I visited Disneyland last weekend expecting huge crowds, busy restaurants and monster ride wait times. But the day was quite enjoyable thanks in part to Disneyland’s Lightning Lane Pass.
I commented to some employees throughout the day, “I thought this would be worse.”
Almost unanimously, each had the same answer: The real rush was yet to come.
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That’s when the cost of a single-day adult park-hopper pass, which allows a patron to visit Disneyland and adjacent California Adventure Park, soars to $314 (buy a week later, prices will drop by $50.)
Many Disney experts and influencers advise you to avoid the resort during this time.
But what if you’ve already bought tickets? What if out-of-town family is desperate to visit? What if this is the only free time to take the kids?
Traver explained to me that preparing for the holiday rush is not all too dissimilar from spring break.
One essential tip is to arrive at Disneyland before the park’s opening at 8 a.m.
Security checks begin as early as 7 a.m. and the gate, which opens around 7:20 to 7:30, allowing patrons to line up for the rope drop.
“For people interested in getting on the most popular rides, this is how you cut down on wait times,” Traver said.
He noted rope drop, the insider term for the moment a literal rope around attractions, restaurants and shops drops when the park opens at 8 a.m. is the best time to head to the “Star Wars”-themed “Rise of the Resistance,” which can easily draw two-hour lines later in the day.
Traver added this tidbit: Disney hotel guests receive early entry on Tuesdays, Thursdays and Saturdays, so the other days are best for early arrivers.
Consider eating at the bigger restaurants
He said patrons looking to maximize time and find a seat should search for larger capacity places.
Those include Rancho del Zocalo in Frontierland, the Red Rose Taverne in Fantasyland, the Hungry Bear Barbecue Jamboree in Bayou Country, Galactic Grill and Alien Pizza Planet in Tomorrowland.
“The larger the crowd, the bigger the fight for seats,” Traver said. “Go to places with more seats.”
Next week, there might be one more consideration: Forecasters predict rain on Tuesday and Thursday.
Traver said restaurants like Alien Pizza Planet, which is 90% covered, or the Golden Horseshoe Restaurant in Frontierland, which is completely indoors, will be in high demand.
Take advantage of single rider
Both Disneyland and California Adventure offer a handful of single-rider lines.
If family members don’t mind riding alone, they can cut long waits at Tiana’s Bayou Adventure, the Matterhorn Bobsleds, Space Mountain and Millennium Falcon: Smugglers Run in Disneyland, the lone single-rider attractions at the park.
Traver’s favorite single rider attraction is California Adventure’s Radiator Springs Racer, where wait times are notorious.
“It will cut the wait time by a third,” Traver said.
Be realistic, but bring a good attitude
Maybe the biggest secret: Set proper expectations, Traver said.
“If you expect things to go smoothly and they don’t, now you’re disappointed,” he said. “But, if you arrive with lower expectations and an understanding that lines are going to be long and you’re just going to have to wait, you may be pleasantly surprised.”
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(Jim Cooke / Los Angeles Times; Photos via Getty Images)
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Walt Disney Co. is expanding its presence in the Middle East, inking a deal with Saudi media conglomerate MBC Group and UAE firm Anghami to form a streaming bundle.
The bundle will allow customers in Bahrain, Kuwait, Oman, Qatar, Saudi Arabia and the UAE to access a trio of streaming services — Disney+; MBC Group’s Shahid, which carries Arabic originals, live sports and events; and Anghami’s OSN+, which carries Arabic productions as well as Hollywood content.
The trio bundle costs AED89.99 per month, which is the price of two of the streaming services.
“This deal reflects a shared ambition between Disney+, Shahid and the MBC Group to shape the future of entertainment in the Middle East, a region that is seeing dynamic growth in the sector,” Karl Holmes, senior vice president and general manager of Disney+ EMEA, said in a statement.
Disney has already indicated it plans to grow in the Middle East.
Earlier this year, the company announced it would be building a new theme park in Abu Dhabi in partnership with local firm Miral, which would provide the capital, construction resources and operational oversight. Under the terms of the agreement, Disney would oversee the parks’ design, license its intellectual property and provide “operational expertise,” as well as collect a royalty.
Disney executives said at the time that the decision to build in the Middle East was a way to reach new audiences who were too far from the company’s current hubs in the U.S., Europe and Asia.
In the latest episode of The Envelope video podcast,Oscar Isaac opens up about the connection he forged with director Guillermo del Toro for “Frankenstein” and Wunmi Mosaku reflects on the way her own heritage informed her work in “Sinners.”
Kelvin Washington: Hello, everyone, and welcome to a new episode of The Envelope. Kelvin Washington here, and you know who we have: We have Yvonne Villarreal, we have Mark Olsen, and you as well, so thank you for being here. Happy holidays to the both of you. First off, the green memo [gestures to Villarreal].
Mark Olsen: I feel like you guys have left me off the group text again.
Washington: We did.
Olsen: I’m not getting these messages.
Washington: By the way, tomorrow will be Christmas trees — but we’ll talk about that later. Don’t worry about that. Quickly, Christmas list. One thing you’re looking for.
Villarreal: A break. …. Sorry, I answered before you even finished.
Washington: You know our bosses and producers are looking at us right now. You deserve one. Mark, you?
Olsen: That sounds good, sure.
Washington: All right, that was it, thank you for watching this episode of … All right, let’s get into it. Yvonne, you had a chance to speak with Oscar Isaac, who’s taking on the role, of course, as Frankenstein in Guillermo del Toro’s adaptation of this classic. Tell me a little bit more.
Villarreal: He plays the brilliant but egotistical scientist Victor Frankenstein, who creates life with this monstrous experiment, and the result is the Creature, played by Jacob Elordi. It was really nice speaking with Oscar about some of the themes that the film explores, the father-son dynamic and breaking cycles of generational trauma. And he was talking a lot about where he pulled from, the conversations he had with Guillermo about what they wanted to delve into. And it was really fun also hearing him talk about the rock star inspiration, for his take on Victor. So it was fun.
Washington: All right, we’re looking forward to that. We’ll get there in just a moment. Mark, I swing to you. You had a chance to speak with Wunmi Mosaku, who in my mind was the kind of the breakout star of Ryan Coogler’s vampire thriller “Sinners.” I want to hear more about what you had to talk about.
Olsen: Exactly. I mean, this has been such a breakout role for her. Obviously, the film was a huge hit when it came out earlier in a year. And she, you know, she’s been acting for years now. I think a lot of people know her for when she was on “Lovecraft Country,” another sort of horror-themed story. Here she plays Annie, the former partner of Smoke, one of the two characters by Michael B. Jordan in the film. And just on a practical level, it was great to hear her talk about working with Michael, where he’s playing these two parts and the way he made it seem so effortless to shift back and forth between them. But then also on an emotional level, you know, she was born in Nigeria, raised in England, lives here in Los Angeles, and yet she just forged such a deep personal and emotional connection to this character from 1930s Mississippi. And so to hear her talk about that, there was just something really wonderful in the conversation. It was really terrific.
Washington: This happens all the time, as you all know, that moments like this, scenes like those in the movie, like she’s gonna become someone that’s, “Hey, you know what? We need to look into her more.” So I’m happy for her to have that breakout moment. All right, without further ado, here’s Yvonne and Oscar.
Oscar Isaac in “Frankenstein.”
(Ken Woroner / Netflix)
Villarreal: Oscar, thanks so much for being here.
Isaac: Very happy to be here.
Villarreal: I have to say, driving down the 110, I came across buses with your face wrapped around them.
Isaac: I’m so sorry.
Villarreal: It was a pleasant sight in L.A. I know you encounter a level of this with each project, but this does feel a little bit different. How you’re feeling in this moment with “Frankenstein”? How do you take stock of the small moments in this big production?
Isaac: There aren’t too many small moments with this, to be honest. Everything’s very big-sized. In a way, it’s the most I’ve really done to support a movie. I’d say even more than “Star Wars” to a certain extent, because it straddles so many things. It’s a big fun popcorn movie. It’s also an intense emotional drama. It’s a platform release, a few theaters then the streaming platform itself. So there’s been a lot of things to do for that. And it can be tiring, but the thing is when it’s in service of Guillermo [del Toro, the director] and his vision and it’s his love letter to cinema, it’s the story he’s always wanted to tell — that’s an energizing thing. Being able to do it with him. And with Jacob [Elordi] and Mia [Goth].
Villarreal: Have you come across a bus with your face on it yet?
Isaac: Maybe not a bus. I’ve seen billboards. I’ve seen bus stops, but the actual moving thing itself, no, I haven’t yet.
Villarreal: I know Guillermo has said that he has long seen you as the person to play this role of Victor, even before there was a screenplay. What do you remember about that lunch you had with him? What did he say that he saw in you for this?
Isaac: I wish I could really go back and like just parse it all out. We just immediately started speaking as friends, as fellow Latinos, as immigrants trying to navigate our way through this industry, as both having very intense relationships with our fathers and the way that’s changed over time, both becoming fathers and wanting to not necessarily follow in some of the same footsteps, but also recognizing what an incredible source of of life our fathers have been. But all the pain that came from that, and forgiveness. We talked about those things without any relation to a movie in my mind. It wasn’t until after that where he started talking about this project and he said, “I think you need to play Victor Frankenstein.”
Villarreal: I feel like Mary Shelley’s “Frankenstein” is so steeped in the culture because the creature, the monster, is such a part of pop culture. When did you first encounter the book? Did you have to read it in high school?
Isaac: I encountered it a little later. It was shortly after high school. I wanted to have a read because it’s such a famous, legendary, iconic book. I enjoyed it, but it didn’t really hit so hard for me. When I left that that meeting, Guillermo gave me Mary Shelley’s “Frankenstein” and the Tao Te Ching. He’s like, “Read these two books.” Going back to the book again, reading it, really hearing her voice, really hearing her voice in all of the characters — I thought that was very interesting, that everybody kind of sounds a little bit like her. And I love that Guillermo took that idea and did the same thing with his movie. He made it very autobiographical.
Villarreal: For “The Card Counter,” you also had to read a book about the way that we store trauma. Did you find yourself returning to that at any point?
Isaac: “The Body Keeps Score.” That’s right. Incredible book. I did, very much. Also, parts therapy. This idea that we’re all these different parts and different voices and we’re not any one thing. And gestalt therapy, this idea of, like, being able to hold that child-self of you that’s broken. For me, that was a very big one in thinking of the Creature. The Creature is a reconstruction of Victor’s broken child that has to chase him down to forgive him — to make him look at him, face him and forgive him.
Villarreal: Did you find that you wanted to understand both Victor and the Creature?
Isaac: Guillermo and I spoke very explicitly about the idea that they’re one and the same. That there are two halves of one full person. And that actually was really helpful in the playing of it, particularly in that one scene when the Creature comes back and demands a companion. That scene in particular was played on my part as if that’s his voice, his inner child, his addict, that darkness within him that he’s trying to suppress.
Villarreal: How did you both discuss Victor in terms of, is he a reliable narrator telling the story?
Isaac: We spoke that he’s very much an unreliable narrator. It is his remembrance. It’s a memory play. Did Elizabeth really look like his mom? Probably not, but that’s how he remembers it. That’s who he saw. And the sets are these massive archetypal Jungian visions that feel very much like they’re part of his inner conscious, his subconscious, and not so much objective reality.
Villarreal: I want to talk about the the look and vibe of Victor. I know that you’ve talked before about looking to some rock icons for inspiration, whether it’s Prince or David Bowie. I think Guillermo mentioned Mick Jagger at one point. How did you both arrive at that and what were the videos or the performances that you locked in on?
