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Princess Kate and her daughter Princess Charlotte shared a touching moment at the royals’ carol concert, Together At Christmas, that had fans in tears, as Louis stole the show

The Princess of Wales and her daughter, Charlotte, delighted fans by sharing a. beautiful moment together at the royal carol service. The concert was filmed at the beginning of December but aired on ITV on Christmas Eve.

Opening the concert, Catherine and Charlotte took to the piano together for a song. As a voiceover from the Princess spoke about the meaning of Christmas, a pre-recorded duet with her daughter played.

The mother and daughter played Holm Sound, a 2020 piece of music by Erland Cooper. It was written for the composer’s mother, Charlotte. Cooper hails from the Orkney Islands, and his work is inspired by nature and connection, themes which, according to ITV, are of deep importance to The Princess of Wales.

READ MORE: Kate Middleton surprise as she duets with Princess Charlotte at carol concertREAD MORE: Kate Middleton gets surprise nod from King Charles in his 2025 Christmas speech

“Omg! It’s The Princess of Wales and Princess Charlotte on the piano!” one fan wrote online. Another added: “Aaaw, a mother daughter duet from the Princess of Wales and Princess Charlotte. How lovely.”

A third said: “The Princess of Wales and Princess Charlotte! So beautiful.” Another added: “Princess Charlotte and our beautiful Princess of Wales playing piano together. What a beautiful vision and spoken words – Together at Christmas. Wow.”

One emotional fan particularly loved Catherine’s speech: “What a gorgeous opening, well spoken and incredibly thoughtful. 1st speech I’ve wanted to listen to this festive season. Found myself quite tearful.”

The Royal Family teased Kate and Charlotte’s musical moment before the concert. They posted a teaser of Kate on the piano to Instagram with the caption: “A special duet…” Fans were excited, and many remembered when the princess accompanied Tom Walker on the piano in 2021.

The Princess has been playing the piano since she was a child. Her second public performance came in 2023 when she appeared in a segment of the Eurovision Song Contest’s opening sequence. She has passed on her love of the piano to her daughter.

During the concert, fans also pointed out how lovely it was to see the whole of Kate and Prince William’s family together. “Beautiful images of the Prince & Princess of Wales & their three gorgeous children. What a wonderful example of family unity & love.”

William and Kate have two sons, as well as Charlotte. George is their eldest, and Louis is their youngest. The younger son is known for his tendency to steal the show at big events, with his outgoing and often silly nature.

In 2023, Louis made many smile as he provided some hilarity to the service. During one song, he leaned over and blew out his sister’s candle. Charlotte was left giggling at her brother’s behaviour, as were many fans.

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Strictly viewers have spotted a very tense moment between professional stars Nancy Xu and Carlos Gu, who are said to have had a falling out last year

Strictly Come Dancing fans have spotted a tense moment between two stars – when Nancy Xu appeared to be annoyed moments before Carlos Gu and Karen Carney were announced as this year’s winners. Nancy, 34, has reportedly been locked in a feud with Carlos, 32, since last year amid claims that the pair had fallen out.

But there was one sign this weekend that appeared to back the speculation. As Karen and Carlos spoke to host Claudia Winkleman, there appeared to be tension brewing in the studio. Elated by their performance ahead of taking home the Glitterball Trophy, Carlos and Karen were both extremely emotional.

Carlos told Claudia that Karen had unlocked his inner “team player” throughout their time on the show. He said: “I came to Strictly after competing live.

“I was self-centred, I was me, me, me. It’s no wonder I didn’t get a partner last year because I’m not grateful.” But Nancy, who this year didn’t have a famous partner, didn’t look impressed as she wrapped her arm around Johannes Radebe.

As the moment aired on screens, fans instantly took to social media to share their thoughts with one writing: “Could Nancy even attempt to hide her dislike for Carlos?” A second penned: “If you don’t like him then stay out of camera shot and keep your feelings to yourself.”

“Nancy so not bothered by Carlos’s tears,” said a third. A fourth typed: “‘No wonder I didn’t get a partner last year.’ Bit of a dig at Nancy, Luba and Neil. For context, Nancy and Carlos were BFFs until a big fallout last year, I think it was.”

However, after Karen and Carlos were announced as the winners, Nancy appeared to offer an olive branch. Sharing a snap of this year’s stars on Instagram, she said: “Congratulations for all the final couples! And Well‑deserved Winner @kazcarney and Carlos. Thank you for all the tears and laughing Strictly 2025.”

But she failed to tag Carlos in the post, which didn’t go unnoticed. One follower said in the comments: “Brilliant series! Shame there seems to be a bad atmosphere between you and Carlos. I guess, in my ideal world, I want you all to be BFFs.” “Now Nancy is not tagging Carlos in her post for Karen. They clearly had a big fallout,” commented another.

Meanwhile, a third said: “Gutted Nancy and Carlos are no longer friends. I hope the final has made them patch things up.” Carlos and Nancy met as children and instantly became close friends. At one point, he said she was his “favourite sister,” while Nancy also called Carlos her “baby brother.”

However, last year the pair unfollowed one another on social media. It was also reported that they would avoid speaking to one another backstage on the BBC One dancing competition. Meanwhile, Nancy was said to be extremely disappointed this year after not getting matched with a celebrity.

It was claimed she was “absolutely incensed” having performed well during the Christmas special, which aired almost a year ago to the day.

The Mirror has approached Nancy’s spokesperson for comment.

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IT’S no question Sydney Sweeney has cemented her status as one of Hollywood’s most talked about sex symbols – and the actress often pairs red-hot outfits to match. 

Since her rise from Euphoria to international stardom the A-lister hasn’t shied away from showing off her now famous assets.

This week, Sweeney leaned fully into old Hollywood glamour, turning heads as she put on a busty display for her upcoming flick The Housemaid, which is already getting buzzy reviews after a few recent misses in her repertoire.

Her boxing biopic Christy failed to set the box office alight and saw her criticized for its poor performance paired with her shock American Eagle advert ‘great jeans’ backlash. 

But one thing the blonde bombshell’s fans never tire of is her plethora of sexy outfits.

From barely-there ’nude’ red carpet moments to plunging gowns and racy lingerie, let’s take a look at some of the actresses’ most raunchiest ever looks…

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Sydney Sweeney channels her inner Monroe in plunging white gown at premiere

THAT NUDE DRESS

In one of her sexiest outfits ever, the actress went almost naked in a jaw-dropping sheer chainmail style silver dress that left very little to the imagination.

Back in October, the White Lotus star went braless with her bare chest on display under her figure-hugging attire, which featured a floor-skimming hemline and elbow-length sleeves.

The see-through fabric gave a glimpse at her famous boobs, as well as the skin on her torso and thighs, making her appear pretty much naked in the exposing gown.

Sydney opted to keep the rest of her look minimal as it was clear that the dress was the statement piece here.

Monroe Muse

Sydney looked a vision in a plunging white gown adorned with a fur trim that seemed to be inspired by the late Marilyn Monroe.

The star showed out with her revealing red carpet look for the premiere of The Housemaid alongside her co-star Amanda Seyfried.

Sydney oozed sexiness in the striking halterneck, with corset detail to highlight her curves and a floor-length hemline.

The American’s bust was on full display, bursting out of the dress as she posed for the cameras.

Baring It All

As one of the biggest young starlets in Hollywood Sydney has endured more than her fair share of criticism.

She was once slammed by Hollywood producer Carol Baum, who criticised her looks and acting ability, saying: “She’s not pretty, she can’t act. Why is she so hot?”

