance, which is no doubt why he’s eager to get the word out that it wasn’t his doing. Yet the singer — a tabloid fixture since the days when he dated Taylor Swift and Jessica Simpson — says he’s not tortured by his haters.
“They should be worried about what I think of them,” he says with a laugh. “Honest to God, sometimes I read stuff and I go, ‘If only you knew …’ And I don’t have to apply that to myself as a balm so I stop feeling bad. I’m at the age now where I’ve seen everything you could possibly write, and I’ve survived.”
Not so long ago, Mayer would happily jump into the rough and tumble of online discourse. “But don’t you find yourself scrolling away from things so obviously designed to outrage you?” he asks. The sun is starting to go down outside — this is the time of day, he says, when Chaplin’s bucolic grounds remind him of Montecito’s San Ysidro Ranch — and he’s getting slightly philosophical.
“Millennials had their brains ripped out by the things they read. Gen Z is beginning to go, ‘I think a lot of these are bots.’ And I think Gen Alpha will be the generation that looks and says, ‘There’s a whole bunch of clankers writing bulls—. We don’t care.’
“My years of trash talking or being critical of any artist in any way — I think they’re over,” he says. “It never felt as good as it feels to run into people in the hallway and be glad they’re here.”
The sense of community Mayer feels — and is trying to nurture — at Chaplin is one reason he’s optimistic the studio will succeed.
“I think we’re leaving an era of ‘I did it myself — aren’t you amazed?’ Look at Dijon onstage at ‘SNL,’” he says of the R&B singer and producer who led an expansive group of musicians through a vivid TV performance in early December. “We’ve heard our hands applauding the fact that people have done it alone, and now we’re turning the corner and loving collaboration again. And you can’t come into a place like this and do it alone.”
“I love doing things that people tell me aren’t gonna work,” John Mayer says.
(Jason Armond / Los Angeles Times)
Even so, bills wait for no vibe shift. Beyond the business of recording, Mayer and McG are eager to make Chaplin’s soundstage a destination for acts in need of rehearsal space — AC/DC was recently in there practicing — as well as for certain high-end live events.
“If Anna Wintour’s gonna do ‘Women of Hollywood,’” McG says, “I need Anna Wintour going, ‘John, it’s got to be at your place.’”
Mayer says he’s fantasized about a sitcom or a talk show taking up residence on the soundstage.
“I hear John’s pretty good friends with Andy Cohen,” McG says of the Bravo host. “We’ll see where his show goes.”
“He looked at it,” Mayer says. “I think he needed more space to be able to do ‘Real Housewives’ reunions. Think about the number of Star Waggons you need for that.”
Yet music remains at the heart of Mayer’s ambitions for Chaplin, which he says he intends to own long enough to “sit down in a chair for a documentary several times, talking about other people’s records that were made here.” (Mayer himself says he’s been “defending the calendar of 2026” to record an album of his own.)
“Every time an artist drives through that gate, they’re taking an emotional risk,” he says. “Hoping they have a song in them but not being sure — it’s a very vulnerable state to be in. Everyone’s walking around, bumping into walls, thinking about what the rhyme is to that word. I want to make this the greatest place you could ever struggle.”
As a former hotel receptionist, I received requests and questions from guests that often left me baffled. One in particular became the most annoying, and most people do it
There’s one infuriating thing about working as a hotel receptionist (Image: Getty Images/Stock Photo)
Receptionists are at the heart of a hotel, handling reservations, addressing guest inquiries, and supporting other departments. But there’s one question that is instantly frustrating, and it’s more common than you might think.
I spent around four years working on the front desk of a hotel, and during that time, I gained a real insight into the hospitality industry from the good, the bad, and the ugly. One of our most popular phone calls was, unsurprisingly, to make a reservation, whether for an overnight stay or dinner at one of the two restaurants.
Friday nights, in the hotel and two restaurants, were often fully booked. The weekends were the busiest times for every staff member in every department, with a buzz and a hint of overwhelming stress seeping through the corridors as we did our best to make the guests’ experience as smooth as possible.
As front-of-house staff, the often overwhelming demand for tables in the restaurant and rooms for the night landed on us. We’d have people calling up on a Friday afternoon asking for a table in the cosy pub, or attempting to book a last-minute staycation over a weekend.
We’d always politely explain that we were fully booked, whether in the restaurant or hotel, but they’d inevitably reply in the same way. And it went a little something like this:
Me: ‘I’m sorry we’re fully booked in the restaurant tonight’. Them: ‘Don’t you have any tables?’ Me: ‘No, I’m sorry, it’s a Friday night, every table is booked’. Them: ‘Can’t you squeeze us in anywhere?’
It was bewildering how many people would ask these questions, as if we could magically add an extra table and chairs to an already packed restaurant. More often than not, people would fail to understand the concept of reservation times.
Frequently, we might only have had a table free at 5.30pm or 9pm, both of which are awkwardly inconvenient. Yet, people would always push for the time they desired, not understanding how table turnovers work and the running of a restaurant. After all, 90 people can’t sit down all at once to eat at 7pm in a restaurant that only seats 45 at a time.
And it didn’t just happen for restaurant bookings. After explaining to would-be customers that the hotel was fully booked all weekend, we would get the response: ‘Don’t you have any rooms available?’ To which we’d reply, ‘I’m sorry it’s fully booked’. But that wouldn’t stop them.
I had people explain that they wouldn’t mind being in the smallest room, or squeezing their family of five into a room only suitable for double occupancy. While it’s always worth asking, to some extent, these questions became irritating. It was as if those on the other end of the line thought we were making it up.
Hotels and restaurants really do get fully booked, and no matter how much they want to cater to you, sometimes there really is no way around it.
Do you have a travel story to share? Email webtravel@reachplc.com
Fire replaces water as the elemental character in James Cameron’s “Avatar: Fire and Ash.” It’s even weaponized by Varang (Oona Chaplin), the ruthless leader of the volcano-dwelling Ash People, in their war against the rest of the Na’vi tribes.
“After figuring out water in all its complexity in [‘The Way of Water’], we focused on fire,” Cameron said about his VFX Oscar front-runner. “Fire is very much the same — you have to be very observant of [this] in the world. This is where having an understanding of physics — which I do — helps, and this is where a lot of real-world photography and reference comes in handy.”
Creating more realistic-looking fire in CG required Cameron to apply his understanding of fuel and how it burns, including flow rates, the interaction of temperature gradients, the speed of an object that’s burning and the formation of carbon and soot.
In essence, fire became the centerpiece of every scene — and a character with its own escalating drama. That’s where the VFX wizards of Wētā FX in New Zealand came in. They developed Kora, a high-fidelity tool set for physics-based chemical combustion simulations. Kora increased the scale of fire while providing more artist-friendly controls. The film contains more than 1,000 digital fire FX shots, ranging from flaming arrows and flamethrowers to massive explosions and fire tornadoes.
“Physical fire is really hard to control, so we had to come up with how to bend the physics towards the direction that Jim was giving it,” said Wētā senior VFX supervisor Joe Letteri. “Because he was very specific where he wanted the fire, what kind of speed, rate, size, how much or how little energy. He very carefully crafted every component, guiding your eye across it.”
“Fire serves two roles,” added Eric Saindon, a VFX supervisor at Wētā. “There’s always a little bit of low fire going on during quiet moments, but then you get fire that becomes much more destructive whenever there’s an attack sequence.”
In the film’s best scene, where archvillain Col. Quaritch (Stephen Lang) and Varang meet for the first time in her tent, fire takes on a more subtle, mysterious quality. She gives Quaritch a trippy “truth drug” to ascertain his real agenda, seductively playing with fire with her fingers like a sorceress. The scene turns surreal with camera distortion and zoom shots to convey his hallucinatory point of view.
Then Quaritch surprises her with his superpower: the truth. He proposes a partnership to provide his military weaponry so she can spread her fire across the world and he can rule as her co-equal. “In a strange way, they become the power couple from hell,” Cameron said. “He wins her over by sharing his vision.”
The physical properties of fire drove much of the visual effects work in “Avatar: Fire and Ash.”
(20th Century Studios)
Meanwhile, the subtle flicker of fire with cool blues around the edges of the flame is like a magic trick. “She knows it’s about theater, so she presumably has some kind of a gel or makeup that’s on the tips of her fingers so that they just don’t burn away in the first few seconds,” Cameron continued. “She’s able to dip her fingers in some kind of inflammable oil and light them and have them burn like candles. Of course, in his mind, it’s all enhanced much more due to the hallucinogen.”
Cameron praised both actors in the scene, but singled out Chaplin’s performance for the force she brings to Varang’s shamanistic authority. “She understood how the character would manifest her power psychologically and how there was a flip in the scene, where the flow of power runs the other direction at a certain point.”
The director also commended Wētā’s facial capture animation team for achieving a new level of photorealism, thanks in large measure to more realistic muscle and skin movement. “The way Oona’s performance comes through so resoundingly in the character is a tribute to a lot of R&D, a lot of development in the facial pipeline. But I think it really demonstrates how the idea of CG as a kind of digital makeup really does work. What I’m proud about in that scene is that it’s a culmination of an almost 20-year journey in terms of getting exact verisimilitude in the facial representation of the characters as an extension of the actors’ work.”
“It was really fun showing Varang to Jim because he knew what he had in the performance,” added Dan Barrett, a senior animation supervisor at Wētā. “And he included Oona’s idiosyncrasies in the final animation. He was very respectful of the performance.”
In fact, Cameron argues, Chaplin’s performance as Varang is Oscar-worthy. “It may be counterintuitive, but I would argue that it’s a more pure form of acting,” he suggested. “Now, you may say that it’s cheating in terms of the cinematography in the sense that the cards are stacked in our favor because that perfect performance will always be there and will be repeatable as I do my different camera coverage. But it’s not cheating in terms of the acting.”
Cameron has recently been more proactive in demonstrating how the performance-capture process works to academy and SAG-AFTRA acting members so they can better understand it. “It was just us, working on capturing a scene, and I even wrote new scenes so it wasn’t a made-up dog-and-pony show. And they were blown away,” he added.
SANTA MONICA — Derek Shearer is in the big leagues now, but he cut his political teeth in Santa Monica.
Shearer, a top economic adviser to Democratic presidential nominee Bill Clinton, was a planning commissioner in Santa Monica for five years. He credits the city with teaching him about politics and about what an activist government can do.