Isaac: That first meeting that we had, it wasn’t so much like he saw me and he’s like, “You’re my Victor.” It’s a conversation. And out of that conversation, inspiration starts to happen. That is what ultimately led for this thing to happening between us. And that conversation just keeps going. As he writes it, he has a few ideas, I look at a few scenes, I see where he’s going with it, we start talking about it more. He starts talking about the way he wants Victor to occupy space, especially in his memory, that he remembers himself like conducting a concert, like a rock star, like holding court and having this punk rock, iconoclastic energy. He’s like Mick Jagger. And suddenly “like Mick Jagger” becomes, “well, like a rock star.” Well, how does he move? What is it about Mick Jagger? What is it about these other musicians, these artists that that’s the form of expression to think about? Not so much the scientist or the mad scientist, but the passionate artist. Then those ideas mix with the incredible genius Kate Hawley, who does these costumes, who also is bringing in all of her ideas of punk rock in London in the ’60s and Jimi Hendrix and those bell-bottoms and those hats that have a bit of a Gothic-Romantic thing going for it. Then these little boots. And then suddenly I see these boots and I see this hat, but for me that looks more like prints to me. All these things are just conversations and pieces and things being put together that create a character. It is this amazing collaboration that happens, this collage that gives the impression of a character, and that’s really special.
Villarreal: You’re working opposite Jacob Elordi, and I think a lot of people come in with preconceived notions about maybe who he is as an actor based on his past work. He’s such a revelation in this film in terms of the work and prep that he did to get here. First, talk to me about seeing him as the Creature for the first time, but also what he was like as a scene partner.
Isaac: We only met briefly in Guillermo’s office at one point, and he seemed like a nice young fella. He had his little 35mm camera, was taking a lot of analog pictures, which was cool. And the first scene we shot was the last scene of the movie. That was the first time I saw him in the full getup. So he walked in and immediately I was really moved by how graceful he was. I remember him coming in, like, fingers first; his hands were like animals, like [a] sea anemone. There’s just like incredible movements that were happening and I found it really lonely and heartbreaking. I thought it was an amazing coincidental, if you believe in those, opportunity that that was the first scene that we were going to get to do together — the last scene, the time when these characters finally actually see each other for the first time. He was amazing and then so graceful and gentle and very emotionally available.
In between takes, I’d see this big lumbering monster taking photos with his little camera, which was incredible. What was incredible about that too is that he was loose. He was just taking everything in. And that’s a very hard thing to do in those high-pressured situations. People can kind of get, like, tunnel vision and narrow in and try just to do the thing that they want to do, but he was [operating from] open awareness, which is a place that we all hope to start from as artists.
Villarreal: Did you both have an idea of, “Do we need to approach this a certain way to be true to these characters, with the friction or tension that they have, or can we turn that off in between takes?”
Isaac: There was no need to do any of that. That would have been just extra work, more like an ego idea. It was very free on set, and that’s Guillermo; that comes from the top down. He’s ebullient, he’s joyous, he’s loud, he’s inclusive of everything. So there’s no secrets. If he likes something, everybody knows it. If he doesn’t like something, everybody knows it. Whatever he’s working on, everybody knows it. And so it feels like a team. There wasn’t really space for this kind of sheltering away or trying to manufacture some kind of dynamic.
Villarreal: Did your view or perspective on Victor shift over the course of making this film? As a son and as a father, how did you see him in the beginning and how did it change by the end?
Isaac: It’s funny because I have a lot of friends that have kids that have texted me saying, “Wow, man, that made me feel really guilty watching you do that,” because we can all think of those moments where we lose our patience and we yell or we get angry at these very innocent beings that didn’t ask to be here and yet they’re being forced to conform to these rules. And the idea that what we think is right trumps everything and that our children are just extensions of ourselves, accessories, things to be judged in relation to us, as either prideful or shameful. That horrible cycle that happens and those patterns that we fall into. So that became more and more evident, especially in those scenes with Jacob as the Creature, with the shaving and the washing and the being tired and all things that were additions from Guillermo that are not in the book. Because in the book, Victor leaves right away. But this is more of like a slow retreat from the responsibilities of bringing somebody into the world.
Villarreal: I want to unpack that more, because it’s been interesting to see the discourse online of people very much relating to this element of Guillermo’s take, the themes of generational pain and a father’s desire for redemption. Obviously, Victor is physically and emotionally abused by his father, and we see how the cycle repeats itself with the Creature. This idea of breaking generational trauma, like you said, it’s something that we try to be mindful of in how we work every day. Did you find yourself unpacking some of those emotions in the process, or is it just something that you’re sort of reflecting on now that it’s over?
Isaac: We spoke about those things at that first meeting, so that was actually like the touchstone of the whole thing. That’s what kept everything grounded. It’s a very heightened performance. It’s not naturalistic. It’s meant to be quite expressive. It also brings in modalities and forms of telenovelas and and Mexican melodrama. We watch those things very carefully to bring some of those elements out in this kind of fever dream that is this film. But we were only able to do those kinds of things knowing at the core it is about this generational trauma and this idea of what we inherit from our fathers or from our parents. And as much as we try to run away from them, we get blinded often by our own constructions of ourselves and our own egos and our own desires and are blind to repeating these exact same things again. And especially as artists — I can definitely relate to the idea of “Well, if I can just figure out this one thing, this character, this piece, if I can find the breakthrough here, then everything will make sense. Everything will be worth it, all the limbs that I’ve cut off, all the villages I’ve burned. The trail of debt I’ve left behind me will will mean something if I can figure this thing out.” Then you get to the other side of that and that’s not the answer. We very much were conscious of that.
Villarreal: I guess I ask because the interview I was referencing before, your interview with Terry Gross, which was around the time of “The Card Counter,” I was so struck by you talking about your [father and] upbringing in an evangelical household and this feeling like doom was around the corner. And I was so struck by how you talked about that. And you talked about your home in Florida being demolished by the hurricane. In my rewatch of “Frankenstein,” being focused on you and your character in particular, I was thinking about how much of that was playing in your head, especially in the scene where the place is burning down. Like, do you go directly to those kind of moments? How was it playing in your head?
Isaac: I don’t necessarily try to summon that specific moment. I think part of the preparation is reading and feeling; as I read through the script and as I think about it, where I connect with it emotionally. And sometimes if something feels far away, I do have to be like, “OK, well, how do I bridge the gap to this thing? How can I relate to it? Oh, well, I guess, yeah, I had to deal with this in my life. And how did I respond to it? Well, how would Victor respond to it? How would I respond to it if I had Victor’s circumstances?” That is some of the fun of meditating on the piece and thinking about what all the possibilities are. But with this, I didn’t find myself, like, literally reaching to stories in my past. I just allowed that to be available.
I did a bit with the last scene, thinking about, “When was the last time I was at a deathbed with a loved one?” And what was that like and what do I remember physically of that, what was the energy and what was the tone of that and how is it appropriate with this and how is it different? You use whatever’s available, and sometimes just the other person across from you is enough and sometimes you need to kind of summon it from the ancestors or from wherever to get through that performance ritual.
Villarreal: When you’re channeling those intense emotions, is it, like, hard to keep them under control sometimes for the good of the scene?
Isaac: Well, actually, that happened with this last scene. I’d spent a a day getting into that mode and summoning, and we did the scene and it was quite volatile sometimes. A lot of the emotions would come through and Guillermo would say, “OK, let’s do another one, but maybe tamp that down a little bit.” It’s like, “OK, let’s try that again.” We did it a bunch of different ways. And funny enough, even though it was a great day and everyone was happy, we ended up coming back and reshooting it. And it was done last minute. I didn’t have time to do all of this preparation, and we just went and that’s actually what ended up being in the movie. Because I wasn’t expending any energy trying to reach for something. It just was more reactive and it was a bit more sober and less an idea. It’s that balance sometimes between wanting to get to something, explore something, but also letting it go and allowing something to emerge that is not willed.
Villarreal: I want to talk more about the collaboration with Guillermo. What does that look like in practice? What is a note from him like? I saw another interview where you mostly spoke in Spanish with each other. How did that allow you to understand what he’s after more easily?
Isaac: That first meeting we only spoke in Spanish. So it set the tone. And my Spanish is good, but it’s like maybe seventh-grade vocabulary.
Villarreal: I feel a kinship.
Isaac: I would speak in Spanish to my mom. That was the person that I would only speak in Spanish to. And then when she passed eight years ago, I kind of lost that. I have my aunts and I talk to them, but it kind of starts to go away. So to suddenly have Guillermo show up, and that was the way that we really first interfaced. And with him, even though he could hear me sometimes, doing it in Spanglish or trying to get to it, he just was committed. It’s like, we speak in Spanish. He didn’t have to say it. That’s just what it is. It just created this real, almost, like, subconscious intimacy because it’s the mother tongue. That is the first thing that I heard. Even though when I learned to speak, it was in the United States, it was both always at the same time, then the English took over. But it just hits something different to have to communicate, to have to try to find a way to express myself in Spanish to Guillermo, talking about really difficult things. What would be great about it is it forced me to be simple and just, like, get to the f— point, and not like all this intellectual stuff around all these definitions and acting terms and all this. That was a really special thing.
Villarreal: We’ve talked a little bit about we’re working through, for lack of a better term, some daddy issues during the making of this. I know that “Hamlet” is such a seminal text in both your personal life and in your career. And obviously, this is a film that has parallels. With the passing of your mom, and working on this, especially with that last scene, how did you feel your mother while working on this project?
Isaac: Wow, that’s a very kind question. So, so, so much. She would have loved this movie. The last movie we saw actually was “The Handmaiden.” Super erotic too. I was like, “Mom, we’re sorry; close your eyes, Mom.” But it was so beautiful and kind of dark and opulent — she loved that stuff. She was always incredibly, incredibly present. Even the Elizabeth character — my mom had red hair as well. And this is in Mary Shelley’s text about the feminine and the masculine and those warring kind of energies. And for Victor, ironically, really tapping into more of the feminine energy with him in some ways. What he does is obviously — the penetrating nature, is a masculine thing, but at the same time, that freedom and the liquidity of that femininity was very important too. That last scene, it was interesting. That first time we did the scene, there was a lot of my mom there. Then when I had to let it go and I had to just respond, suddenly dad showed up. And that was really wild. There’s a bit of that warring energy with Victor all the time, and that was really surprising.
Villarreal: There was also the the detail that people really picked up on, which was the drinking of the milk. How did that inform you as you played Victor?
Isaac: Once his mom dies, he gets stunted. He never grows from that point on. His body grows. What he’s doing, his intellect grows, but emotionally, he stays that little boy that’s been hit in the face by his dad and rejected. And rejected by his mom because she died. It’s not rational, but that’s what it is. He’s orphaned. That’s also why mom feels so present. He’s just always looking for her. He’s always looking for her everywhere, everywhere, everywhere. The milk is just looking for her. It’s just comfort. La lechita. It’s also very funny because it’s so simple too. He likes playing with the saint-sinner thing, this guy that paints himself as the victim. He’s not a drug addict. The only thing he does is milk. And milk’s good for you, right? He starts off as Jesus Christ and ends up as Charles Manson. That’s what that milk does.
Villarreal: Do you have a sense — especially with a little bit of hindsight now, though I know you’re still in the whirlwind of it — what the character of Victor has done for you?
Isaac: What was surprising is that he is a sadist, but in like the Marquis de Sade kind of way. That wasn’t something that I thought about, but as it progressed, what was surprising to me was the pleasure that the character was giving me. For someone that is so dark and has such capacity for cruelty, the fact that he just felt so good, it was so free and so energized and kind of joyful. And I asked Guillermo at one point, I was like, “Maybe something’s wrong here? Because, like, shouldn’t it be a little darker and heavier?” He’s like, “The movie tells you what it needs.” You listen to the movie, and this is somebody that doesn’t have any doubts. And that feels pretty good to not have any doubts, until he crashes. He wakes up from this dream, this fever dream of no consequences. There’s no consequences, nothing matters, the rule of nature is dominance and cruelty, and actually pain is the same as pleasure. And the more perfect the crime, which is against something that’s virtuous and innocent, the more perfect an act that is, philosophically, nihilistically. So that is pure freedom. Pure freedom and pure pleasure, it’s like f— it. To play somebody like that, and to allow myself to be blind to the feeling of consequence and to just shoot like a rocket, that was incredibly freeing and pleasurable. Then suddenly to stop back and look back and be like, “Oh, what an awful thing. What awful things he did. He couldn’t see what he was doing.” But in the moment, that was unexpected.