Taking it in her stride the actress remains unafraid to push boundaries with her exposing outfits.

Sweeney looked the classic bombshell in a sizzling photoshoot for her swimwear collection with Frankies Bikinis.

The star stripped down to a lacy lingerie ensemble, dressed in black head-to-toe in this daring look.

Sheer Sweens

Back in 2023, the actress flew to her namesake Aussie city for the premiere of rom-com Anyone But You.

And it was transparent to all that fans loved meeting her. . . and her see-through dress.

The gown had a pair hot pants and a bikini style top fitted into the bodice of the almost completely sheer overlay.

The risqué gown had Sydney grabbing at the fabric to cover her modesty and clutching at her chest.

Playing Dress-up

The two-time Emmy nominee swapped the gowns for a more revealing number, as she dressed up as the Dragon from Shrek for her Friends-giving party this year.

The star dazzled, in her plunging red sequined leotard, black tights, stilettos and a horned headband for the holiday.

The racy costume showed off her natural curves, with the leotard revealing her busty display and plunging neckline.

She celebrated the Friendsgiving festivities alongside her boyfriend Scooter Braun.

Lace and Grace 

The actress opted for a bridal style dress with white lace stockings when attending the Southwest Film Festival.

The gown covered the movie star’s cleavage this time but revealed a sexy thigh high slit adorned with a white lace stocking. 

Although a more modest look for Sydney, the actress still managed to find a way to reel in the sex appeal.

Over the years, the star has been vastly underestimated, with Sydney famously declaring the biggest misconception people have about her is she’s just “a dumb blonde with big t**s.”

But when it comes to her outfits she’s certainly unafraid to push boundaries, and is unapologetic in her confidence.

Latex Look

The Euphoria star looked striking in a black outfit, whilst out at Variety’s annual Power of Young Hollywood event.

Sydney put on a raunchy show for this next look, opting for a latex figure hugging top which clung on to her every curve. 

The plunging neck line had her assets very much front and centre, while the leather skirt boasted a split and a flash of her pins.

Teasing her fans

Back in 2023, Sydney wowed in a gorgeous tule gown which was mostly transparent due to the mesh stripes placed on the dress.

The sheer fabric exposed her midriff, abs and thighs whilst the strapless neckline left her arms and shoulders on show.

Much of the scrutiny around Sydney revolves around her physical appearance, which has fanned debates about the double standards that women face in Hollywood.

Known for choosing roles that lean into hyper-sexualised archetypes, she’s become a lightning rod for public debate.

It is often said that film directors are siloed off from one another, that they don’t get to watch how others work. So when you put a group of them together, as with the six participants in The Envelope’s 2025 Oscar Directors Roundtable, they are quick to share all sorts of ideas. Like where they prefer to sit in a movie theater — centered in a row or on an aisle? How far back is the best for sound, or so the screen runs up to the edges of your peripheral vision? Should you even take the worst seats in the house, since somebody will eventually be asked to pay money to sit there?

Guillermo del Toro, there with his adaptation of Mary Shelley’s classic novel “Frankenstein,” likes the top of the first quarter of the theater. Rian Johnson, who finds new twists for Benoit Blanc in his third “Knives Out” detective story, “Wake Up Dead Man,” says, “I look for wherever Guillermo’s sitting.” Nia DaCosta, who made the bold, adventurous Ibsen adaptation “Hedda,” likes the top of the first third. Mona Fastvold, who explores the life of the founder of the religious movement known as the Shakers in “The Testament of Ann Lee,” likes the center a little farther back. Jon M. Chu, who made the second part of a musical adaptation with “Wicked: For Good,” sits dead center — and has been known to talk to the theater manager if the sound isn’t loud enough. And Benny Safdie, who explores the rise and fall of mixed martial arts fighter Mark Kerr in “The Smashing Machine,” tries to find a spot where he can fidget in his seat and not bother anyone.

Read on for more excerpts of their conversation about the art of adaptation, navigating budget constraints at any scale and much more.

Jon, I’ve heard you say that with “Wicked: For Good,” you wanted the film to be deeper but not darker. And it doesn’t pull any punches as far as dealing with themes of antiauthoritarianism. What was it like to have those very serious ideas and yet still have this be a buoyant, crowd-pleasing musical?

Chu: The reason we made it was because it had that meat to it, and it was always a two-movie, yearlong experience that set up the fairy tale first. And Movie 2 is kind of where we all are, this moment of this fairy tale shattered in front of us.

I have five children now, so I’m thinking about how to present stories to my kids. Do I still believe in the possibility of dreams and the American Dream? “For Good” really gets to delve into that stuff. And because it was shorter than the first half, we get more room to do it. We added new songs to explore that idea. So it all felt really fitting. Movie 1 could be an answer. Movie 2 is much more of a challenge: Who are we gonna be now that we know the truth?

All of your films in their own way are speaking to right now. Rian, “Wake Up Dead Man” is specifically set in the year 2025 and all the “Knives Out” pictures have been dealing with our contemporary reality. What makes you want to do that?

Johnson: That kind of started for me with the first movie. This is a genre, the murder mystery genre, that I love and that I’m just seeing so much of growing up. But it’s also a genre where most of what I had seen throughout my whole life, murder mysteries are period pieces set usually in a cozy little bubble of a little “Queensfordshire” place in England.

And I guess my realization was, that’s not what Agatha Christie did. She was not writing period pieces. She wasn’t an incredibly political writer, but she was always writing to her time. It’s not trying to do anything radical in terms of making it new or updating it, but let’s set it very much unapologetically in the modern moment. … You have a group of suspects that have a hierarchy of power amongst them and the person at the top they all wanna bump off — it’s such a potent vehicle for building a little microcosm of society.

Benny, one of my favorite things in “The Smashing Machine” is that it’s funny to realize setting a story at the turn of millennium is a period piece now. What was it like crafting this very specific, recent time period?

Safdie: It’s a time period that I think everybody thinks is just yesterday. But when you actually get into the nitty-gritty, it’s a long time ago. And things were very different and everybody knows exactly what those things are too. Because it was heavily documented, there was so much footage of it, it’s so top of mind. And I think a large amount of people also want to go back there a little bit, to this time where the internet was just kind of happening. People want to go back to this simpler moment. But trying to re-create what that feels like is what I was really going after — just thinking about how you would live in that time, and then represent that in the movie. Because I did want it to kind of feel like time travel.

Guillermo, you’ve spoken so much about how “Frankenstein” has been a lifelong dream project for you. Now that it’s done, where does that leave you?

Del Toro: There’s a massive postpartum depression, No. 1, and it’s real. And it affected me more than I thought it would, to be candid. But fortunately, I’ve been very interested in two new themes that are going to be sure to produce blockbusters, which is memory and regret. The dynamic duo of past 60. And I always thought about that in the abstract, but now I try to make the movies not only about the moment I’m in, but about me.

And I’m seriously trying to express what makes me uneasy, what makes me believe in the possibilities of grace even in the most horrible circumstances. And I’m not talking only social, but personal or philosophical. Something happens when the six clicks in on the counter. And all you can do is [ask], “Do I feel I have something to say, genuinely?” And then you go to that. Cronenberg, I had dinner with him when he was turning 74, and he said you have to scare yourself into being young again.

Nia, “Hedda” is such a bold adaptation of the play “Hedda Gabler.” You switched the gender of one of the main characters. You aren’t afraid to inject issues of race and class and sexual identity into the story. Were you ever concerned that you were asking too much of this classic text?