Now busy with the Clinton campaign, Shearer can be found churning out memos, fielding press calls, lunching with Clinton supporters and doing a hundred other tasks necessary to run the campaign in California. He has been on leave since June from his position as a public policy professor at Occidental College.
The Santa Monica resident spends half his time on the road trying to get across to the electorate Clinton’s economic manifesto, which he helped craft along with Rhode Island businessman Ira Magaziner and Harvard economist Robert Reich. The booklet-length document outlines Clinton’s economic plan and is credited with helping revive the lagging Clinton campaign in June.
An old friend of Clinton, Shearer said the plan incorporates few of his own original ideas. “I don’t try to push my solutions” on the candidate, he said. Instead, he advises Clinton on a range of subjects, helping the candidate find information and expertise.
“Derek is the kind of person that thinks you should bring a lot of people together to discuss an issue,” said Manuel Pastor, an economics professor at Occidental and a fellow at the college’s International and Public Affairs Center, which Shearer directs.
But Shearer is a believer in the Clinton message.
“The core message is not that we need better tinkering with the Federal Reserve or we need to tinker a bit with this or that tax rate,” Shearer said. “It’s that there are structural problems in the economy. We need to deal with the institutions in the society, a lot of which are run down or decayed or not running very well.”
He points to SMASH, the alternative public school his children attended in Santa Monica, as an example of the country’s decaying infrastructure. Built in the 1930s, the school is “crumbling,” Shearer said.
Shearer and Clinton met in the late ‘60s when Shearer was working as a free-lance journalist in London and Clinton was on a Rhodes scholarship at Oxford. Both shared an opposition to the Vietnam War and a passionate interest in government. The two men, both 45, have remained friends since.
Shearer said that when they met Clinton was much the same as he is today–”a natural politician” and unrelentingly gregarious.
When Clinton visited Shearer’s home during the California primary, he stood out in the middle of the street and talked to neighbors, Shearer recalled.
And during an impromptu visit to the Venice beach boardwalk, Clinton took the opportunity to talk policy with roller-skaters. He attracted such a large crowd in a bookstore that he eventually had to make a quick getaway out the back door, Shearer said.
“He’s very at ease with people and always has been,” he said.
Even during the lowest points of the Clinton campaign–when charges of marital infidelity were flying–Shearer never lost faith in his chosen candidate.
And he had been there before. “I had been involved in the (Gary) Hart campaign four years before. I had always felt that Hart should not have withdrawn, that the American people want to hear about issues,” Shearer said. He felt the same way about Clinton.
Shearer has taught at UCLA, Tufts University in Massachusetts and the UC Santa Barbara. He moved to Occidental in 1981 and now directs its public policy program.
He tries to bring his zest for real world politics to the classroom, teaching about “how policy really gets made.” His students learn to deal with bureaucracies, write up policy decisions and even craft public relations brochures.
Shearer said he often invites journalists, campaign consultants and local politicians to talk to students, along with nationally known figures such as consumer advocate Ralph Nader and economist John Kenneth Galbraith.
By most accounts, Shearer is more liberal than Clinton. In fact, the Orange County Register in an Aug. 4 editorial singled out Shearer as evidence of the Clinton campaign’s leanings to the left.
But Shearer rejects the “liberal” label in favor of “progressive.”
“What being a progressive means is that you believe that government can make a difference in people’s lives,” he said.
To Shearer, the city in which he lives offers an example.
Smart planning and wise public investment have given Santa Monica its place in the sun, he said. He pointed to the Third Street Promenade–and the decision to zone it to encourage movie theaters to move to the area–as an example of good planning. The theaters attract lots of customers who patronize other businesses on the walkway, he said.
Although Santa Monica is touted by travel writers and urban planners alike as a pleasant and livable community, elections have always been contentious. Because of his experiences here, he is unfazed by the bruising presidential race.
Shearer recalled personal attacks when he ran on a reform slate in Santa Monica in 1981. When his wife, Ruth Goldway, served as mayor in the early ‘80s, she received death threats and had to have police protection, he said.
Shearer made the leap from local politics to the national scene quite some time ago. In fact, it seems as if the Yale graduate was destined for a role in government. His office at Occidental is full of photographs of himself with well-known political figures, among them Sen. Alan Cranston and, of course, Clinton. One black-and-white photo shows Shearer’s journalist father interviewing Lyndon Johnson.
Shearer served on the board of directors for the National Consumer Cooperative Bank during the Carter Administration, and in the 1970s, he was an economic adviser to Jerry Brown.
But Shearer refused to speculate about the role he would play in a Clinton administration.
“I’ve learned . . . that you don’t plan your life around the outcomes of campaigns,” he said.
Jamie Redknapp shared how dating pop star Louise Redknapp contributed to backlash as he reflected on the early days of his football career
Jamie Redknapp reflected on dating Louise Redknapp during his football career (Image: Karwai Tang, WireImagevia Getty Images)
Jamie Redknapp said dating Louise Redknapp contributed to him “getting a lot of stick” at the height of his football career. In 1991, the sportsman signed for Liverpool FC and made his debut in a UEFA Cup match that year aged just 18.
During his 11 years at the club, Jamie, 52, and several of his teammates were dubbed The Spice Boys because of their youth and high-profile lifestyles.
As part of this period, Liverpool won the Football League Cup (also known as the Coca-Cola Cup) in 1995 and it was around this time that Jamie met Louise, who was a member of Eternal.
Reflecting on his heyday, the father-of-two said he was determined to prove he had “the mental strength” to succeed after many doubted his abilities.
Jamie gained further attention at the time when press discovered he was dating singer Louise.
Speaking on the Making A Scene podcast, he reflected: “We won the Coca-Cola final which was the lead cup at the time. We had a very young team hence why we were called The Spice Boys.”
Avoiding naming his now ex-wife, he went on to explain to hosts David Walliams and Matt Lucas: “We got a lot of stick because I was dating a popstar, David James was modelling for Armani, John Barnes was just John Barnes, Jason McAteer [was there].”
Jamie and Louise, who share two sons, Charley, 21, and Beau, 17, were married for 20 years.
The former couple split in 2017, with the singer reportedly citing “unreasonable behaviour” in divorce proceedings at the time.
Fast forward several years and the pair have since moved on with new relationships.
Jamie was the first to do so, finding love with Swedish model Frida Andersson. The couple later married in 2021 while she was pregnant with their son Raphael, who is now four.
Before meeting Jamie, she was married to American hedge fund manager Jonathan Lourie, with whom she has four children.
When it came to telling his eldest son that Frida was pregnant, he recalled: “It didn’t go down that well with Charley, I’ve got to be honest.
“I went to pick him up at school and tell him Frida was pregnant [and] it went down like a lead balloon, if I’m honest.”
He added: “I got it, I totally understood it because his world had been turned upside down — you’re married, everything feels straightforward, and then you meet someone else and you get married again.”
As for Louise, she began dating businessman Drew Michael in 2023. The mother-of-two regularly shares updates about their relationship on social media, including attending Glastonbury Festival together last year.
Jamie appears on Ant and Dec’s Limitless Win tonight at 8pm on ITV. For the latest showbiz, TV, movie and streaming news, go to the new Everything Gossip website.
Nobody does a jaw-drop reaction like Bobby Berk. It’s only surprising when you assume he’s probably seen it all after eight seasons traveling the world as the interior design expert on Netflix’s reboot of “Queer Eye”; writing his 2023 book, “Right at Home: How Good Design is Good for the Mind”; making many TV appearances (including a Taylor Swift video) and selling pretty much anything to make your home shine on BobbyBerk.com.
But in his new HGTV series “Junk or Jackpot?”, premiering Friday at 9:30 p.m. Pacific, genuine reactions come often from Burke as he enters the homes of Los Angeles collectors and sees not only rooms jam-packed with action figures, pinball machines, puppets, marionettes and more, but also some jackpot items just sitting on a bookshelf. In one episode, for example, a collector shows Berk a trading card he has that is appraised in the $100,000 range. “I’m pretty sure I said, ‘What the f—?’ though I assume it was bleeped because it’s HGTV,” says Berk from his Los Angeles home. “I’m used to Netflix, where I could say whatever I wanted. But, yeah, that was just crazy to me.”
Reactions aside, the real marvel on “Junk or Jackpot?” is watching an enthusiastic Berk swoop into people’s homes to help them learn how to come to terms with a collecting hobby that has grown into something that’s stifling homes and putting a damaging strain on relationships. “Obviously, I’m not a therapist. I’m a designer, even though in our field, we often make the joke that we’re not just designers, we’re marriage counselors,” he says.
But Berk, born in Houston and raised in conservative Mount Vernon, Mo., is a self-taught pro at identifying what isn’t working and doing everything possible to fix it, including in his own life. Case in point: Berk, not feeling safe coming out in Mount Vernon, left home at 15 and bounced around for several years in various cities, never finishing high school. “From 15 to 22, I moved around and can’t even count the amount of places I had to move around to just due to finances and situations going on in life,” he recalls.
Eventually, he landed in New York City and worked for stores like Restoration Hardware, Bed Bath & Beyond and Portico before he opened his first online store in 2006 and first physical store in Soho in 2007. Soon thereafter, Berk was racking up appearances on networks like HGTV and Bravo before “Queer Eye” came calling in 2018 and took him to new heights, including his 2023 Emmy win for structured reality program. He also received an honorary degree from Otis College of Art and Design in 2022.
Now, with “Junk or Jackpot?” about to launch, the 44-year-old Berk spoke about how he was handpicked by pro wrestler and movie star John Cena for the show, the key to helping collectors let go of things that are weighing down their lives, and, after living many places and traveling the globe, where he considers home with husband Dewey Do and their mini Labradoodle, Bimini.
“I’m not a therapist. I’m a designer, even though in our field, we often make the joke that we’re not just designers, we’re marriage counselors,” Berk says.
(Jason Armond/Los Angeles Times)
What are the origins of “Junk or Jackpot?” and what does John Cena have to do with it all?
I’ve been toying back and forth with HGTV for years, even when I was still on “Queer Eye,” but with my exclusivity with Netflix, I couldn’t do design shows with anybody else. We always just kept that line of communication open, so then when this specific opportunity came about, Loren Ruch, the head of HGTV, who’s unfortunately since passed, reached out. He said, “Hey, John Cena’s created the show for us and you’re the top of his list of who he wants it to host it.” John was a big “Queer Eye” fan, so I said yes. It shot here in L.A., which was really important to me. We were really lacking for entertainment jobs here in the city so that was a big plus for me to be able to bring jobs here to L.A. to all of our amazing crews.
