new year

Bob Weir, a founding member of countercultural icons the Grateful Dead, known for his singular guitar playing, emotive singing and vibrant songwriting, has died at 78.

“It is with profound sadness that we share the passing of Bobby Weir,” a spokesperson for the musician confirmed to The Times. “He transitioned peacefully, surrounded by loved ones, after courageously beating cancer as only Bobby could. Unfortunately, he succumbed to underlying lung issues.”

Weir was diagnosed with cancer in July.

Weir-penned songs include Grateful Dead fan favorites “Sugar Magnolia,” “Jack Straw,” “Playing in the Band” and “Weather Report Suite.” His vocal performance on the rock-radio staple “Truckin’” counts among the band’s finest recorded moments.

The Dead released 13 studio albums with Weir, among them “Aoxomoxoa” (1969), “Workingman’s Dead” (1970), “American Beauty” (1970), “Wake of the Flood” (1973), “Terrapin Station” (1977) and 1987’s “In the Dark,” which featured the Top 10 single “Touch of Grey” and became the band’s highest-charting album, reaching No. 6 on the Billboard 200.

The Dead also released eight “official” live albums, as well as a long-running series of curated live shows known as Dick’s Picks and, later, Dave’s Picks. The band was the first to sanction fan taping at their concerts, spawning an abundance of homespun recordings that have been collected, traded and debated for decades.

Weir’s official role in the Grateful Dead was rhythm guitarist, alongside lead guitarist Jerry Garcia, but his complex style — marked by unique chord voicings, precise rhythms and a willingness to play through his bandmates instead of over them — elevated him from the standard rhythm player. “Bob’s approach to guitar playing is sort of like Bill Evans’ approach to piano was. He’s a total savant,” John Mayer told Guitar World magazine in 2017. “His take on guitar chords and comping is so original, it’s almost too original to be fully appreciated until you get deep down into what he’s doing. I think he’s invented his own vocabulary. … It’s a joyous thing to play along with.”

Weir’s first solo album, “Ace,” released in 1972, contained many songs that became standards in the Dead’s live show, including “Black-Throated Wind,” “Cassidy” and “Mexicali Blues.” “Blue Mountain,” Weir’s solo album from 2016, written in collaboration with musicians Josh Ritter and Josh Kaufman and inspired by Weir’s affinity for cowboy music and western iconography, became his highest-charting solo album, reaching No. 14 on the Billboard 200.

Weir also played in numerous side projects, post-Dead tribute acts and other rock bands, including Bob Weir & Wolf Bros, RatDog, Kingfish, Bobby and the Midnites, and the Weir, Robinson & Green Acoustic Trio with members of the Black Crowes. Dead & Company, featuring Weir, Dead bandmates Mickey Hart and Bill Kreutzmann, bassist Oteil Burbridge, keyboardist Jeff Chimenti and singer-guitarist Mayer, kickstarted a Deadaissance in 2015, reviving the band’s music and tie-dye-wearing, hacky-sack-kicking aesthetic for legions of new and existing fans. The band’s final tour before an indefinite hiatus, in 2023, drew nearly 1 million people.

Weir also was a dedicated collaborator, inviting friends to perform with him or guesting on their records or in concert. Willie Nelson, Joan Baez, the Allman Brothers, Sammy Hagar, Nancy Wilson, Stephen Marley, Billy Strings, Tyler Childers, Sturgill Simpson, the National, Margo Price and nouveau jam act Goose counted among his many musical compatriots. “Music is like transcendental medication and Bob Weir is my spirit guide,” Price said on Instagram in 2022. Weir’s friendship with the itinerant folk singer Ramblin’ Jack Elliott began in the early 1960s, and in the new millennium, Elliott and Weir frequently performed low-key shows together in Marin County, where both resided.

Robert Hall Weir was born Oct. 16, 1947, in San Francisco to John Parber and Phyllis Inskeep, a college student who later gave him up for adoption. He was raised by adoptive parents Frederic Utter Weir and Eleanor (née Cramer) Weir in Atherton, Calif. Weir struggled as a child due to undiagnosed dyslexia and was kicked out of every school he attended, including the private Fountain Valley School in Colorado Springs, Colo., where he met John Perry Barlow, who would later contribute lyrics to the Grateful Dead.

Weir met Garcia on New Year’s Eve, 1963, at a Palo Alto music store, and soon formed the jug band Mother McCree’s Uptown Jug Champions with Garcia and future Dead bandmate Ron “Pigpen” McKernan. Weir was just 16 years old. “There was some tension at home because I was neglecting my studies, and I grew up under the shadow of Hoover Tower,” Weir explained in an interview with Dan Rather. “My folks had Stanford in mind for me, not an itinerant troubadour. But they could also clearly see that I was following my bliss.”

About a year later, at McKernan’s urging, the trio, along with bassist Dana Morgan Jr. and drummer Kreutzmann, formed the Warlocks, an electric rock band, and played a handful of gigs before bassist Phil Lesh replaced Morgan. The group quickly discovered that a band called the Warlocks already existed and renamed themselves the Grateful Dead, a term Garcia found in a dictionary. Dead lyricist Robert Hunter and second drummer Hart joined the group in 1967.

As a member of the Dead, Weir was a kind of shape-shifting clairvoyant, creating ever-evolving sounds and forms that became essential to the fabric of American music culture. With the Dead, Weir was part of Ken Kesey’s Acid Tests in the mid-’60s, centered around experiments with LSD, and the band’s members were known to use nitrous oxide, marijuana, speed and heroin. The late ’70s launched an evident association with cocaine, and a period known as Disco Dead.

The band’s predilection for live improvisation, in which they refashioned and extended their songs via intuitive jams and imaginative transitions, drew legions of adoring fans — called Deadheads — who followed the band from city to city, and were the bedrock of the jam band movement that followed in the 1980s. The Dead’s graphic symbols, including “dancing” bears, the “Stealie” lightning skull and instrument-wielding terrapins, were plastered across innumerable merchandise and became a calling card of hippie-influenced counterculture over the ensuing decades.

Throughout the Dead’s existence, Weir was sometimes viewed as “the Other One” due to Garcia’s outsize presence in the band. Weir was its youngest member, and its most handsome. (Beautiful Bobby and the ugly brothers, the band used to joke.) He wrote and sang fewer songs than Garcia. But for others, Weir’s deference to Garcia — how he constructed a singular form of rhythm guitar playing to suit Garcia’s natural style, and used his deeper voice as a rich vocal counterpoint — was indicative of his generosity and willingness to put ego aside. In the 2014 documentary “The Other One: The Long Strange Trip of Bob Weir,” he said that he takes no pride in what he’s accomplished because he views pride as a “suspect emotion.”

Unlike his bandmates in the Dead, Weir had a long-running interest in personal style, and frequently opted for tucked-in button-down shirts, western wear and polo shirts instead of tie-dye and ponchos. “I just wanted to be kind of elegant,” he told GQ in 2019. “People were paying good money to see us, and at that time I figured that meant we ought to dress up a bit.” His denim cutoffs, which crept up in length over the years, were known as Bobby Shorts. Weir would grow his gray hair and beard into a style resembling actor Sam Elliott in the 1979 western “The Sacketts,” and began a collaboration with fashion designer James Perse that landed somewhere between cowboy and surfer.

Weir was single for most of his time in the Dead, and didn’t marry until 1999. With wife Natascha Münter, he had two daughters, Shala Monet Weir and Chloe Kaelia Weir. He was vegetarian for much of his life, and was passionate about animal rights, environmental causes and funding for the arts.

In interviews, Weir spoke of Eastern religion and philosophy, and his dreams, which dictated many decisions he made in his life. He frequently said in interviews that his relationship with Garcia never died, even after the Grateful Dead leader passed away in 1995. In 2012, Weir told Rolling Stone that Garcia “lives and breathes in me.”

“I see him in my dreams all the time,” he told the Huffington Post in 2014. “I would say I can’t talk to him, but I can. I don’t miss him. He’s here. He’s with me.”

Times staff writer Carlos De Loera contributed to this report.

People are being charged up to £1 a minute, new figures revealed

Four major airports have increased their drop-off charges already this year, delivering a fresh blow to air travellers. Depositing loved ones at some of the UK’s biggest airports has grown more costly, as several facilities have raised their fees this week.

From January 6, Gatwick Airport will boost the cost of its drop-off zones by £3 – pushing the minimum charge up to £10.

London City Airport, amongst the final major hubs not to impose a drop-off fee, will also introduce an £8 charge tomorrow for drop-offs lasting up to 5 minutes, plus an extra £1 per minute for extended stays, capped at a maximum 10-minute drop-off period.

This comes after Heathrow’s drop-off fees rose from £6 to £7 on January 1, whilst Southend airport shifted from no charge to £7 last summer.

Emily Barnett, Travel Expert at Compare the Market, commented: “With multiple London airports increasing passenger drop-off charges this year, the cost of a holiday before travellers have even reached the terminal is on the rise. For families trying to save some cash by being dropped off by a friend or family member, these fees can quickly add an extra, unexpected expense to an already costly trip. While solo travellers will have to shoulder the cost alone, it’s wise to plan ahead and assess whether an alternative travel option would suit.

“Taking public transport to get to the airport could be more cost effective if flight times and the journey route permit. For some travellers, using Park and Ride services at Heathrow and Gatwick may be more convenient as they offer passengers frequent shuttle buses between terminals and off-airport parking services for free.

“The news of price rises serves as a good reminder for holidaymakers to look for savings on other travel expenses where possible. Booking early could help get a better price, while comparing travel insurance deals and taking a ‘buy when you book’ approach means you’re covered before you even set off should you need to cancel for an unforeseen circumstance. Taking the time to weigh up prices and options could make a real difference to the overall cost of a trip.”

For the latest money saving tips, shopping and consumer news, go to the new Everything Money website

New 2026 airport charges rundown:

London City Airport has ended its reign as the only airport in the capital not charging drivers for dropping off loved ones by introducing an £8 fee. The charge must be paid for parking for up to five minutes – every additional minute after that will cost £1 until you hit the maximum 10-minute stay.

The airport said the fee will help to “maintain efficient access to the forecourt and support the best possible access for everyone”. Blue badge holders and black cabs are exempt from the charge.

Gatwick Airport has become the most expensive airport for drop-offs, increasing its fee from £7 to £10 for 10 minutes.

The airport – Britain’s second busiest after Heathrow – only bumped its charges to £7 in May last year.

It cited rising expenses, including business rates that have more than doubled, as the reason behind the increase.

The airport also informed Money that it was “not aware” of any additional rises planned for this year, or a review of the existing charge.

Guy Hobbs, Which? Travel Expert said: “It’s unsurprising that following Heathrow’s announcement, Gatwick has also pulled the trigger on a drop off price hike in a fresh blow to travellers. These harsh price hikes and oppressive time limits from two of the UK’s busiest airports will only add another layer of stress, frustration and cost to passengers.”

He added: “Fortunately, there are alternative long stay car parks where you can drop off free of charge at all major UK airports.”

London Heathrow bumped its fee from £6 to £7 on New Year’s Day, and brought in a fresh 10-minute rule in drop-off zones, with motorists who overstay facing a penalty.

The airport has stated that no further rises were scheduled for this year.

Bristol Airport lifted its charges from £7 to £8.50 for up to 10 minutes of parking. Motorists staying between 10 and 20 minutes have also witnessed their fee rise from £9 to £10.50.

Blue Badge holders can utilise the drop-off car park for an extended period of 40 minutes, but that will also climb from £7 to £8.50.