DaCosta: I wrote it on spec, so I wasn’t thinking about anything besides letting my freak flag fly, basically. I just thought, “This character makes more sense as a woman.” OK, what does that mean now? How does that affect the rest of the story? And then I just go from there. And then it ended up being really bountiful and generative.

And then when I met Tessa [Thompson] three years later, I thought, “Oh, when I write this, eventually Tessa will play Hedda.” So now she’s Black. OK, what does that mean? And Tessa’s also mixed-race. So then you get that element of it as well. And then I chose the 1950s, and then I chose England and the country house. You just treat these things as truths, and the story has to go in a certain direction. So I never worry about those things. Maybe because I’m a Black woman, so my presence or my identity for some people will complicate the story. But for me, it just is life.

Guillermo, in adapting “Frankenstein,” did you feel like you were dealing with the Mary Shelley text and also all the Frankenstein movies that we know?

Del Toro: I put all the cinematic stuff on the side. I didn’t want to make an erudite cinematic movie or a referential movie. I have lived with the three iterations of the text for my entire life. And there’s a lot of the interstitial stuff that I took from her biography, fusing with my biography, because even if you sing a song everybody knows, you’re doing it with your lungs. And your passion and your pain and your throat. … It’s the difference between seeing a living animal and taxidermy. If you just want the text, then buy the text. You cannot be more faithful to that text than reading the text. But if you want to see how we interact and resuscitate something into being emotional again, then that’s what we try to do.

Mona, “The Testament of Ann Lee” is a story told with music, but is it a musical? Is that a question you asked yourself as you were making it?

Fastvold: I consider it a musical. I do. But it’s just a different kind of musical. No one’s singing dialogue. It’s not magic when they start to sing. I think, as I was writing the script with Brady [Corbet], we realized early on it had to be a musical because the Shakers worship through ecstatic song and dance. They would be moved by the divine spirit and then receive a song or a piece of movement, and then they would start to sing and dance. Their life was a musical, so that’s what it had to be. And that was exciting to me, to create the whole structure of that.

But it couldn’t be, “OK, here’s a story and then here’s an amazing musical number.” It had to come from this place of worship. So all the musical bits and pieces of the film, our moments of feeling moved by the spirit and having this sort of religious experience, it had to be grounded in that and it had to be really organic-sounding and -looking. So we had to ground it in live recordings and create the soundscape and the music in dialogue with my choreographers. Every body slap and stomp is part of the rhythm and the music of it, because it couldn’t just be where diegetic audio fades out and then there’s this great, wonderful piece.

Chu: In a weird way, we all make musicals. All the movies, everybody has a take on how music integrates with it.

Del Toro: I was aiming for opera.

Guillermo, Jon, both of your films have a sense of scale to them. What kind of challenges does that present? Is it wrangling all the extras? Is it having the sets built on time? Jon, just the number of florists credited at the end of “Wicked: For Good” is wild.

Chu: It’s like building Disneyland, essentially. We had the warehouses going — there’s first a recording studio, so we’re recording music while their dance rehearsals are going on. You have hundreds and hundreds of people. Then you go to the costumes department and then you have the hair, just the wigs alone. People are getting there at 2:30 in the morning. And that’s before you even start the day.

We were planning two movies at the same time. So we had 20-something musical numbers rehearsed and worked with our cinematographer and our team to understand everything and build sets around these pieces. And then you get there on the day and how do I say, “Hey, all that stuff we did, this is actually happening over here. Let’s move everything over here”? I felt the hardest thing was being OK with wasting money if it was the right thing to do at that moment. I needed to feel free and had everybody aware that if I’m moving all of a sudden, we’ve got to go and we’ve got to figure it out. And I think that’s where the magic is.

Del Toro: To me, it’s three things. The first one is tonal, meaning everything that you do, you’re not doing eye candy, you’re doing eye protein. You’re telling a story. So it’s not about looking good or looking big. It’s about, does the gesture happen at the right moment? Because you can make gestures on the wrong moment of the film, and they don’t have a dramatic impact. I say we designed the movie for the Creature to feel real, of a piece with the world. So that’s the first one.

The second one: Is it expressing something different every time we go to a bigger thing? It’s not about the scale. And the final one to me is, does it feel real in the world? So the way I go at it is, there’s no typeface, no paint, no photograph, nothing, that cannot be investigated and designed to within an inch of its life. Even great movies, I’m very fidgety. I go, “That’s not a painting from the 1930s. Somebody painted it much later.” Or a typeface or a carnival banner or something like that. So at the end of the day, if you do your job right, you have a world and people just get into it almost like a vibe. Nobody should notice, but if you do it right, they want to experience it over and over again.

Rian, you make a really bold decision in “Wake Up Dead Man,” where the signature character of the series, Daniel Craig’s Benoit Blanc, is offscreen for much of the first 45 minutes or so of the movie. Did you have to convince people that’s the way things should go?

Johnson: Not really. For this one, first of all, it is a little closer to actually a traditional detective structure. That’s kind of how most Agatha Christie books work, is you meet the suspects in the first act. You get a very good idea of who’s gonna get bumped off. And then, end of the first act, the murder happens, and then the detective shows up and starts to solve it. So there was a precedent for it. But the real reason I had done backflips in the previous two movies to get around that was so we could get Blanc in there earlier. The reason it made sense for this [is] because Father Jud, who’s played by Josh O’Connor, [is] kind of the protagonist of it because of the themes of religion, and so the whole lay of the land was more complicated and delicate in this one to set up. I felt like the audience would be best served by having that runway and getting the time before this powerhouse that is Daniel playing Benoit Blanc comes in and brings this whole new energy to it.

The other thing that I’ve landed on with them is you have to constantly resist the candy of the mystery. You have to always remind yourself [that] the mystery elements are not a load-bearing wall, that those are never going to keep an audience entertained or engaged. You need to do the same thing you do in any movie where you have an emotional, bold line going that’s thrown at the beginning, that lands at the end. And the mystery then has to support that.

Mona, with “Ann Lee,” but also with “The Brutalist,” it seems like the movies that you and Brady Corbet are collaborating on together, you’re doing so much with relatively limited resources. What is it that the two of you are doing in these films that you’re able to make them seem so grand?

Fastvold: I mean, there’s no trick. I had to prep for almost a year for this one, because I knew that no one was going to give me a lot of money to make a musical about the founders of the Shakers. It was not gonna be this sexy pitch. It was a hard pitch. So I knew that it was going to be a limited budget. But at the same time, I just desperately wanted “Ann Lee” to have a really grand story. And I wanted there to be a believable, lush world. And I wanted to tell a story about her whole life, not just a day in her life.

So I had to make it work somehow. It was so much about saying, “OK, I’m working with my [director of photography], my production designer, my costume designer every weekend and night for months and months before we started official prep. And same with my choreographer and composer and with all of the cast as well, just rehearsing. Amanda [Seyfried] was rehearsing at night while she was shooting something else. She would go and have dance rehearsals at night, on the weekends, so we could keep on adjusting.

So the only way that I could, to quote David Lynch, get dreamy on set, which was something I really wanted, was by having so much prep time, and then just really knowing what my Plan A and B was, and to sort of experiment in advance more. And because I knew there’s no way that you can try and build a world and then have the same flexibility on this budget, it’s all about knowing every line item in my budget, what everything costs in Hungary, what everything costs in Sweden. “OK, this is how much a cherry picker in Hungary costs, and therefore I’m gonna take out two shots and only build half the roof.”