And it’s not your typical design show. Obviously, there’s nothing wrong with a typical design show and they do help people. But coming from “Queer Eye” where everyone we helped was because it was somebody deserving, somebody that was going through something and needed that extra boost in their life. That’s what this was with “Junk or Jackpot?”
Every single collector, as we’re calling them, had a story going on. With Patrick and Roger [in the premiere episode], Roger had moved out and their relationship was on the rocks because there was literally no space for Roger. With Carly and Johnny in another episode, they had a kid that they weren’t expecting to have in their early 40s, so it was a life-changing moment for them. Their priority needed to be their son, J.D.
I love the show because it was helping people at these moments in their life where they’re like, “We have this thing that we love and has brought us joy, but now this thing is actually starting to have negative things happening in our life.” I wanted to come in and really bring back the joyous part of their collection.
HGTV hasn’t given you a huge budget to revamp the homes and the collectors have to work themselves to sell off their collectibles to pay for the renovation. How did that angle come about?
It was a bit of therapy and I wanted the collectors to really realize that, yes, the collection that they have has value but this other thing that is happening in their life because of this collection has value, too. I wanted them to either be able to prove to themselves that what they were wanting to change in their life had more value than those things. Like with Patrick, Roger had a value.
I wanted them to go through the exercise of “You need to start parting with things.” And if you notice, I never pushed them to get rid of the most precious pieces of their collection. I pushed them to get rid of the things that often they had duplicates of but weren’t necessarily something like, “Oh, I got this as a child” or “somebody got this for me.” I wanted them to emotionally disconnect with those things so they could prioritize things better in life and in the future, they would have a lot easier time letting go even if I wasn’t there to push them.
Swatches and mood boards in Berk’s office. The host of “Junk or Jackpot?” says it is not your typical design show.(Jason Armond/Los Angeles Times)
How do you consider budget with the collectors? In one episode, you choose to cover a brick wall instead of tearing it down and building a new one.
The homeowners are the ones footing the bill for this, because again, a portion of this is the exercise of letting go. To your point, if we had just come in at HGTV and said, “Here’s all the money!” They’re like, “All right, I have no motivation to get rid of anything.” I wanted to make sure we made budget-conscious decisions and I think that’s also a really important thing to share with people at home that you don’t always have to go out and knock out a fireplace if you hate the material. You can do a thing like micro cement and you can completely change it for a minimal cost.
What would you say you learned from shooting the first season of “Junk or Jackpot?”
I wouldn’t say I learned anything necessarily new, but it was reaffirmed to me the emotional attachment and mental health aspect that your space and design can have on you, either in a good way or a bad way.
In the bad way, your house becomes so cluttered and overwhelmed with something that used to spark joy for you, but it’s now having an effect on not only your mental health, but your relationships with other people. On the other hand, the difference in your mental health just redoing that space, reorganizing that space, reclaiming that space can have on your mental health and your relationships not only with yourself, but with your family and your friends.
Vivian, who collects Wonder Woman memorabilia, her friends stopped coming over because there was just nowhere to sit. Her best girlfriend used to come in from Vegas all the time, where she lives, and she would spend the night and now she’s like, “I just can’t anymore because I’m surrounded literally. It’s too much and I just can’t do it anymore.” You see how just changing your space really can change your life.
“I wanted to make sure we made budget-conscious decisions and I think that’s also a really important thing to share with people at home, that you don’t always have to go out and knock out a fireplace if you hate the material,” Berk says.
(Jason Armond / Los Angeles Times)
Season 1 is set in Los Angeles but assuming you get more seasons, would you want to do other cities or countries?
I personally would always love just to keep doing L.A. I live there and with “Queer Eye” for eight years, we traveled all over America. That being said, this is a very niche show, so it might be hard to continue doing it in the same city season after season, so we probably will have to go to other cities, and I’d be fine with that. But I would at least like another season or two in L.A. After spending the last eight years filming “Queer Eye,” I like being home.
That said, you have lived in New York, you’re in L.A. now and you also have a place in Portugal. Where do you call home?
L.A. is definitely home for me. Portugal’s great, but L.A. is definitely home. Although the more time we spend in Southeast Asia, specifically Vietnam, since my husband’s originally from there, that also feels like home. I believe in reincarnation, and I was definitely from over there in my last life. Like when I landed in Vietnam, in China, anywhere in Southeast Asia — I just feel very at home.
“Queer Eye” was such a roller coaster for all you guys but what are your reflections now that it is behind you? Were you able to enjoy it at the time?
Yes and no. It was an amazing roller coaster. I enjoyed most of it, but there were times where we were just exhausted. I don’t know if you know the flight app “Flighty,” but it tracks your flights and tells you how many hours you’ve been in planes every year and how many times you’ve been on the exact same plane. I was looking the other day at how much I flew in 2019. Keep in mind in 2019, five months of the year I was filming, so I wasn’t flying anywhere. So this was just seven months, and I flew 200 flights. I flew over 500,000 miles. I don’t miss that. That was a lot. But as much as I can remember of it, I look back with fondness.
It takes a lot for sweet-tempered 28-year-old Nick Darnell to transform himself into Christmas’ most sought-after sourpuss.
There’s colored contacts and facial prosthetics, a protruding belly and at least an hour of makeup. But for the devout Christian and preternaturally cheerful young actor, the real metamorphosis is psychological.
“People today love to connect with the villain,” said the viral Grinch impersonator. “The world is just a darker world now.”
Darnell called the chartreuse baddie he portrays “the modern-day Santa.”
Dr. Seuss’ holiday parable “How the Grinch Stole Christmas!” has been a seasonal favorite since it was published in 1957, ranking among the most popular and profitable of the author’s iconic rhyming picture books.
The story’s sassy, brassy antihero has likewise adorned Christmas trees and school library shelves for generations. His hornlike fur forelocks and pathological refusal to assimilate have led some critics to call the Grinch ambiguouslyantisemitic, but those concerns have largely been glossed over by years of nostalgia.
Experts say 2025 heralds the Grinch’s ascent from Yuletide bit player to Christmas A-lister. He now crowds out Kris Kringle in store displays, social media feeds and holiday meet-and-greets.
Unlike Santa, who ho-ho-hos his way through the holiday season, Grinches twerk and pout and scream in kids’ faces. Compilations of their antics on YouTube and TikTok routinely rack up millions of views.
“I do the things that people think,” Darnell said of the role. “I’m not restrained.”
Despite the Grinch’s anti-consumerist zeal, the market for his visage has exploded in recent years.
Target touts its “Grinchmas,” while Walmart has “WhoKnewVille.” McDonald’s sells Grinch fries, Starbucks features a “secret menu” frappuccino. Hanna Andersson, a popular purveyor of holiday pajamas, boasts roughly a dozen different Grinch patterns, compared to three Hanukkah options and just one Santa design in two colorways.
“I’m not restrained,” Grinch impersonator Nick Darnell, 28, says of his role.
(Christina House/Los Angeles Times)
Ownership of the Grinch’s likeness is guarded as jealously as the villain protects his lair: Dr. Seuss Enterprises holds the rights to the children’s book, Warner Bros. Discovery the 1966 animated TV special, and Universal Studios the 2000 live-action Jim Carrey film, which ranks among the highest-grossing Christmas movies of all time.
But impersonators, academics and even working Santas agree: Americans’ embrace of the Grinch in 2025 goes far beyond consumerism.
“It’s definitely more popular,” said ‘Santa’ Ed Taylor, the famed Los Angeles Santa behind the Worldwide Santa Claus Network, a training camp for the art of Christmas cheer. “It’s a little yin and yang. Maybe we need a little bit of both.”
Costume companies across Los Angeles say they’ve seen a deluge of demand for the Grinch this year. At Etoile Costume & Party Center in Tarzana, nearly half of Christmas costume rentals are now furry green villains.
“It’s about equal to Santa,” one employee said. “Maybe 40% Grinch and the rest Santa.”
Ryan Ortiz, dressed in a Grinch costume, stands next to his 1969 Volkswagen Bus in San Diego on Dec. 21.
(K.C. Alfred / The San Diego Union-Tribune via Getty Images)
Fans of the hirsute sourpuss seek him out for his in-your-face edge — the opposite of Santa’s remote joviality. Santa enforces his regime of goodness through lists and surveillance. The Grinch will get in your face and yell at you to shut up.
“[Santa]’s supposed to be mysterious and unknown,” said Darnell’s fiancee JadaPaige. “He’s supposed to just come in the night and you’re never supposed to see him.”
“I grew up obsessed with Santa Claus — I did not grow up obsessed with the Grinch,” Darnell said. “I was the kid waiting up in the middle of the night, peeking, wondering if Santa’s down there. A lot of modern day kids aren’t having that journey.”
Instead, many Gen Alpha youths look to the Grinch for his views on “corruption or poverty or the oversaturation of commercialism,” Darnell said.
“Santa is looked at more like a godly figure, while the Grinch is a more everyday man,” the actor explained. “The world is so sinister and negative. [The Grinch] tells you how it is, rather than telling you everything is going to be fine.”
TikTok turbocharged that trend, with the infamous green meanie matching or beating his red rival in holiday clout.
Grinch impersonator Nick Darnell said the character he plays has become popular because, “He has aura.”
(Christina House/Los Angeles Times)
Today’s professional Santas are often retirees with a bit of a belly and some time on their hands. Grinches, by contrast, are more likely to be working actors like Darnell, who look reverently to Carrey’s performance as a blueprint for the character’s slapstick antics and snarky reads.
Still, experts say the Grinch’s 2025 glow-up likely owes as much to holiday exhaustion and broad consumer pessimism as it does vertical video virility.
“The Grinch is the opposite side of Christmas,” said Oscar Tellez, who owns Magic Dream Costumes and Party Rentals in East Los Angeles and says he’s seen a spike in Grinch requests even as overall holiday rentals have sagged.
“Especially with the Latino community, I don’t think they feel the enthusiasm to celebrate,” Tellez said. “They are more worried about what’s gonna happen next.”
Pop culture experts agreed.
“The economy is in big trouble, our political situation is chaotic, there’s a lot of hate — it’s no wonder that we would seek to express that through the embodiment of a monster like the Grinch,” said Michael M. Chemers, director of the Center for Monster Studies at UC Santa Cruz.