It’s the start of a new year and that means the kickoff of a whole new slate of television series. And while 2026 will bring plenty of those, it will also yield revivals, new seasons of beloved shows, spinoffs and long-awaited finales. Though this list isn’t exhaustive by any means, and not all dates have been announced, there’s plenty to start penciling into your calendar.

‘Star Trek: Starfleet Academy’ (Jan. 15, Paramount+)

In these awful, uncertain times, it is heartening that “Star Trek,” that most good-hearted, proudly progressive of space operas, continues to create new missions for fresh multiplanetary crews of explorers. The latest series, set like “Star Trek: Discovery” in the far-flung 32nd century, when anything the writers need created can be, takes place both in San Francisco — where the rebuilt Starfleet Academy is welcoming its first new class in more than 100 years — and aboard a training starship, the USS Athena, which will presumably carry cadets into situations more dangerous than rush week or beer pong. Tig Notaro’s engineer Jett Reno, surviving from “Star Trek: Discovery,” and Robert Picardo’s holographic doctor way back from “Star Trek: Voyager,” are seen here, as are several new young actors for youth appeal and Holly Hunter, as the academy chancellor and starship captain, for the “Broadcast News” fans. The voice of Stephen Colbert, making announcements as the Digital Dean of Students, is heard, and Paul Giamatti puts on prosthetics to play the villain. — Robert Lloyd

‘Memory of a Killer’ (Jan. 25, Fox)

Former “Grey’s Anatomy” heartthrob Patrick Dempsey trades in his “McDreamy” scrubs for a high-powered rifle in Fox’s thriller drama. Inspired by the 2003 Belgian film “De Zaak Alzheimer,” the drama features Dempsey as Angelo Ledda, a New York City hit man facing a devastating dilemma: he has early Alzheimer’s. The disease complicates his deadly profession and his life as a low-key family man. With a cast that includes Michael Imperioli (“The Sopranos”) and Gina Torres (“Suits”), the trailer looks particularly intriguing, with Dempsey looking intense while backed by the Who’s “Behind Blue Eyes.” Fox is spotlighting the series with a two-night premiere; the first episode airs following the NFC Championship game. The second episode airs Jan. 26 as the drama settles into its regular slot on Mondays at 9 p.m. — Greg Braxton

‘Scrubs’ revival (Feb. 25, ABC)

Ready for another walk through the halls of Sacred Heart Hospital with J.D., Elliot, Turk, Dr. Cox and Carla? The 30-minute sitcom was a comfort watch throughout much of the early aughts, with an endless loop of reruns keeping the show alive in the minds of fans long after it was canceled in 2010. But now ABC is bringing back the medical sitcom nearly 16 years later, and a lot of familiar faces are returning too: Zach Braff, Sarah Chalke and Donald Faison will reprise their lead roles, and John C. McGinley and Judy Reyes will make guest appearances. But not all is the same — several new cast members will join “Scrubs,” including Vanessa Bayer (“Saturday Night Live,” “I Love That for You”) and Joel Kim Booster (“Fire Island,” “Loot”). As long as J.D.’s daydreams and goofy bromance with Turk remain, I’m all in. — Maira Garcia

‘Monarch: Legacy of Monsters’ Season 2 (Feb. 27, Apple TV)

It’s been two years since the first season of “Monarch: Legacy of Monsters” ended with a surprise two-year time jump and I’ve been waiting to see what’s next for the extended Randa clan ever since. The Monsterverse series follows Cate Randa (Anna Sawai) — a survivor of a Godzilla encounter — trying to learn the truth about her father Hiroshi’s (Takehiro Hira) disappearance with the help of her newly discovered half-brother Kentaro (Ren Watabe) and ex-pat hacker May (Kiersey Clemons). It turns out the Randa family legacy is intertwined with Godzilla as well as Monarch, a secret organization dedicated to studying the giant monsters known as Titans. The possibility of kaiju battles was definitely what initially drew me to the show, but the humans have kept me hooked. Season 1 ended with Cate reuniting with her brother and father after escaping a mysterious pocket world beneath Earth’s surface with her long-lost grandmother Keiko (Mari Yamamoto) in tow. If that is not the setup for some gloriously messy family drama, I don’t know what is — and that’s not even taking into account a potential love triangle. But don’t fret monster lovers, the presence of Kong has also been teased for Season 2. — Tracy Brown

’American Love Story’ (February, FX)

The latest iteration of Ryan Murphy’s “American Story” anthology will focus on John F. Kennedy Jr. and Carolyn Bessette Kennedy, whose relationship and untimely deaths in 1999 created a media frenzy. (The couple died in a plane crash that Kennedy was piloting — the cause of death was deemed pilot error, but with no survivors, we’ll never know with 100% certainty.) Though their deaths occurred more than two decades ago, the event remains a significant moment in the memories of Americans and the Kennedy family, which has endured numerous tragedies over the decades. While Kennedy family members have openly criticized the series, it hasn’t stopped Murphy from proceeding. The television creator knows how to pique viewers’ interest, often dramatizing notable people and events. The series stars Sarah Pidgeon as Bessette, newcomer Paul Kelly as Kennedy and Naomi Watts as matriarch Jackie Kennedy. — M.G.

‘Y: Marshals’ (March 1, CBS), ‘Dutton Ranch’ (2026, Paramount+)

More than a year has passed since “Yellowstone” rode off into the sunset. The modern western was television’s hottest series during its five-season run, solidifying the star power of its lead Kevin Costner as patriarch John Dutton while establishing co-creator Taylor Sheridan as one of TV’s top writer-producers. Sheridan hopes to continue his “Yellowstone” triumph with several spinoffs. Kelly Reilly and Cole Hauser will reprise their respective roles as Dutton’s volcanic daughter Beth Dutton and her husband, boss ranch hand Rip Wheeler, in Paramount+’s “Dutton Ranch.” Luke Grimes, who played Dutton’s son Kayce Dutton, will headline “Y: Marshals” in which Kayce joins a top U.S. Marshals unit. Joining Grimes in the CBS drama are “Yellowstone” cast members Gil Birmingham (Thomas Rainwater) and Mo Brings Plenty (Mo). Also in development is “The Madison,” a drama starring Michelle Pfeiffer and Kurt Russell about a New York City family living in Montana’s Madison River territory. — G.B.

‘Imperfect Women’ (March 18, Apple TV)

If you’re longing for the elusive Season 3 of “Big Little Lies” or a similar crime-laced psychological thriller led by powerhouse women, Apple TV might be able to scratch that itch with this upcoming drama. Based on Araminta Hall’s novel of the same name, “Imperfect Women” will follow three lifelong friends, played by Kerry Washington, Elisabeth Moss and Kate Mara, as a murder sends their lives into chaos. Moss and Washington also serve as executive producers with Hall. Details about the plot of the series are scant (it is a mystery, after all), but the novel teases a story with deep betrayal and guilt, a secret affair and muddled perspectives, all underpinned by a murder investigation. That all sounds pretty dark, but Moss said the series will somehow be a “fantastic palate-cleanser” after the close of her dystopian drama “The Handmaid’s Tale.” “Imperfect Women” is “super different,” she added. “It’s fun, it’s sexy.” — Kaitlyn Huamani

‘The Forsytes’ (March 22, PBS)

Written by Debbie Horsfield (“Poldark”), this is, as far as I can tell, a freely adapted, female-forward prequel to John Galsworthy’s “Forsyte Saga” novels, which provided the basis for a highly popular, 26-part adaptation in 1967 and subsequent filmings in 2002 and 2003. Set among a late Victorian-era family of stockbrokers, a phrase that will undoubtedly bring the word “succession” to mind, it promises to be a meaty, cheesy and handsomely dressed — sometimes undressed — romp. The large ensemble cast includes Francesca Annis, Stephen Moyer, Tuppence Middleton, Eleanor Tomlinson, Jack Davenport, “Doctor Who” companion Millie Gibson and Susan Hampshire, who starred in and won an Emmy for the 1967 series. — R.L.

‘Margo’s Got Money Troubles’ (April 15, Apple TV)

Ever look at a television title and think: “It’s great to see myself represented on TV?” The actual premise of this series may feel less relatable on the surface to most, but the struggle to stretch a dollar like it’s made of industrial-use elastic is a conundrum many of us know all too well these days. And this new series from prolific TV producer David E. Kelley promises humor and heart in its adaptation of Rufi Thorpe’s novel of the same name, which explores sex work and financial precarity without moralization. The series stars Elle Fanning as the titular character, a recent college dropout from a working-class background who, as a new mom raising a baby solo, is forced to figure out how to make ends meet and finds a financial lifeline as a creator for OnlyFans, the subscription-based platform made famous by adult content. The series also features Michelle Pfeiffer as Margo’s mother (an ex-Hooters waitress) and Nick Offerman as her father (an ex-pro wrestler). And to ensure she’s not letting 2026 go by without adding a stamp to her TV punch card, Nicole Kidman is also part of the stacked cast. Because we need that, all of us. — Yvonne Villarreal

‘The Testaments’ (April 2026, Hulu)

The success of Bruce Miller’s award-winning adaptation of Margaret Atwood’s “The Handmaid’s Tale” prompted the author to write the Booker Prize-winning sequel “The Testaments,” which Miller is also adapting. Set to premiere in April, it returns viewers to the Old Testament world of Gilead, years after the events in “The Handmaid’s Tale,” and focuses on June’s (Elisabeth Moss) daughters Hannah, renamed Agnes (Chase Infiniti), and Daisy, previously known as Nicole (Lucy Halliday), as they face the brutal forces of a misogynistic theocracy. Ann Dowd reprises her role as Aunt Lydia, the only character (with the possible exception of June) who will cross over from the previous series. Miller has characterized the series as a “coming of age” story, but readers of the book will know that all is not what it once was in Gilead; forces both without and within plot its downfall and June’s daughters will not be far from the fight. — Mary McNamara

‘Beef’ Season 2 (2026, Netflix)

Three years after gifting us a darkly comic road rage thriller fronted by Steven Yeun and Ali Wong that was set against a soundtrack of ‘NSync, Tori Amos and Hoobastank songs, Lee Sung Jin’s anthology series returns for its second season with another layered, twist-filled exploration of class struggles, resentment and the absurdity of life’s curveballs. Consisting of eight 30-minute episodes, this season unpacks the pursuit of the American Dream by way of an exclusive Southern California country club and two couples from different socioeconomic backgrounds. The chaos kicks off when a young couple who work at the club (Cailee Spaeny and Charles Melton) witness a heated fight between their boss (Oscar Isaac), the general manager, and his wife (Carey Mulligan), an interior designer, just as the club’s new Korean billionaire owner (Youn Yuh-jung) takes over. The encounter spins out into a web of favors and coercion in this tale of broken systems and characters going to great lengths to get what they want. “Parasite’s” Song Kang-ho and K-Pop star BM (of KARD) round out the cast. And yes, there will be needle drops. — Y.V.

‘Little House on the Prairie’ (2026, Netflix)

It’s beyond time that someone revisited the semi-autobiographical series by Laura Ingalls Wilder in a way more suited to modern television. The 1974 NBC adaptation is a classic, but as a family drama of its time, it did not attempt to capture the historical breadth the book series documented. The many tribulations, and triumphs, the Ingalls family experienced as they moved from state to state, (including the locust plague of 1874, described in “On the Banks of Plum Creek,” which devastated the Midwest) provide a unique look into life on the American “frontier.” With any luck, showrunner Rebecca Sonnenshine and her team of writers will do the same. — M.M.