The 2025 Envelope Directors Roundtable. Top row, left to right: Rian Johnson, Benny Safdie, and Mona Fastvold. Bottom row, left to right: Nia DaCosta, Jon M. Chu and Guillermo del Toro.

Chu: I think that’s one of the biggest lessons I learned being a director. You don’t have a right to make your movie, because it costs so much and you need so much help. You do have to earn the right to make your movie. That is a part of our job.

Nia, you come to “Hedda” having just made a Marvel movie. You’ve just also finished a sequel to “28 Years Later.” Is there a secret through line for you that connects all these projects?

DaCosta: Being a nerd, Marvel, horror, comic books, for me, those things that I’ve done that I haven’t written are worlds that I loved as a kid. So “Candyman” was hugely important to me when I was younger. I used to love Marvel comics as a kid. “28 Days Later” is one of my formative films that I watched. And so when the opportunities came up to be a part of those worlds, it was really exciting for me. And then “Hedda,” I’m a theater nerd too, so I just really go by my passion, and I’m really compelled by just interesting characters.

“Hedda” and “28 Years Later” are very different films, but for me, they were so similar because I learned from my experience jumping into the studio system after making a sub-million-dollar movie [“Little Woods”] what works for me and what doesn’t work for me. And what works for me is really being given authorship. And so I’m setting the tone early. We’re not here to battle. We’re here to make the vision that I have. And if you’re into it, cool and great, let’s work together. If you’re not into it, then it doesn’t have to exist or I’ll find another way for it to exist.

Del Toro: The ambition should always be beyond the budget. If they give you $130 [million], you want to make a movie that is $260 [million]. But the way to that I found by doing “Devil’s Backbone,” which is $3 million, or “Shape of Water,” which is $19.3. “Shape of Water” opened with all the different sets in the first 15 minutes. And then it’s two sets. Lab, apartment, lab, apartment, lab, apartment. I always tell the departments, let’s choose meatballs and gravy. Where do we put the real resources? You reach a plateau no matter what the budget. Never spend money on a plateau. It always needs to mean something.

Safdie: You pick and choose the moments when you’re gonna get big. We were doing the hospital scene and then we built the plane in the hallway of the hospital. Because that was the most affordable. But there was a column in the middle of the plane, and I would always joke that we should go through the column. I find those limitations exciting. Because you really have to figure it out.

Rian, “Glass Onion” had a more robust theatrical release than “Dead Man” has gotten. Do you feel like as filmmakers that all of you are being put in this position of fighting for the future of theaters and moviegoing?

Johnson: I actually feel incredibly optimistic at this moment about the future of moviemaking. I don’t feel that way because we’re all picking up signs and marching down the street and preaching to people that they need to keep this sacred. I feel optimistic about it because I go to movie theaters and I see them packed with young people who want to go to movie theaters and have that experience.

And I see them coming out for new movies. I see them at revival cinemas. I see theaters at 2 p.m. on a Tuesday showing a Melville film that are just full of young people who are excited. And then you see it with movies that have come out this year. You see it with something like Ryan [Coogler]’s movie, “Sinners,” or with so many films that have struck chords with audiences and created cultural events. You can’t wag your finger at people and say, “You should be going to the theater and having this theatrical experience,” but you feel it rising right now. And so for me, it’s less that I want to advocate for it. It’s more that I want to ride that wave of it coming up.

The setting looked almost cozy: Los Angeles Mayor Karen Bass and a podcast host seated inside her home in two comfy chairs, talking about President Trump, ICE raids, public schools and the Palisades fire.

The recording session inside the library at Getty House, the official mayor’s residence, lasted an hour. Once it ended, the two shook hands and the room broke into applause.

Then, the mayor kept talking — and let it rip.

Bass gave a blunt assessment of the emergency response to the Palisades and Eaton fires. “Both sides botched it,” she said.

She didn’t offer specifics on the Palisades. But on the Eaton fire, she pointed to the lack of evacuation alerts in west Altadena, where all but one of the 19 deaths occurred.

“They didn’t tell people they were on fire,” she said to Matt Welch, host of “The Fifth Column” podcast.

The mayor’s informal remarks, which lasted around four minutes, came at the tail end of a 66-minute video added to “The Fifth Column’s” YouTube channel last month. In recent weeks, it was replaced by a shorter, 62-minute version — one that omits her more freewheeling final thoughts.

The exact date of the interview was not immediately clear. The video premiered on Nov. 25, according to the podcast’s YouTube channel.

Welch declined to say whether Bass asked for the end of the video to be cut. He had no comment on why the final four minutes can’t be found on the YouTube version of the podcast.

“We’re not going to be talking about any of that right now,” he told The Times before hanging up.

Bass’ team confirmed that her office asked for the final minutes of the video to be removed. “The interview had clearly ended and they acknowledged that when they took it down,” the mayor’s team said Tuesday in an email.

In the longer video, Bass also talked about being blamed for the handling of the Eaton fire in Altadena, which is in unincorporated Los Angeles County, outside of L.A. city limits. Altadena is represented by L.A. County Supervisor Kathryn Barger, not Bass.

“No one goes after the Board of Supervisors,” Bass said on the original 66-minute video. “I’m responsible for everything.”

Bass, in an interview with The Times, said she made those remarks after the podcast was over, during what she called a “casual conversation” — a situation she called “unfortunate.” Nevertheless, she stood by her take, saying she has made similar pronouncements about the emergency response “numerous times.”

In the case of the city, Bass said, the fire department failed to pre-deploy to the Palisades and require firefighters to stay for an extra shift, as The Times first reported in January. In Altadena, she said, residents did not receive timely notices to evacuate.

“The city and the county did a lot of things that we would look back at and say was very unfortunate,” she told The Times.

Bass was out of the country on a diplomatic mission to Ghana when the Palisades fire first broke out on Jan. 7. When she returned, she was unsteady in her handling of questions surrounding the emergency response.

Both the response and the rebuilding effort since the fire have created an opening for Bass’ rivals. Real estate developer Rick Caruso, who lost to her in 2022, is now weighing another run for mayor — and has been a harsh critic of her performance.

Former L.A. schools superintendent Austin Beutner, who is running against Bass in the June 2 primary election, called the mayor’s use of the word “botched” a “stunning admission of failure on behalf of the mayor” on “the biggest crisis Los Angeles has faced in a generation.”

“She’s admitting that she failed her constituents,” Beutner said.

Bass isn’t the first L.A. elected official to use the word “botched” in connection with the Palisades fire, which destroyed thousands of homes and left 12 people dead. Last month, during a meeting on the effort to rebuild in the Palisades, City Councilmember Monica Rodriguez said that Bass’ office had mishandled the recovery, at least in the first few months.

“Let’s be honest,” she told one of the mayor’s staffers. “You guys have to be the first to acknowledge that your office has botched the first few months of this recovery.”

Bass has defended her handling of that work, pointing to an accelerated debris removal process and her own emergency orders cutting red tape for rebuilding projects. The recovery, she told Welch, is moving faster than many other major wildfires, including the 2023 Lahaina fire in Hawaii.

“It’s important to state the facts, especially because in this environment … there’s a number of people out there who have been very, very deliberate in spreading misinformation,” she said.

Bass, who formally launched her reelection campaign over the weekend, has been giving interviews to a growing list of nontraditional outlets. She recently fielded questions on “Naked Lunch with Phil Rosenthal + David Wild.” She also went on “Big Boy’s Off Air Leadership Series” to discuss the Palisades fire and several other issues.