“You’ve seen these nativity displays popping up all over the country that have the Jesus figures removed and it says ‘ICE was here,’ ” he added. “I think there’s just a lot of Grinchy feeling right now in the world.”
Chemers and other scholars say the emergence of the Grinch as a foil to Santa is less a departure than a return to form: the Grinch is a “PG version” of the mythical Krampus, a shaggy, fork-tongued Germanic goat man who beats and even abducts naughty children, working as an enforcer for Father Christmas.
An “organillero,” or traditional street musician, dressed as the anti-Christmas character known as the Grinch plays on a central street in Mexico City on Dec. 9.
(Yuri Cortez/AFP via Getty Images)
“He’s been called the Christmas devil,” said Jeff Belanger, author of “The Fright Before Christmas,” a compendium of so-called “Yuletide monsters.”
“[Krampus] represented the consequence of bad behavior, while St. Nick rewards good behavior,” he said.
Krampus likely evolved from older, pre-Christian deities, just as Christmas absorbed solstice and midwinter customs, the author explained. The Christmas most Americans grew up with only emerged as a national holiday in the wake of the Civil War, he said, about a decade after the formal introduction of Thanksgiving in 1863. It was around this time that Christmas trees became popular in the United States.
“In 1867, Charles Dickens came over to Boston and that’s when he read his ‘Christmas Carol’ for the first time in America,” spurring President Ulysses S. Grant to declare Christmas a federal holiday, Belanger said. “It was truly on the back of that story.”
The holiday’s corpulent, white-bearded dandy arrived even later, his schmaltzy persona skimmed from bony St. Nicholas between Reconstruction and 1931, when Coca-Cola debuted its iconic, brandy-flushed Santa Claus.
“That’s when Christmas turned purely commercial, and there was no room for consequences anymore,” Belanger said.
Seuss’ Grinch sits somewhere in the middle — cuddlier than Krampus and pricklier than Santa — making him the perfect avatar for a moody, uncertain age.
Workers check Grinch inflatables ready for export at a factory in Suixi County in central China’s Anhui Province on March 19.
(Wan SC/Future Publishing via Getty Images)
Grinch boosters point out that the villain repents and reforms at the end of the story, shedding his pathological hatred of Christmas.
“I always tell people, ‘Don’t you just love how his heart grew three sizes?’ ” Taylor, the famous Santa, said of his increasingly popular crossover events.
Others note that it’s never the repentant Grinch who marauds through schools and holiday parades or blows up on social media.
“Once he’s rehabilitated, he’s no fun anymore,” Chemers said.
That makes it hard for the holiday villain to visit sick kids in the hospital, as legions of Santas do every year, or comfort children who confide in him about bullying.
“The message is one of encouragement and positivity and acknowledgment of accomplishments and encouragement to strive harder,” Taylor said. “It’s these beautiful personal development messages that Santa gets to be the conduit for.”
The Grinch, by contrast, can affirm where you are, without ever asking you to be better.
“He can hear you and know what you’re thinking, because he has the same thoughts,” Darnell said of his beloved version of the character. “People want to know his heart and his mind, and that’s something they wouldn’t be able to ask Santa.”
Our picks for this year’s best in arts and entertainment.
Thankfully, we can still turn to our bookshelves — and podcasts — to ground us. We tapped science doyenne Alie Ward, the host of the funny cult favorite “Ologies” podcast, to share her picks for the best science books of 2025.
Spanning fascinating subjects from bees to human anatomy, Ward’s insightful list reminds us that books remain a timeless vessel for truth and knowledge.
“Dr. Li is the botanist of our dreams… the way he talks about ferns and why he loves them, and about growing up in Taiwan (in essentially a fern forest), and how the sexual reproduction of ferns has been a great way to draw attention to the LGBTQ and nonbinary community is so charming and funny. They even named a whole genus after Lady Gaga because they were listening to ‘Born This Way’ a lot in the lab and also because there are sequences in their DNA that are ‘GAGA.’
“Laura Silburn’s illustrations are gorgeous — they really put a lot of texture into some of these plants that are really tiny. Every page is like looking at a botany poster. As we’ve seen so much science research being underfunded, especially in the last year, there’s this big question by the culture at large of why does it matter? Why does studying the fern genome matter? It has real-world impacts — that’s fewer pesticides on your crops because we figured out something from a foreign genome. I always love when something is overlooked or taken for granted and because of someone’s passion and their dedication to studying it, we learn that it can change our lives.”
“Krystle is an astounding photographer and an incredible visual artist. Her passion for native bees is infectious. A lot of people, when they think of bees, they think of honeybees. And honeybees are not even native to North America. They’re not native to L.A. They’re not native to this country. They’re feral livestock. What I love about her book is it opens your eyes to all of these species that are literally right under our noses that we wouldn’t even consider — and that a lot of people wouldn’t even identify as bees.
“The other reason why I love this book is that she puts these essays into it that are about her experiences going to find the bees. So you’re getting to see these gorgeous landscape pictures. You’re getting to see what it took to find the bee, how to look for it, and more about this particular species. It’s organized in these ABCs that you can pick up at any chapter and check out a bee you’ve never heard of before.”
“Justin is hilarious. He is such a good writer, and his voice is really, really approachable. The way that he writes about science is through such a wonderful pop culture and pop science lens. You feel like you’re reading a friend’s email who just has something really interesting to tell you.
“This book is all about anthropomorphizing everything from our toasters to why we like some spiders but hate other spiders. This is a discussion that is so important in this time when we literally have bots on our phones that are like, ‘I’ll be your best friend.’
“Justin speaks to human psychology and our need to want to be friends or villainize objects —or technology or animals — and project our own humanity onto them in ways that are sometimes helpful and sometimes dangerous.
“As a science communicator, you can tell people the most fascinating facts and can give them the best stories. But unless you can give people a takeaway, then a lot of times it doesn’t stick or the interest isn’t there. He really addresses the question of ‘Well, what does this mean for my life?’”
“The humanity that she brings is such a wonderful base for how our bodies fail us sometimes and what we are trying to do to bring them back. From her being present during orthopedic surgeries and the way that she describes the sound of hammer on bone (and just the kind of jovial atmosphere in an operating room that, as a patient, you would never be clued in about because you are passed out half dead on a slab). She really soaks up a vibe that you would never have access to. She goes to Mongolia to learn about eye surgery there in yurts. She takes you to places you would never be able to go. She’s rooting around in archives and old papers — she just makes anything interesting.
“Mary really is both an ally and an outsider, and I think that that’s a really beautiful thing in her book.”
“Anna Gifty Opoku-Agyeman is an absolute force. I’ve followed her work in economics and in equity for years, and I was really excited for this book to come out. We did an episode on kalology, which is the study of beauty standards, years ago and I have always loved the conversation of how different members of society have a certain tax on them — these extra resources that they are expected to provide.
“I was really excited to read about specifically women of color, because that is something that I don’t feel is discussed at large. Anna combines the sociology of it with the reality of her experience and other women of color. Because she is so deft when it comes to policy and economics, she also considers, ‘What can we do about this?’ It’s not just enough to discuss this, but what can be done?
“She has totals of what the gender gap is and what the double tax is, and it’s written up like a receipt. This book really addresses the double tax in a way that, even if you have no insight or it’s something that you haven’t thought about — or you are someone who hasn’t experienced this — it’s laying it out economically in a way that is really accessible and has a lot of impact.”
Recinos is an arts and culture journalist and creative nonfiction writer based in Los Angeles. Her first essay collection, “Underneath the Palm Trees,” is forthcoming in early 2027.
Just a little over a year after an all-time performance as “Saturday Night Live” host (one of the best of that season, truth be told), Ariana Grande returned again to show off some of her talents: mimicry and comic timing, dance moves, and, of course, a spectacular singing voice.
But she also showed a lot of grace by ceding the spotlight to her “Wicked” co-star Bowen Yang, who confirmed before this week’s episode that he is exiting “SNL” midway through his eighth season. At several turns of this week’s show, particularly in a closing sketch about a retiring Delta Sky Club employee that served as Yang’s emotional goodbye, it was clear that Grande understood the assignment: this was Yang’s night, not hers.
Which isn’t to say Grande wasn’t great. She started strong with an “All I Want For Christmas” takeoff in her monologue, played an Elf on the Shelf who’s been cut in half in a support group sketch, exchanged a costume soul patch with Marcello Hernández as one of two dramatic dance instructors, and perhaps most memorably in this outing, played Macaulay Culkin‘s character Kevin in an extremely bloody parody of “Home Alone.”
But in his last show as a cast member, Yang got to appear in nearly every sketch as well, from a brief appearance in the “Home Alone” sketch to playing Yoko Ono in the Peacock special skit to reprising his Trend Forecaster character on “Weekend Update” with former cast member Aidy Bryant.
If Grande wasn’t as locked in as last time (she broke character laughing a few times), it didn’t matter much because she was as funny, energetic and eerily accurate in all her impressions. It felt very much like Grande was there less to promote the new “Wicked” movie than to help a friend say goodbye.
Not surprisingly, President Trump (James Austin Johnson) had a lot to say in a holiday address to the nation while also hugging a Christmas tree (“Remember when I did this with flag? I’m hugging tree now.”) and reading his stage directions out loud, an interesting new wrinkle to Johnson’s masterful impression. Trump reminded the country that “Arctic immigrants are coming in through our chimneys and stealing our milk and cookies” and discussed the recently voted on name change to the Kennedy Center, now “The Trump-Kennedy Center for the Performing Arts No Homo,” saying it is just the beginning. His name will be on the Trump Washington Monument, the Trump Lincoln Memorial and “Big Elphaba,” his name for the Statue of Liberty. Why so many names on things? “We had to take it off so many files,” he said, a reference to the much-redacted, newly released Epstein Files. Johnson’s impression is getting slurrier and even more meta, but continues to deliver on random pop culture references, which this week included the Indigo Girls, “The Hunger Games” and the videogame “Metal Gear Solid.”
Grande’s monologue briefly touched on the idea of bringing back old sketches such as “Domingo” from her last appearance before declaring cheekily, “When something is perfect, it doesn’t need a sequel.” She talked about how hard it is to find gifts for people she doesn’t know well, like her cousin’s boyfriend, Steve, which led to a whole music number to the tune of “All I Want for Christmas,” including Yang and other cast members giving suggestions on gifts like back massage coupons or a box of raw oysters. The lyrics weren’t all easy to understand unless you had captions enabled, but Grande sang the heck out of the Mariah Carey song.
