For faith leaders supporting and ministering to anxious immigrants across the United States, 2025 was fraught with challenges and setbacks. For many in these religious circles, the coming year could be worse.
The essence of their fears: President Trump has become harsher with his contemptuous rhetoric and policy proposals, blaming immigrants for problems from crime to housing shortages and, in a social media post, demanding “REVERSE MIGRATION.”
Haitians who fled gang violence in their homeland, as well as Afghans allowed entry after assisting the U.S. in Afghanistan before the Taliban takeover, now fear that their refuge in America may end due to get-tough policy changes. Somali Americans, notably in Minnesota’s Twin Cities, worry about their future after Trump referred to them as “garbage.”
After Trump’s slurs, the chair of the Catholic bishops conference’s subcommittee on racial justice urged public officials to refrain from dehumanizing language.
“Each child of God has value and dignity,” said the bishop of Austin, Texas, Daniel Garcia. “Language that denigrates a person or community based on his or her ethnicity or country of origin is incompatible with this truth.”
Here’s a look at what lies ahead for these targeted immigrant communities, and the faith leaders supporting them.
Haitians in limbo
In 2024, Trump falsely accused Haitians in Springfield, Ohio, of eating their neighbors’ cats and dogs. It worsened fears about anti-immigrant sentiment in the mostly white, blue-collar city of about 59,000, where more than 15,000 Haitians live and work.
Thousands of them settled in Springfield in recent years under the Temporary Protected Status program.
Their prospects now seem dire. The TPS program, allowing many Haitians to remain legally in Springfield and elsewhere, expires in early February.
“It’s going to be an economic and humanitarian disaster,” said the Rev. Carl Ruby, pastor of Central Christian Church — one of several Springfield churches supporting the Haitians.
Ruby and Viles Dorsainvil, a leader of Springfield’s Haitian community, traveled recently to Washington to seek help from members of Congress.
“Every single legislator we’ve talked to has said nothing is going to happen legislatively. Trump’s rhetoric keeps getting harsher,” Ruby said. “It just doesn’t feel like anything is going our way.”
Many Haitians fear for their lives if they return to their gang-plagued homeland.
Faith communities have come together to support immigrants in the face of Trump’s crackdown, Ruby said.
“It’s increasing our resolve to oppose this,” he said. “There are more and more churches in Springfield saying we will provide sanctuary. … We will do whatever it takes to protect our members.”
Afghan refugees
Trump suspended the U.S. refugee program on the first day of his second term. Halting the program and its federal funding affected hundreds of faith-based organizations assisting refugees.
Among them was Lutheran Social Services of the National Capital Area, which serves the region around Washington, D.C., and lost 68% of its budget this year. The organization laid off two-thirds of its staff, shrinking from nearly 300 employees to 100.
Many of its employees and nearly two-thirds of its clients are Afghans. Many worked with the U.S. in Afghanistan and fled after the Taliban’s takeover from a U.S.-backed government in 2021.
The Trump administration announced new immigration restrictions after an Afghan national became the suspect in the Nov. 26 shooting of two National Guard members in Washington.
“It shook up our team. It was awful,” said Kristyn Peck, CEO of LSSNCA.
Peck said there is increased fear among Afghans on her staff and a false public narrative that Afghan immigrants are a threat.
“A whole group of people have now been targeted and blamed for this senseless act of violence,” she said.
She still finds reasons for hope.
“We continue to do the good work,” Peck said. “Even in challenging moments, we just continue to see people putting their faith into action.”
Volunteers have stepped up to provide services that employees no longer have funding to provide, including a program that helps Afghan women with English-language and job-skills training.
U.S.-based World Relief, a global Christian humanitarian organization overseen by the National Association of Evangelicals, has joined left-of-center religious groups decrying the new crackdown on Afghan refugees.
“When President Trump announces his intention to ‘permanently halt’ all migration from ‘Third World countries,’ he’s insulting the majority of the global Church,” declared World Relief CEO Myal Greene. “When his administration halts processing for all Afghans on account of the evil actions of one person, he risks abandoning tens of thousands of others who risked their lives alongside the U.S. military.”
Somalis targeted by Trump
In mid-December, imams and other leaders of Minnesota’s Somali community established a task force to tackle the fallout from major fraud scandals, a surge in immigration enforcement, and Trump’s contemptuous words toward the largest group of Somali refugees in the U.S.
“We’re not minimizing the crime, but we’re amplifying the successes,” said imam Yusuf Abdulle.