On “Big Boy’s Off Air,” Bass said she was in conflict with then-Fire Chief Kristin Crowley over her handling of the fire. When she ousted Crowley in February, she cited the LAFD’s failure to properly deploy resources ahead of the fierce winds. She also accused Crowley of refusing to participate in an after-action report on the fire.

Bass told Big Boy, the host of the program, that firefighters “were sent home and they shouldn’t have been.”

She also called the revelation that the Jan. 1 Lachman fire reignited days later, causing the Palisades fire, “shocking.” The Times has reported that an LAFD battalion chief ordered firefighters to leave the burn area, despite signs that the fire wasn’t fully extinguished.

Bass said that had she known of the danger facing the region in early January, she wouldn’t have gone to Long Beach, let alone Ghana.

Asked where blame should be assigned, Bass said: “At the end of the day, I’m the mayor, OK? But I am not a firefighter.”

On “The Fifth Column,” Bass spent much of the hour discussing the effect of federal immigration raids on Los Angeles and the effort to rewrite the City Charter to improve the city’s overall governmental structure. She also described the “overwhelming trauma” experienced by fire victims in the Palisades and elsewhere.

“To lose your home, it’s not just the structure. You lost everything inside there. You lost your memories,” she said. “You lost your sense of community, your sense of belonging. You know, it’s overwhelming grief and it’s collective grief, because then you have thousands of people that are experiencing this too.”

In the final four minutes, Welch told Bass that he viewed the Palisades fire as inevitable, given the ferocious strength of the Santa Ana winds that day. “As someone who grew up here, that fire was going to happen,” he said.

“Right,” Bass responded.

Welch continued: “If it’s 100 mile an hour winds and it’s dry, someone’s going to sneeze and there’s going to be a fire.”

“But if you look at the response in Palisades and the county,” Bass replied, “neither side —”

The mayor paused for a moment. “Both sides botched it.”

The singer of the band lights up a cigarette and smoke drifts into the theater. Ditto for the pungent aroma of marijuana when a few band members share a joint. “Stereophonic,” which is playing at the Hollywood Pantages through Jan. 2, isn’t biographical, but it sure feels close.

The authenticity springs in part from the quality of the songs being recorded by the fictional band on stage, which were written by Will Butler, a multi-instrumentalist and former member of the Grammy Award-winning band Arcade Fire.

“Stereophonic,” which holds the record for the most Tony nominations of all time for a play, unfolds over the course of a single year as a rock band on the cusp of megastardom struggles to record its second album as the first reaches No. 1 on the charts. While the pressure to produce a hit builds, the band falls apart. For proof of the formula’s resilience, look no further than the success of VH1’s “Behind the Music” series, which plumbed the depths of dozens of rock ’n’ roll train wrecks.

“We really tried to just make something real,” Butler said during an interview in the small, cluttered green room at Amoeba Music before he joined the cast of the show for a brief in-store performance. “This is three hours of what it’s like to make a record.”

Is it ever. There is something inherently combustible about being in a band. (Full disclosure: I played in a semi-popular indie band for a decade, which imploded with huge amounts of drama right on cue. I know at least a dozen other groups that have unraveled in similar fashion.) Despite, or rather because of, Arcade Fire’s massive popularity, Butler knows the crash-and-burn nature of being in a band. He joined Arcade Fire after one of its original members quit in the middle of an encore following a fight with the lead singer — Butler’s older brother, Win Butler.

Will Butler left Arcade Fire at the end of 2021, saying at the time that the decision came about organically. “There was no acute reason beyond that I’ve changed — and the band has changed — over the last almost 20 years. Time for new things,” he wrote on social media.

Will Butler performs at Amoeba Music with Claire DeJean and the stars of the Broadway tour of “Stereophonic,” which follows the rise of a struggling 1970s rock band.

(Jason Armond / Los Angeles Times)

“Stereophonic” was one of those new things, and Butler has brought his understanding of volatile band dynamics to bear in his work on the show, as well as his thoughts on the fragile, ephemeral nature of recording in a studio.

“There’s a little booth, and you go into the booth and you lose your mind,” Butler said of the experience of laying down a track. “And you exit the booth and you’re just a boring human.”

The boring — and boorish — parts of that humanity are on display in “Stereophonic,” where there is more control room conflict than actual music making. This also feels true to form. Romances blossom and bottom out in spectacular fashion. Drugs are consumed in copious amounts — particularly cocaine. This is 1976, after all. The long-suffering recording engineer reaches his breaking point after becoming totally fed up with the band’s self-absorbed, self-destructive behavior.

Human beings weren’t meant to create art in this particular kind of pressure cooker. Until they do. There is a moment in the making of every great song when each musician becomes part of the whole during the act of recording, and the band’s genius is temporarily realized. The song can’t be made by any one member — it can only come from the spontaneous transcendence of the group.

This moment happens in “Stereophonic” after a truly frustrating number of stops and starts, when the group plays a song so beautifully that the theater erupts in effusive applause. This is why the band stays together despite its constant feuding — and why the audience has come.

“We really tried to just make something real,” Will Butler said of “Stereophonic.” “This is three hours of what it’s like to make a record.”

(Jason Armond / Los Angeles Times)

“The music in this show has to crack open the world because it’s so much talking and it’s so much sitting around,” Butler said. “And then when they play music, you have to instantly realize why they’re together.”

Butler first met playwright David Adjmi and heard his idea for the show in 2014. Butler was intrigued, but had to wait for the script before he could work on the music in earnest. The songs needed to fit into the script like puzzle pieces, Butler said. Sometimes he needed to write a whole song and other times he needed to focus on composing the first 30 seconds of a song — which would be heard on repeat.

“And then we cast it, and now the music exists in a different way,” Butler said, noting that the music changes with every new cast. A cast — like a band — has its own particular strengths and weaknesses. No rhythm section is ever the same. You know John Bonham’s tom fills when you hear them, just as you can immediately recognize the sound of Ringo Starr’s hi-hats.

None of the actors in the national tour cast of “Stereophonic” — except for the drummer — are trained musicians.

(Julieta Cervantes)

The whole process of constructing “Stereophonic” as a play is very meta — with Butler producing the band that is in turn producing itself onstage in the studio. During the course of the show, one of the songs is actually recorded live and played back from the control room. It is slightly different each time, in ways both meaningful and incidental. Just like in real life.

The in-store performance at Amoeba, however, is wildly different from what happens onstage at the Pantages. The cast members are not — with the exception of the drummer — trained musicians, and stripped of the confidence that comes with costumes and a set, they appear somewhat vulnerable in the process.

This is in stark contrast to Butler, who displays all the verve and conviction of a bona fide rock star. The cast will do the same across the street later that night. For the moment, however, Butler is showing them just how it’s done.

Sarah typically works on Christmas Day. She has devoted countless Christmases to caring for newborns on the same emergency neonatal unit where her own baby was born prematurely this year

This is the heartwarming moment Sarah Alcock found out that her husband had nominated her for a once-in-a-lifetime holiday.

Christmas for the 35-year-old doesn’t tend to be spent tucking into a roast, opening presents and relaxing with the family.

In fact, Sarah typically works on Christmas Day. The Oakwood, Derby mum has missed out on many a festive day at home due to work nursing shifts at Queen’s Medical Centre in Nottingham, where her own baby was born prematurely this year.

Born at just 25 weeks, weighing 1lb 12oz, the eight-month-old will be celebrating her first Christmas this year, but with staffing pressures mounting, she has volunteered to step in again to help her fellow colleagues out.