‘Something Very Bad Is Going to Happen’ (2026, Netflix)

Fans of the nearly 10-year long “Stranger Things” chapter on Netflix are sure to be feeling a bit of Duffer Brothers withdrawal in the new year. But their overall deal with Netflix will bear another intriguing project before the creators move over to Paramount exclusively. “Something Very Bad Is Going to Happen” is a horror drama centering on a soon-to-be bride and groom, although the title seems to imply they never make it to the altar. The Duffer Brothers, Matt and Ross, and Hilary Leavitt from Upside Down Pictures are executive producing along with Haley Z. Boston, who will serve as showrunner. Boston has written on “Guillermo del Toro’s “Cabinet of Curiosities” and “Brand New Cherry Flavor,” both of which attracted avid horror fans. Camila Morrone (“Daisy Jones & the Six,” “The Night Manager”) stars alongside Adam DiMarco (“The White Lotus,” “Overcompensating”). Very few other details have been shared, but the talent involved — both behind the scenes and in front of the camera — is enough to pique my curiosity, even if I’ll have to close my eyes when things get a little too scary for my comfort. — K.H.

‘Yellowjackets’ Season 4 (2026, Showtime)

I thought high school was traumatizing enough, but I didn’t have to deal with anything close to what the teens in “Yellowjackets” have endured for three seasons. The coming-of-age survival thriller is about a championship high school soccer team whose plane crashes into the remote Canadian wilderness where they are stranded for 19 months. The story unfolds over two timelines, with one following the girls as they do whatever it takes to survive in the wilds — including cannibalism and ritual sacrifice — and the other following the survivors in the present day as they are trying to live their lives. Unfortunately for them, whatever they started in the wilderness is unwilling to be left buried in the past and is back on the h(a)unt. There is plenty of rage, trauma, secrets and murder in both timelines, as well as some unsolved mysteries that may or may not involve supernatural elements. With the upcoming fourth season confirmed to be the last, here’s to hoping some of the remaining questions — including how the girls were saved, how many girls actually survived, and why the “wilderness” came back to them in the present day — will be answered. — T.B.

‘VisionQuest’ (2026, Disney+)

It feels like forever ago that “WandaVision” kicked off Marvel Studios’ foray into television with a bang. A clever homage to sitcoms, the show followed Wanda Maximoff (Elizabeth Olsen) as she tried to magically piece together a life and family with Vision (Paul Bettany) after the events of “Avengers: Endgame” (2019). The upcoming Disney+ series “VisionQuest” will cap off the “WandaVision” trilogy, which also includes one of my favorite MCU installments, “Agatha All Along.” When audiences last saw Vision, the reconstructed android had just regained his memories and, presumably, his sentience, before flying off into the unknown. The new series will see Vision trying to navigate that aftermath to figure out who he is — reportedly with some help from other known Marvel AI programs and robots. Both “WandaVision” and “Agatha” explored grief and trauma and motherhood in their own ways, so I’m curious how these themes might carry over into “VisionQuest.” I’m admittedly a bit more into witches than robots, but I’m looking forward to the proper introduction of Tommy Shepherd (Ruaridh Mollica), who in the comics is the grown-up version of one of Wanda and Vision’s magically-created twins, and any potential family reunions. — T.B.

The finale of Netflix’s blockbuster series “Stranger Things” gave movie theaters a much needed jolt, generating an estimated $20 to $25 million at the box office, according to multiple reports.

Matt and Ross Duffer’s supernatural thriller debuted simultaneously on the streaming platform and some 600 cinemas on New Year’s Eve and held encore showings all through New Year’s Day.

Owing to the cast’s contractual terms for residuals, theaters could not charge for tickets. Instead, fans reserved seats for performances directly from theaters, paying for mandatory food and beverage vouchers. AMC and Cinemark Theatres charged $20 for the concession vouchers while Regal Cinemas charged $11 — in homage to the show’s lead character, Eleven, played by Millie Bobby Brown.

AMC Theatres, the world’s largest theater chain, played the finale at 231 of its theaters across the U.S. — which accounted for one-third of all theaters that held screenings over the holiday.

The chain said that more than 753,000 viewers attended a performance at one of its cinemas over two days, bringing in more than $15 million.

Expectations for the theater showing was high.

“Our year ends on a high: Netflix’s Strangers Things series finale to show in many AMC theatres this week. Two days only New Year’s Eve and Jan 1.,” tweeted AMC’s CEO Adam Aron on Dec. 30. “Theatres are packed. Many sellouts but seats still available. How many Stranger Things tickets do you think AMC will sell?”

It was a rare win for the lagging domestic box office.

In 2025, revenue in the U.S. and Canada was expected to reach $8.87 billion, which was marginally better than 2024 and only 20% more than pre-pandemic levels, according to movie data firm Comscore.

With few exceptions, moviegoers have stayed home. As of Dec. 25., only an estimated 760 million tickets were sold, according to media and entertainment data firm EntTelligence, compared with 2024, during which total ticket sales exceeded 800 million.

Victoria Jones, the daughter of Academy Award-winning actor Tommy Lee Jones, was reportedly found dead at a hotel in San Francisco on New Year’s Day. She was 34.

According to TMZ, the San Francisco Fire Department responded to a medical emergency call at the Fairmont San Francisco early Thursday morning. The paramedics pronounced Victoria dead at the scene before turning it over to the San Francisco Police Department for further investigation, the outlet said.

An SFPD representative confirmed to The Times that officers responded to a call at approximately 3:14 a.m. Thursday regarding a report of a deceased person at the hotel and that they met with medics at the scene who declared an unnamed adult female dead.

Citing law enforcement sources, NBC Bay Area also reported that the deceased woman found in a hallway of the hotel was believed to be Jones and that police did not suspect foul play.

“We are deeply saddened by an incident that occurred at the hotel on January 1, 2026,” the Fairmont told NBC Bay Area in a statement. “Our heartfelt condolences are with the family and loved ones during this very difficult time. The hotel team is actively cooperating and supporting police authorities within the framework of the ongoing investigation.”

The medical examiner conducted an investigation at the scene, but Jones’ cause of death remains undetermined. Dispatch audio obtained by TMZ and People indicated that the 911 emergency call was for a suspected drug overdose.

Jones was the daughter of Tommy Lee and ex-wife Kimberlea Cloughley. Her brief acting career included roles on films such as “Men in Black II” (2002), which starred her father, and “The Three Burials of Melquiades Estrada” (2005), which was directed by her father. She also appeared in a 2005 episode of “One Tree Hill.”

Page Six reported that Jones had been arrested at least twice in 2025 in Napa County, including an arrest on suspicion of being under the influence of a controlled substance and drug possession.

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.

Matt K. Lewis is the author of “Filthy Rich Politicians” and “Too Dumb to Fail.”

Zohran Mamdani will become mayor of New York City as the clock ticks over into 2026 — but the celebrations are set to last through New Year’s Day.

The Democrat’s team is planning two separate swearing-in ceremonies Thursday — a small, private one with his family in an old subway station around midnight, followed by a large event in the afternoon that will include a public block party outside City Hall.

As a new mayor’s term begins immediately with the new year, it has been customary for the city’s incoming leaders to hold two events. Departing Mayor Eric Adams held his initial swearing-in at Times Square shortly after the famous ball drop, while Adams’ predecessor Bill de Blasio took his first oath at home in Brooklyn.

For his part, Mamdani will take his initial oath at the former City Hall subway station in Manhattan — one of the city’s original stops on its subterranean transit system, known for its tiled arches and vaulted ceilings.

New York Atty. Gen. Letitia James, a political ally and notable foe of President Trump, will administer the oath of office.

The old City Hall stop was designed as the flagship station of the city’s first subway line, but was decommissioned in 1945. These days, outside of occasional guided historical tours, locals can usually only catch a glimpse of it by staying on the 6 train after its last stop downtown when it turns around to head north.

In a statement, Mamdani’s office said the choice to be sworn in at the station reflected his “commitment to the working people who keep our city running every day.”

“When Old City Hall Station first opened in 1904 — one of New York’s 28 original subway stations — it was a physical monument to a city that dared to be both beautiful and build great things that would transform working peoples’ lives,” Mamdani said.

“That ambition need not be a memory confined only to our past, nor must it be isolated only to the tunnels beneath City Hall: it will be the purpose of the administration fortunate enough to serve New Yorkers from the building above,” he said.

On Thursday afternoon, Mamdani will be sworn in again, this time by U.S. Sen. Bernie Sanders, one of his political heroes, on the steps of City Hall in a ceremony. It’s scheduled to kick off at 1 p.m. with opening remarks from U.S. Rep. Alexandria Ocasio-Cortez, another political ally and a fellow New Yorker.

Mamdani’s transition formed an inaugural committee that includes actor John Turturro, playwright Cole Escola and writer Colson Whitehead, as well as advocates, small business owners and campaign workers who the incoming mayor’s office says have “provided perspective, guidance, and cultural sensibility” for the ceremony.

The public swearing-in will be accompanied by a block party along a stretch of Broadway leading up to City Hall. Mamdani’s office expects thousands of people to attend and says there will be performances, music and interfaith elements.

Izaguirre writes for the Associated Press.

A magnet for drama – especially at Christmas – every few years Coronation Street cafe worker Shona Platt’s life seems to hang in the balance. But could this time see her leave the show for good?

Back in 2019, Corrie’s Shona Platt was left in a coma, fighting for life when she was shot by crazed gunman Derek Milligan, while hiding in a giant present intended for a treasure hunt. To add to the rollercoaster of Platt family dramas, doctors have now discovered a possible cancerous growth on the neck of the unborn baby she is expecting with husband David.

As a distraction they decide at the last minute to go to Debbie Webster’s wedding in a minibus taking guests from Wetherfield – only to end up in an almighty crash. And the much feted storyline on January 5 brings the cast of Coronation Street and Emmerdale together for one episode, dubbed ‘Corriedale.’ Rumour has it someone is killed and Julia Goulding, who plays Shona Platt, isn’t ruling herself out.

READ MORE: Coronation Street star Georgia May Foote has ‘worst year of her life’ after devastating fire

Julia, 40, tells The Mirror: ”I can’t say if she or David survive the crash or not, but it’s safe to say Shona is in a very delicate position. They both do get knocked out and it’s touch and go. If they are both affected, the stakes are going to be very high.”

Despite the precarious fate of her character, Julia was honoured to be cast in the extraordinary episode – the first time the two iconic soaps have come together. She says: “I was over the moon to be asked. I was very excited.”

Debbie’s wedding feels like something “normal’ to do, as Shona and David struggle to cope with their fears concerning their baby. Julia says: “Shona and David are in limbo. They know the baby has a mass on its neck, but they don’t know yet if it’s cancerous or not. Shona wants the wedding to take her mind off everything and thinks it’s a chance to enjoy the freedom while they can.”

For Julia it meant working with legendary Emmerdale stars like Emma Atkins, who plays Charity Dingle, and Chris Chittell, who plays Eric Pollard. She says of Emma: “It was absolutely brilliant working alongside her, as it was Chris. “There is a scene with Ken [Barlow] and Pollard and Shona and David. It was so surreal!

“I can’t say whether these scenes were before or after the crash, but it was a real pinch me moment.” While she is used to seeing Emmerdale actors at awards ceremonies, Julia hasn’t worked with them before.

She continues: “There is no rivalry between us all. It was so nice to finally work together. “Emma is a class actress and she is such a lovely person. We sat chatting in between scenes having a natter and we got on like a house on fire. “

Clearly impressed by the cliffhanger episode, she continues: “We’ve got Duncan Foster directing the episode. He has done some of Corrie’s biggest episodes and Emmerdale’s too, so you know you are in safe hands. He knows both casts and crew very well. It was so exciting to shoot.”