He directs the Islamic Association of North America, a network of more than three dozen mostly East African mosques. About half are in Minnesota, which, since the late 1990s, has been home to growing numbers of Somali refugees who are increasingly visible in local and U.S. politics.
“For unfortunate things like fraud or youth violence, every immigrant community has been through tough times,” Abdulle said. “For the number of years here, Somali is a very resilient, very successful community.”
Even though most Somalis in Minnesota are U.S. citizens or lawfully present, Abdulle said, many deserted local businesses and mosques when immigration enforcement surged.
The new task force includes more than two dozen faith and business leaders, as well as community organizers. Addressing their community’s fears is the first challenge, followed by increased advocacy ahead of the 2026 midterm elections.
“Every election year the rhetoric goes up. And so we want to push back against these hateful rhetorics, but also bring our community together,” said community leader Abdullahi Farah.
Faith leaders respond
In mid-November, U.S. Catholic bishops voted overwhelmingly to issue a “special message” decrying developments causing fear and anxiety among immigrants. It marked the first time in 12 years that the bishops invoked this urgent way of speaking collectively.
“We are concerned about the conditions in detention centers and the lack of access to pastoral care,” said the message. “We oppose the indiscriminate mass deportation of people. We pray for an end to dehumanizing rhetoric and violence, whether directed at immigrants or at law enforcement.”
The bishops thanked priests, nuns and lay Catholics accompanying and assisting immigrants.
“We urge all people of goodwill to continue and expand such efforts,” the message said.
The presiding bishop of the Evangelical Lutheran Church in America, Yehiel Curry, issued a similar pastoral message last month thanking ELCA congregations for supporting immigrants amid “aggressive and indiscriminate immigration enforcement.”
“The racial profiling and harm to our immigrant neighbors show no signs of diminishing, so we will heed God’s call to show up alongside these neighbors,” Curry wrote.
HIAS, an international Jewish nonprofit serving refugees and asylum-seekers, has condemned recent Trump administration moves.
“As a Jewish organization, we also know all too well what it means for an entire community to be targeted because of the actions of one person,” HIAS said.
“We will always stand in solidarity with people seeking the opportunity to rebuild their lives in safety, including those being targeted now by harmful policies and hateful rhetoric in the Afghan American and Somali American communities.”
Crary, Dell’Orto, Henao and Stanley write for the Associated Press.
MINNEAPOLIS — A surge of federal officers in Minnesota follows new allegations of fraud by day care centers run by Somali residents.
President Trump has previously linked his administration’s immigration crackdown against Minnesota’s large Somali community to a series of fraud cases involving government programs in which most of the defendants have roots in the east African country.
Surge in federal officers
Department of Homeland Security Secretary Kristi Noem and FBI Director Kash Patel both announced an increase in operations in Minnesota this week. The move comes after a right-wing influencer posted a video Friday claiming he had found that day care centers operated by Somali residents in Minneapolis had committed up to $100 million in fraud.
Tikki Brown, commissioner of the Minnesota Department of Children, Youth, and Families, said at a Monday news conference that state regulators took the influencer’s allegations seriously.
Noem posted on social media that officers were “conducting a massive investigation on childcare and other rampant fraud.” Patel said the intent was to “dismantle large-scale fraud schemes exploiting federal programs.”
Past fraud in Minnesota
Minnesota has been under the spotlight for years for Medicaid fraud, including a massive $300-million pandemic fraud case involving the nonprofit Feeding Our Future. Prosecutors said it was the country’s largest COVID-19-related fraud scam and that defendants exploited a state-run, federally funded program intended to provide food for children. In 2022, during President Biden’s administration, 47 people were charged. The number of defendants has grown to 78 throughout the ongoing investigation.
So far, 57 people have been convicted, either because they pleaded guilty or lost at trial.
Most of the defendants are of Somali descent.
Numerous other fraud cases are being investigated, including new allegations focused on child care centers.
In news interviews and releases over the summer, prosecutor Joe Thompson estimated the loss from all fraud cases could exceed $1 billion. Earlier this month, a federal prosecutor alleged that half or more of the roughly $18 billion in federal funds that supported 14 programs in Minnesota since 2018 may have been stolen.
Crackdown targeting Somalis
Trump’s immigration enforcement in Minnesota has focused on the Somali community in the Minneapolis-St. Paul area, which is the largest in the country.
Trump labeled Minnesota Somalis as “garbage” and said he didn’t want them in the United States.
About 84,000 of the 260,000 Somalis in the U.S. live in the Minneapolis-St. Paul area. The overwhelming majority are U.S. citizens. Almost 58% were born in the U.S and 87% of the foreign-born are naturalized citizens.