Best sketch of the night: Take a bow, Bowen
Was it the funniest sketch of the night? No, that would probably be the Elf on the Shelf support group or the “Love is Blind” reunion. But Yang’s last sketch, about an elderly Delta Sky Club worker passing out eggnog and working his last shift, was heartfelt and sweet. Even a casual fan of Yang and “SNL” would be hard pressed not to get choked up by Yang talking about his time on the show to his wife (Grande), who replied, “All the egg nog you’ve made over the years. Some of it was great. Some of it was rotten.” “And a lot of it got cut,” he replied. Bowen broke down a few times while expressing his love for the people who work on “SNL” and sang through tears a version of “Please Come Home for Christmas” with Grande. “Egg nog is kind of like me — it’s not for everyone, but the people who like it are my kind of people,” he said to riotous applause. When he said he wanted to go out on top, she responded, “Oh, everyone knows you’re a bottom.” The capper to the sketch: Cher appearing as his Delta boss to tell him, “Everyone thought you were a little too gay. But, you know what? You’re perfect for me.”
Also good: The holiday duets you didn’t know you needed
When you’ve got Grande on board, it’s hard to resist falling back on lots of celebrity impressions, especially if they involve singing. For this piece, random performers are paired up for duets to try to replicate the magic of David Bowie and Bing Crosby’s “Little Drummer Boy” to varying degrees of success. Grande and Johnson were paired up twice: as Katy Perry and Bob Dylan and then again to close the sketch as Andrea Bocelli and Celine Dion. It’s impossible to overstate how good Grande is at mimicking other singing voices, but the surprise here is how well Johnson keeps with her as Bocelli. Other standouts: Hernández as Bad Bunny, a backflipping Benson Boone (it was likely a stunt person and not a cast member, we never see his face) and Veronika Slowikowska as Bjork.
‘Weekend Update’ winner: Mistletoe, you are on watch!
Kam Patterson did well as Michael Che’s 12-year-old nephew Tyson, who goes back and forth between being a sweet kid and threatening Santa Claus for not bringing him a bike for Christmas last year. And this year’s holiday joke swap was weirdly one-sided with only Michael Che writing heretofore-unseen jokes for “Update” co-host Colin Jost to read. But Bryant returning to reunite with Yang for their arch Trend Forecasters bit won the week. They targeted mistletoe, musical intros that go “1, 2, 3, 4!” and in Chinese Trends, orange chicken. The duo repeated their catchphrase, “Go to bed, b—!” to each of these outgoing trends before declaring that waving pride flags, Marge Simpson hair and Michael Che are out. Of course, a stunned Michael Che was shown with a big blue wig and little pride flags in his hands.
After Friday afternoon’s practice, USC football coach Lincoln Riley said he had no update on D’Anton Lynn, who has been the target of Penn State’s defensive coordinator search.
Penn State showed interest in Lynn last year before he received a contract extension from USC. Lynn was hired by the Trojans after a successful season as the defensive coordinator at UCLA.
“This is what happens this time of year, especially when you have a really good staff and are doing a lot of positive things,” Riley said. “We’re excited about having the opportunity to keep continuity but if there is turnover, not just with that position but any position, these are coveted jobs. It’s just part of the world we live in.
“Obviously, D’Anton has done a really good job here and we’ll see how it turns out.”
Being prepared for change is a must in the current college football climate, Riley said.
“Contingency plans for coaches, players, staff, everyone because so much can and does change,” Riley said. “Our job is to be prepared and have flexibility. You can’t always predict everything that’s going to happen but you have to be ready to adjust. Yeah, every team goes through it on some level and you try to handle it as well as you can.”
Riley has liked what he has seen in practice as USC (9-3) prepares for its Alamo Bowl matchup against Texas Christian on Dec. 30.
“We’ve done a really good job the last couple of years of going to work and we’re not thinking about what players or coaches are here or aren’t here,” Riley said. “It’s all about trying to maximize this time and build for the future.”
USC announced Tuesday that redshirt junior quarterback Jayden Maiava had re-signed for the upcoming season and is not joining Makai Lemon and Ja’Kobi Lane — USC’s two best receivers — in declaring for the 2026 NFL draft.
“It’s great. Anytime you can get a returning guy like that who has played a good amount of football, it’s important,” Riley said of Maiava. “He’s also become a good leader in this program and I’d expect that to continue to improve. The majority of this team has already re-signed, we know those guys are going to be here and it’s cool for those guys to show how much they believe in this place and what we’re doing.
“The exciting thing is you look ahead and you start to imagine pairing what we have coming back with what’s going to be walking through the door here in three weeks or so, but it starts with your veterans who have been through the fire and we have a lot of them back.”
Maiava, one of the last players to leave the practice field Friday, made it clear why he chose to stay.
“Coach Riley,” Maiava said. “Of course, the staff too and my brothers. I’m super grateful to be back out here. I’m focused on a day at a time, staying level-headed, making the right decisions and just taking care of the ball.”
Maiava is happy for Lemon, who won the Biletnikoff Award as college football’s top receiver after catching 79 passes for 1,156 yards and 11 touchdowns as a junior this season.
“It was awesome, everybody was there in the lobby when we found out … it’s well-deserved,” Maiava said. “He and Ja’Kobi set the standard for everyone. He won the award, so I’d say we had pretty good chemistry even off the field going out to eat and places. I had to do my job, but he did his job, too, as best he could.”
Defensive end Braylan Shelby also is grateful to be back with the Trojans for another season.
“I always knew I wanted to be here, he said. “Bowl games mean a lot and it’s a time for the team to put it all together and play together one last time.”
Regarding the new NFL model for announcing re-signings, Shelby said: “Some people love it, some hate it. … USC is a step ahead of the game and I think it’s the right step. In this NIL era, it helps fans know who’s returning.”
Having re-signed, junior safety Christian Pierce is excited about being a potential starter next fall.
“The bowl game is a huge start going into next season in terms of building the culture,” Pierce said. “My focus is on trying to understand the defense even more and the skills and techniques I’ll need to get better at. The talk after re-signing was more on the coaching staff and the program.”
Riley praised offensive lineman Tobias Raymond on his willingness and ability to play multiple positions on the front line.
“He was one of the most important players on the entire team,” Riley said. “His toughness was off the charts, his versatility with all the different lineups we played, being able to physically and mentally handle that. He was just a steadying presence. He’ll be a huge key coming back as a captain, a leader and a player. As many of those guys as you can have in a locker room — you’ll be a lot closer to winning.”
Much to his coach’s liking, Raymond has embraced his leadership role.
“I’ve just tried to be more vocal, set an example and hold other people to the standard our coaches have put out for us,” said the 6–foot-6, 315-pound redshirt sophomore out of Ventura. “Pick people up when things are low and when things are high making sure we’re keeping level-headed.”
Regarding the transfer portal, Riley said he plans to be less reliant on it than in previous years.
“The number we’re talking about is so much less than before, so moving forward we’ll be able to zero in on what we’re going to go after. So the picture is starting to become clearer on what we’ll be targeting.”
Keiko Agena likes to create moments of coziness — not just on Sundays, but whenever she possibly can.
“Oh, there’s my rice cooker,” she says when she hears the sound in her Arts District home. “We’re making steel-cut oatmeal in the rice cooker, which by the way, is a game changer. I used to have to baby it and watch it, but now I can just put it in there and forget it.”
In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.
The 52-year-old actor, who played music-loving bestie Lane Kim in the beloved series “Gilmore Girls,” delights in specific comforts like a bowl of warm oats, talking about Enneagram numbers and watching cooking competitions with her husband, Shin Kawasaki.
“It sounds so simple, but I look forward so much to spending time on the couch,” Agena says with a laugh.
It is time that she’s intentional about protecting, especially amid her kaleidoscope of projects. Over the last couple of years, Agena starred in Lloyd Suh’s moving play “The Chinese Lady” in Atlanta, acted in Netflix’s “The Residence,” showcased her artwork in her first feature exhibit, “Hep Tones” (some of her ink and pencil drawings are still for sale), and performed regularly on that L.A. improv circuit. And her work endures with “Gilmore Girls,” which turns 25 this year. Agena narrated the audiobook for “Meet Me at Luke’s,” a guide that draws life lessons from the series, and is featured in the upcoming “Gilmore Girls” documentary “Drink Coffee, Talk Fast.”
She shares with us her perfect Sunday in L.A., which begins before sunrise.
5 a.m.: Morning solitude
I like to be up early-early, like 5 a.m. I like that feeling of everything being quiet. I’ll go into the other room and do Duolingo on my phone. I am a little addicted to social media, so the Duolingo is not just to learn Japanese, but also to keep me from scrolling. Like, if I’m going to do something on my phone, this is better for me. I think my streak is 146. Shin is Japanese, from Oyama. So I’ve been meaning to learn Japanese for a while. For him and his mom.
Then I’ll do [the writing practice] Morning Pages. I don’t know when I learned about Julia Cameron’s book [“The Artist’s Way”] — probably around 2000. I know a lot of people do it handwritten, but I’m a little paranoid about people, like, finding it after I die. So if I have it on my computer and it’s password protected, I can be really honest.
Then a lot of times, I’ll go back to bed. Shin, as a musician, works at night, and so he wakes up a lot later. So I’ll fall back asleep and wake up with him.
9 a.m.: Gimme that bread
I don’t do coffee anymore because it’s a little too tough for my system, but I’ll walk with Shin to Eightfold Coffee in the Arts District. It’s tiny but very chill. Then we’re going to Bliss Bakery inside the Little Tokyo Market Place. We get these tapioca bread balls. If you make any kind of sandwich that you would normally make, but use that bread instead, it ups the game. It’s life-changing. The Little Tokyo Market Place is not fancy or anything, but it has everything that you would want. There’s Korean food. They have a little sushi place in there. You can get premade Korean banchan and hot food in their hot food section. They also have a really good nuts section. It’s just one big table with all these nuts, just piles and piles.
10 a.m.: Nature without leaving the city
We’ll go to Los Angeles State Historic Park near Chinatown. I like that place just because it’s very accessible. Like, they have accessible bathrooms and I’m always checking out whether a place has good bathrooms. We call it Flat Park because it’s a great walk. Like, you’re not really out in nature, but there’s a lot of greenery. You can take your shoes off and at least touch grass for a second.