Meanwhile, Julia, who has two children – Franklin, six, and Emmeline, three, with her husband, Ben Silver, who she married on stage at Manchester’s Albert Hall in February 2019 – is grateful to have had much easier pregnancies than Shona. “It was tough filming the scenes when Shona found out about the mass,” she says. “It’s every parent’s worst nightmare and you don’t have to stretch yourself emotionally when you hear news like that. Thankfully, my own pregnancies were a hell of a lot smoother than what Shona is having to face.”

Slim Julia has been wearing a prosthetic bump made from rubber and prosthetic breasts, to make Shona’s pregnancy look more convincing. She says: “I was more comfortable when I was pregnant in real life. They are made from rubber and the bump is heavy and sweaty. I have had a bad back for the past eight weeks because it is so heavy!”

Despite the uncomfortable costume, Julia enjoys playing Shona now just as much as she did when she first stepped on to the cobbles nine years ago. After training at London’s prestigious RADA, it was her first TV role. “I love playing her,” she says. “Every day is different and exciting. Nothing is ever the same. You might be crying in the morning about your baby being sick, but then laughing and joking in the afternoon filming Christmas scenes.”

And she and Jack P. Shepherd, who plays David, are great friends. “We have been together in the soap for nine years,” she says. “Who has heard of a nine-year relationship in a soap? We are good mates and it’s a laugh a minute working with him. He is a funny soul. When the going gets tough, we both switch it on, but you also need to have the lighter moments. It’s so important to have down times on set and we have a lot of fun filming together.”

Julia has just enjoyed a brilliant family Christmas away from Corrie, recharging her batteries. “Now we have got children, Christmas is all about them,” she says. “I didn’t go wild present wise, as my children are not materialistic. But we had a lot of fun in the run up, doing things like glow walks. We love family stuff like that and it’s nice having time off. I feel lucky we do get given a holiday, as it is so important to spend it with your family.”

But she has no plans for making New Year’s resolutions. “I don’t often make them, because like 99 per cent of the population I fail in about a week! Although, this year I would like to get to the gym more, be active and healthy.”

And she has no intention of following her screen husband into the Celebrity Big Brother house. She says, firmly: “I would not do Celebrity Big Brother. It is one of the most terrifying thoughts ever to be that exposed for 24 hours on TV. Plus, I prefer to remain firmly behind a character, rather than to be myself. Give me a script me any day over live reality TV.”

Outside work, she says she has both sets of her kids’ grandparents to thank for helping make it possible for her to be a working mum. She says: “We are very lucky. We have got grandparents who can help. But it’s always then nice to get home to my babies.”

Returning her thoughts to Corriedale, Julia says: “It is going to be such a special episode. If Shona is lucky enough to survive the crash, I would love it if there was another Corriedale special episode at a future point. And I would be begging for Shona to be part of it. But I really do fear for Shona ahead of this first Corriedale episode…” Maybe Shona’s nine lives will finally run out.

*Corriedale will air on Monday 5th January at 8pm. Coronation Street will then air every weekday at 8.30pm on ITV1. Episodes can also be downloaded on ITVX

READ MORE: Coronation Street fans ‘nervous’ Carla Connor will be killed off as she’s kidnapped again

Democrats are starting the new year on a high.

A series of 2025 victories, in red and blue states alike, was marked by a striking improvement over the party’s 2024 showing. That over-performance, to use the political term of art, means candidates — including even some who lost — received a significantly higher percentage of the vote than presidential candidate Kamala Harris managed.

That’s a strong signal ahead of the midterm election, suggesting Democratic partisans are energized, a key ingredient in any successful campaign, and the party is winning support among independents and perhaps even a few disaffected Republicans.

If history is a guide and the uneven economy a portent, Democrats will very likely seize control of the House in November, picking up at least the three seats needed to erase the GOP’s bare majority. The Senate looks to be a longer — though not impossible — reach, given the Republican lean of the states being contested.

In short, Democrats are in much better shape than all the black crepe and existential ideations suggested a year ago.

Yes, the party suffered a soul-crushing defeat in the presidential race. But 2024 was never the disaster some made it out to be. Democrats gained two House seats and held their own in most contests apart from the fight for the Senate, where several Republican states reverted to form and ousted the chamber’s few remaining Democratic holdouts.

Still, Democrats being Democrats, all is not happiness and light in the party of Jefferson, Jackson, Clinton and Obama.

Campaigning to become the party’s chairman, Ken Martin last winter promised to conduct a thorough review of the 2024 election and to make its findings public, as a step toward redressing Democrats’ mistakes and bolstering the party going forward.

”What we need to do right now is really start to get a handle around what happened,” he told reporters before his election.

Now Martin has decided to bury that autopsy report.

“Here’s our North Star: Does this help us win?” he said in a mid-December statement announcing his turnabout and the study’s unceremonious interment. “If the answer is no, it’s a distraction from the core mission.”

There is certainly no shortage of 2024 election analyses for the asking. The sifting of rubble, pointing of fingers and laying of blame began an eye blink after Donald Trump was declared the winner.

There are prescriptions from the moderate and progressive wings of the party — suggesting, naturally, that Democrats absolutely must move their direction to stand any chance of ever winning again. There are diagnoses from a welter of 2028 presidential hopefuls, declared and undeclared, offering themselves as both seer and Democratic savior.

The report Martin commissioned was, however, supposed to be the definitive word from the party, offering both a clear-eyed look back and a clarion way forward.

“We know that we lost ground with Latino voters,” he said in those searching days before he became party chairman. “We know we lost ground with women and younger voters and, of course, working-class voters. We don’t know the how and why yet.”

As part of the investigation, more than 300 Democrats were interviewed in each of the 50 states. But there was good reason to doubt the integrity of the report, even before Martin pulled out his shovel and started digging.

According to the New York Times and others, there was no plan to examine President Biden’s headstrong decision to seek reelection despite his advanced age and no intention to second-guess any of the strategic decisions Harris made in her hurry-up campaign.

Which is like setting out to solve a murder by ignoring the weapon used and skipping past the cause of death.

Curious, indeed.

Still, there was predictable outrage when Martin went back on his promise.

“This is a very bad decision that reeks of the caution and complacency that brought us to this moment,” Dan Pfeiffer, an alumnus of the Obama White House, posted on social media.

“The people who volunteered, donated and voted deserve to know what went wrong,” Jamal Simmons, a former Harris vice presidential advisor, told the Hill newspaper. “The DNC should tell them.”

In 2013, Republicans commissioned a similar after-action assessment following Mitt Romney’s loss to President Obama. It was scathing in its blunt-force commentary.

The 98-page report said a smug, uncaring, ideologically rigid party was turning off voters with stale policies that had changed little in decades and was unhelpfully projecting an image that alienated minorities and young voters.

Among its recommendation, the postmortem called on the party to develop “a more welcoming brand of conservatism” and suggested an extensive set of “inclusion” proposals for minority groups, including Latinos, Asians and African Americans. (DEI, anyone?)

“Unless changes are made,” the report concluded, “it will be increasingly difficult for Republicans to win another presidential election in the near future.”

Trump, of course, won the White House three years later doing precisely none of what the report recommended.

Which suggests the Democratic autopsy, buried or otherwise, is not likely to matter a whole lot when voters go to the polls. (It’s the affordability, stupid.)

That said, Martin should have released the appraisal and not just because of the time and effort invested. There was already Democratic hostility toward the chairman, particularly among donors unhappy with his leadership and performance, and his entombing of the autopsy report won’t help.

Martin gave his word, and breaking it is a needless distraction and blemish on the party.

Besides, a bit of thoughtful self-reflection is never a bad thing. It’s hard to look forward when you’ve got your head stuck in the sand.

As an editor, the lion’s share of my job is about identifying the awards season’s most compelling stories and conveying them to our readers. But I do reserve a small sliver of time for the joys of advocacy, championing work that I love and hoping that converts readers into viewers, and perhaps even voters.

So, with no new issue this week, my New Year’s Eve newsletter felt like the perfect time to reflect on the movies and TV shows that moved me in 2025. And if you give them another look before you cast your awards ballots, all the better.

MOVIES

1. ‘A Little Prayer’ and ‘The Testament of Ann Lee’

I am not terribly spiritual myself, but I encountered transcendence twice at the movies this year. As quiet and beseeching as its title, Angus MacLachlan’s chamber drama “A Little Prayer,” about a family man (David Strathairn) navigating marital trouble between his son (Will Pullen) and his daughter-in-law (Jane Levy), uncovers varieties of religious experience in 19th century landscape painting and small, memorable kindnesses. As sweeping as the extraordinary life it depicts, Mona Fastvold’s biographical portrait “The Testament of Ann Lee,” which follows the Shaker leader (Amanda Seyfried) and her devotees from the textile mills of Manchester to the wilderness of colonial New York, carves sensuous art from the exalted song and dance of evangelical faith. But whether the scale is intimate or epic, both capture, to quote “A Little Prayer,” that rare thing: “a powerful sense of the sublime.”

2. ‘Sinners’

“Sinners” has rightly been praised for its novel twist on the vampire genre, its deep investment in African and African American music, its blockbuster box office in an era largely dominated by franchise IP. But perhaps the highest compliment I can give director Ryan Coogler may be that the Jim Crow Mississippi he conjures is so richly textured, so allergic to cant or cliche, that I’d have been just as riveted if the bloodsuckers had never shown up. That’s what it’s like to be in the hands of a master.

3. ‘Sorry, Baby’

Eva Victor is not the first filmmaker to face trauma with a sense of humor, but few have done it with such a gentle, humane touch. As Victor’s Agnes moves through life in the aftermath of a sexual assault on her college campus, the writer-director-star focuses squarely on the slow, ungainly, ultimately profound work of healing — and includes some of the best gags about academia this reformed graduate student has ever seen. No apology needed: “Sorry, Baby” marks the arrival of a major talent.

4. ‘One Battle After Another’

With elements of action, satire, political thriller and family melodrama, Paul Thomas Anderson’s wild yarn about the members of a revolutionary group — and the fallout that comes when the past catches up with them — is well-nigh indescribable. But it’s also unforgettable. Combining high-wire filmmaking with electric performances, it never relinquishes its grip on the viewer and invites multiple viewings. Which is just as well, considering that this one is going to be on the tip of our tongues all the way through the Oscars.

5. ‘Nouvelle Vague’

The purest delight of the season is Richard Linklater’s mash note for the French New Wave, a zippy comedy of errors about the making of one of the most influential films of all time. As Jean-Luc Godard (the rakishly charming Guillaume Marbeck) tries to put “Breathless” together with spit, glue and attitude on the streets of Paris, “Nouvelle Vague” becomes as confident a caper as the original, with Jean-Paul Belmondo (Aubry Dullin) and Jean Seberg (a beguiling Zoey Deutch) as the French director’s oft-befuddled collaborators — and sometimes foils. To overlook a film with this much cinematic joie de vivre would be a crime.

6. ‘Sirât’

The less said the better about Spain’s acclaimed Oscar submission, which takes such twists and turns as it wends its way through the Moroccan desert that it left me frozen, after my first screening, in a sort of defensive crouch. I simply suggest that you go on the journey with filmmaker Oliver Laxe as he follows a father (Sergi López) and son (Bruno Núñez Arjona) on their search for a missing loved one, beginning with a rave so lifelike it almost had me dancing in the aisles.