Villarreal: We talked about the intensity of filming that last scene. What was the scene where you just felt so free and happy or excited?
Isaac: Creating the creature. Creating the creature was just like the rain coming down, the running up and down the stairs in the little high-heeled boots, the screaming at Christoph Waltz, you know, and his body flying down and him being like, “f— it, gotta throw him in the freezer, gotta keep this thing moving.” That energy, you know, climbing up the tower, putting the spear up there. He’s like a Gothic hero, a Gothic superhero. That kind of mutability within the character — it’s kinda like what I was saying about the artist. It’s like, “This I know; I know how to do this, and if I can do this, everything will make sense.” So that moment of just purely going for that thing, that was a really exciting moment. And also in that set, in Tamara [Deverell’s] incredible set, with Dan [Laustsen’s] lighting and Guillermo sitting there in the corner like this little crazy Mexican Buddha, just wanting more, more, more, that was electrifying. Pardon the pun.
Villarreal: I’ve wondered what it’s like walking into one of his creations, those sets. I can’t imagine. It feels like you’re in a dream.
Isaac: You do, and what’s the most incredible thing is that he’s surrounded himself with people for the last 30 years that are like an extension of himself. Through a process of elimination, he’s gotten these people that are just as passionate, just as detailed, and have ownership of the movie. The set decorator, the painter, the greens person that puts the moss in is like, “Do you see where I put the moss right there? You see the moss right there?” That kind of artisanal passion over it. So you walk in, sure, it’s inspiring for the imagination, but it’s also inspiring as a crafts person to be like, “OK, how do I bring the same amount of detail and passion and love for it?”
Villarreal: I’m asking this teasingly, but what’s the worst thing about Guillermo as a director? Is it that he wants so many takes, or is it that he just thinks you can do anything?
Isaac: I was gonna say what was challenging was to have somebody quilting the movie as we were shooting it. So that you would do a take and sometimes it would go straight into the edit and he could show you it in the movie itself. And as an actor, that could be tough because you’re like, “Oh, I’m not ready to see that yet.” But he was making it as it goes because the camera was always moving, so he needed to see that it was always connecting to the next thing. I had never experienced that before. For instance, that last scene, we did it, the next day he came in, and it was all edited with some temp score on it and I saw it, I was like, “Oh no, I don’t think that’s… “ But in that case, it was good that I saw it and had that reaction because we got to have another go at it. But it is dealing with like, “How much do I want to see? How self-conscious am I?” But it’s his openness. He’s not afraid.
Villarreal: Was he open with Jacob having his dog Layla on set?
Isaac: Yeah. That’s the thing. He was just free. He was really free. He’s like, “Whatever you need, man. Whatever anybody needs, that’s it.” He would embrace everything. Every mistake, he’d embrace.
Villarreal: Before we wrap things up, we’ve talked about swirling in this space of loss and renewal. In addition to tapping into that with “Frankenstein,” your wife, who’s a filmmaker, Elvira Lind, has this documentary, “King Hamlet,” where she documented a very transformative period in your life as you dealt with the loss of your mother, but also the birth of your child, while working on a staging of “Hamlet.” How has it been to sort of live in this space and have these parallel moments between these two projects?
Isaac: In a way, it’s like the father and the mother of these projects here. And the strange synchronicity of when they’re coming out at the same time, it’s kind of a beautiful thing, because “Frankenstein” is this massive thing, it’s very expressive, it has a lot of people, so much energy behind it. Having to do that and then flying to New York and showing a small group of people this tiny little movie made by just a handful of people, mostly my wife, this incredible documentary filmmaker, but made by her again by hand about this really small, quiet time of a play that we did that maybe a few thousand people saw, there is something quite grounding about that. It also feels generous because it’s about something that she’s made. But also it’s about showing a little peek for anybody, but also for artists as well, at what it costs sometimes and what it takes and how this particular family dealt with all this happening and the desire and the need to process it and create something out of it.
Wunmi Mosaku in “Sinners.”
(Warner Bros. Pictures)
Mark Olsen: “Sinners” obviously opened earlier in the year, and it’s really just hung in there. It’s a movie people are still talking about. What does it mean to you that the movie has already had such an enduring life?
Wunmi Mosaku: Oh, it means so much to me. I feel like you take a job because you believe in it and you trust the filmmakers and you’re excited, and then you get on set and you do your best and then all of a sudden you remember that it’s going to be out there and people are going to judge it and they might not like it and they may not like you and they might not respond to it. And we would turn to each other sometimes and be like, “Do you think they’re going to feel how we feel about this? I really hope so.” Because we really felt like it was so special. And so seeing the reaction has been so affirming and pretty magical because it’s not always the case that it translates the same as how it feels for you, that the audience feels that too.
Olsen: And what do you think it is that audiences are responding to? Mosaku: I think Ryan Coogler, his way of creating art is always based in truth and connection and honoring the people on the screen and the people that they represent in and around his life. And so I feel like people are responding to the fact that it feels truthful. Even though it’s got horror aspects and a musical aspect, it really just has heart and depth and it’s about community, it’s about freedom, it’s about the price of freedom. It’s about so many things that affect people every day. Capitalism, selling out, cultural appropriation. It’s deep and it’s layered, and it’s all rooted in truth.
Olsen: And now when you say that as you were shooting the movie, it felt special to all of you — can you describe that for me? What do you think you were feeling as you were shooting the movie?
Mosaku: I felt a deep connection to my ancestry, to my purpose, to how what I do today will reverberate in the future. My lineage, my child’s future. I just felt the film links the past to the present. It links West African traditional spirituality and it connects it to hip-hop and blues and all these different types of dance and culture. It feels kind of sprawling and encompassing of the Black diaspora experience. And it makes you feel connected to everyone in the diaspora. I felt really awakened to my position in that web of creativity. And artists like Ryan, who have this visionary, revolutionary way of creating, they just kind of feel like guiding lights, diamonds, in this web of us. It feels like, “Oh wow, he really is this jewel to be cherished, and I’m connected to that now.” So it was very multilayered, the connection I felt.
Olsen: That does sound like more than just a typical day at work. Mosaku: There was nothing typical about it. It felt like, vibrationally, it changed all of us.
Olsen: As I understand it, when you auditioned for the film, you were given this seven-page scene that introduces your character of Annie. It’s you and Michael B. Jordan’s character of Smoke, and from that scene you thought the film was a romantic drama. What did you make of it when you found out what the movie was really about?
Mosaku: Ryan explained the movie to me in and around the scene, and my mind was blown because it made complete sense, but it came completely out of left field for me. I had the themes that we see in the movie of the evolution of blues to modern-day music and ancestors and future ancestors, they weren’t quite there when he was explaining it to me, but it was there in the spirit of what he was explaining to me. So I knew it was epic and that there was depth, but then there was also vampires. I can’t explain how he explained it, but I felt the weight of all of the themes and messages, and it seemed to work with the idea of vampires coming in and taking blood. It was a surprise, but it made sense. I was completely hooked and in from the first scene, but his description, I was like, “This is genius.”
Olsen: I like the idea that you were still able to process your story in the movie, Annie’s story, as that of a romance. Even with everything else that’s happening in the film, there still is that story at the core of it. Mosaku: Because he only works with truth. Even in a fantastical world of vampires and spirits, he still works within the truth of relationships and character dynamics, and so their love is the community, the love and the bond between all of the characters, that is the heart of the movie. Sammie’s desire to leave the plantation and see the world, that’s the heart of the movie. These two people who love each other dearly and are insatiable for each other but can’t be together because of racism and the color of their skin, that heartbreak is the heart of the movie. A woman who just wants to sing and is young and is married to this old church type — that line I think is cut from the movie, but Jayme [Lawson]’s character says he’s older, church type — and she just wants to be completely free on the stage. That she gets to explore and to have this thrilling night in the community in the juke joint, I mean that’s the heart of the movie too. These relationships are the beating heart.
Olsen: But there’s something I’ve heard you talk about, that Annie relates to the character that most of us know as Smoke, as both Smoke and Elijah, his given name. Can you untangle that for me? It’s really compelling to think that she is relating to both sides of his personality. Mosaku: Well, everybody has a representative, right? Like, this is my representative. And then there’s Wunmi at home without the glam, the truth. So yes, she met Smoke. She fell in love with Smoke, but she knew Elijah. In Yoruba, we have your given name and then you get given an Oriki name, and the Oriki name is a pet name that your grandmother or your mom would call you and when they call you by that name, when you hear someone speak your Oriki name, you can’t say no. It’s like, “That person knows me like no one else, and they’ve used this name for a purpose.” So almost like Elijah is his Oriki name because everyone knows him as Smoke. He has his defenses up, he has his heart guarded, Smoke’s been through war, Smoke’s been through the gangster stuff in Chicago, but Elijah lost his daughter. So when she calls him by his name that’s like calling his Oriki. Olsen: You’ve spoken as well about how much you feel you’ve learned about yourself in playing this role, that it changed you. How so? Mosaku: I mean, even the fact that I can talk about Oriki names. I didn’t have an Oriki name. I didn’t understand the meaning of the Oriki name until I really just kind of immersed myself more in my culture that I feel like I had no choice in not being a part of. I came to England when I was 1½, and you try and assimilate, you try and fit in. And that is at the expense and the tax of your birth culture. And that’s something people don’t really pay attention to, what’s lost in order to feel safe in another culture. Researching Annie, I had to look back at where I’m from, because she’s a hoodoo priestess and hoodoo is a derivative of Ifa, and Ifa is the traditional Yoruba religion. That is where my people come from. That is part of my survival, that’s why I’m here. Their knowledge, their belief systems, that is why I’m here. And so having to research that just opened up a whole treasure trove of truth for me and inquiry and self-reflection and self-love and admiration of all the people that came before, the difficult decisions my parents made, and then the difficult decisions I’ve had to make in navigating being an immigrant in another country.
Olsen: What does it meant to you to connect with that part of yourself?
Mosaku: I’m unable to put it into words. It’s changed me profoundly. It’s changed my relationship to the world, my culture, my home. I feel inspired in so many different ways to reconnect, feel connected. I’ve been doing Yoruba lessons for five years, and only in the last year has it really stuck. And I think the sticking is because of the exploration, the real exploration, not just an intellectual “trying to learn a language.” It’s unlocked something emotionally in me. The language is sticking.
Olsen: “Sinners” is rooted so specifically in the world of the Jim Crow South here in America. Was that still something that you could relate to? Were there aspects of the story that still felt familiar to you?
Mosaku: Yeah, I can relate to being Black in America, I can relate to being Black in a different culture. But there’s a lot of research that has to be done. A lot of people in the cast were pulling upon the people that they knew in their history and their ancestry, whether it was Ryan and his uncle James who inspired the movie or Miss Ruth [E. Carter, costume designer, who] said my dress, the velvet dress was inspired by a picture of her grandma in a velvet dress on the stairs with her grandfather. They have different things they can pull on that are really from the time and the people. I do research in a different way, because I don’t have that same history to pull from, but I have an admiration and a love of the African American culture. My daughter’s African American. So I feel I have a respect and a duty to do my research, not just for my character work but for my family. I can relate to aspects, but I don’t have that shared cellular memory that the rest of the cast do.
Olsen: So what did you draw on for research? Mosaku: I spoke to hoodoo priestesses and that was really my main research, was kind of the faith, because that is who she is. That’s her foundation. And that’s her power. So that was my main research. Obviously, researching the era, Prohibition, Jim Crow South, the Great Migration. For me it’s about respect and honoring as truthfully as I can, if someone has trusted me with this role. And also I’ve said no to roles that I don’t think should be played by Black Brits or Nigerians. I’ve said no to roles that I think should be specifically for African Americans. There’s something about Annie that feels really close to me and really important to me, and I think she’s like a bridge, and I do think of myself sometimes in that way, of in the middle. I’m someone who was born in Nigeria but was never raised there, someone who was raised on a land that has never felt like my own, and then someone who’s come here and has, not inherited, but I have a daughter with this inherited history. And so I have a responsibility for her to understand all three aspects, and then I’m sure there are more aspects of her history that I am yet to figure out what they are. It’s my responsibility to understand that and guide her with it.