11:30 a.m.: Lunch and TV cooking shows
One of my favorite salad-sandwich combos is at Cafe Dulce in Little Tokyo. A Korean cheesesteak and a kale salad. That’s always like a — bang, bang — good combo. So we might go there or Aloha Cafe, though it’s not fully open on Sundays. But I love it because I grew up in Hawaii. They have this great Chinese chicken salad and spam musubi and other Hawaiian food that is so good.
We’ll bring home food and watch something. Cooking competition shows are my cream of the crop. My favorite right now is “Tournament of Champions” because it’s blind tasting. To me, that’s the best way to do it. “The Great British Bake Off” is Shin’s favorite. He loves the nature and the accents as much as the actual cooking. He just loves the vibe, the slow pace of the whole thing.
I’m such a TV girl. I love spending time on the couch and eating a meal and watching something that’s appetizing with my favorite person in the world. I’m lucky because I get to do that a lot.
2 p.m.: Browse the aisles
I’ll go to this bookstore called Hennessey + Ingalls. I love art and architecture and design, but you can’t always buy these massive books. But you can go into this bookstore and look at them and it’s always chill.
If I have time, I’ll walk around art supply stores. Artist & Craftsman Supply is a good one. I’ll look at pens, pencils, stickers, tape, washi tape, different kinds of paper, charcoals. In my art, I try to find things that aren’t meant for that particular purpose, like little things in a hardware store that I’ll use it in a different way.
5 p.m.: Downtown L.A. in its glory
We really love to walk the Sixth Street Bridge. It’s architecturally beautiful and they’re building a huge park over there, so we’ll walk around and check it out, like, ‘Which trees are they planting? Can you see?’ We sort of dream about how it’s coming together. But the other beautiful thing about that walk is that if you go at sunset and you walk back toward downtown, it’s just gorgeous. Los Angeles doesn’t have the most majestic skyline, but it’s so picturesque in that moment.
6:30 p.m.: Cornbread and Enneagrams
I’ll head to the Park’s Finest in Echo Park. It’s Filipino barbecue. It’s just so savory and rich and a special hang. Their cornbread is really good. Oh, and the coconut beef, but I’m trying to eat less beef. They have a hot link medley. Oh my gosh, just looking at this menu right now, my mouth is watering. OK, I’ll stop.
One of my favorite things to do is ask friends about their Enneagram number. So the idea of sitting with friends over a good meal and asking them a bunch of personal questions about their childhood and what motivates them and what their parents were like and what their greatest fear is and then figure out what their Enneagram number is? That is top-tier activity for me.
9 p.m.: Rally for improv
Because I get up so early, if 9 o’clock, I’m ready to go to sleep. But I am obsessed with improv, so on my ideal day, there’d be a show to do. There’s this place called World’s Greatest Improv School in Los Feliz. It’s tiny and they just opened a few years ago, but the vibe there is spectacular.
Then there’s another place where my heart is so invested in now called Outside in Theatre in Highland Park. Tamlyn Tomita and Daniel Blinkoff created it together and not only is the space gorgeous — I mean, they built it from scratch — they have interesting programming there all the time. They’re so supportive of communities that are not seen in mainstream art spaces. It’s my favorite place. Sometimes I’ll find myself in their lobby till 12 o’clock at night. The kind of people I like to hang around are the people that hang out in that space.
11 p.m.: Turn on the ASMR and shut down
I am firmly an ASMR girl and I have been for years. I have to find something to watch that will slow my brain down. Then it’s pretty consistent. I don’t last very long once I turn something on. My eyelids get heavy and it chills me out.
De Los recently did a team huddle to determine our personal list of best albums, as well as our favorite songs released in 2025. This is not another garden variety Latin genre list, but a highlight reel of 2025 releases that showcases artists from Latin America and the diaspora.
20. Selena Gomez and Benny Blanco feat. the Marías, “Ojos Tristes” Released months before their highly-publicized wedding in September, “I Said I Love You First,” the album by multi-hyphenate superstar Selena Gomez and hit songwriter-producer Benny Blanco, was first conceived from nights spent perusing each other’s vintage record collections. Gomez resonated with the spectral 1982 ballad “El Muchacho de Los Ojos Tristes,” as originally recorded by the O.G. sad girl en español, Jeanette. After seeing the Marías in concert, the couple hit up the band to further maximize their joint slay — and revamp the classic as a bilingual dream-pop track, simply named “Ojos Tristes.” It not only topped the Billboard Hot Latin Songs chart, but it introduced a new generation to Jeanette’s timeless allure. —Suzy Exposito
19. JR Torres, “Desde Abajo Vengo” It never fails: True to its ever reliable, unassuming ethos, the genre of música mexicana invariably delivers some of the year’s most gorgeous tunes. The melody on this two-minute single by Culiacán, Sinaloa, native JR Torres is a pearl of astounding purity, a theme developed alternately by the accordion and vocal line, and one that — like so many norteño hits — conveys an ocean of longing. The lyrics belong to the himnos de superación canon: a self-taught man outlines his road to success, paved with honesty, resilience and hard work. But it is the music itself that cements “Desde Abajo Vengo” as a Mexican classic for the ages. —Ernesto Lechner
18. Juana Rozas, “WANNA HOTEL” Juana Rozas understands the emerging queer Latin underground, in all of its swirling genre hodgepodge, better than most. Her album “TANYA” is an unrestrained porteña whirlwind, rapidly shifting between industrial, electroclash, and doom metal, with all of these disparate influences coalescing on the highlight track “WANNA HOTEL.” The song splits the difference between atmospheric trap heaven and hardstyle hell, placing you squarely in a warehouse mosh pit. It’s vertigo-inducing sonic whiplash, complete with thumping techno and copious nose drugs. You can try to head to the hallways for a breather, but it feels better to be in the depths of Rozas’ debauchery. —Reanna Cruz
17. Macario Martinez, “Sueña Lindo, Corazón” There isn’t a better feel-good story this year than Macario Martínez’s unexpected rise to fame. The Mexico City native and now former street sweeper went viral in January after uploading a TikTok video that showed him riding in the back of a sanitation truck at night. Soundtracking it is a snippet of “Sueña Lindo, Corazón,” a tender, stripped-down folk lullaby for a wounded heart. The clip included the following caption: “Life asks for a lot and I’m just a street sweeper who wants you to listen to his music.” Listen they did. The video has been viewed tens of millions of times and was shared by the likes of Harry Styles. turning Martínez into one of the most promising rising talents in Latin music. —Fidel Martinez
16. Dareyes de la Sierra, “Frecuencia” The opening line of “Frecuencia” — “Yo sé que voy a morirme por eso bien loco vivo” (“I know I’m going to die, that’s why I live crazily”) — hits a little bit different once you learn that singer José Darey Castro survived an attempt on his life in 2004. Don’t let the usage of traditional música Mexicana instruments fool you; the cadence of this braggadocious track about hedonistic excess and indulgence is closer to hip-hop. With “Frecuencia,” and the album it comes from (“Redención,” which translates to “Redemption”), the regional veteran with more than two decades of experience under his belt proves that it’s never too late to reinvent yourself. —F.M.
15. Cuco, “Ridin’” For his third studio album, “Ridin’,” Cuco said he wanted to embody the timelessness of Chicano soul without being derivative. “I wanted to go for more natural sounds with the soul sound, but I think it’s just inevitable for me sometimes,” the 27-year-old multi-instrumentalist from Hawthorne told De Los this summer. “I’m just going to end up doing some psychedelic parts with the music because that’s what I’ve always been.” This happy marriage of influences is most apparent in the LP’s titular track, which starts off feeling like you’re cruising with your sweetheart down a Southern California highway in a 1964 Chevy Impala before taking off into space. —F.M.
14. Mon Laferte, “Las Flores Que Dejaste En La Mesa” Recently, Mon Laferte told me that she was especially proud of a verse in this song where she rhymed the description of a former lover’s erection with the word architecture. The juxtaposition of poetic wordplay with graphic sexuality is one of the Chilean singer’s favorite devices — here, it adds a frisson of decadence to a lush orchestration reminiscent of John Barry’s 007 themes. A key track off Laferte’s noirish “Femme Fatale,” “Las Flores Que Dejaste En La Mesa” takes off with the quiet longing of bossa nova, boils into unhinged bolero territory, then incorporates the icy electro loops of trip-hop icons Portishead. Still, the heart of the song is Laferte’s vocal performance — wounded and incandescent. —E.L.
13. Planta Industrial, “Oi” Hilariously named “Punkwave Sin Barreras” — a nod to the ESL learning series “Inglés Sin Barreras” — the debut EP by the Bronx Dominican duo Planta Industrial is a generous helping of punk rock, darkwave and dembow fusion. The project is powered by high school friends turned rappers, who go by the names A.K.A. The Darknight and Saso (recently featured on the song “Caribeño” with Rauw Alejandro). On “Oi,” a clever stand-in for the word “hoy,” the duo deploy frenetic breakbeats, Ramones-style gang vocals and a touch of Toño Rosario freakness to demand their dues from a cheapskate boss. “F— you, pay me, “ chant the MCs. “Mañana, no — oi oi oi!” —S.E.
12. Six Sex feat. MCR-T, “Bitches Like Me” This year, Argentina established itself as the Latin rave epicenter, with Six Sex leading the charge. Alongside Berlin-based club DJ MCR-T, and a propulsive synth line from Kylie Minogue’s “Can’t Get You Out of My Head,” the Buenos Aires baddie crafts one of the chicest earworms of the year. The beauty of using one of the best pop melodies of all time is that it’s already engineered for success, so MCR-T keeps it simple and silly with the addition of a thumping, four-to-the-floor beat. It plays out like a drunken freestyling session in your coolest friend’s apartment — with lines like “you are not that bitch” delivered with a heavily-accented affectation that feels seductive, but more importantly, unbothered. —R.C.
11. Rosalía feat. Yahritza Y Su Esencia, “La Perla” Although the Spanish singer would be ineligible for this list on her own, Rosalía’s diss track “La Perla” — a scathing, ranchera-style ballad dedicated to a certain pretty boy ex with a sizable collection of other women’s bras — shines bright among her otherwise sparkling collection of orchestral pop songs in “Lux.” Rosalía wisely recruited the swooning Mexican American sierreña trio, Yahritza Y Su Esencia, to help her better emulate a Paquita La Del Barrio dress-down of a lover gone astray. The spirit of “La Perla” articulates not what it sounds like to be loved Mexicanly, but to be loathed Mexicanly — á la Catalana. —S.E.