7. ‘Hedda’

I must admit I went warily into “Hedda.” An awards-season Ibsen adaptation had, I feared, all the makings of a fusty, dour costume drama. Mea culpa, Nia DaCosta. Mea culpa. The filmmaker’s sharp, fresh take on “Hedda Gabler,” featuring mesmerizing performances from Tessa Thompson as the devious title character and Nina Hoss as her (gender-swapped) former lover, renders the play as provocatively, and vividly, for today’s viewer as it must have been for attendees at the Munich premiere in 1891 — and in the process reminds us why the original is an enduring classic.

8. ‘Sentimental Value’

No film this year has left me more eager for a rewatch than Joachim Trier’s delicate family drama, and I was rewarded with the sense that “Sentimental Value” is really two films, woven together so deftly that they can’t quite be unraveled. One is the story of two sisters (Renate Reinsve and Inga Ibsdotter Lilleaas) bonded by generational trauma. The other is about a filmmaker, their father (Stellan Skarsgård), recruiting a sympathetic outsider (Elle Fanning) to tell the story of his own. By the time these strands reach their conclusion, on a soundstage built to resemble the family manse, Trier’s thoughtful architecture pays off in the understanding that you really can go home again, because home is a state of mind.

9. ‘The Alabama Solution’

In an especially strong year for documentaries, particularly those that appreciate, emulate or chronicle the work of investigative journalism, it seems a shame to single out just one. But from the moment of its Sundance Film Festival premiere, the movie by Andrew Jarecki and Charlotte Kaufman registered as a prime example of nonfiction storytelling’s unmatched ability to “comfort the afflicted and afflict the comfortable,” starting with its unflinching use of Alabama state prison inmates’ contraband cellphone footage of the shocking conditions they’re forced to endure. As advocacy, as exposé, as portrait of the fight for justice, no documentary has stuck with me this year quite like “The Alabama Solution.”

10. ‘All That’s Left of You’ and ‘The Voice of Hind Rajab’

One expands its tale of the Palestinian experience across continents and decades, the other condenses its saga to just 90 minutes, balanced on a knife’s edge between documentary and drama. But for all their stark stylistic differences, both “All That’s Left of You” and “The Voice of Hind Rajab” — along with films such as “Palestine 36” and “Put Your Soul on Your Hand and Walk” — urgently communicate, in specific human terms, the life-and-death consequences of a struggle for self-determination too often abstracted in the West to its “complicated” or “thorny” geopolitics. Whether the setting is Jaffa or Gaza, the subject a multigenerational family pushed to its breaking point or the fate of a single little girl, both will leave you shaken. As they should.

TV SHOWS

1. ‘Andor’

Turning its portrait of reluctant rebel Cassian Andor (Diego Luna) into a kaleidoscopic thriller about a simmering revolution reaching the boil — and the authoritarian forces set on stopping them — “Andor’s” second season emerged, by degrees, as the year’s most astounding political allegory — on any size of screen. Aided by an ingenious structure, which divided its four-year arc into four, three-episode miniseries, it ensnared even avowed “Star Wars” skeptics, and featured both the best action set piece and the best monologue of the year.

2. ‘The Rehearsal’

Another sophomore step up, this iteration of “The Rehearsal” — which bordered on cavalier about its civilian subjects in Season 1 — finds impresario Nathan Fielder with more skin in the game, and so becomes a revelatory meta-comedy that lives up to its immense ambition. Come for the elaborate re-creation of American airports, stay for a surprisingly vulnerable Fielder investigating the possibility that he’s on the autism spectrum, and be wowed by the series’ real-world implications for pilot communication. Whatever aspect of “The Rehearsal” grabs you first, it’s the inimitable, inexpressible whole that makes it essential viewing.

3. ‘Adolescence’

It would be easy to be jaded about “Adolescence,” which seems likely to follow in the footsteps of “Baby Reindeer” and win just about every award it’s eligible for. (It’s already notched eight Emmys.) But from the moment I first laid eyes on its extraordinary one-shots, I was persuaded that the series’ technical wizardry was no gimmick. As written by Jack Thorne and Stephen Graham and directed by Philip Barantini, in style and substance “Adolescence” captures polite society’s hold on young men spiraling out of control — and invests its central figure, Owen Cooper’s 13-year-old Jamie, with both the childishness and the menace to match.

4. ‘Elsbeth’

I was glad to hear that CBS plans to campaign “Elsbeth” as a comedy at the Emmys in 2026, in part because it may improve Carrie Preston’s chances at a nod for her turn as irrepressible investigator Elsbeth Tascioni, and in part because the designation highlights what has always shined most in the legal universe of Robert and Michelle King. Here, it’s broader and brighter than the acerbic satire of “The Good Wife” and “The Good Fight,” and embedded in a “Columbo”-esque case-of-the-week structure, but the pair’s sense of humor — always keyed to punching up — continually works wonders, especially in a world where so much crime media is unrelentingly grim.

5. ‘The Pitt’

Given that “ER” was the first show my mom let me stay up late to watch, I wasn’t surprised to like “The Pitt.” But even with my high expectations, I was dazzled by the series’ ability to introduce such a wide array of characters in the pilot episode, and then to develop them all in a seemingly infinite variety of directions while solving one medical crisis after another. Indeed, forced by its “real-time” structure to keep the focus tight even as the stakes ratchet skyward, “The Pitt” registers as even richer, subtler and more relevant than its predecessor. May its heyday last just as long.

6. ‘Dying for Sex’

Since first seeing it in the spring, I haven’t been able to get out of my head the most hilarious moment in “Dying for Sex.” When Molly (Michelle Williams), early in a journey of sexual self-discovery prompted by a recurrence of cancer, falls victim to an online ransomware scam, she drops to the floor to escape the sight of her laptop camera — soon to be joined by her loyal but scattered bestie, Nikki (Jenny Slate), who is not much help but is great company. It had me doubled over with laughter, like so much of Liz Meriwether and Kim Rosenstock’s adaptation of the real-life story. The miniseries never pulls a comic punch despite the heavy subject matter, and is peppered with idiosyncratic choices and memorable performances that make it sing. Special shout out to Rob Delaney for turning a total slob named Neighbor Guy into one of the romantic heroes of the year.

7. ‘Forever’

The Emmy success of “The Studio” and the buzz around “I Love L.A.” may have somewhat overshadowed “Forever,” but they have given me consistent opportunities in 2025 to recommend my favorite L.A.-set show of the year. Mara Brock Akil’s warmhearted, meticulously wrought teen romance, channeling Judy Blume’s condescension-free interest in young people, paints a portrait of places in the city where those other series rarely go, and does so with uncommon sensitivity. I could watch “Forever,” well, forever. Plus, it features one of the year’s finest dramatic performances: Like the series as a whole, Karen Pittman’s protective mother transforms an archetype that could easily ring with cliches into a lived-in, multilayered portrait. Give me more, Netflix!

8. ‘The Gilded Age’

After two enjoyably low-stakes seasons, HBO’s New York-set spin on the upstairs/downstairs drama, created by “Downton Abbey’s” Julian Fellowes, breaks out of the (opera) box in Season 3. With ruined women, roguish men and more geegaws than you can shake a stick at — not to mention a character known to the internet as Clock Twink (Ben Ahlers) — the series remains a deliciously campy prime-time soap, but it now features moments of genuine romance, or regret, to accompany the social climbing. With Peggy (Denée Benton) finding love, Ada (Cynthia Nixon) finding fortune and conniver in chief Bertha Russell (Carrie Coon) finding herself on the outs with her wealthy husband (Morgan Spector), “The Gilded Age” has reached glorious maturity by developing a subplot for just about every taste, even one as lofty as the Van Rhijns’.

9. ‘The Paper’

Call me a homer if you like for putting a show about the survival of local newspapers on this list. And when it comes to the indignities of 21st century journalism, “The Office” spin-off, from Greg Daniels and Michael Koman, certainly passes my fact-check. But more importantly, and sustainably, Peacock’s mockumentary treats the Toledo Truth Teller as the setting for a rock-solid workplace comedy, replete with a winsome editor in chief (Domhnall Gleeson), an ace reporter (Chelsea Frei) and a perfect foil, in the form of managing editor/aspiring influencer Esmeralda Grand (Sabrina Impacciatore, in perhaps the year’s funniest performance). Sure, I’m liable to root for any film of TV show that qualifies as a “love letter” to my chosen profession, but you can’t fake credibility. “The Paper” has the goods.

10. ‘Pluribus’ and ‘Paradise’

One is full of jaw-dropping plot twists, the other meditative, often silent. One imagines the end of the world as we know it in terms of natural disaster, the other in the form of an extraterrestrial’s utopia. What Dan Fogelman’s “Paradise” and Vince Gilligan’s “Pluribus” share, though, is far more important than what sets them apart: a commitment to postapocalyptic storytelling rooted in flawed, compelling characters, not the minutia of megavolcanoes and mRNA. Indeed, as “Paradise’s” hero, Xavier Collins (Sterling K. Brown), squares off against the power-mad Sinatra (Julianne Nicholson) in an underground bunker, or “Pluribus’” Carol Sturka (Rhea Seehorn) clashes with stubborn ally Manousos Oviedo (Carlos Manuel Vesga) on an Earth overtaken by happy lemmings, what becomes clear about both series — and I mean this as a high compliment — is how ordinary they are. If you want to know how you might handle doomsday, you could do worse than starting here.

Curt Cignetti knows winning. No matter where he finds himself, whether it’s James Madison or with the Division II IUP Crimson Hawks, success follows him. Since getting the opportunity to lead a program, Cignetti has never had a losing season.

When Indiana hired him in November 2023, the Hoosiers were the program with the most all-time losses in college football history, and ended the season with a 3-9 record under Tom Allen.

It wasn’t a work in progress, the Hoosiers football program needed to be rebuilt.

On New Year’s Day, Indiana will face Alabama in the highly anticipated Rose Bowl matchup. The Crimson Tide have a rich postseason history and a tradition of championships, but the Hoosiers are the favorites to win.

That is the Cignetti effect.

In two years, he transformed the program from an unranked team, spending most of its time at the bottom of the Big Ten Conference, to the No. 1 team in the country with a Heisman-winning quarterback, Fernando Mendoza.

“When he speaks, it means something,” Indiana linebacker Isaiah Jones said.

“He’s not gonna go around and hype you up, tell you something you want to hear, he’ll tell you what you need to hear and that’s what makes him so special as a coach.”

That kind of tough love echoes throughout the team, Jones said. Whether it’s the fifth-string linebacker or the starting linebacker, Cignetti and his staff coach everyone the same way. That is one of the reasons his players trust him and bought into his philosophy.

“All the coaches want to see you be the best version of yourself,” Jones said. “But you can’t do that if you’re sugarcoating it.”

Cignetti’s coaching style has turned a starting lineup that consists of more lightly recruited players than five-star prospects into the nation’s No. 1 team.

Their surprise arrival at college football’s biggest stage has fired up the Hoosiers.

“It’s definitely a chip on our shoulder,” Indiana cornerback D’Angelo Ponds said. “Just to prove to the coaches that they missed out on the opportunity with us.”

The Hoosiers had the past three weeks off, earning a first-round College Football Playoff bye. Leading up to their quarterfinal showdown with Alabama in Pasadena, before their opponent was known, Cignetti made it a point to focus on how the Hoosiers could feature the best offense and defense in the country. He wanted players to focus on their own work rather than who they would be playing.

“In every single phase, in every single facet of the way that we practice and prepare, it’s all about being the best version of us, and not so much our opponent,” Indiana linebacker Aiden Fisher said.

But as soon as Alabama clinched its ticket to the Rose Bowl, the preparation flipped.