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Her husband, Dave, a marketing manager, from Oakwood, Derby, wanted to recognise how hard Sarah works, so he nominated her to win a break with easyJet.

“She’s a hero. Her work doesn’t stop just because it’s Christmas, so she has to go there regardless of the date,” he explained.

Alongside Sarah, NHS nurse Nicky Starkowitz and care home manager Niccii Gillett, who also selflessly work every Christmas, were gifted holidays as part of a campaign by tour operator easyJet Holidays to recognise the UK’s hidden heroes.

Nicky faced a breast cancer diagnosis in August this year and tragically, her four-year-old son Raffi was also diagnosed with a rare and aggressive brain cancer in March. Her husband Neil said: “With everything going on this year we haven’t managed to get away or get the opportunity to do anything as a family together.”

Nicky added that “just to go away somewhere, as a family, and have time away together would be so nice”.

The holidays are a special easyJet Holidays escape, to give recognised key workers quality time with friends and family in the sunshine. They have been gifted to Christmas heroes after new research by easyJet Holidays found over 10 million Brits will be spending time apart from their families due to work commitments this year.

Nearly a third (28%) of key workers also feel that they haven’t taken a proper break in the past year, with nearly a quarter (22%) not likely to have a choice over whether they can work on Christmas Day or not.

Matt Callaghan, Chief Operating Officer at easyJet Holidays, said: “At Christmas especially, we’re reminded how many people quietly put others first, often sacrificing precious time with their own families. Our key workers do this year after year, and our communities simply wouldn’t function without them.

“This is easyJet holidays’ way of saying thank you – giving a few of these Christmas heroes the chance to properly step away, rest, and spend quality time together, whether that’s in the sunshine or exploring a new city. It’s about recognising the people who give so much, especially at this time of year.”

The easyJet Holidays poll uncovered the professions we feel most grateful for at Christmas, with nurses, paramedics, care workers and delivery drivers among them.

Just under a quarter (23%) of Brits say they leave out a gift for the postal workers at Christmas, while over a fifth (22%) say they do the same for binmen.

Six in ten also say Christmas makes them feel more generous towards others, with 51% saying they compliment others more during the festive period, while more than three in ten (31%) check in with their neighbours.

Top 10 professions Brits feel most grateful for at Christmas:

1. Nurses (46%)
2. Paramedics (39%)
3. Doctors (38%)
4. Care workers (29%)
5. Firefighters (27%)
6. Police officers (23%)
7. Delivery drivers (22%)
8. Retail staff (20%)
9. Postal workers (17%)
10. Hospitality (16%)

There were only four days left of shooting on “Hamnet” when Chloé Zhao realized she didn’t have an ending. The filmmaker had led the cast through a week filming the pivotal climactic sequence inside the Globe Theatre, where William Shakespeare (Paul Mescal) is staging his opus “Hamlet,” but something was missing. The script had Shakespeare’s wife, Agnes (Jessie Buckley), and her brother Bartholomew (Joe Alwyn) witnessing the demise of Hamlet (Noah Jupe), a denouement that should have evoked a sense of release. But even though the moment was meant to tie Shakespeare’s masterpiece to the still-fresh death of Will and Agnes’ 11-year-old son, Hamnet (Jacobi Jupe), neither Zhao nor Buckley could feel the necessary catharsis.

“Jessie and I avoided each other for the rest of the day because we both knew we had no film,” Zhao says. “We both went home feeling completely lost.”

“We were searching for this ending,” Buckley adds. “It was a daunting idea to try and pull together all the threads of the story we’d woven prior to this moment. I felt incredibly lost and a bit untethered.”

Zhao admits that she rarely preplans the endings of her films because she doesn’t tell stories linearly. She imagines the journey of her characters unfurling in a spiral, with the story extending downward into the darkness before rising back up.

“I’ve had to wait on every single film,” she says. “But this time I was going through the ending of a relationship, so I was terrified of losing love. I was holding on to it with dear life.”

Actors Jessie Buckley and Joe Alwyn with director Chloé Zhao on the set of “Hamnet.”

(Agata Grzybowska)

The morning after they filmed the scripted ending, Buckley sent Zhao Max Richter’s “This Bitter Earth,” a reimagining of his song “On the Nature of Daylight” with lyrics. The filmmaker played it in the car on her way to the set.

“I could feel the tears and the heart opening, and then I started reaching my hand out towards the window,” Zhao remembers. “I was trying to touch the rain outside of the car. I looked at my hand and I realized that I needed to become one with something bigger than me so I would no longer be afraid of losing my love. Because love doesn’t die, it transforms. When we’re one with everything around us, it’s the illusion of separation that makes us so afraid of impermanence.”

The true culmination of “Hamnet” occurred to Zhao as she reached for the rain. If Agnes reached her hand toward the dying Hamlet, he could then rest and she could let go of her grief over losing Hamnet. And if the audience joined her, the sensation of release would be even greater.

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“The thing I didn’t expect, the surprise of it, was the absolute communal surrender,” Buckley says. “The way the fourth wall was broken between the play and the audience, the need to reach out and touch the core of the play. Agnes’ compass has always been touch.”

Although the specifics didn’t come to life until those final days, Zhao always planned the production so the Globe scenes would be done last. Production designer Fiona Crombie re-created the historic open-air theater on the backlot at England’s Elstree Studios using real timber brought in from France. The set version, which took 14 weeks to build, is smaller than the original Globe to create a sense of intimacy.

Plans for the building of the Globe Theatre set in “Hamnet.”

(Agata Grzybowska)

“This is my version,” Crombie says. “Our footprint is a bit smaller overall, but the essential architecture of the tiers and the roofline and the shape and everything is accurate. By virtue of having real beams that are scarred and aged, it feels more realistic. We wanted the whole thing to feel completely authentic. You want to smell these sets and feel these textures off the screen.”

“I told Fiona I wanted it to feel like the inside of a tree,” Zhao says. “So, spiritually, it’s correct for this story. And the play is accurate. We didn’t change any lines.”

Historically, there would not have been a backdrop onstage. But for the thematic purposes of “Hamnet,” a backdrop was essential. “There was a whole conversation about not just the aesthetic but the importance of that motif,” Crombie says. “It’s also a wall that separates Will from Agnes.”

“Hamnet’s” Globe was constructed to have a working backstage so Mescal, Jupe and the players could move in and out of the wings. There were real prop tables and makeup stations, as well as a nod to other Shakespeare plays. “We had a horse from ‘A Midsummer Night’s Dream’ that was loaned from the real Globe,” Crombie says. “There were loads of details everywhere that honored theater.”

The actors learned significant portions of “Hamlet.” Mescal led the cast of players in rehearsals before filming. “We would rehearse later in the evenings as an ongoing part of the process,” Mescal says. “Once the camera came in, it was Chloé’s baby, but we rehearsed consistently throughout the production. It was so cool. I have a lot of sympathy for directors. What I loved about it wasn’t necessarily the act of directing. It was more so the part of the process in helping me to act. It felt weird to direct them as Paul, but I could direct them as Will.”

Paul Mescal backstage at the Globe in “Hamnet.”

(Agata Grzybowska / Focus Features)

Mescal and the players acted out 30 to 40 minutes of “Hamlet” while filming. The actor describes the feeling of being on the Globe stage as “sacred,” both because of the physical space and because of the emotional quality of the scenes.