Olsen: When you’re shooting these kind of stories or dealing with sort of heavy topics, do you have anything that you like to do at the end of the day to pull yourself out of it?
Mosaku: I talk to my husband and I spend time with my daughter. I speak to my family. I go home.
Olsen: And I don’t think I’m spoiling anything, but I want to be sure to ask you about your last moments in “Sinners.” It’s deeply moving. You reappear in the film as a vision to Smoke. You’re nursing your infant daughter. Can you talk to me about that moment in the film and what it means to you?
Mosaku: It’s purity. He drops his representative, he drops Smoke. He has to drop Smoke in order to join us. The initial cost of this never-ending life as a vampire, it sounds like there’s a glamour to it, there’s a capitalism to it. Stack and Mary are still young and beautiful but there is such a great cost. They never get to see the sun, they never get to hold their loved ones again. And actually they’re not truly free. Whereas Smoke and Annie have chosen true freedom that fully incorporates everything that they love truly. It’s not money, it’s not eternal life, it’s not eternal darkness. They are basking in the sun with their ancestors and it’s purity, it’s love, it’s freedom.
Olsen: I have to ask you about the musical number where sort of the past and the future sort of collapse in on themselves. What did that read like in the script? And what was it like to be on set that day?
Mosaku: It read very much like it felt when you watched it. I had read a version without the future and past ancestors, where it was just about the two brothers and their women and reconnecting and it was beautiful. I loved it. And then before the read-through, we got given another draft, and it had the ancestors and the roof going on fire, and I threw the script down and I ran into my living room and was like to my husband, “Oh, my God, oh, my God, it’s amazing, it’s amazing. I think this is the most amazing thing I’ve ever read. I think it’s the most amazing thing that’s ever going to happen onscreen.” That’s how it felt. And on the day filming it, it very much felt magical. Sammie and Delta Slim have this scene where Delta talks to him about his gift and where it comes from. It comes from the homeland, it comes from your ancestors, it comes from home, Africa. And it’s such a powerful gift and to really guard it with all he has. Then Miles [Caton], who plays Sammie, is talking to the the older guy, Papa Toto, who plays his past ancestor. Who has the little guitar behind him, I don’t know what it’s called, like the original guitar. And he’s behind him in the scene, and then I kind of wander over to them, and Papa Toto basically does the exact same speech, never having read the script, to Miles about his gift and where it comes from and like how he should cherish it and keep it protected. That’s what they’re both talking about, protecting their gifts. And I was just like, “Oh, my gosh, this is magical. He doesn’t even know that this is the scene in the script.” It was a really special day.
Olsen: I’m going to ask this as politely as I can, but I found “Sinners” to be a much bawdier movie, it’s a much more sensual and sexy movie, than I expected. I’m curious how you found those scenes in the script and in particular what it was like for you shooting your scene with Michael.
Mosaku: It explores so many different emotions and feelings. It feels palpable, it feels tangible, it feels like it’s pulsing. It also feels kind of inevitable. Again, it just felt true, and it wasn’t difficult because we created such a safe space for everyone, and there’s no nudity in it, and it just feels really sensual and safe.
Olsen: What was it like shooting scenes with Michael where he’s playing both Stack and Smoke? I would imagine just him having to switch out for the scenes, how did that impact the rhythm and the momentum for the rest of you? Mosaku: It was pretty easy for us, honestly. We didn’t have to do anything. Michael had a stand-in, Percy Bell, and both would learn both twins’ lines, and then Michael would shoot as Stack, and Percy would do Smoke, and we would lock this, we would rehearse it, rehearse it, rehearse it, and then shoot it, shoot it, shoot it, find the one we liked and lock it. So then, if this is Percy and this is Stack, what they would do is he would go get changed, be Smoke, and we would kind of mime the scene. It was really harder for Mike, I don’t know how he did it. We would kind of mime the scene. They would play the scene back so he was responding to us in the real time of the scene that they had chosen. That was it. That was the only scene that we were going with. And then he would trace Percy’s steps and physique to make sure he wouldn’t step on Stack or whatever. So it was very easy for us. Like, we just had to play the scene. And I honestly don’t know how Mike did it. I have no idea how he did it.
Olsen: What has the response to the movie been like for you professionally? Do you find that you’ve gotten some offers? Are you finding yourself in rooms that maybe you wouldn’t have been in before? Mosaku: Everyone has been so complimentary and lovely about the movie. I think work has come from it, and I was in a room at the Governors Awards with Tom Cruise and Debbie Allen and Phylicia Rashad. I was like, “Well, this is new.” Me, Jayme [Lawson], Hailee [Steinfeld] got awarded one of the Elle Women in Hollywood awards yesterday, which was again really surreal, like, “Oh, hey, Jennifer Aniston. Hey, Rose Byrne. Hey, everyone. Hi, we’re in this room with you. Cool.” So a lot of really lovely things have come of it. Very grateful.
Olsen: And what does it mean to you that it’s for this movie in particular? Mosaku: This is the movie that just keeps on giving. I loved it from the first time I read those seven pages and I have grown as a person, as an actor, as a mom, as a wife. And now I’m experiencing this, which is really lovely, really nice. Olsen: You also have an upcoming role in “The Social Reckoning,” Aaron Sorkin’s sequel to “The Social Network.” Is there anything you can tell us about your role in the movie? Mosaku: I have no idea what I’m allowed to say about it. I’ve not been prepped on press for that yet, so I’m sorry. Olsen: You shot your part? Mosaku: I’ve shot a lot.
The singer of the band lights up a cigarette and smoke drifts into the theater. Ditto for the pungent aroma of marijuana when a few band members share a joint. “Stereophonic,” which is playing at the Hollywood Pantages through Jan. 2, isn’t biographical, but it sure feels close.
The authenticity springs in part from the quality of the songs being recorded by the fictional band on stage, which were written by Will Butler, a multi-instrumentalist and former member of the Grammy Award-winning band Arcade Fire.
“Stereophonic,” which holds the record for the most Tony nominations of all time for a play, unfolds over the course of a single year as a rock band on the cusp of megastardom struggles to record its second album as the first reaches No. 1 on the charts. While the pressure to produce a hit builds, the band falls apart. For proof of the formula’s resilience, look no further than the success of VH1’s “Behind the Music” series, which plumbed the depths of dozens of rock ’n’ roll train wrecks.
“We really tried to just make something real,” Butler said during an interview in the small, cluttered green room at Amoeba Music before he joined the cast of the show for a brief in-store performance. “This is three hours of what it’s like to make a record.”
Is it ever. There is something inherently combustible about being in a band. (Full disclosure: I played in a semi-popular indie band for a decade, which imploded with huge amounts of drama right on cue. I know at least a dozen other groups that have unraveled in similar fashion.) Despite, or rather because of, Arcade Fire’s massive popularity, Butler knows the crash-and-burn nature of being in a band. He joined Arcade Fire after one of its original members quit in the middle of an encore following a fight with the lead singer — Butler’s older brother, Win Butler.
Will Butler left Arcade Fire at the end of 2021, saying at the time that the decision came about organically. “There was no acute reason beyond that I’ve changed — and the band has changed — over the last almost 20 years. Time for new things,” he wrote on social media.
Will Butler performs at Amoeba Music with Claire DeJean and the stars of the Broadway tour of “Stereophonic,” which follows the rise of a struggling 1970s rock band.
(Jason Armond / Los Angeles Times)
“Stereophonic” was one of those new things, and Butler has brought his understanding of volatile band dynamics to bear in his work on the show, as well as his thoughts on the fragile, ephemeral nature of recording in a studio.
“There’s a little booth, and you go into the booth and you lose your mind,” Butler said of the experience of laying down a track. “And you exit the booth and you’re just a boring human.”
The boring — and boorish — parts of that humanity are on display in “Stereophonic,” where there is more control room conflict than actual music making. This also feels true to form. Romances blossom and bottom out in spectacular fashion. Drugs are consumed in copious amounts — particularly cocaine. This is 1976, after all. The long-suffering recording engineer reaches his breaking point after becoming totally fed up with the band’s self-absorbed, self-destructive behavior.
Human beings weren’t meant to create art in this particular kind of pressure cooker. Until they do. There is a moment in the making of every great song when each musician becomes part of the whole during the act of recording, and the band’s genius is temporarily realized. The song can’t be made by any one member — it can only come from the spontaneous transcendence of the group.
This moment happens in “Stereophonic” after a truly frustrating number of stops and starts, when the group plays a song so beautifully that the theater erupts in effusive applause. This is why the band stays together despite its constant feuding — and why the audience has come.
“We really tried to just make something real,” Will Butler said of “Stereophonic.” “This is three hours of what it’s like to make a record.”
(Jason Armond / Los Angeles Times)
“The music in this show has to crack open the world because it’s so much talking and it’s so much sitting around,” Butler said. “And then when they play music, you have to instantly realize why they’re together.”
Butler first met playwright David Adjmi and heard his idea for the show in 2014. Butler was intrigued, but had to wait for the script before he could work on the music in earnest. The songs needed to fit into the script like puzzle pieces, Butler said. Sometimes he needed to write a whole song and other times he needed to focus on composing the first 30 seconds of a song — which would be heard on repeat.
“And then we cast it, and now the music exists in a different way,” Butler said, noting that the music changes with every new cast. A cast — like a band — has its own particular strengths and weaknesses. No rhythm section is ever the same. You know John Bonham’s tom fills when you hear them, just as you can immediately recognize the sound of Ringo Starr’s hi-hats.
None of the actors in the national tour cast of “Stereophonic” — except for the drummer — are trained musicians.
(Julieta Cervantes)
The whole process of constructing “Stereophonic” as a play is very meta — with Butler producing the band that is in turn producing itself onstage in the studio. During the course of the show, one of the songs is actually recorded live and played back from the control room. It is slightly different each time, in ways both meaningful and incidental. Just like in real life.
The in-store performance at Amoeba, however, is wildly different from what happens onstage at the Pantages. The cast members are not — with the exception of the drummer — trained musicians, and stripped of the confidence that comes with costumes and a set, they appear somewhat vulnerable in the process.
This is in stark contrast to Butler, who displays all the verve and conviction of a bona fide rock star. The cast will do the same across the street later that night. For the moment, however, Butler is showing them just how it’s done.
Stranger Things fans have pinpointed a specific tragic moment in the season 5 volume 2 trailer.
Stranger Things fans are in a frenzy after Netflix released the official trailer for the second part of season five. The epic video shows Will Byers (played by Noah Schnapp) feeling deflated after the gang failed to save the children from Vecna (Jamie Campbell Bower).
The teaser also shows Max Mayfield (Sadie Sink) and Holly Wheeler (Nell Fisher) as they attempt to escape Vecna’s trap, while the rest of the gang discover something major about the Upside Down.
While many fans still believe Steve Harrington (Joe Keery) could be at risk in the final season, other viewers believe another major death has flown under the radar, until now. They took to YouTube to pinpoint a specific moment, just over half-way into the video, when one of the main characters is seen coming face to face with a Demogorgon.
Robin Buckley (Maya Hawke) is seen walking down a hospital corridor, flanked by two armed men, as a Demogorgon comes charging towards them. The camera then turns to face the Demogorgon as it lunges at its target. @Kaiiizerrrp said: “1:18 omg, did you see Robin behind the military? [crying emoji]” While @Obama_Plays added: “Omg Robin please runnn” and @Sham-d3y shared: “I am gonna cry so bad.”
More fans picked up on the hint, with @AviAuthorColorado adding: “I’M GONNA CRY BRO LIKE ACTUALLY,” and @Sham-d3y expressing: “FINALLY SOMEONE SAW IT. I AM 100% SURE THAT’S THE SAD DEATH WHICH THE DUFFERS WERE TALKING ABOUT, IT WAS ROBIN ALL ALONG.”
This could be the case as episode five is titled Shock Jock, which refers to a DJ on a radio show who expresses opinions in a deliberately offensive or provocative way. At the start of season five, viewers saw Robin hosting her own show for The Squawk, which serves as a decoy for them to relay information regarding military operations to the Upside Down and the rest of the gang.