“Once we understood who the opponent was, it just kind of upped a notch,” Fisher said. “[Cignetti’s] done a great job of blocking out the noise, we don’t hear anything in the media, really.”

He wants his team to be present during their preparation, never taking a day for granted and getting their bodies and mindset right.

“He always says, at the later points in the season, it’s about who shows up ready to play, who’s the most prepared,” Indiana center Pat Coogan said.

The success of the team started with his recruitment. Regardless of which players leave or enter the locker room, Cignetti makes sure everyone is focused on the same end goal — winning.

“We are all cut from the same cloth,” Coogan said. “That’s why I think this locker room bonds so well, and why we’ve had success, no matter how many people have transferred.”

Fans flying into Pasadena talk about the ghost of the past, Fisher said. The Hoosiers last made an appearance in the Rose Bowl in 1968 when they lost to USC. A win on New Year’s Day will help bolster the football culture in Indiana, but the team understands it needs to focus on Thursday’s game against Alabama and ignore the bigger picture.

“It’s a privilege and honor to play in the Rose Bowl,” Fisher said. “But we’re still playing a football game of four quarters that we have to go and win.”

NEW ORLEANS, La. — A National Guard deployment in New Orleans authorized by President Trump will begin Tuesday as part of a heavy security presence for New Year’s celebrations a year after an attack on revelers on Bourbon Street killed 14 people, officials said Monday.

The deployment in New Orleans follows high-profile National Guard missions the Trump administration launched in other cities this year, including in Washington and Memphis, Tennessee. But the sight of National Guard troops is not unusual in New Orleans, where troops earlier this year also helped bolster security for the Super Bowl and Mardi Gras.

“It’s no different than what we’ve seen in the past,” New Orleans police spokesperson Reese Harper said.

The Guard is not the only federal law enforcement agency in the city. Since the start of the month, federal agents have been carrying out an immigration crackdown that has led to the arrest of at least several hundred people.

Harper stressed that the National Guard will not be engaging in immigration enforcement.

“This is for visibility and just really to keep our citizens safe,” Harper said. “It’s just another tool in the toolbox and another layer of security.”

The Guard is expected be confined to the French Quarter area popular with tourists and won’t be engaging in assisting in immigration enforcement, Harper said. Guardsmen will operate similar to earlier this year when they patrolled the area around Bourbon Street following the vehicle-ramming attack on Jan. 1.

The 350 Guard members will stay through Carnival season, when residents and tourists descend on the Big Easy to partake in costumed celebrations and massive parades before ending with Mardi Gras in mid-February.

Louisiana National Guard spokesperson Lt. Col. Noel Collins said in a written statement that the Guard will support local, state, and federal law enforcement “to enhance capabilities, stabilize the environment, assist in reducing crime, and restoring public trust.”

In total, more than 800 local, state and federal law enforcement officials will be deployed in New Orleans to close off Bourbon Street to vehicular traffic, patrol the area, conduct bag searches and redirect traffic, city officials said during a news conference Monday.

The extra aid for New Orleans has received the support of some Democrats, with Mayor LaToya Cantrell saying she is “welcoming of those added resources.”

The increased law enforcement presence comes a year after Shamsud-Din Jabbar drove around a police blockade in the early hours of Jan. 1 and raced down Bourbon Street, plowing into people celebrating New Year’s Day. The attacker, a U.S. citizen and Army veteran who had proclaimed his support for the Islamic State militant group on social media, was fatally shot by police after crashing. After an expansive search, law enforcement located multiple bombs in coolers placed around the French Quarter. None of the explosive devices detonated.

In the immediate aftermath of the attack, 100 National Guard members were sent to the city.

In September, Gov. Jeff Landry asked Trump to send 1,000 troops to Louisiana cities, citing concerns about crime. Democrats pushed back, specifically leaders in New Orleans who said a deployment was unwarranted. They argued that the city has actually seen a dramatic decrease in violent crime rates in recent years.

Cline and Brook write for the Associated Press. Cline reported from Baton Rouge.

More artists have canceled scheduled performances at the Kennedy Center following the addition of President Donald Trump’s name to the facility, with jazz supergroup The Cookers pulling out of a planned New Year’s Eve concert, and the institution’s president saying the cancellations belie the artists’ unwillingness to see their music as crossing lines of political disparity.

The fresh round of cancellations after Trump put his name of the building follows an earlier artist backlash in spring. After Trump ousted the Kennedy Center board and named himself the institution’s chairman in February, performer Issa Rae and the producers of “Hamilton” cancelled scheduled engagements while musicians Ben Folds and Renee Flaming stepped down from advisory roles.

The Cookers, a jazz supergroup performing together for nearly two decades, announced their withdrawal from “A Jazz New Year’s Eve” on their website, saying the “decision has come together very quickly” and acknowledging frustration from those who may have planned to attend.

The group didn’t mention the building’s renaming or the Trump administration but did say that, when they return to performing, they wanted to ensure that “the room is able to celebrate the full presence of the music and everyone in it,” reiterating a commitment “to playing music that reaches across divisions rather than deepening them.”

The group may not have addressed the Kennedy Center situation directly, but one of its members has. On Saturday, saxophone player Billy Harper said in comments posted on the Jazz Stage Facebook page that he “would never even consider performing in a venue bearing a name (and being controlled by the kind of board) that represents overt racism and deliberate destruction of African American music and culture. The same music I devoted my life to creating and advancing.”

According to the White House, Trump’s handpicked board approved the renaming. Harper said both the board, “as well as the name displayed on the building itself represents a mentality and practices I always stood against. And still do, today more than ever.”

Richard Grenell, a Trump ally whom the president chose to head the Kennedy Center after he forced out the previous leadership, posted Monday night on X that “The artists who are now canceling shows were booked by the previous far left leadership,” intimating the bookings were made under the Biden administration.

In a statement to the Associated Press, Grenell said Tuesday the ”last minute cancellations prove that they were always unwilling to perform for everyone — even those they disagree with politically,” adding that the Kennedy Center had been “flooded with inquiries from real artists willing to perform for everyone and who reject political statements in their artistry.”

There was no immediate word from Kennedy Center officials if the entity would pursue legal action against the group, as Grenell said it would after musician Chuck Redd canceled a Christmas Eve performance. Following that withdrawal, in which Redd cited the Kennedy Center renaming, Grenell said he would seek $1 million in damages for what he called a “political stunt.”

President John F. Kennedy was assassinated in 1963, and Congress passed a law the following year naming the center as a living memorial to him. Scholars have said any changes to the building’s name would need congressional approval; the law explicitly prohibits the board of trustees from making the center into a memorial to anyone else, and from putting another person’s name on the building’s exterior.

Kinnard writes for the Associated Press. AP writers Steven Sloan and Hillel Italie contributed to this report.

SACRAMENTO — Many low-income Californians prescribed wildly popular weight-loss drugs will lose their coverage for the medications in the new year.

Health officials are recommending diet and exercise as alternatives to heavily advertised weight-loss drugs like Wegovy and Zepbound, advice that experts say is unrealistic.

“Of course he tried eating well and everything, but now with the medications, it’s better — a 100% change,” said Wilmer Cardenas of Santa Clara, who said his husband lost about 100 pounds over two years using GLP-1s covered by Medi-Cal, California’s version of Medicaid.

California is joining several other states in restricting an option they say is no longer affordable as they confront soaring pharmaceutical costs and steep Medicaid cuts under the Trump administration, among other financial pressures. Despite negotiated price reductions announced in November that the White House said would “dramatically lower cost to taxpayers” for the drugs and enable Medicaid to cover them, states are going ahead with the cuts, which providers say may undermine patient health.

“It will be quite negative for our patients” because data show people typically regain weight after stopping the drugs, said Diana Thiara, medical director of the UC San Francisco Weight Management Program.

Although California and New Hampshire will not cover GLP-1 prescriptions for obesity beginning Jan. 1, they will continue to cover the drugs for other health issues, such as type 2 diabetes, cardiovascular disease and chronic kidney disease.

Michigan, Pennsylvania, Rhode Island, South Carolina and Wisconsin are planning or considering restrictions, according to the Kaiser Family Foundation’s most recent survey of state Medicaid programs.

That reverses a trend that saw 16 states covering the medications for obesity as of Oct. 1. Interest in providing the coverage “appears to be waning,” the survey found, probably because of the drugs’ cost and other state budget pressures. North Carolina pulled back GLP-1 coverage in October, but Gov. Josh Stein reinstated it in December, bowing to court orders despite a lingering budget shortfall.

Catherine Ferguson, vice president of federal advocacy for the American Diabetes Assn. and its affiliated Obesity Assn., said it’s unclear how states will adjust to the White House plan to lower the cost of several of the most popular GLP-1s through TrumpRx, an online portal for discounted prescription drugs. The price of Wegovy, for example, will be $350 per month for consumers, versus the current list price of nearly $1,350, and Medicare and Medicaid programs will pay $245, according to the plan.

“Many states are facing budgetary challenges, such as deficits, and are working to address the impacts of the changes to Medicaid and SNAP,” Ferguson wrote, referring to the Supplemental Nutrition Assistance Program. “As more details become available for the Administration’s agreements, we will see how state Medicaid responds.”

The Department of Health and Human Services referred questions to the White House, which did not respond to requests for comment on states’ termination of Medicaid coverage for the weight-loss drugs.

California projected its costs to cover GLP-1s for weight loss would have more than quadrupled over four years to nearly $800 million annually if it didn’t end Medi-Cal coverage for that use. Medi-Cal has covered weight-loss drugs since 2006, but use of GLP-1s soared only in recent years. By 2024, more than 645,000 prescriptions were covered by Medi-Cal across all uses of the medications. The California Department of Health Care Services could not readily provide a breakdown of whether the drugs were for weight loss or other conditions.

When asked whether the state would reconsider its plans in light of the announced price cuts, Department of Finance spokesperson H.D. Palmer said it had no plans to do so. California’s cut is written into the state’s budget law.

California officials would not say how much it could save under the TrumpRx plan, citing federal and state restrictions on disclosing rebate information.

Healthcare providers don’t expect the Trump administration’s negotiated price cuts to make much difference to consumers, because pharmaceutical companies already offer discounts.

“The out-of-pocket costs will still be very cost-prohibitive for most, especially individuals with Medicaid insurance,” Thiara said.

New Hampshire will also end its coverage Jan. 1. Officials with the New Hampshire Department of Health and Human Services did not respond to requests for comment.

About 1 in 8 adults are taking a GLP-1 drug for obesity, disease or both, up 6 percentage points from May 2024, according to KFF poll results released in November. More than half of users said their GLP-1s were difficult to afford, and many who had stopped the treatment cited the cost.

Public and private payers have been trying to wean patients off of the drugs to save costs. California health officials said Medi-Cal members and their healthcare providers should consider “other treatment options that can support weight loss, such as diet changes, increased activity or exercise, and counseling.” That echoes advice from the New Hampshire Medicaid program.

California Department of Health Care Services spokesperson Tessa Outhyse said in an email that the official advice to try those other approaches now “is not meant to dismiss any past efforts, but to encourage Medi-Cal members to take a renewed, proactive, and medically supported approach with their healthcare provider that may appropriately include these additional options.”

But that may be unrealistic, said Kurt Hong, founding director of the Center for Clinical Nutrition at Keck School of Medicine of USC.

“We definitely want patients to do their part with the diet and exercise, but unfortunately, and from a practical standpoint, that itself frequently is not enough,” Hong said, adding that usually by the time patients see doctors, they have failed at achieving results through those means.