“It felt very charged,” he says. “Up until that point we knew we had made something very special, but we were also acutely aware that this is where you had to land the plane. And that came with its own pressure. There’s something very special about playing Shakespeare and hearing Shakespeare’s words spoken in that place. The film is talking about the collision of art and humanity, and there are no greater words to communicate that feeling than the words in ‘Hamlet.’”

Zhao enlisted 300 extras to be the theater’s crowd. Each day, Zhao and Kim Gillingham, a dream coach who worked on the film, led the cast and extras in a daily meditation or dream exercise. It was unlike anything many of the actors had previously experienced.

“Everyone dropped into this very deep place of connection to themselves and to what was happening in front of them on the stage,” Alwyn says. “It was this amazing collective feeling of catharsis and connection to something bigger than ourselves.”

(Evelyn Freja / For The Times)

“The performances from some of the supporting artists are extraordinary,” Mescal adds. “And that was intentional in terms of how Chloé constructed that feeling and by having Kim there.”

After Will notices Agnes in the audience, he goes backstage and finally breaks down, experiencing a long-awaited release of grief. Mescal prepared for the scene by listening to Bon Iver’s “Speyside.” Fittingly, it was the last thing he filmed.

“The play becomes something different because it’s being witnessed by Agnes,” Mescal says. “It comes alive for the audience because of this weird alchemy. Something feels different in the air. That moment felt like such relief, like he could just let go.”

“Hamnet” ends with Agnes reaching for Hamlet. In doing so, she gives herself permission to let her son go. It was a moment that had to be discovered rather than constructed.

“The scene became a holding of collective grief in a communal space where we were allowed to let it out,” Buckley says. “It was like a tsunami. I’ll never forget it.”

In Mescal’s mind, the film’s ending is really its beginning. He imagines the relationship between Will and Agnes will go on, continuing the spiral.

“I have no idea how a relationship survives the death of a child, but I do think there is a miraculous hope and they can see each other again in that moment,” Mescal says. “They’ve abandoned each other in certain moments, but now she understands where he went. And I think they will return to each other.”

(Evelyn Freja / For The Times)

Sometimes it can be difficult when a high school coach also has his son on the team, but then there are those unforgettable moments that make every second spent together magical. Such a moment happened on Friday night for Oak Park basketball coach Aaron Shaw and his son, sophomore guard Grant Shaw.

Grant made a three-pointer from beyond the top of the key as the buzzer sounded to give host Oak Park a 54-51 win over rival Agoura.

Then, for some unknown reason at the time, Grant ran in the opposite direction, followed by his teammates and delirious Oak Park fans. There were so many people celebrating he ended up pushed into the gym foyer.

Watching from the bench was his father, who didn’t understand why his son was headed out of the gym. “The coaches were asking, ‘Where is he going?’” he said.

It turns out the surge of people celebrating forced Grant into the foyer. His father reminded him afterward to perhaps next time stay in the gym.

But make no mistake about, Aaron has won two Southern Section titles as a coach, and this moment ranks up among the best.

“Proud dad moment,” he said.

This is a daily look at the positive happenings in high school sports. To submit any news, please email eric.sondheimer@latimes.com.

Twelve people have been killed and at least 11 others, including two police officers, injured in a shooting at Bondi Beach on Sunday.

Footage captured by an eyewitness shows a man grappling with an alleged gunman, before wrestling the weapon off him.

In a press conference, the New South Wales Police Premier Chris Minns said that one of the gunmen had been killed and another was in custody.

Follow live here.

HE held back tears in his Netflix documentary when he heard about the tragic death of One Direction star Liam Payne.

And I can reveal that, as a mark of respect, Simon Cowell sent the emotional footage from The Next Act to Liam’s family and his ex Cheryl Tweedy before it aired this week.

The six-parter sees Simon searching for the next big boyband after the record-breaking success of 1D on the X Factor in 2010.

After the series dropped on Wednesday, the music mogul said he felt he “had to tell” Liam’s loved ones his passing was acknowledged on the show.

Simon said: “In the middle, there was that moment with Liam, which was just horrific. That really threw us. I was very close to him and that was hard. We almost stopped filming. I had to go away, clear my head.

“We took a break for about two weeks. Before that it had been almost every day. I sent [parts of episode three] to Liam’s parents and Cheryl to see, for obvious reasons, and I said, ‘Look, I don’t want you to just see it when it airs’.

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‘Made a promise’

“And so the production company sent it to them and they were fine with it. It was respectful, I think.”

The Next Act had been filming almost daily since December 2023, allowing cameras access to Simon’s talent hunt.

But he paused to consider if they should continue after Liam’s death in Buenos Aires, Argentina in October last year.

Liam and Cheryl, who were together for two years, share a son Bear, eight.

Simon said of Liam in the episode: “He was just so normal and down to earth, he always had a sparkle in his eye.

“Everyone adored him. You don’t know how you feel about someone until you lose them. I am going to genuinely miss him.”

After the two-week break, Simon said he realised he had made the show hopefuls “a promise”, so filming resumed.

The group, DECEMBER 10, have just signed a deal with EMI/Universal.

I was lucky enough to watch John, Cruz, Nicolas, Sean, Josh, Danny and Hendrik at a top-secret playback in London on Wednesday.

From what I saw, these boys will do Simon proud.

Lily’s Vic and Bob

LILY COLLINS has had a Posh makeover for the fifth series of Netflix’s Emily In Paris.

The actress has channelled Victoria Beckham’s Spice Girl alter ego for the series, which kicks off on Thursday.

Director Andy Fleming told Biz on Sunday: “There is for sure a Posh Spice vibe going on this season. I noticed it straight away. I mean, her bob. Hello?”

It comes after Lily was stunned to meet her idol Victoria on the set of The Tonight Show Starring Jimmy Fallon.

Looks like this season will be full of girl power.

Grinch must be feeling Jaded

JADE THIRLWALL doesn’t do fancy dress by halves.

The former Little Mix singer is one of the most costume-committed celebs – rivalled only by Heidi Klum on Halloween.

But even Heidi would have been green with envy when she saw what Jade wore on a night out in London on Friday.

The singer, who turns 33 on Boxing Day, went all out and dressed up as the female Grinch character.

She even persuaded her boyfriend, Rizzle Kicks rapper Jordan Stephens, to go with the green theme.

Their bed sheets must have been a nightmare to clean  . . . 

Taylor hands mega bonuses to crew

HER record-breaking Eras Tour propelled Taylor Swift to billionaire status.

And after making fans’ dreams come true with her dazzling show, the US superstar did the same for her tour crew.

The Shake It Off hitmaker is believed to have handed out $197million – around £148million – in bonuses to every person who helped with her shows.

Taylor thanked each crew member with a handwritten letter, sealed with a wax stamp, and a bonus – with each of her truck drivers understood to have received cheques for $100,000 (£75,000).

One insider, who worked in catering, said they were able to pay off their student loan and still have thousands of dollars left over.

And in her new Disney+ documentary, The End Of An Era, Taylor is seen handing out the huge cheques to her dancers.

She said: “It took me a couple of weeks – but it is fun to write the notes.

“It is fun to think about everyone’s lives that they are going to go back to and the time off they are going to have. And the kids they haven’t seen because they have been away for months and making that worthwhile for them.

“It feels like Christmas morning when you finally get to say thank you.”

Speaking to her dancers, Taylor said: “The tour has done really well thanks to all of our hard work so if you would kindly read this message . . . ”

Handing the letter to dancer Kam Saunders, he read: “Dearest Kam, we have travelled the world like we set out to do.

“We have dazzled the crowds but we have missed family too.