Among those running schemes to get funds for child nutrition, housing services and autism programs, 82 of the 92 defendants are Somali Americans, according to the U.S. attorney’s office for Minnesota.
Republicans have tried to blame Walz
Minnesota Gov. Tim Walz, the 2024 Democratic vice presidential nominee, has said fraud will not be tolerated and his administration “will continue to work with federal partners to ensure fraud is stopped and fraudsters are caught.”
The fraud could be a major issue in the 2026 gubernatorial race as Walz seeks a third term.
Walz has said an audit due by late January should give a better picture of the extent of the fraud but allowed that the $1-billion estimate could be accurate. He said his administration is taking aggressive action to prevent additional fraud. He has long defended how his administration responded.
Minnesota’s most prominent Somali American, Democratic U.S. Rep. Ilhan Omar, has urged people not to blame an entire community for the actions of a relative few.
NEW ORLEANS, La. — A National Guard deployment in New Orleans authorized by President Trump will begin Tuesday as part of a heavy security presence for New Year’s celebrations a year after an attack on revelers on Bourbon Street killed 14 people, officials said Monday.
The deployment in New Orleans follows high-profile National Guard missions the Trump administration launched in other cities this year, including in Washington and Memphis, Tennessee. But the sight of National Guard troops is not unusual in New Orleans, where troops earlier this year also helped bolster security for the Super Bowl and Mardi Gras.
“It’s no different than what we’ve seen in the past,” New Orleans police spokesperson Reese Harper said.
The Guard is not the only federal law enforcement agency in the city. Since the start of the month, federal agents have been carrying out an immigration crackdown that has led to the arrest of at least several hundred people.
Harper stressed that the National Guard will not be engaging in immigration enforcement.
“This is for visibility and just really to keep our citizens safe,” Harper said. “It’s just another tool in the toolbox and another layer of security.”
The Guard is expected be confined to the French Quarter area popular with tourists and won’t be engaging in assisting in immigration enforcement, Harper said. Guardsmen will operate similar to earlier this year when they patrolled the area around Bourbon Street following the vehicle-ramming attack on Jan. 1.
The 350 Guard members will stay through Carnival season, when residents and tourists descend on the Big Easy to partake in costumed celebrations and massive parades before ending with Mardi Gras in mid-February.
Louisiana National Guard spokesperson Lt. Col. Noel Collins said in a written statement that the Guard will support local, state, and federal law enforcement “to enhance capabilities, stabilize the environment, assist in reducing crime, and restoring public trust.”
In total, more than 800 local, state and federal law enforcement officials will be deployed in New Orleans to close off Bourbon Street to vehicular traffic, patrol the area, conduct bag searches and redirect traffic, city officials said during a news conference Monday.
The extra aid for New Orleans has received the support of some Democrats, with Mayor LaToya Cantrell saying she is “welcoming of those added resources.”
The increased law enforcement presence comes a year after Shamsud-Din Jabbar drove around a police blockade in the early hours of Jan. 1 and raced down Bourbon Street, plowing into people celebrating New Year’s Day. The attacker, a U.S. citizen and Army veteran who had proclaimed his support for the Islamic State militant group on social media, was fatally shot by police after crashing. After an expansive search, law enforcement located multiple bombs in coolers placed around the French Quarter. None of the explosive devices detonated.
In the immediate aftermath of the attack, 100 National Guard members were sent to the city.
In September, Gov. Jeff Landry asked Trump to send 1,000 troops to Louisiana cities, citing concerns about crime. Democrats pushed back, specifically leaders in New Orleans who said a deployment was unwarranted. They argued that the city has actually seen a dramatic decrease in violent crime rates in recent years.
Cline and Brook write for the Associated Press. Cline reported from Baton Rouge.
This is a column about lies. Big lies. Presidential lies. Dumb lies. The type of lies that have made life in the United States a daily dumpster fire of bad news. The kind of lies that would’ve made Frank Sinatra want to knock out a palooka.
More on Ol’ Blue Eyes in a bit.
For now let me tell you about one victim of President Trump’s mountain of lies whose brush with the administration defined our 2025.
On June 7, Brayan Ramos-Brito drove east on Alondra Boulevard from Compton toward a Chevron in Paramount to buy some snacks. It was his day off. It also was the weekend when Trump unleashed his deportation Leviathan on Southern California in a campaign that hasn’t stopped.
Ramos-Brito, a cook, had no idea that was going on as traffic froze on Alondra in front of a Home Depot. A “stay-at-home type of guy,” he didn’t even vote in the 2024 election because “politics isn’t my thing.”