Hong understands why Medicaid programs, as well as private providers, want to cut back on covering the drugs, which can cost thousands of dollars per patient per year. However, they can produce twice the weight loss as the medications typically used previously, he said.

A school of medical thought supports people gradually ending their use, but Hong said obesity is generally considered a chronic condition that requires indefinite treatment.

“Once they reach their target weight, a lot of people will try to see whether or not they can wean off,” Hong said. “We do see a lot of patients — when they try to get off, unfortunately, then the weight comes back.”

Medi-Cal members younger than 21 will remain covered for purposes including weight loss, California officials said, citing a federal requirement.

Medi-Cal members will be able to keep their GLP-1 coverage if they can demonstrate it is medically necessary for purposes other than weight loss, the Department of Health Care Services said. Members who are denied coverage can seek a hearing, the department said in a letter to members.

Members will still be able to pay for the prescriptions out of pocket and may be able to use various discounts to lower costs. Another option is new pills to treat obesity, which will be cheaper than their injectable counterparts. The Food and Drug Administration approved a pill version of Wegovy on Dec. 22, which probably will cost $149 a month for the lowest dosage, and similar weight-loss pills are expected to be available in the first half of the year.

Although Cardenas said his husband, Jeffer Jimenez, 37, uses GLP-1s primarily for weight loss, Jimenez’s prescription is for diabetes, so the couple hoped to continue receiving coverage through Medi-Cal.

“He tried a thousand medications, pills, natural teas, exercise program, but it doesn’t work like the injections,” Cardenas said. “You need both.”

Thompson writes for KFF Health News, a national newsroom that produces in-depth journalism about health issues and is one of the core operating programs at KFF.

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No. 1 Indiana booked its ticket to the College Football Playoff quarterfinals on Dec. 6 after defeating Ohio State 13-10 in the Big Ten championship game. With such a long gap before its New Year’s Day matchup against No. 9 Alabama in the Rose Bowl, Indiana offensive lineman Carter Smith said the Hoosiers are seeking a balance in preparing while still practicing with intensity.

“It’s all about keeping the speed of the game,” Smith said Saturday. “The biggest thing for us in the offensive line room has been going like it’s a game, every single breath, because we know that being away from the game for so long can affect that.”

The first two weeks of preparation were lighter workouts as the Hoosiers recovered from the season, tight end Riley Nowakowski said. Without knowing their opponent, the Hoosiers didn’t want to overwork older players. Instead the coaching staff gave younger players opportunities to get reps during practice.

But after Alabama punched its ticket to the Rose Bowl, the mentality changed.

“We really got into game prep and I think that’s kind of how you do it. … You start to really lock in and get back into normal game-speed stuff and game type of practices,” Nowakowski said. “I think it’s important to stay locked in mentally.”

Even with the bright lights of the Rose Bowl, Indiana offensive coordinator Mike Shanahan said the pressure will not be overwhelming.

“There might be a slight adjustment early in the game, but I feel like our guys will be ready to go and the experience within our group will help us there as well,” he said.

U.S. Immigration and Customs Enforcement summoned Afghans residing in the U.S. to present their documents during the holiday season, marking the latest effort by the Trump administration to crack down on migrants from the Asian nation.

ICE is seeking appointments for a “scheduled report check-in,” with one requesting such a meeting on Christmas Day and another asking for one on New Year’s Day, according to copies of letters sent to different people seen by Bloomberg News. Other notices were for check-ins around the holidays on Dec. 27 and Dec. 30.

The immigration agency has arrested migrants who appear at its offices in response to such formal requests, including those attending interviews for their green cards. Recipients of the letters had previously gained legal protection and were deemed “Afghan allies” as part of a program started by former President Joe Biden in August 2021 to protect those who fled to the U.S. after the American military’s withdrawal from Afghanistan and the Taliban’s subsequent takeover of the war-torn country.

“ICE is using federal and religious holidays to detain Afghans when access to legal counsel, courts, and advocates is at its lowest,” Shawn VanDiver, founder of the nonprofit group AfghanEvac that supports Afghans who assisted the U.S. war effort, said in a statement criticizing the call-ins and their timing. “This is not routine administrative scheduling.”

A Department of Homeland Security spokesperson, however, called the check-ins “routine” and “long-standing” without elaborating on how many letters were sent out. The spokesperson added that ICE continues its standard operations during the holidays.

Christmas and New Year’s Day are federal holidays when most government offices are closed.

The call-ins follow substantial changes to the U.S. immigration policy under President Donald Trump targeting Afghans in the wake of the November shooting of two National Guard troops by Rahmanullah Lakanwal, an Afghan national who worked with U.S. forces and the CIA in Afghanistan before arriving in the US in 2021. Homeland Security Secretary Kristi Noem said that Lakanwal, who has been charged with murder, came to the U.S. through the Biden program known as Operation Allies Welcome.

Since the November shooting, the Trump administration has announced it will re-review the cases of all refugees resettled under the Biden administration and freeze their green card applications, and will consider among “significant negative factors” a country’s inclusion on the president’s vast travel ban.

In another blow to Afghans, the administration’s refugee cap for fiscal year 2026 was vastly lowered to 7,500 from 125,000. The presidential determination indicated it will favor White South Afrikaners and did not mention Afghans.

The administration also removed an exemption for Afghan nationals with Special Immigration Visas — which offers those who provided services to the US government or military in Afghanistan — when it expanded its entry ban list to nationals of more than 30 countries from 19 previously. Afghan nationals were already on the entry ban list prior to the expansion.

The State Department earlier this year shuttered the office that helped resettle Afghan refugees who assisted the American war effort. An effort on Capitol Hill to compel the administration to restart the operations failed to make it into the defense policy bill that Trump signed this month.

With assistance from Alicia A. Caldwell. Lowenkron writes for Bloomberg.

Chef Zachary Pollack is ringing in the New Year right with a variety of dinner options at his new Santa Monica spot, Cosetta. Choose from three seatings, including an early, all-ages a la carte option; a low-key, four-course menu from 6 to 7:30 p.m. for $75; and a five-course Capodanno feast with Champagne and caviar from 8-11 p.m. for $120 per person. On New Year’s Day, the restaurant will transform into “Aloha, Cosetta,” an all-day Hawaiian BBQ celebration from 12 to 7 p.m., featuring dishes such as coconut shrimp, risotto Spam musubi, macadamia-chile pork ribs and tiki-style cocktails. With three price tiers, the top CHIEFTAIN tickets ($100) include tomahawk steaks, lobsters and a 24-ounce mai tai in a keepsake mug. Book New Year’s Eve on the website, and New Year’s Day via Resy.

It has been a year. And for many of us, not a great one. Fires, political chaos, rising unemployment, the loss of beloved cultural icons — it’s understandable if you want to toss 2025 in the trash heap where it belongs.

And you should, at least symbolically. Ending a collective or personal era with a closing ritual can be therapeutic and allow you to make room for something new. The goal is not to work abracadabra-type magic, but to “enact a symbolic shift,” as University of British Columbia anthropologist Sabina Magliocco puts it.

“When you do a New Year’s ritual, you are symbolically shifting to a new beginning,” she said. “That might involve rituals to usher in good luck or health, more prosperity, more creativity, or just out with the old, in with the new.”

Humanity has been enacting rituals to transition from one year to the next for millennia, and they are part of our lives today — drinking sparkling beverages, watching the ball drop in Times Square, cheering as the clock strikes midnight — these are all ways of celebrating the completion of one cycle and welcoming the start of the next one with joy and the hope that this time may be better.

We’ve collected and created 25 practices to help you say goodbye to 2025. Some of our rituals are serious, others more lighthearted, yet all should be done with intention for maximum effect. We’ve included some places around L.A. that would be ideal for these activities — for instance, Downtown’s Rage Ground where you can (safely) smash a car, or San Pedro’s Cabrillo Beach, where you can plunge into water that’s freezing by L.A. standards (it’s about 59 degrees).

So sweat it out, sweep it out, dance it out or melt it away. Whichever way you choose to say good riddance, we hope it brings you a bit of peace and helps you slide purposely into the new year (which surely, hopefully, God-willing has to be better than the one we just finished, right?).

— Deborah Netburn

1. Scream into the void

“Scream therapy,” or “primal scream therapy,” dates back to the early ‘70s and is an underrated — and free — way to release bottled-up tension and anger (or a relentlessly stressful year). Find an open expanse with a dramatic view — check out our guide to shout-worthy spots in L.A. — take a few deep breaths, engage your core and let out an unbridled scream. Not ready to howl in a place where other people may be in the vicinity? A primal scream into a pillow at home can offer a similar sense of release. — Deborah Vankin

2. Sweat 2025 out of your system

Koreatown’s Wi Spa, open 24/7, has five progressively hot saunas in a coed community space. But its single hottest sauna — one of the toastiest in all of L.A. — is the Bulgama sauna. It looks like an igloo from the outside, though the interior is made mostly of oak wood. The sauna is set at an intense 231-degrees (by contrast, my gym’s dry sauna is 160-180 degrees). There are no benches to sit on; guests lie on the floor or sit upright against the wall, their faces flushing scarlet and sweat dripping down their cheeks and limbs. Tough it out for as long as you possibly can, perhaps while meditating on all you want to let go of, and sweat out every bit of this difficult year. Just be sure to hydrate afterward. — D.V.

3. Roll down a hill

If the heaviness of 2025 has you feeling stuck, shake up your perspective by making like a 5-year-old and rolling down a grassy hill. Luckily, L.A. is filled with hills perfect for rolling, including the popular Hancock Park near the La Brea Tar Pits and Museum. I guarantee that you’ll feel different at the end of your roll than you did at the start. (And if I’m wrong, try climbing the hill and rolling down again!) — Deborah Netburn

4. Jump into the ocean

The “polar bear plunge” is a popular tradition in many places, including San Pedro’s Cabrillo Beach, where people have been jumping into the water on New Year’s Day for at least 73 years. The Cabrillo Beach Polar Bears name a king and queen and hand out polar bear certificates — in fact, so many people joined in last year that the club ran out of certificates. The water in San Pedro is typically about 59 degrees. But this tradition persists in places much colder — for instance, Scheveningen, the Netherlands. There, as many as 10,000 brave bathers show up each New Year’s Eve to dip into the North Sea, which is usually between 37 and 48 degrees Fahrenheit. — Christopher Reynolds

5. Rage … and smash a car!

When I’m angry — like fuming, stomping, raging mad (which is a lot, lately, considering the state of, well, everything) — I often think of Swiss artist Pipilotti Rist’s video, “Ever Is Over All.” In it, Rist saunters down an urban sidewalk in a light blue sundress smashing car windows as she goes. The crinkly, cacophonous sound of shattering glass is amplified each time she bashes a car. Sounds awesome, right? You can do the same at L.A. Rage Rooms such as Rage Ground and Break Room Los Angeles. Visitors don protective gear while wrecking an entire automobile — windows, doors, headlights and all — to the angry playlist of their choice. Unleashing rage can be cathartic and healing — not a bad way to put 2025 behind you for f— good! — D.V.

6. Burn some incense — or join a safe, fire department-sanctioned communal blaze

Maybe you’ll spark some sage, as people do when hoping to rid a room of bad vibes. You could also burn a little incense, cedar, yerba santa, palo santo, rosemary, mugwort, juniper or sandalwood. Or, if you crave a bigger blaze, you could head up to Solvang, where on Friday, Jan. 9, the Santa Barbara County Fire Department will supervise a community Christmas Tree Burn. Local authorities bill the event as “a powerful safety demonstration” in the empty lot next to the Mission Santa Ines (1760 Mission Drive). But you’ll know that it’s really about purging the vile remnants of the last year. — C.R.