10. Netón Vega, “Me Ha Costado” Netón Vega’s sprawling debut album “Mi Vida Mi Muerte” makes a formidable attempt to define the rapidly-shifting sound of corridos tumbados, courtesy of one of the genre’s eminent songwriters. On “Me Ha Costado,” Vega, who hails from Baja California Sur, combines blown-out 808s with a G-funk whine to create a pan-Californian posse track. There’s an overload of shot-calling swagger dripping from every section here, from Alemán’s bouncing hook to Victor Mendivil’s shoutouts to San Andrés and Mazamitla. If you close your eyes, you could see the trio’s lowrider rolling down Whittier Blvd, with all three mischief-makers hanging out the windows. —R.C.
9. Cardi B, “Bodega Baddie” I am tired of celebrities pretending that they go to the bodega for street cred: “if you know, you know.” One thing about Cardi B, though? I believe she remembers where she came from. “Bodega Baddie” is a bilingual ode to the Bronx’s Dominican enclaves where Cardi From The Block spent her childhood. It’s less than two minutes long, but moves at such a breakneck pace that if you close your eyes, you’re transported outside a deli on Dyckman on a hot summer day — where the fire hydrants are open, 808s are shaking storefront windows, and the whole block is outside. It’s some of the most electric mise-en-scène this year, anchored by a sample of Magic Juan’s “Ta Buena (Tipico)” merengue. —R.C.
8. Kali Uchis, “Sugar! Honey! Love!” The Colombian American soulstress has played many roles in her songs: a baddie, a psychic, a woman adrift at sea in a yellow raincoat. But in the making of her 2025 album “Sincerely,” she explored the profound vulnerability of becoming a mother — and her sighing revelations in “Sugar! Honey! Love!” melt most beautifully into the hazy pop ether. “I was already an emotional person, [but] since my pregnancy I’ve been able to feel a lot deeper,” she told De Los in May. “When your child is born, you’re reborn in a lot of ways. It’s a death and a rebirth of yourself. But I think a lot of joy and hope comes with that.” —S.E.
7. Adrian Quesada feat. Angélica Garica, “No Juego” At the start of “No Juego,” we hear the sound of tape being rewound, as if to suggest that we’re about to listen to something from a different era. Sure enough, the psychedelia of the keyboard, guitar and drums transports us to the late 1960s, only to be brought back to the present by the self-assured delivery of vocalist (and El Monte’s own) Angélica Garcia. “No vine pa’ pedir permiso,” she briefly raps (“I’m not here to ask for permission”), before throwing theatrical vocal daggers at a former lover who couldn’t stay true. She’s letting us know that we’re in her world and she’s not playing around. “No Juego” is easily the crown jewel of “Boleros Psicodélicos II.”—F.M.
6. Ca7riel y Paco Amoroso, “#TETAS” Sometimes a song is only as successful as its concept. On “#TETAS,” the Argentine trickster gods Ca7riel y Paco Amoroso try to reverse-engineer a pop anthem, ChatGPT buzzwords and all. A flippant listener could dismiss “#TETAS” as just a winking novelty song — after all, what “serious” track contains a character named Gymbaland, the lyrics “let me be your Chad,” and a post-chorus counting dabs? The thing is, though, between the slinking bass line, the massive 80’s Yamaha pianos, and a final key change that soars through the ceiling, the song becomes the exact pop anthem that they’re trying to satirize. “This is a f— smash,” go the final lines of the song. We’re inclined to agree. —R.C.
5. Silvana Estrada, “Como Un Pájaro” As we compiled the songs for this list, we struggled selecting just one track off Silvana Estrada’s stunning second album. At 28, the singer-songwriter from Veracruz informs her work with a level of maturity that most artists won’t achieve in a lifetime. Like most of the cuts in “Vendrán Suaves Lluvias,” “Como Un Pájaro” draws from the wisdom of the trova movement; enamored with the immediacy of stringed instruments, chronicling the process of healing using metaphors from the natural world. The song’s climax — Estrada’s lustrous voice intertwined with a swelling orchestral arrangement — will probably bring tears to your eyes. Fun fact: In concert, she reproduces the lilting whistled interlude to perfection. —E.L.
4. Astropical, “Fogata (Leo)” Following a memorable performance at the Hollywood Bowl last summer, it became apparent that Astropical, the supergroup formed by members of Colombia’s Bomba Estéreo and Venezuela’s Rawayana, will probably never reconvene again. We’ll always have “Fogata,” though — a song about holding on to the precious moments of bliss when confronted with the ephemeral nature of… well, everything. The track combines the warmth of a beachside bonfire with slick, Afrobeats-soaked grooves. The stars of the show? The honeyed harmonies of Li Saumet and Beto Montenegro, now intertwined until the end of time. —E.L.
3. Isabella Lovestory, “Telenovela” Who among us hasn’t thought — whether it be ironically or authentically — “my life is a movie?” Isabella Lovestory takes it one further: her sexcapades, in all their glamour and drama, are worthy of their own telenovela. Much of her sophomore album “Vanity” has main character energy, and Lovestory’s “Telenovela,” with its extended metaphors of Barbarella bad bitches, “tragica erotica,” and using “su lengua pa cambiar el canal” is the descriptive centerpiece. If it doesn’t bring a flush to your cheeks, you’re not listening hard enough; the way she coos “uy-uy-uy” will linger the next time things get a little hot and heavy. —R.C.
2. Fuerza Regida, “Marlboro Rojo” If I sit on the porch of my Boyle Heights home for 15 minutes, I guarantee you that a pickup truck will eventually drive by playing a corrido at a window-rattling volume. For the last six months, the song of choice blasting from the blown out speakers of these mamalonas has been “Marlboro Rojo.” I get it. The track is so unapologetically — ugh, cringe word, I know — Mexican. What better way to announce your presence than with the boom boom of the sousaphone? 2025 was a marquee year for música Mexicana and no one was more on top of their game than Fuerza Regida. My personal favorite version of this song is from the Apple Music Live concert taped earlier this summer at Mexico City’s GNP Stadium. Hearing the tens of thousands of fans singing the chorus back to JOP gives me chills. — F.M.
1. Bad Bunny, “Baile Inolvidable” Is there a Bad Bunny record that’s not a love letter to his native Puerto Rico? His 2025 juggernaut, “Debí Tirar Más Fotos,” however, goes far beyond the usual motherland worship; the album’s greatest takeaway is to cherish not just the place, but the people you call home, too. Invoking the feverish, tropical melodrama of salsa titans past and present, Bad Bunny delivers one of his most tremendous vocal performances — powered by his enduring love for a woman he used to know, comparing her to an unforgettable dance. But it’s just like Benito to cut through the gravitas of his own song by lauding an ex for her sexual prowess — namely, her boquita — but his magic as a hit songwriter is most potent in verses that oscillate between the sacred and profane. —S.E.
A group of entertainment industry workers launched a new coalition that aims to advocate for the rights of creators amid the growing AI industry.
The group, called Creators Coalition on AI, was founded by 18 people, including writer-director Daniel Kwan, actors Joseph Gordon-Levitt and Natasha Lyonne and producer Janet Yang, former president of the Academy of Motion Picture Arts and Sciences.
Gordon-Levitt said the group is not limited to Hollywood luminaries and is open to all creators and the skilled workers around them, including podcasters, digital content creators and newsletter writers.
“We’re all frankly facing the same threat, not from generative AI as a technology, but from the unethical business practices a lot of the big AI companies are guilty of,” he said in a video posted on X on Tuesday. “The idea is that through public pressure, through collective action, through potentially litigation and eventually legislation, creators actually have a lot of power if we come together.
The coalition’s formation comes at a time when Hollywood has been grappling with the fast growth of artificial intelligence tools. Many artists have raised concerns about tools that have used their likenesses or work without their permission or compensation.
The tech industry has said that it should be able to train its AI models with content available online under the “fair use” doctrine, which allows for the limited reproduction of material without permission from the copyright holder.
Some studios have partnered with AI companies to use the tools in areas including marketing and visual effects. Last week, Walt Disney Co. signed a licensing deal with San Francisco-based ChatGPT maker OpenAI for its popular Disney characters such as Mickey Mouse and Yoda to be used in the startup’s text to video tool Sora.
Kwan told The Hollywood Reporter that when Disney and OpenAI’s deal was announced many people felt “completely blindsided.”
“On one hand, you can say that this is just a licensing deal for the characters and that’s not a big deal, and it won’t completely change the way our industry works,” Kwan told THR. “But for a lot of people, it symbolically shows a willingness to work with companies that have not been able to resolve or reconcile the problems.”
There has also been lawsuits filed against some AI companies. Earlier this year, Disney, Universal and Warner Bros. Discovery sued AI business Midjourney accusing it of copyright infringement.
The Creators Coalition on AI said it plans to convene an AI advisory committee “to establish shared standards, definitions, and best practices as well as ethical and artistic protections for if and when AI is used.” Some of the principles the group lists on its website include the importance of transparency, consent, control and compensation in the use of AI tools, sensitivity to potential job losses, guardrails against misuse and deepfakes and safeguarding humanity in the creative process.
“This is not a full rejection of AI,” the group said on its website. “The technology is here. This is a commitment to responsible, human-centered innovation.”
“This is not a dividing line between the tech industry and the entertainment industry, nor a line between labor and corporations,” the group said . “Instead, we are drawing a line between those who want to do this fast, and those who want to do this right.”
The idea for the coalition was sparked by Kwan, who produced a documentary about AI, which comes out next year, Gordon-Levitt said in his video. He said work on the group began in the middle of this year. Already the collective has many signatories, including actors Natalie Portman, Greta Lee, Kirsten Dunst and Orlando Bloom.
Welcome back to the Times of Troy newsletter where the final days of the college football season are upon us. I’ve spent the past week trying to catch up on shopping for Christmas, which — checks notes — is only 10 days away??
So what better time to consider what USC might need for the year to come and put together a transfer portal wishlist of sorts, with portal season fast approaching.
Fight on! Are you a true Trojans fan?