This is not the first time fans have predicted Robin’s death, as they believe Netflix had teased her demise after the unveiling of some photos for the fifth and final outing. The official Netflix Instagram account posted multiple photos showing cast members staring at an unseen threat, but one person was left out.
Robin’s absence did not go unnoticed, with one fan writing: “UM HI I BEG YOUR FINEST PARDON WHERE IS MY GIRL ROBIN AT?” Another added: “Hahaha very funny, where the HELL is Robin.”
Robin’s role in season five was pivotal as she helped Will harness his powers by making him believe in himself and not fear his authenticity. She also helped validate Will’s feelings when it came to romance, as she opened up on her relationship with Vickie Dunne (Amybeth McNulty).
Fans took to Reddit to explain how they believed Robin’s emotional speech in volume one of the final season is “SO intensely ‘this character will die’ coded.” MedievZ said: “The Duffers most definitely are not killing off the main core cast. Steve is too obvious of a death.
“Robin is the perfect character to die and get the maximum emotional impact while fitting into the story nicely and being an unexpected gutpunch. We do not see much of Robin in the remaining trailer shots.”
Elsewhere in the season five, volume two trailer, Eleven (Millie Bobby Brown) was seen asking Kali (Linnea Berthelsen) to help her find and kill Venca, after the character’s epic return was unveiled in episode four. Dustin Henderson (Gaten Matarazzo) and Steve were also seen making a pact as they said: “You die, I die.”
Regardless of whether she meets her demise in the final season, Robin is set to live on through the latest Stranger Things novel – One Way or Another. The book, by TV writer and novelist Caitlin Schneiderhan, focuses on Nancy Wheeler (Natalia Dyer) and Robin as they solve an unexplained phenomenon.
The story is set following the events of Stranger Things season four – two months since Vecna’s earthquake tore through the town. Nancy and Robin are convinced they have discovered Vecna’s next victim – fellow student Joey Taft.
Stranger Things season 5 part 2 airs on Christmas Day in the US and Boxing Day in the UK
BIRMINGHAM, Ala. — Former U.S. Sen. Doug Jones, the last Democrat to hold statewide office in Alabama, kicked off his campaign for governor Friday, saying voters deserve a choice and a leader who will put aside divisions to address the state’s pressing needs.
“With your help we can finish what we began. We can build the Alabama we’ve always deserved,” Jones told a packed crowd at a Birmingham campaign rally featuring musician Jason Isbell.
He said the state has urgent economic, healthcare and educational issues that are not being addressed by those in public office.
The campaign kickoff came on the eighth anniversary of Jones’ stunning 2017 Senate win over Republican Roy Moore, and Jones said Alabama proved back then that it can defy “simplified labels of red and blue.”
“You stood up and you said something simple but powerful: We can do better,” Jones said. “You said with your votes that our values, Alabama values, are more important than any political party, any personality, any prepackaged ideology.”
His entry into the race sets up a possible rematch with Republican Sen. Tommy Tuberville, who defeated Jones by 20 points in the 2020 Senate race and is also now running for governor. Both parties will have primaries in May before the November election.
Before running for office, Jones, a lawyer and former U.S. attorney, was best known for prosecuting two Ku Klux Klansmen responsible for Birmingham’s infamous 1963 church bombing.
In an interview with the Associated Press, Jones said families are having a hard time with things like healthcare, energy bills and making ends meet.
“People are struggling,” he said. “They are hurting.”
Jones used part of his speech to describe his agenda if elected governor. He said it is time for Alabama to join most states in establishing a state lottery and expanding Medicaid. Expanding Medicaid, he said, would protect rural hospitals from closure and provide healthcare coverage to working families and others who need it.
He criticized Tuberville’s opposition to extending Affordable Care Act subsidies in the Senate. Jones said many Alabama families depend on those subsidies to buy health insurance “to keep their families healthy.”
Alabama has not elected a Democratic governor since Don Siegelman in 1998.
When Tuberville ousted Jones in 2020, the Democrat won about 40% of the vote, which has been the ceiling for Alabama Democrats in recent statewide races.
Retired political science professor Jess Brown said Jones lost in 2020 despite being a well-funded incumbent, and that’s a sign that he faces an uphill battle in 2026.
“Based on what I know today, at this juncture of the campaign, I would say that Doug Jones, who’s a very talented and bright man, is politically the walking dead,” Brown said.
Jones acknowledged being the underdog and said his decision to run stemmed in part from a desire that Tuberville not coast into office unchallenged.
Jones pointed to recent Democratic victories in Georgia, Mississippi and other red states as cause for optimism.
Tuberville, who formerly led the football program at Auburn University, had “no record except as a football coach” when he first ran, Jones said. And “now there are five years of being a United States senator. There are five years of embarrassing the state.”
Jones continued to question Tuberville’s residency, saying he “doesn’t even live in Alabama, and if he does, then prove me wrong.” Tuberville has a beach house in Walton County, Fla., but has repeatedly said Auburn is his home.
Tuberville’s campaign did not immediately respond to a request for comment but has previously noted his commanding defeat of Jones five years ago. The Republican senator spent part of Friday with Defense Secretary Pete Hegseth in Huntsville to mark the official relocation of U.S. Space Command from Colorado to Alabama.
Jones’ 2017 victory renewed the hopes, at least temporarily, of Democratic voters in the Deep South state. Those gathered to hear him Friday cheered his return to the political stage.
“I’m just glad that there’s somebody sensible getting in the race,” Angela Hornbuckle said. “He proved that he could do it as a senator.”
WASHINGTON — The Justice Department violated the constitutional rights of a close friend of James B. Comey and must return to him computer files that prosecutors had hoped to use for a potential criminal case against the former FBI director, a federal judge said Friday.
The ruling from U.S. District Judge Colleen Kollar-Kotelly not only represents a stern rebuke of the conduct of Justice Department prosecutors but also imposes a major hurdle to government efforts to seek a new indictment against Comey after an initial one was dismissed last month.
The order concerns computer files and communications that investigators obtained years earlier from Daniel Richman, a friend of Comey’s and Columbia University law professor, as part of a media leak investigation that concluded without charges. The Justice Department continued to hold onto those files and conducted searches of them this fall, without a new warrant, as they prepared a case charging Comey with lying to Congress five years ago.
Richman alleged that the Justice Department violated his 4th Amendment rights by retaining his records and by conducting new warrantless searches of the files, prompting Kollar-Kotelly to issue an order last week temporarily barring prosecutors from accessing the files as part of its investigation.
The Justice Department said the request for the return of the records was merely an attempt to impede a new prosecution of Comey, but the judge again sided with Richman in a 46-page order Friday that directed the Justice Department to give him back his files.
“When the Government violates the Fourth Amendment’s prohibition on unreasonable searches and seizures by sweeping up a broad swath of a person’s electronic files, retaining those files long after the relevant investigation has ended, and later sifting through those files without a warrant to obtain evidence against someone else, what remedy is available to the victim of the Government’s unlawful intrusion?” the judge wrote.
One answer, she said, is to require the government to return the property to the rightful owner.
The judge did, however, permit the Justice Department to file an electronic copy of Richman’s records under seal with the Eastern District of Virginia, where the Comey investigation has been based, and suggested prosecutors could try to access it later with a lawful search warrant.
The Justice Department alleges that Comey used Richman to share information with the news media about his decision-making during the FBI’s investigation into Hillary Clinton’s use of a private email server. Prosecutors charged the former FBI director in September with lying to Congress by denying that he had authorized an associate to serve as an anonymous source for the media.
That indictment was dismissed last month after a federal judge in Virginia ruled that the prosecutor who brought the case, Lindsey Halligan, was unlawfully appointed by the Trump administration. But the ruling left open the possibility that the government could try again to seek charges against Comey, a longtime foe of President Trump. Comey has pleaded not guilty, denied having made a false statement and accused the Justice Department of a vindictive prosecution.
The Comey saga has a long history.
In June 2017, one month after Trump fired Comey as FBI director — while the agency was investigating Russia’s interference in the 2016 presidential election and its ties to the Trump campaign — he testified that he had given Richman a copy of a memo he had written documenting a conversation he had with Trump and had authorized him to share the contents of the memo with a reporter.
After that testimony, Richman permitted the FBI to create an image, or complete electronic copy, of all files on his computer and a hard drive attached to that computer. He authorized the FBI to conduct a search for limited purposes, the judge noted.
Then, in 2019 and 2020, the FBI and Justice Department obtained search warrants to obtain Richman’s email accounts and computer files as part of a media leak investigation that concluded in 2021 without charges. Those warrants were limited in scope, but Richman has alleged that the government collected more information than the warrants allowed, including personal medical information and sensitive correspondence.
In addition, Richman said the Justice Department violated his rights by searching his files in September, without a new warrant, as part of an entirely separate investigation.
“The Court further concludes that the Government’s retention of Petitioner Richman’s files amounts to an ongoing unreasonable seizure,” Kollar-Kotelly wrote. “Therefore, the Court agrees with Petitioner Richman that the Government has violated his Fourth Amendment right against unreasonable searches and seizures.”
In her 125th career World Cup downhill start, 24 years after her debut and eight years since her last major win, Lindsey Vonn sped to a stunning victory in St. Moritz, Switzerland, on Friday.
It was as if Vonn announced to the world that not only is she back after a six-year retirement, the 41-year-old American slopes legend is ready to rule downhill skiing again at the Milan Cortina Winter Olympics in February.
And it came only six weeks after she told The Times that she “had nothing to prove.” In October she compared her comeback to that of Michael Jordan, saying that his return from retirement isn’t “part of his legacy at all.”
“I’ve already succeeded,” Vonn continued. “I’ve already won. I was on the podium. I have the record for the oldest medalist in World Cup by seven years. I feel like this journey has been incredible.”
Lindsey Vonn, center, celebrates her FIS Alpine Ski World Cup Women’s Downhill win in St Moritz, Switzerland.
(Mateo Sgambato/Getty Images)
Vonn’s math is correct. She certainly is the oldest woman to win a World Cup race and has 83 victories across all World Cup disciplines. Federica Brignone of Italy set a record a year ago when she won a World Cup race — she won 10, actually — at age 34. Brignone is not racing this weekend because of an injury.
Vonn is the only American woman to win an Olympics gold medal in downhill, having done so at the 2010 Vancouver Games. She also won bronze medals in the super-G 2010 and downhill in 2018.
Vonn finished with a flourish Friday, taking the lead by 1.16 seconds ahead of Mirjam Puchner of Austria despite trailing by 0.61 after the first two time checks. Vonn’s eventual victory was by 0.98 seconds when upstart Austrian Magdalena Egger took second place.
After a ho-hum first half, Vonn posted the fastest times of anyone through the bottom half, reaching 74 mph and completing the course in 1 minute, 29.63 seconds.
“It was an amazing day, I couldn’t be happier, pretty emotional,” Vonn told Swiss broadcaster RTS. “I felt good this summer but I wasn’t sure how fast I was. I guess I know now how fast I am.”
After laying in the snow beyond the finish line, Vonn saw her time and raised her arms. She stood and yelped, then placed her hands to her left cheek in a purely American gesture, mimicking NBA star Steph Curry’s “Night, night.”
Lindsey Vonn takes 1st place during the Audi FIS Alpine Ski World Cup Women’s Downhill.
(Alain Grosclaude/Getty Images)
“In my mind, I was thinking, ‘OK, well, I just need to ski the pitch really clean and carry my speed down,’” Vonn told reporters after the race. “I still didn’t ski the best that I could have on the compression at the bottom, but I tried to be dynamic, tried to be clean, the way I’ve been skiing and training, and it was pretty solid.”
Vonn has been working with a new coach, 36-time World Cup winner Aksel Lund Svindal. The partnership is already proving promising.
“We worked really hard, not just me but my whole team, from the equipment to the physical training, also hired Aksel,” Vonn said. “I knew I was skiing fast, but you never know until the first race. I think I was a little faster than I expected. I think I had a great run, but I also made some mistakes, so I’m excited for tomorrow.”