7. Walk a labyrinth

Labyrinths can be a great tool for release. To make a labyrinth walk extra meaningful, find a trinket or stone that represents 2025 to you and then walk slowly toward the labyrinth’s center, infusing the stone with whatever you want to leave behind in 2025. When you get to the center of the labyrinth, drop the stone, and breathe out the year. As you leave the center, imagine filling yourself up with your hopes for the new year. Looking for a labyrinth to walk? Check out our list of great labyrinths in the L.A. area, including the one at Peace Awareness that uses the same pattern design as the labyrinth at the Chartres Cathedral in France — D.N.

8. Travel through time

If you visit the Time Travel Mart in Echo Park or Mar Vista, you’ll come to understand that its true mission is to promote literacy and writing skills among kids. But the goofball retail goods in both shops — alleged supplies for chrononauts — are a comfort to anyone seeking maximum distance from 2025. Buy candles honoring patron saints of time travel (including theoretical physicists Stephen Hawking, Albert Einstein and Ronald Mallett). Pick up some robot milk or canned mammoth. Or, perhaps best of all, grab a copy of “The Time Traveler’s Almanac,” a 2013 collection of 72 literary “journeys through time” by writers including Douglas Adams, Isaac Asimov, Ursula K. Le Guin, George R.R. Martin and H.G. Wells. As the largest collection of time-travel stories ever assembled, it won’t just take you to 2026, but far beyond. — C.R.

9. Dance it out

Shake your booty, swing your limbs, wriggle your hips. Literally shake off the year while working up a sweat at any number of dance events. I do it at Zumba class; others at nightclubs and dance parties. LA Dance Project offers weekly, community dance classes for all levels; Wiggle Room holds improvisational movement workshops; Pony Sweat, a “fiercely noncompetitive dance aerobics celebration,” holds $10 classes on Monday nights; and Ecstatic Dance LA is a “substance-free, all ages community celebration” of dance. Even the Los Angeles Public Library holds free ‘80s-era dance classes. Or travel to another part of the world for the night at ¡BAILE!, a recurring world music dance party — one of many in L.A. You’ll forget all about 2025, if just momentarily. — D.V.

10. Challenge yourself with one of L.A.’s hardest hikes

You made it through a hard year. Celebrate by making it through a hard hike. For a serious challenge, try the Vital Link Trail at Wildwood Canyon Park in Burbank where you’ll do an elevation gain of 1,700 feet in just two miles. Because the trail is sandy and has some erosion, it’s best to navigate it with trekking poles. Also, remember that “challenging” is a relative term. If Vital Link Trail is not for you, check out other options on our list of local hikes for all skill levels. — D.N.

11. Write a year-end letter

This could be a pep talk, a condemnation of the last 12 months, a breakup letter to your past self or a hopeful letter to your future self. Or take control of your life by starting a diary, as the main character does in the Helen Fielding novel and subsequent Renée Zellweger movie “Bridget Jones’s Diary.” Maybe with less smoking, drinking and mixing it up with Hugh Grant. — C.R.

12. Visit a cemetery to reflect on the past

L.A.’s legendary Hollywood Forever Cemetery just held an end-of-year event with a cord-cutting meditation meant to help participants “dispel the shadows” of their lives and let go of what no longer serves them. You could create a similar ritual. Visit one of the city’s many cemeteries and as you stroll through the space, think about laying to rest what’s been weighing on you most this past year. — Michelle Woo

13. Be your own Death Bear

More than a decade ago, New York performance artist Nate Hill created a Death Bear character. He would appear at people’s homes in a strange black PVC costume, then remove items that triggered bad memories and take them away forever to his Death Bear Cave, location unspecified. Hill seems to have retired Death Bear, but you could always create your character to vanquish bad memories. — C.R.

14. Bury the year

You could throw 2025 in the trash, but consider composting it instead. Write down “2025” on a small scrap of paper along with an few aspects of the year you would like to leave behind. Bury the paper in a garden or a flower pot along with some seeds of your choice. Over the next few weeks, watch with satisfaction as a budding seedling transmutes 2025 into something beautiful and fresh. — D.N.

15. Shed 2025 along with your dead skin with an intense body scrub

Vigorous, bracing, borderline painful, there is nothing like a no-frills full-body scrub at one of L.A.’s many Korean spas. For as little as $50 you will feel like you’ve removed the hard crust of the bygone year from your body, emerging shiny, soft and new. Let the shedding begin! — D.N.

16. Cut your hair

Or change it. Various cultures have ideas about this and exactly when you should do it. I say the sooner we turn the page, the better. Along with shedding skin, getting a trim is one of the most literal ways you can change your body to signal a new era. — C.R.

17. Purge your closet — and donate

This summer, the fluff and fold I bring my laundry to burned down — with three enormous bags of my clothing and linens inside. At first I was upset: beyond its practical function, our clothing is an extension of our identity and often beloved items house emotional memories from the places they’ve traveled to. It felt like a loss, not to mention a financial burden. But surprisingly quickly, silver linings surfaced. My closet was roomier and more navigable — it was easier to put outfits together. Friends and family offered blankets, sheets and sweaters, and I felt supported. I somehow also felt lighter? A purposeful, DIY closet purging can feel cathartic at the end of year. And in hauling off a bag or two of your clothing to Goodwill or the Salvation Army, you’ll not only be releasing a little bit of 2025, but helping others, who need your recycled goods, in the process. — D.V.

18. Cry in the shower

I get my best creative ideas in the shower. And I indulge my fiercest sobbing sessions there as well. The act of crying — anywhere — lowers stress hormones such as cortisol and releases feel-good hormones like oxytocin. But there’s something about being in a cozy, private space, ensconced by rushing water and plumes of steam, that allows me to fully release and opens the floodgates. Try it. Bonus: no tear-stained face afterward. — D.V.

19. Rearrange your house

Switch up the energy in your home by switching up the placement of your furniture. It will help you see your space, and perhaps your life, in a fresh light. The bed in that corner? That was so 2025. The dresser on that wall? Last year’s news! Try working with the items you have before going out to buy something new. — D.N.

20. Sweep the worst of 2025 out the door

Deep cleaning followed by ritually sweeping misfortune and bad energy out of your home before the start of the Lunar New Year is a tradition in Chinese culture. I’ve also seen ritual sweeping practiced by modern witches and other spiritual questers. The ritual itself is simple but deeply symbolic: For a fresh start to the new year, fully clean your house top to bottom and then finish by holding a broom just a bit off the floor and use a sweeping motion to push the bad energy out of your house. — D.N.

21. Make a physical threshold and cross it

New Year’s Eve party idea: Just before midnight create a physical threshold on the ground using a stick, a piece of string, or draw an actual line in the sand if you happen to be at the beach (this is L.A. after all). As the clock strikes midnight, invite guests to cross the threshold one by one and cheer as you step into 2026 and leave 2025 behind. — D.N.

22. Watch 2025 melt away

Find a small candle and carve “2025” onto the side of it using a small knife. Light the candle and let it burn until 2025 has melted away. — D.N.

23. Watch the sunset

Is there a more symbolic way to say farewell to 2025 than watching the sun literally dip below the horizon for the final time on this god-awful year? Consider this nature’s ball drop. — D.N.

24. Toss 2025 into the waves

Tashlich is a Jewish new year ritual of symbolically releasing your sins by throwing them into a natural body of water. When I was a kid, my family used bread crumbs to represent our sins. Now I use small stones or torn-up bits of leaves to keep from polluting the environment. Whatever you use, hold it in your hand and imagine what it is that you want to release. Then toss it into the water and imagine yourself letting it go. The Jewish new year holiday, Rosh Hashanah, is celebrated in early fall, but there’s no reason you can’t give this ritual a whirl on the Gregorian calendar’s new year too. — D.N.

25. Take a final photo

2025 may not have looked like how you hoped it would look, but now you are in control. As the year draws to a close, set yourself a task of taking one final photo of the year that is meaningful to you. Sad or hopeful, lush or desolate: you decide. Perhaps it is someone or something you love. Or a representation of the loss you experienced. We take photos all the time without thinking. Choose to make this one count. — D.N.

Rita Simons has admitted she would happily sit down with EastEnders bosses to discuss a return even though her soap character was killed off almost a decade ago

Rita Simons has admitted that she would consider a return to EastEnders. The actress, 48, became an instant fan-favourite on the BBC soap when she arrived to play Roxy Mitchell in 2007, turning up alongside Samatha Womack as her on-screen sister Ronnie.

The pair were involved in multiple dramas over their decade-long stay in Albert Square, but it all came to a fatal head on New Year’s Day 2007 when Roxy drunkenly jumped into a swimming pool, and Ronnie jumped in to save her, only to be weighed down by her wedding dress as they both drowned.

Despite being killed off, there have been rumours of a return in one way or another, and Rita initially made a brief reappearance as Roxy in the form of a hallucination in 2023, where she comforted her on-screen daughter Amy. But almost a decade since being axed, Rita, who recently enjoyed a stint in Hollyoaks as Marie Fielding, has admitted she is always asked about a comeback and would happily discuss the idea with soap bosses.

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She said: “It just doesn’t, it doesn’t stop! Someone, I won’t name them, said to me the other day ‘the resilience of your fans is impressive. And it is. Listen, if it was a meeting, we’d be there. But no, I’ve been having lots of very sort of, I’m looking at the gritty dramas, the comedies, the gangster stuff.

“Of course, if EastEnders came knocking, we’d definitely have a conversation.” After leaving EastEnders, Rita starred in a UK tour of the musical Legally Blonde and then competed in the I’m A Celebrity…Get Me Out Of Here! jungle.

Speaking to The Sun, she added: “I think that’s kind of another reason I knew it was time to leave Hollyoaks because I knew that I always wanted to do more drama. And I think it’s easier to transcend when you don’t hang around too long,” before noting that she’d “hung around long enough” in the BBC soap that a comeback might be possible.

Rita’s on-screen sibling Samantha has also enjoyed a successful career on screen and stage since leaving EastEnders, and recently admitted during an appearance on Loose Women that she had been through “all sorts” personally amid her time on the soap and was “terrified” at the thought off leaving, but it altered her outlook on life, especially after facing a battle with cancer.

She said: “When you’re in a place for nine years and you’re playing that character every day, and you’re embedded in that family structure, so you believe that the people who are your sisters, brothers, uncles, cousins, whatever, then you believe that they really are because you see them every day.

“You go through all sorts of emotional things together, the birth of your children, funerals, and this is with the crew as well. You get to know such this wonderful group of people for such a long time and then Ronnie drowned in a pool.

“I thought it was shot beautifully. In retrospect, it’s very easy to hold onto safety, isn’t it? Particularly in our game, being self-employed is terrifying. I don’t know if it was a favour [killing me off], but my whole outlook on life has changed.”

“I got diagnosed with breast cancer and survived it for no,w but the beauty of everything that happens to you, the ups, the downs, is the beautiful chaos of it all and what you’d miss if you weren’t here.”

Earlier this year, the former Mount Pleasant star admitted that she started saying no to a lot of opportunities after her treatment, but knew she needed to do something to get back to earning a sustainable income. She told The Mirror: “After my year-and-a-half of treatment, I started turning down a lot of stuff – and I didn’t have the bank balance to match that confidence, trust me.

“It was me saying the word ‘no’ and my bank account creaking. But there was empowerment in that because I thought, ‘OK, I need to go through this, spend time with myself and figure out stuff that I’ve never figured out – maybe stuff I’ve buried under a rug.’”

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