“My full gratitude doesn’t come from the bank – but here’s (bleeped out) just to say thanks. Love, Taylor.”

The dancers were seen hugging and crying after receiving the life-changing bonuses.

One dancer even clutched an inhaler after opening her letter.

I imagine I would have hyperventilated as well.

Oasis bank fortune for reunion tour

THE drinks are on the Gallagher brothers this Christmas after the Oasis Live ’25 comeback tour raked in an incredible £303million.

New stats by US music mag Pollstar have revealed Britpop pioneers Noel and Liam made $405,428,435, sold 2,228,471 tickets to their long-awaited reunion gigs, with a nightly revenue of $11,261,901 – £8,430,546.47.

Their 41-date trek spanned five continents and 13 countries between July and November.

And the siblings played to an average of 61,902 people per night.

Meanwhile, the average fan is believed to have spent £136 on a ticket.

I revealed last week that Noel, who has an estimated net worth of £53million, was whisking his family off to the Maldives for a festive getaway after five months on the road.

Oasis ranked No2 in the biggest-grossing tours of 2025 – with US superstar Beyonce holding the top spot .

The Texas Hold ’Em hitmaker saw her Cowboy Carter Tour gross $407,600,113, (around £305million), with an average ticket price of £191.

Coldplay were third, followed by Kendrick Lamar/SZA.

But Shakira, The Weeknd and Lady Gaga all had to settle for spots further down the Top Ten.

Some might say Noel and Liam nailed it . . . 

Rushing back into Big Time

THEY rose to fame as teenagers on a US TV series about a boy band – and 16 years later Big Time Rush have revealed they have a whole new generation of fans, thanks to Netflix.

The streaming giant gave a new lease of life to the original series of the sitcom, which first aired in the States from 2009 to 2013 and featured the group playing a fictionalised version of themselves.

Biz on Sunday’s Emily chatted to band members Kendall Schmidt, James Maslow, Carlos Penavega and Logan Henderson backstage ahead of their final tour date at London’s Ovo Arena Wembley on Thursday.

Kendall said: “We got lucky during Covid because Netflix picked up the show. Everybody was at home just binge watching stuff, so this whole new generation of kids started watching it.”

Carlos added: “It’s weird seeing my kids come to the show because they didn’t even exist back then.”

Asked how touring compares now they are in their 30s, Kendall replied: “We all definitely went out a lot more in our 20s – but now I truly enjoy getting up early and getting to see different aspects of the city.”

Logan added: “When we were younger, things were moving so fast we didn’t really get a chance to breathe and really soak it in.”

From what I saw on Thursday night, the boys are still on their A-game.

• Check out Big Time Rush on our TikTok channel where the boys reveal their Sunday Setlist. Scan left.

This week who would I…

Snog

Marry

Avoid

SEX PISTOLS frontman John Lydon has slammed singer Chrissie Hynde in a furious rant after accusing her of ‘doing a very nasty thing’.

The former I’m A Celeb star, 69, had a lot to say about The Pretenders band member, even admitting that she was jealous of his late wife Nora Forester.

John, who’s stage name is Johnny Rotten, first crossed paths with music star Chrissie in the 1970’s becoming close friends, amidst London’s punk scene.

But years later, Lydon has revealed he has a very different view of his longtime pal, launching into a furious rant about the singer. 

Speaking to comedian Paul Whitehouse and his wife Dr Mine Conkbayir, on the latest episode of their podcast I’m ADHD! No You’re Not, John unveiled the shocking revelation.

Paul opened up the line of fire, saying: “Anyone would think you were in the Sex Pistols? 

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Sex Pistols legend John Lydon says he’s being haunted… by Count Dracula

“Talking of which, by the way, Chrissie Hynde sends her love,” he chimed.

John replied: “F*** her. No, no. She did a very, very nasty thing. I met her before Nora died and on all of that. And she never told me what they were doing behind my back. 

“Oh, sorry,” Paul quipped.

John continued: “And she knew, and she was involved with all that, that film and like and these are my friends. Yeah. And you’re not telling me, you know.”

 “It was hurtful,” he added.

Mine went on to further question the music star: “And you never had it out for her?”

To which he replied: “She was always jealous of Nora as you know. Right. I don’t date horse hair blankets. Hello, Chrissie. How you doing?”

The punk icon became the primary carer of his beloved wife Nora following her battle with Alzheimer’s – she sadly passed in 2023.

Chrissie herself opened up about her own experiences with Lydon this week. 

Speaking to The Guardian about a wild night with the star, she said: “The one thing I remember about that Nashville Rooms show was that I had drunk a lot of tequila beforehand and I never drank before a show again because it impaired my abilities.”

“That night, I pierced Johnny Rotten’s ear in the toilet, by pushing an earring through it into a bar of soap.”

The American born singer had even proposed to Johnny Rotten and his Sex Pistols bandmate Sid Vicious in 1976, but not for romantic reasons. 

Chrissie proposed the idea of marriage after needing a visa so she could stay in the UK.

When asked what she thought her life would be like if she had married either star, she said: “That was just so I could stay in the country, but life with either of them would have been chaos.”

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Michelle Kwan’s favorite early Christmas present this year? It’s a little girl, gift-wrapped in a hospital blanket and ready to meet Santa.

The Olympian and former ambassador to Belize just welcomed her second child, Della Rose Kwan, according to a Thursday post on social media.

“My heart doubled in an instant the moment I held her in my arms, and watching my daughter walk into the hospital to meet her baby sister brought tears to my eyes,” the Torrance native wrote on Instagram, captioning a photo of her holding baby Della in the hospital, then talking about her first child, who was born in early 2021.

“I’ve always dreamt of having children, and when Kalista came into the world, I was already beyond grateful for a miracle that once felt impossible after years of trying.”

The 45-year-old is a five-time world champion, nine-time U.S. champion and two-time Olympic medalist, winning a silver and a bronze for figure skating in the 1998 and 2002 Winter Games, respectively. She was an ambassador from 2022 to 2025, during the Biden administration.

Kwan posted additional pictures showing herself and Kalista eating ice cream on the couch in matching Christmas pajamas when mom was still pregnant, an ornament on the Christmas tree holding a photo of the family of three and a short time-lapse video of herself in a black bodysuit showing her midsection growing until she finally holds baby Della in her arms.

Writing that “[g]etting here again has been its own rollercoaster,” she thanked all those who helped “this miracle” to happen. Included in her appreciation was “my love, who I’m so lucky to share my life with,” though she didn’t share that person’s identity.

Kwan was married to attorney and politician Clay Pell from 2013 to 2017.

“After more than a decade of hoping, I still can’t quite believe this moment is real,” she wrote.

“As an Olympian, I’ve pushed my body to its limits and been amazed by its strength — but carrying another life has left me in even greater awe. There were moments of frustration over how little I could control — a humbling reminder that fertility is something none of us can fully predict.”

Kwan then offered well wishes to anyone else dealing with infertility or praying to have children.

“I know what you’re going through,” she said, “and I’m hoping you feel loved and supported in every way as you navigate this journey.”

The tone of the missive is par for the course for Kwan, who explained her approach to life during her competitive years to The Times in early 2020.

“You hope that you made an impression and an imprint, a positive impact on people,” she said at the time, talking about her skating career. “I kind of expressed the journey that I was on, whether it was a good journey or an emotional journey or a sad one, I was never afraid to emote. I feel like the people who partook in that journey experienced a lot of emotional moments during those 20 years with me, and looking back, I was a part of their lives.”

Looks like she’s starting on yet another new journey now.