Vonn will take part in another downhill race Saturday and a super-G on Sunday.
Have you ever wondered what movie might draw praise from Jacob Elordi and Benicio Del Toro for its cinematic reverie?
When you gather six actors from some of this year’s most acclaimed films, a thoughtful discussion about their roles and the craft is to be expected. But in kicking off The Envelope’s 2025 Oscar Actors Roundtable, the talent reminded us that they’re movie fans like the rest of us, picking the films they wish they could experience again for the first time.
“I’d like to watch ‘The Dark Knight’ again in the exact same circumstance that I watched it,” Elordi said, referring to Christopher Nolan’s dark retelling of Batman’s battle with the Joker. “I was 11 and I was with my dad. I’d been told by my mother that I wasn’t allowed to see it because there’s a horrific sequence with a pencil and a magic trick. My dad — when my mum was away — took me to the cinema to see it. I remember the first time I saw Heath [Ledger, as the Joker] onscreen and really feeling just totally moved by something.”
Then Del Toro chimed in with his pick, “Papillon,” Franklin Schaffner’s 1973 prison film starring Dustin Hoffman and Steve McQueen: “I saw it when I was a kid. We got in late in the movie, and it was a scene where they’re trying to get a gator. And they’re running around the crocodile. I’ve always really enjoyed that film.”
“And you really see Steve McQueen do more in that movie than ever before,” Elordi says. “When he starts going mad in that cell.”
Jesse Plemons is more sheepish when coughing up his selection.
“Everyone’s listing serious movies. The movie that popped into my head was ‘Nacho Libre.’ In life, some things just give you simple pleasures that aren’t necessarily elevated or high art. But that movie makes me very happy, guys.”
There was no judgment. An atmosphere of friendly sharing and mutual understanding was felt throughout the conversation, which brought together Elordi, who portrays the misunderstood and abused Creature in Guillermo del Toro’s “Frankenstein”; Plemons, in his turn as Teddy, a conspiracy theorist who is convinced that aliens live among us in “Bugonia”; Benicio Del Toro, who plays Sergio St. Carlos, a karate sensei and revolutionary immigration activist in “One Battle After Another”; Will Arnett, who stars as Alex Novak, a middle-age suburbanite whose crumbling marriage inspires him to try stand-up comedy in “Is This Thing On?”; Wagner Moura, who portrays Marcelo Alves, a teacher trying to escape the Brazilian dictatorship in “The Secret Agent”; and Stellan Skarsgård, who plays Gustav Borg, a veteran film director and absentee father who decides to make a movie about his family in “Sentimental Value.” Read on for excerpts from our discussion.
These roles take you to intense places — emotionally, physically, mentally. But what’s the furthest you’ve gone to book a role because you really felt like it was something you were meant to play?
Moura: “Narcos” was a crazy adventure for me because I was cast to play that part that had nothing to do with me. I was a skinny Brazilian guy who didn’t speak Spanish at all. So I had to go through a very intense thing. I had to learn a language in order to play a character. That was crazy. That was the the furthest I’ve [gone] to play a part.
Plemons: Those early weeks are a lot of fun, right? The beginning. It’s like Christmas every day.
Moura: The beginning is always like, “What am I doing?” And you go to bed and go like, “Jesus Christ, this is … There’s no way I can pull this off.” At the same time, I remember going to bed and thinking, “Have I done everything I could?” And then I was like, “Yeah, go to bed. Sleep.”
Arnett: Did you ever think about quitting, about not doing it?
Moura: No. I had to go ahead and do it. That director trusted me, and he was like, “You can do it.” I didn’t want to disappoint him.
Have you gotten to that point, Will? Wanting to quit something because it felt like too much?
Arnett: All the time. Doing [“Is This Thing On?”], I felt like I was at the bottom of a mountain. Every day, I thought, “There’s no way I can do it.” I would come home and just think, “That was probably the worst day that anybody’s ever filmed a scene,” then just have to let it go.
With “Is This Thing On?,” you did a stand-up act in front of people, and they were tourists. Some of them didn’t know who you were. And you bombed a few times, right? Place me in that moment, and what does that do for your performance.
Arnett: I had them introduce me by my character name. So the people who did know who I was, we were saying that [they] thought I was probably having a midlife crisis or something, which I was, but for different reasons. I’d never done stand-up before, so going up and doing this in front of people and bombing was super vulnerable. There’s nowhere to hide, and you can’t just walk off. There was one time where I’d done a set at the Comedy Cellar, in the main room, and it was great. And went around the corner, like five minutes later, onto a different stage, with the same material, and it was dead silent. And the only person laughing was Bradley. I could see him laughing, and [I was] thinking, “Can I just walk off stage right now?” That was ego-stripping. It becomes kind of absurd. You end up kind of laughing at yourself, at the absurdity of it. It’s not out-of-body, but you separate yourself from the words as they’re coming out.
Stellan, “Sentimental Value” is, in some ways, about how the choices a parent makes in the service of their job or their art shape the lives of your children. How did it make you reflect on the choices you’ve made in your career and the impact it had on your family?
Skarsgård: I thought it had nothing to do with me. This was a good escape. But my second son, he called me and said, “You recognize yourself?” And I went, “Uh, no.” And of course I don’t recognize myself because he’s a different kind of man. He’s an old-fashioned man in a sense, a 20th century man. And I’m a 21st. [Laughs.] But it reminded me — since I stopped at the Royal Dramatic Theatre [in] 1989, I spent four months a year in front of the camera and eight months a year changing diapers and wiping asses. I don’t think I’ve been away a lot, but it made me think about, “Have you been present?” Not really. I have eight kids, which means there are eight different personalities, and some kids need a lot of attention and some don’t. You’re imperfect, but I’m sort of settled with that. My kids have to settle with it too. They’re not perfect either.
We often hear from the women who are mothers, how they balance their work with their careers. Many of you are fathers. How have you learned to navigate it?
Moura: For me, it’s the most difficult thing ever. I was thinking the other day, “What are the things that really define me as a human being?” Being a father is the strongest one, but being an artist is almost there. It’s hard because with our job, we have to travel a lot, and you’re not always able to bring your kids with you. They have school, and they have their own lives and their own things. I kind of think this is sort of an impossible perfect balance. But like Stellan said, it is what it is. And when I’m with them, I try to be with them. But being aware that, of course, there will be parts of their lives that I won’t be able to be there for them and sort of accept that.
Arnett: It’s funny, I’ve been traveling a lot doing this stuff. I’ve been back for a couple of days, but I’ve been busy. I’ve been going out all day, doing work and doing these things, and my 15-year-old said to me — I checked in on him. He’s doing his homework. I said, “How are you doing?” He said, “Good,” and he said, “I miss you.” And I was in the same place with him. I don’t even know if this is appropriate for this forum, but it really struck me. Him saying that stayed with me all day. And I woke up thinking about [that] this morning, and even this [round table], and saying, “Hey, we’re gonna have dinner tonight.” I had those moments of thinking, “Am I that guy?” Now I’m saying, “Let’s have dinner after … I gotta go do this thing.” It weighs on you. It is the most difficult balance.
Del Toro: I’ve tried to include my daughter in the process sometimes, you know? Sit her down, bounce lines with her, go see the movie when I’m done with the movie. Make her part of it too.
Jacob, so often when you’re talking to an actor, at least on my end, there’s curiosity about the research process and what you’ve had to learn to prepare for a role. But in playing the Creature in “Frankenstein,” this amalgamation of parts, your character’s really in a process of discovery. Did you have to unlearn things? How did you approach that?
Elordi: The nature of the character actually gives you an excuse to be absolutely free because he’s sort of the first man, in a lot of ways. You can really draw from everything and anything, like a smell or light, because he hasn’t felt the sun on his face. But there’s so many things that you can go back on and reconsider. A lot of the process was just closing the world off for the time of filming — not eating a cheeseburger when I wanted to eat a cheeseburger or just little stuff that made me feel Other. But strangely enough, because he’s made of so many different parts, and you get to go from being born to finding consciousness to the death of consciousness at the end, it’s like shooting fish in a barrel. You can’t really miss because everything is happening to him all the time. It’s interesting because you say you want to ask someone about the process, but the process is so f— boring.
Plemons: You studied some form of Japanese dance or movement?
Elordi: Guillermo had this idea to study Butoh. It’s a movement thing, like you’re in drama school again where [the instructor]’s like, “Imagine fire in your fingertips and a hurricane in your lungs, and your foot is a steam train.” And then you walk around the room for 40 minutes … I remember being in drama school, and I had to carry a stick that was called my Intellikey for two hours. It was a piece of bamboo. And move around the room as if that stick was a part of my soul or something. Something completely f— absurd. It was a similar process to that, but it was actually helpful because I had something to apply it to that was sort of physically not so human.
Do any of you have a thing that really helped you find your way into a character? Jesse, I feel like you have gone to some dark places.
Plemons: I guess the most curious is I do dream work. There are symbols and whatnot that you are gifted with that may not make sense on a conscious level, or they may. That’s something that’s hard to talk about. Anything that makes me feel like I’m just following my curiosity and I’m not working; I’m just following some trail that I don’t necessarily know where it’s leading — it’s hard to describe because the way I like to work is where anything goes.
Elordi: You kind of know when you get onto that thing too. When a dot does connect. Something happens, then, all of a sudden, you’re six hours down this little road on this sound that you heard in a song or something like that. You also know when it’s not working. But to be conscious about it can mess it up as well, if you’re like, “I’m gonna do this kind of thing and this. And this is gonna go to this voice.”
Does the work need to feel hard in order for you to feel like you’re challenging yourself?
Skarsgård: No. [I need] to not be afraid and not to be blocked; I need to feel safe. And I need [for] everybody on the set, they want me to be good, and I feel it. Then I can be free. I’m with you [Jesse], you have to be in a state where anything is possible. I don’t do backstories for my characters, ever, because it reduces the possibilities. Then you have to follow the backstory — so he couldn’t do that. You, as an actor, say to the director, “No, my character wouldn’t do that.” “How do you know?” Your character might be more interesting than you are.
Plemons: And this thing doesn’t exist yet, this moment —
Moura: There’s no better thing than being in a scene with another actor, and you look at the other guy or the other actors, and you go, like, “This can go anywhere.” Because these other guys, or this other actor, she’s ready to do whatever, to take this wherever. This is the thing that really moves me in a scene. It’s really hard when you work with an actor or with a director that sticks with the thing that they want the scene to be, that thing they thought at home, that they prepared for, and you can’t really move into that space.
Benicio, you really know how to make a character memorable and leave a lasting impression. With Sensei Sergio and what we see onscreen, what were you working with on the page and how much came from you in collaboration with Paul [Thomas Anderson, the film’s director]?
Del Toro: I just asked questions. Paul wants to hear what the actors have to say. I just bombard him with questions. Paul was very flexible … He’s very quick, and if he likes something, he would jump on it. My character was introduced by killing someone in my dojo. So, I asked him, “OK, so I killed this guy in the dojo … I’m not gonna drive Leo anywhere. I have to get rid of the body. And we’re gonna have to clean the dojo or set it on fire. And why am I doing that?” So, from there, it evolved into, like, “We’re not killing anybody.” I approach it a little bit like that — common sense. Logic. But every character is different and every story is different, and every director is different. I’ve been in movies where you just have to find yourself in there. And those are challenging, and they make you better.
“The Secret Agent” really explores how brutal a dictatorship can be on regular people. Wagner, your character Marcelo is not trying to overthrow the government. He’s just a man who’s trying to stick with his values. Tell me about portraying a person in that situation.
Moura: The dictatorship in Brazil was from ’64 to ’85. I was born in ’76, so the echoes of the dictatorship were still there. I remember my parents speaking like [mimics whispering] because they didn’t want people to hear what were they talking about. It’s important that Brazilian cinema is going back there to look at that big scar in our country. I directed a film [2019’s “Marighella”] about a freedom fighter, a guy who wanted to overthrow the government. But this one is different. Like you said, it’s just someone who’s trying to stick with the values that he has. And I think that this is a reality in many different parts of the world, where just the fact that you are who you are makes your life difficult or puts your life in danger, just by the color of your skin or your sexual orientation. You see the dictatorship and and what a dictatorship can do, but not in a obvious way.