5. Offensive line
Returning starters: LT Elijah Paige, LG Tobias Raymond, C Kilian O’Connor, RG Alani Noa, RT Justin Tauanuu
Other expected returners: Elijah Vaikona, Aaron Dunn, Alex Payne, Kaylon Miller
Notable newcomers: OT Keenyi Pepe, OG Esun Tafa
Offensive line coach Zach Hanson did a great job this season with the hand he was dealt. USC had injuries up and down its line, as Paige and O’Connor missed half the season. With most of last year’s line potentially returning, and a lot of young linemen entering Year 2, USC should have more depth to work with up front.
That said, it could stand to upgrade on the interior. USC pursued a transfer center to start over O’Connor last year and struck out on J’Onre Reed. Could they take another swing at that spot? As this season proved, there’s no such thing as having too many capable linemen.
4. Wide receiver
Returning starters: Tanook Hines
Other expected returners: Zacharyus Williams, Corey Simms
Makai Lemon is on his way to the NFL, and my expectation is that Ja’Kobi Lane will follow him. That leaves USC with just one returning starter at receiver, albeit one with a lot of promise.
Hines has the ability to be the Trojans’ No. 1 wideout, but he won’t be able to hold down the passing attack alone. USC will need to add at least one starter to the mix to fill out a receiving corps that is suddenly quite thin. Fortunately, USC has never had trouble finding a transfer for that purpose.
Zacharyus Williams seemed primed to contribute in 2025, but injuries derailed his start to the season. He could step into a bigger role. Several freshmen could see opportunities early, too, the most intriguing to me being Mosley, whose shiftiness reminds me of Lemon.
3. Cornerback
Returning starters: Marcelles Williams
Other expected returners: Chasen Johnson, Alex Graham, RJ Sermons, Kevin Longstreet
Notable newcomers: Elbert Hill, Brandon Lockhart
Injuries decimated this group last season and made it difficult for the secondary to find its stride. Now the room will have to be mostly rebuilt, with several corners out of eligibility or leaving in the portal.
Marcelles Williams should be better. Chasen Johnson was primed to start in 2025 and should be expected to step into that spot in 2026, while other young players, like Alex Graham and RJ Sermons, could take a huge step in Year 2.
But if there’s a lockdown outside corner in the portal, USC needs to do whatever it can to get them to L.A.
2. Interior defensive line
Returning starters: Devan Thompkins, Jide Abasiri
Other expected returners: Jahkeem Stewart, Floyd Boucard, Jah Jarrett
USC was supposed to be much improved on the interior in 2025, and that simply wasn’t the case, especially against the run. Experienced tackles like Keeshawn Silver and Thompkins, who entered the season with a lot of hype, never lived up to expectations. Jarrett was a disappointment before getting hurt, and Abasiri was inconsistent.
Stewart and Boucard both showed glimpses of major potential in spite of injuries, and both need to be on the field more next season. But this group is in need of a game-wrecker against the run, a stopper who can clog up the interior and hold his own in the Big Ten.
Those tackles don’t grow on trees, unfortunately. USC has tried to find them — and failed — on multiple occasions, the latest being Silver. But unless USC wants to rely heavily on its youth at defensive tackle next season, it’s going to need to find reinforcements from the transfer portal, no matter what.
1. Linebacker
Returning starters: Desman Stephens
Other expected returners: Jadyn Walker, Ta’Mere Robinson, AJ Tuitele
Notable newcomers: Talanoa Ili, Shaun Scott
This group was rough in 2025, and it’s set to lose its leader in Eric Gentry. Stephens felt miscast as a middle linebacker this season, and Walker, while dynamic, was still trying to figure things out in his first full season.
Walker and Stephens should be better with another offseason under their belt. But would anyone feel good going into next season with both as the primary starters at linebacker? I doubt it.
USC has already been linked to North Carolina linebacker Khmori House, and I doubt he’ll be the last linebacker that’s talked about as a possible Trojan. USC may bring in multiple linebackers and also have no choice but to count on a few of its young guys making the leap. Ili, in particular, is intriguing as a top-100 recruit.
Where does Makai Lemon’s season rank?
Makai Lemon
(Eric Thayer/Los Angeles Times)
Makai Lemon’s coronation as college football’s top receiver in 2025 was made complete last week as he became the second Trojan wideout to be awarded the Biletnikoff.
The only other Biletnikoff winner in the award’s 30 years of existence was Marqise Lee, who finished the 2012 season with an NCAA-leading 118 catches, 1,721 yards and 14 receiving touchdowns. Lemon had 39 fewer catches and 565 fewer yards this season.
That’s largely a reflection of how prolific Lee was in 2012. But the fact that Lemon’s Biletnikoff-winning performance doesn’t rank in the top 10 statistically in any category in USC history shows just how many great receivers USC has had in the last quarter century.
Five USC receivers have caught over 100 passes in a season, four of which came in the last 15 years. Drake London would have made it six — and won his own Biletnikoff — if he hadn’t injured his ankle in 2021.
Lemon’s 79 catches rank 13th in USC history, his 11 touchdowns are tied for 11th.
That’s not to take away from what Lemon has done this season. His ability to create yards after the catch is perhaps unlike any other receiver in school history. But in the annals of great seasons for USC receivers, Lemon may never look quite as impressive on paper as it felt in person.
Lindsay Gottlieb
(Eric Thayer/Los Angeles Times)
—Waymond Jordan will return to USC in 2026. And that’s huge news for USC’s rushing attack, which will now be able to deploy one of the Big Ten’s most dynamic 1-2 punches with Jordan and King Miller. Jordan didn’t play the second half of the season after suffering an ankle injury that required surgery. Had he continued his pace from the first half of the season, Jordan probably wouldn’t be coming back to USC in 2026 … because he’d be on his way to the NFL. I don’t think it’s an exaggeration to say that Jordan comes into next season as arguably the best returning back in the Big Ten. If USC hopes to hold up during its gauntlet of a conference slate, the run game will have to lead the way.
—Notre Dame is losing its scheduling leverage. The tides have really started to turn on the Irish ever since they declined a bowl invite following their College Football Playoff snub. That didn’t sit well with the rest of the college football world. Neither did the news that Notre Dame, according to Yahoo’s Ross Dellenger, negotiated a deal for preferential playoff access starting next season. In fact, according to Dan Wolken, also of Yahoo, it has led athletic directors in other leagues to threaten to freeze Notre Dame out in the future. We’ll see if anyone actually follows through on that threat — I have my doubts — but it does seemingly give USC an upper hand when it comes to getting a deal done soon … if it wants one. It’s probably no coincidence that athletic director Pete Bevacqua now appears optimistic about getting a deal done quickly, after blaming USC for the hold-up. Bevacqua told The Echoes podcast last week that he thought the two schools would come to an agreement on a short-term extension, potentially with a gap in the series after that. That’s the deal that USC has been trying to sell Notre Dame on since August.
—USC did add a non-conference matchup to its 2026 slate. Louisiana will come to the Coliseum on Sept. 12, 2026, to face USC for the first time in program history. USC will pay the Ragin’ Cajuns $1.3 million for the rights to what should be an easy non-conference victory. The Trojans now have 11 of 12 games scheduled for 2026, with one very glaring opening remaining.
—Chad Baker-Mazara is leading the Big Ten in scoring and exceeding all preseason expectations. The sixth-year senior came to USC in search of a bigger scoring role, and with Rodney Rice out, he’s made the most of his opportunity. Baker-Mazara is averaging 25 points per game over USC’s last four, in the wake of Rice’s injury, and shooting the lights out, hitting 53% of his shots during that stretch. Even beyond his offensive output, Baker-Mazara’s energy has been an important part of USC’s identity early on. If he can keep scoring efficiently when Rice and freshman Alijah Arenas return from injury, USC could be a legitimate threat come March.
—Nike did a cool thing to honor Gigi Bryant during what would’ve been her freshman year at Connecticut. During Saturday’s USC-UConn matchup, every player on the court wore a different pair of Kobe’s. Even players who didn’t play wore different pairs of Kobe’s. Nike says that’s the first time it has ever done that in a college basketball game.
—I’ve always appreciated Lindsay Gottlieb’s willingness to be vulnerable. And she showed that part of herself again Saturday, in response to a mass shooting at her alma mater, Brown. She addressed the shooting before talking about USC’s loss to UConn and was clearly shaken by the situation. She said a former teammate at Brown was waiting to hear from a kid who was hiding in the basement of a library. Gottlieb didn’t pull any punches: “It’s the guns,” she said. “We’re the only country who lives this way.”
Poll results
We asked, “Which of these five options would you put at the top of USC’s transfer portal wish list?”
After 402 votes, the results:
Reinforcements at linebacker, 40.7% A run stopper on the interior, 39.7% A shutdown cornerback, 10.1% A standout edge rusher, 7.9% A No. 1 wide receiver, 1.6%
Top 5 … restaurants in L.A.
In honor of one of my favorite things we do at The Times — our 101 best restaurants list — here’s my take on the five best fine dining establishments in L.A. …
5. Funke. Really, I could choose any of Evan Funke’s restaurants in this position. Mostly because the focaccia bread, so deliciously dripping with olive oil, requires recognition.
4. Bavel/Bestia. Cheating, I know, but I love both of these restaurants equally. The Peruvian scallop crudo at Bestia is one of the best appetizers I’ve ever had. Meanwhile anything involving lamb at Bavel is out of this world.
3. Republique. It’s the most breathtaking setting of any restaurant in L.A., built into an old church, and the pastries and bread are unforgettable. Any trip requires ordering pan drippings on a baguette, as strange as that may sound.
2. Providence. The ultimate special occasion spot. I still think about the 12-course meal I had there 10 years ago.
1. Dunsmoor. This is a new top restaurant for me within the last year, but I was absolutely blown away by Dunsmoor. The cornbread is an all-time dish for me, and there’s just something about eating your entire meal from a hearth that does it for me. It was so good that I had to mention it in a previous newsletter, and here I am, writing about it again.
It’s not often these days that a show delivers a story so unexpected that I have no idea where it’s headed. But “Pluribus” is one of those shows. Maybe I shouldn’t be surprised given that Vince Gilligan, the writer and showrunner, is a master of storytelling.
The story follows Carol, played by Rhea Seehorn, whose world is turned upside down suddenly by a humanity-altering event that mysteriously does not affect her. Seehorn is terrific as always, and the story has been genuinely gripping so far.
Until next time …
That concludes today’s newsletter. If you have any feedback, ideas for improvement or things you’d like to see, email me at ryan.kartje@latimes.com, and follow me on X at @Ryan_Kartje. To get this newsletter in your inbox, click here.