Do any of you read reviews?
Skarsgård: Yes, sometimes. I prefer to read the good ones.
Has there been a bad review that propelled you or motivated you or helped you?
Skarsgård: Once I read a theater review that was really bad and that pointed out a grave mistake I made in the show, so I corrected it afterwards. But otherwise —
Elordi: You took the advice?
Skarsgård: Yeah.
Arnett: I did this show for Netflix like 10 years ago, and this guy wrote this review, and I’m embarrassed to say I wrote a point-for-point rebuttal email. I sent it as a draft to Mark Chappell, my partner, and he said, “Oh, hold on. Don’t send it. I’m gonna come over. Let’s talk for a minute.” And I didn’t send it.
Plemons: I’ve got one journalist — I am not gonna say their name — but …
Arnett: Who’s got it out for you?
Plemons: In a way that wasn’t even that intense, but said it [a performance of mine] was “misguided” — which, is just like, “What?” And then I started reading more of his reviews, and everything’s “misguided” to this guy. It’s like, “What do you mean?” So, I’m trying to be less misguided.
Can I jump in with a question for anyone? Talking about that balance between preparation — in certain cases, it’s necessary — then your experience where you rethink all of that. Given the fact that we’re not machines, that on any given day there are a number of variables that influence your mood and influence your mind and influence your ability to relax and do the scene, I’ve thought a lot about that ideal baseline place of being fully relaxed and in your [element]. I wish acting teachers had told me that when I was younger, that that’s like over half of the battle. I’m curious if you have any —
Top row, from left to right: Will Arnett, Wagner Moura and Jesse Plemons. Bottom row, from left to right: Benicio Del Toro, Jacob Elordi and Stellan Skarsgård.
Skarsgård: Tips?
Plemons: No, routines or [an] approach, anything you do to get yourself into a place where you feel like you can leave the preparation and [just be].
Skarsgård: The preparation can serve that purpose. You feel that you’re doing something because it’s a f— strange business, what we’re doing. You don’t know what it is, really, but you feel that, “OK, I’ve done this preparation. I’ve done three months of baking because I’m [playing] a baker.” You feel that you’re prepared, so you feel safer. But, personally, I make sure that the set is safe. I’m first on set. I come in early and, while they’re setting up, I’m gonna see what they’re doing. I’m making sure that I know what all the sound guys, the prop guys, what they’re doing at the same time. So, I feel a part of the unit. That’s my way of feeling safe.
Plemons: Yeah, I find that too. Any time you try and block anything out, you’re missing it. I know that’s sort of a cliche, but the times when I’ve felt maybe the best, I wasn’t blacked out. I was aware of everything.
Elordi: Key to the whole thing is you practice.
Plemons: Yeah, I was looking at the DP I had.
Elordi: That’s when I feel, like, the most comfortable, is when you feel like you are in a dialogue with the operator and the lighting guard and your director, and you’re all in the scene working towards [the same thing]. It’s not like, “Everyone, shut the f— up now. I need complete silence.” Complete silences are unnerving to me on a set. It’s like you’re all trying to reach this point for cut, and then you’ve got that piece of the thing. That makes me feel comfortable when it’s technical and not actually getting lost in this thing of like, “I need complete silence. My body needs to be supple and ready.”
The NFL is advocating a more performance-driven model for its game officials, one linking bonuses and postseason assignments to regular-season grades as opposed to seniority.
The plan was outlined in a memo distributed to the league’s 32 teams Wednesday and obtained by the Los Angeles Times. It comes with the NFL’s collective bargaining agreement with game officials expiring at the end of May and negotiations slowed to a crawl.
The topic was part of a two-hour virtual owners meeting on Wednesday.
In the memo, sent by NFL Executive Vice President of Football Operations Troy Vincent and Management Council General Counsel Lawrence Ferazani Jr., the league said it is looking to implement changes that will “improve the performance of game officials, increase accountability, and ensure that the highest-performing officials are officiating our highest profile games.”
The NFL is pushing for mandatory training and development programs for low-performing and probationary officials, and contends the union is “resisting our efforts to give these officials access to more practice repetitions.”
The league is also seeking to extend the probationary period for assessing new game officials to have more flexibility to identify and remove those who are underperforming. According to the document, the union’s latest proposal seeks to eliminate the probationary period entirely.
“Our union’s negotiating committee is working diligently on behalf of members, and we will continue to respect that process,” said Scott Green, Executive Director of the NFL Referees’ Assn., in a statement. “We look forward to our continued conversations with the league as we make progress towards a new CBA.”
As it stands, the NFL has no communication with game officials following the Super Bowl through May 15. The league wants to shorten that so-called “dead period” and increase access to officials for rules discussions, video review and the like.
The league is also proposing a practice squad for game officials to deepen the bench of talent.
The next formal bargaining session between the NFL and officials union is scheduled for Dec. 30 in Atlanta.
Following a historic championship season, the WNBA All-Star was named the Associated Press Female Athlete of the Year on Wednesday. It’s the latest accolade acknowledging Wilson’s unprecedented year that saw her named the league’s most valuable player for a record fourth time, as well as co-defensive player of the year and finals MVP.
“It’s an honor when you think about the group of women who have won before,” Wilson said to the AP. “Just to have my name be a part of it, I’m blessed.”
The Las Vegas Aces forward, who led her team to its third championship in four years, is just the fifth basketball player to be recognized for the award following Sheryl Swoopes (1993), Rebecca Lobo (1995), Candace Parker (2008, 2021) and Caitlin Clark (2024).
Wilson is the first player in WNBA or NBA history to win the championship; be named Finals MVP, league MVP and DPOY; and claim the scoring title in the same season. In June, she also became the fastest player to ever reach the 5,000-point milestone in the league.
To celebrate collecting an array of on-court achievements this season, Wilson donned a replica of Thanos’ Infinity Gauntlet during the Aces’ victory parade in October. Under each of the golden glove’s six Infinity Stones — which took the iconic Marvel Cinematic Universe villain an entire 23-film saga to collect and unleash — Wilson reportedly wrote down a different season honor.
“When you’ve collected everything, that’s Thanos,” Wilson said to Time, which named her the outlet’s Athlete of the Year on Tuesday. “And this year, I collected everything. I don’t really talk much [s—]. … I kind of let my game do it. This was my biggest moment of doing it, because no one’s ever done what I’ve done. And I think people really needed to understand that.”
It appears Wilson will need to procure another gauntlet just to commemorate her numerous accomplishments off of the basketball court as well. In February, the former Gamecock standout saw her alma mater South Carolina hang her college jersey in the rafters. In May, the two-time Olympic gold medalist saw the first batch of her Nike signature shoe sell out in a day. The bestselling author was also recently revealed as a member of the 2026 Met Gala’s host committee.
In addition to being the WNBA’s only four-time MVP and a three-time champion, Wilson is a two-time Finals MVP, a three-time DPOY and a seven-time All Star. And she’s just getting started.
“I’m just going to continue to prove why I’m one of the greatest and why my team is part of a dynamic dynasty,” Wilson told the AP.
WASHINGTON — Foreigners who are allowed to come to the United States without a visa could soon be required to submit information about their social media, email accounts and extensive family history to the Department of Homeland Security before being approved for travel.
The notice published Wednesday in the Federal Register said Customs and Border Protection is proposing collecting five years worth of social media information from travelers from select countries who do not have to get visas to come to the U.S. The Trump administration has been stepping up monitoring of international travelers and immigrants.
The announcement refers to travelers from more than three dozen countries who take part in the Visa Waiver Program and submit their information to the Electronic System for Travel Authorization, or ESTA, which automatically screens them and then approves them for travel to the U.S. Unlike visa applicants, they generally do not have to go into an embassy or consulate for an interview.
The Department of Homeland Security administers the program, which currently allows citizens of roughly 40 mostly European and Asian countries to travel to the U.S. for tourism or business for three months without visas.
The announcement also said that CBP would start requesting a list of other information, including telephone numbers the person has used over the last five years or email addresses used over the last decade. Also sought would be metadata from electronically submitted photos, as well as extensive information from the applicant’s family members, including their places of birth and their telephone numbers.
The application that people are now required to fill out to take part in ESTA asks a more limited set of questions such as parents’ names and current email address.
The public has 60 days to comment on the proposed changes before they go into effect, the notice said.
CBP officials did not immediately respond to questions about the new rules.
The announcement did not say what the administration was looking for in the social media accounts or why it was asking for more information.
But the agency said it was complying with an executive order that Republican President Trump signed in January that called for more screening of people coming to the U.S. to prevent the entry of possible national security threats.
Travelers from countries that are not part of the Visa Waiver Program system are already required to submit their social media information, a policy that dates to the first Trump administration. The policy remained during Democratic President Biden’s administration.
But citizens from visa waiver countries were not obligated to do so.
Since January, the Trump administration has stepped up checks of immigrants and travelers, both those trying to enter the U.S. as well as those already in the country. Officials have tightened visa rules by requiring that applicants set all of their social media accounts to public so that they can be more easily scrutinized and checked for what authorities view as potential derogatory information. Refusing to set an account to public can be considered grounds for visa denial, according to guidelines provided by the State Department.
U.S. Citizenship and Immigration Services now considers whether an applicant for benefits, such as a green card, “endorsed, promoted, supported, or otherwise espoused” anti-American, terrorist or antisemitic views.
The heightened interest in social media screening has drawn concern from immigration and free speech advocates about what the Trump administration is looking for and whether the measures target people critical of the administration in an infringement of free speech rights.
Busta Rhymes got a young TikTok creator all in check over the weekend after he boldly and incorrectly identified the rapper as “Saturday Night Live” alum Tracy Morgan.
The “Woo-Hah!! Got You All in Check” and “Calm Down” rap veteran, 53, sternly set the record straight for the social media troll during an exchange Sunday at Art Basel in Miami Beach. In video of the interaction, published Monday by TMZ, the musician poses with a supposed fan for a photo op. “Get the video of this, it’s Tracy Morgan out here,” the jokester, wearing a black hoodie and baggy jeans, seems to say as he points to Rhymes.
The remark immediately elicited confusion from the rapper and the surrounding crowd. “Wait, what’d you say?,” the Grammy-nominated musician asks, according to the video. “What did you just say?”
For reference, Rhymes is a longtime hip-hop star who first rose to prominence in the late 1980s and is also known for songs “Put Your Hands Where My Eyes Can See” and Chris Brown’s “Look at Me Now.” Over the years he has collaborated with Notorious B.I.G., Janet Jackson, Mariah Carey, Pharrell, T-Pain, Missy Elliott and Ye (formerly Kanye West), among others. Morgan, on the other hand, is an Emmy-nominated comedy veteran who was part of the “Saturday Night Live” cast from 1996 to 2003 before pivoting to comedy series including “30 Rock”, “The Last O.G.” and most recently, “Crutch.”
Both Rhymes and Morgan are Black men.
The video continues with Rhymes — real name Trevor Smith Jr. — requesting an onlooker put down their camera and asking the alleged fan to explain himself. “I’m trying to understand,” he can be heard saying, patting the Tiktoker on the shoulder.
“I’m asking you a question, I ain’t calling you out,” he says, later adding, “I was taking a picture to show you love, but you trying to be funny?”
“I’m not trying to be funny at all,” the young man replied.
“What [do] you mean, ‘Tracy, my boy?’”
As Busta Rhymes continues scolding the troll, the TMZ video pans over to the crowd and identifies Kenny Brooks, an internet personality known as Funny Salesman. While it’s unclear if Brooks played a part in the viral interaction, he shared videos and coverage of the exchange to his Instagram stories on Monday.
“You don’t play with a grown man, little boy — that’s how people get f— up,” Rhymes reportedly told the young man, who can be seen walking away from the scene alongside Funny Salesman at the end of the video. Brooks attempted to distance himself from the exchange, calling out TMZ in a TikTok posted Monday: “I don’t know what happened. I wasn’t there,” he said, despite video evidence pointing to the contrary.
“I’m not Shaggy, it wasn’t me. I don’t know what’s going on. I was like Stevie Wonder, I ain’t see nothing,” Brooks said, adding he was trying to get his own video with Rhymes.
He ended his post with a nod to Rhymes’ music: “I’m trying to put my hands where my eyes can see.”
WASHINGTON — Pamela Smith, who was catapulted into national attention after President Trump moved to federalize Washington’s police force and who worked to confront rising violence in the nation’s capital, is stepping down as the city’s police chief, Mayor Muriel Bowser said Monday.
Smith, appointed in 2023, had been brought in to stabilize a department facing staffing shortages and a city shaken by post-pandemic crime. But her tenure unfolded amid a fierce battle over authority, as Trump asserted federal control over the Metropolitan Police Department and deployed National Guard troops and federal agents alongside the city’s officers.
In announcing her resignation, Bowser praised Smith for “stepping up” at a moment of “significant urgency,” crediting her with helping drive down violent crime, cutting homicides to an eight-year low and launching major policing initiatives, including a Real-Time Crime Center and new technology upgrades.
“Chief Smith got all of this done while navigating unprecedented challenges and attacks on our city’s autonomy,” Bowser said.
The mayor did not say why Smith is leaving. She also did not announce who would take over the department or whether the change in leadership might affect the city’s broader public-safety strategy at a moment when Washington continues to recover from historic levels of violence.
The announcement comes after Bowser said she would not seek a fourth term. Smith and Bowser have been under tremendous pressure from constituents over the police force’s performance during the federal law enforcement intervention.
In a statement, Smith said she was confident the police force “is in a strong position and that the great work will continue” and that the role has been both a challenge and a reward.
“I am proud of the accomplishments we achieved together, and I thank the residents of this city for their trust and partnership,” Smith said. “While my aspiration has always been to see zero percent crime, we are not there yet. Nonetheless, we have made tremendous progress, and there remains important work ahead.”
Smith, a longtime federal law enforcement official and former head of the U.S. Park Police, assumed command during one of Washington’s most volatile years in nearly two decades, as homicides surged, carjackings hit record highs and frustration mounted among residents and lawmakers.
The spike in 2023 violence prompted congressional hearings and led city leaders to expand police authority, including authorizing drug-free zones in areas with persistent crime. Lawmakers also rewrote parts of the city’s criminal code in an effort to stem the rise in violent offenses.
The city began to see improvement in early 2024. Overall crime fell by about 17% in the first 10 weeks, a drop Smith attributed to the new law and to targeted deployments in neighborhoods experiencing repeated trouble. She also imposed temporary youth curfew zones in parts of the district.
Pointing to the city’s crime, Trump issued an emergency order in August that federalized the police force and sent in hundreds of National Guard troops. Trump has hailed the operation as a resounding success that has brought down crime, although rates already were on the decline.
Former Rep. Colin Allred is ending his U.S. Senate campaign in Texas and instead will attempt a House comeback bid, potentially paving the way for Rep. Jasmine Crockett to enter the race for Democrats’ nomination in a state that is critical for the party’s long-shot hopes to reclaim a Senate majority in next year’s midterm elections.
Crockett, a high-profile House member who has sparred with President Trump, is expected to announce her decision on Monday, the final day of qualifying in Texas. Democrats expect she will enter the race for the seat now held by Republican Sen. John Cornyn. Democrats need a net gain of four Senate seats to wrest control from Republicans next November, and Texas, which Republicans have dominated for decades, is part of their ideal path.
Allred said in a statement Monday that he wanted to avoid “a bruising Senate primary and runoff” that could threaten Democrats’ chances in November. He said he would instead run for the House in a newly drawn district in the Dallas-Fort Worth area, which he previously represented in Congress before he won the Democrats’ Senate nomination in 2024 and lost the general election to Sen. Ted Cruz.
The former congressman did not name Crockett or state Rep. James Talarico, who has launched his Senate bid already, in his explanation. But Allred’s decision aligns with Crockett’s expected entry into the race. Her campaign has scheduled a “special announcement” in Dallas at 4:30 p.m. CST.
Republicans also expect a hotly contested primary among the incumbent Cornyn, state Atty. Gen. Ken Paxton and U.S. Rep. Wesley Hunt.
Allred says he wants to avoid a divisive Democratic primary
An internal party battle, Allred said, “would prevent the Democratic Party from going into this critical election unified against the danger posed to our communities and our Constitution by Donald Trump and one of his Republican bootlickers.”
Kamau Marshall, a Democratic consultant who has worked for Allred before and worked other campaigns in Texas, said Allred made the right call. But he said Talarico and Crockett both face distinct challenges and added that Democrats have work to do across the nation’s second-most populous state.
He said Crockett is a “solid national figure” who has a large social media following and is a frequent presence on cable news. That could be an advantage with Democratic primary voters, Marshall said, but not necessarily afterward.
“It’s going to be a sprint from now until the primary, but in Texas you have to think about the voter base overall in November, too,” Marshall said. “Who can do the work on the ground? After the primary, who can win in the general? … It’s about building complicated coalitions in a big state.”
Talarico, meanwhile, must raise money and build name recognition to make the leap from the Texas House of Representatives to a strong statewide candidate, Marshall said.
A winning Democratic candidate in Texas, Marshall said, would have to energize Black voters, mainly in metro Houston and Dallas, win the kind of diverse suburbs and exurbs like those Allred once represented in Congress, and get enough rural votes, especially among Latinos in the Rio Grande Valley.
Texas Democrats have big gaps to make up
The closest Democrats have come recently to a top-of-the-ticket victory in Texas elections was Beto O’Rourke’s challenge of Republican Sen. Ted Cruz in 2018. O’Rourke campaigned in all 254 counties — a notable feat for Texas Democrats — and got 48.3% of the vote. But that was still a statewide deficit of 215,000 votes. Just four years later, O’Rourke was the gubernatorial nominee and lost to Republican Gov. Greg Abbott by more than 880,000 votes, a gap of nearly 11 percentage points. In 2024, Allred lost the Senate general election by nearly 960,000 votes or 8.5 points.
Allred’s new House district is part of the new congressional map that Texas’ GOP-run Legislature approved earlier this year as part of Trump’s push to redraw House boundaries to Republicans’ advantage. It includes some areas that Allred represented in Congress from 2019-25. Most of the district is currently being represented by Rep. Marc Veasey, but he has planned to run in a new, neighboring district.
A former professional football player and civil rights attorney, Allred was among Democrats’ star recruits for the 2018 midterms, when the party gained a net of 40 House seats, including multiple suburban and exurban districts in Texas, to win a House majority that redefined Trump’s first presidency.
Besides avoiding a free-for-all Senate primary, Marshall said Allred is helping Democrats’ cause by becoming a candidate for another office, and he said that’s a key for the party to have any shot at flipping the state.
“The infrastructure isn’t terrible but it clearly needs improvement,” he said. “Having strong, competitive candidates for every office is part of building that energy and operation. Texas needs strong candidates in House races, for governor, lieutenant governor, attorney general — every office — so that voters are hearing from Democrats everywhere.”
GENEVA — Public broadcasters in Ireland, the Netherlands, Spain and Slovenia on Thursday pulled out of next year’s Eurovision Song Contest after organizers decided to allow Israel to compete, putting political discord on center stage over a usually joyful celebration of music.
The walkouts came after the general assembly of the European Broadcasting Union — a group of public broadcasters from 56 countries that runs the glitzy annual event — met to discuss concerns about Israel’s participation, which some countries oppose over its conduct of the Israel-Hamas war in Gaza.
At the meeting, EBU members voted to adopt tougher contest voting rules in response to allegations that Israel manipulated the vote in favor of their contestants, but took no action to exclude any broadcaster from the competition.
The feel-good pop music gala that draws more than 100 million viewers every year has been roiled by the war in Gaza for the last two years, stirring protests outside the venues and forcing organizers to clamp down on political flag-waving.
“It’s a historic moment for the European Broadcasting Union. This is certainly one of the most serious crises that the organization has ever faced,” said Eurovision expert Dean Vuletic. “Next year, we’re going to see the biggest political boycott of Eurovision ever.”
Vuletic, author of “Postwar Europe and the Eurovision Song Contest,” predicted “tense” weeks and months ahead as other countries contemplate joining the walkout and protests set to overshadow the contest’s 70th anniversary in Vienna next May.
A report on the website of Icelandic broadcaster RUV said its chiefs would meet Wednesday to discuss whether Iceland would take part: Its board last week recommended that Israel be barred from the event in the Austrian capital.
The broadcasting union said it was aware that four broadcasters — RTVE in Spain, AVROTROS in the Netherlands, RTÉ in Ireland and Slovenia’s RTVSLO — had publicly said they would not take part.
A final list of participating countries will be announced by Christmas, EBU said.
Controversy over Israel
Israeli President Isaac Herzog said on social platform X that he was “pleased” Israel will again take part, and hoped “the competition will remain one that champions culture, music, friendship between nations and cross-border cultural understanding.”
“Thank you to all our friends who stood up for Israel’s right to continue to contribute and compete at Eurovision,” he added.
Austria, which is set to host the competition after Viennese singer JJ won this year with “Wasted Love,” supported Israel’s participation. Germany, too, supported Israel along with countries like Switzerland and Luxembourg, Vuletic said.
AVROTROS, the Dutch broadcaster, said the participation of Israel “is no longer compatible with the responsibility we bear as a public broadcaster.”
Spain’s RTVE said the situation in Gaza — despite the recent ceasefire — and “Israel’s use of the contest for political purposes, make it increasingly difficult to maintain Eurovision as a neutral cultural event.”
RTÉ said Ireland’s participation “remains unconscionable given the appalling loss of lives in Gaza” and the humanitarian crisis there.
Some broadcasters — which run their country’s news programs and wanted Israel kept out — cited killings of journalists in the conflict in Gaza and Israel’s continued policy of denying international journalists access to the territory.
Israeli broadcaster KAN’s Chief Executive Golan Yochpaz questioned whether EBU members are “willing to be part of a step that harms freedom of creation and freedom of expression.”
KAN officials said the Israeli broadcaster was not involved in any prohibited campaign intended to influence the results of the latest song contest in Basel, Switzerland, last May — when Israel’s Yuval Raphael placed second.
Divided over politics
The contest pits acts from dozens of nations against one another for Europe’s musical crown. It strives to put pop before politics, but has repeatedly been embroiled in world events. Russia was expelled in 2022 after its full-scale invasion of Ukraine.
The war in Gaza has been its biggest challenge, with pro-Palestinian protesters demonstrating against Israel outside the last two Eurovision contests in Basel, Switzerland, in May and Malmo, Sweden, in 2024.
Opponents of Israel’s participation cite the war in Gaza, which has left more than 70,000 people dead, according to the territory’s Health Ministry, which operates under the Hamas-run government and whose detailed records are viewed as generally reliable by the international community.
Israel’s government has repeatedly defended its campaign as a response to the attack by Hamas-led militants that started the war on Oct. 7, 2023. The militants killed around 1,200 people — mostly civilians — in the attack and took 251 hostage.
A number of experts, including those commissioned by a U.N. body, have said that Israel’s offensive in Gaza amounts to genocide, a claim that Israel — home to many Holocaust survivors and their relatives — has vigorously denied.
A boycott by some European broadcasters could have implications for viewership and money at a time when many broadcasters are under financial pressure from government funding cuts and the advent of social media.
The pullouts include some big names in the Eurovision world. Spain is one of the “Big Five” large-market countries that contribute the most to the contest. Ireland has won seven times, a record it shares with Sweden.
The controversy over Israel’s 2026 participation also threatens to overshadow the return next year of three countries — Bulgaria, Moldova and Romania — after periods of absence because of financial and artistic reasons.
“Next year’s edition is certainly going to be one of the most politicized ever,” Vuletic said. “It’s the 70th anniversary. It was meant to be a big celebration, a big party, but it’s going to be shrouded in political controversy yet again.”
Keaten and Lawless write for the Associated Press. Lawless reported from London.