But as the slender 30-year-old sat in his car, he saw federal immigration agents who had gathered across the street from the Home Depot fire flash-bang grenades at protesters who were screaming at them to leave. That’s when the moment “got to me.”
Ramos-Britos, a U.S citizen, got out of his car to yell at la migra, accusing those who looked Latino of being a “disgrace.” He said one of them shoved him into a scrum of protesters. After that, “all I remember were knees and kicks” by agents before they dragged him on the pavement and into the back of a van.
For hours Ramos-Brito and others stayed zip-tied inside as “craziness” erupted outside. Hundreds more residents arrived, as did L.A. County sheriff’s deputies. Smoke from blazes set by the former and tear gas canisters tossed by the latter seeped inside the van — “we kept telling agents we couldn’t breath, but they just ignored us.”
Photos and footage from the Paramount protest went viral and sparked an even bigger rally the following day near downtown L.A. that devolved into torched Waymo cars and concrete blocks hurled at California Highway Patrol vehicles. Soon, Trump called up the National Guard and Marines to occupy the City of Angels under the pretense that anarchy now ruled here — even though protests were confined to pockets of the metropolis. Siccing the National Guard on cities is something Trump has since tried to replicate across the country in any place that has dared to push back against immigration sweeps.
Ramos-Brito spent two weeks in a detention facility in Santa Ana stuffed in a cell with undocumented immigrants facing deportation. He faced federal felony charges of assaulting a federal agent and was accused of being one of the Paramount protest’s ringleaders as well.
Prosecutors tried to scare him into pleading guilty with threats of years in prison. Despite having no money to hire a lawyer, he refused: “I wasn’t going to take the blame for something I didn’t do.”
Federal public defender Cuauhtémoc Ortega represented Ramos-Brito during a two-day September trial. Ortega screened video footage to the jury that proved his client’s version of what happened and easily caught federal agents contradicting each other and their own field reports.
The jury took about an hour to acquit Ramos-Brito on misdemeanor assault charges. He wants to move on — but the mendacity of the administration won’t let him.
The lies it used to try to railroad an innocent man turned out not to be an aberration but a playbook for Trump’s 2025.
The stretch of Alondra Boulevard in Paramount where a June 7 protest against immigration agents resulted in the arrest of 30-year-old Compton resident Brayan Ramos-Brito on allegations he assaulted one of them. A jury found him not guilty.
Above all, or at least most malignantly, Trump and his crew lied about immigrants. The big lie. The lie they thought everyone would believe and thus would excuse all the other lies. They have lied about and maligned just about anyone they don’t see worthy of being a so-called “heritage American,” aka white.
Trump ran for reelection on a promise to focus on targeting “the worst of the worst” but has shrugged his shoulders as most of the people swept up in raids have no criminal record and are sometimes even citizens and permanent residents. He vowed that deporting people would improve the economy despite decades of studies showing the opposite. Trumpworld insists immigrants are destroying the United States — never mind that the commander in chief is the son of a Scotswoman and is married to a Slovenian while vice president JD Vance’s in-laws are from India.
The administration maintains unchecked migration is cultural suicide even as cabinet members sport last names — Kennedy, Rubio, Bondi, Loeffler — once seen by Americans of past generations as synonymous with invading hordes.
This is where Frank Sinatra comes in.
Over the Christmas weekend, White House deputy chief of staff Stephen Miller posted on social media that his family watched a Christmas special starring the Chairman of the Board and his fellow paisan, Dean Martin.
“Imagine watching that and thinking America needed infinity migrants from the third world,” Miller sneered. It didn’t matter that the crooners were proud children of Italian immigrants who arrived during a time where they were as demonized as Venezuelans and Somalis are now.
“Who in the name of God are these people anyway, the ones who elevate themselves above others?” Sinatra wrote. “America is an immigrant country. Maybe not you and me, but those whose love made our lives possible, or their parents or grandparents.”
As 2025 went from one hell month to another, it really felt like Trumpworld’s lies would loom over the land for good. But as the year ends, it seems truth finally is peeking through the storm clouds, like the blue skies Sinatra sang about so beautifully.
Trump’s approval ratings have dropped greatly since his inauguration even among those who voted for him, with his deportation disaster playing a role. Judges and juries are beginning to swat away charges filed against people like Ramos-Brito like they were flies swarming around a dung pile. Under especial scrutiny is Border Patrol commander Gregory Bovino, the public face of Trump’s deportation ground game.
In November, U.S. District Judge Sara L. Ellis ruled the federal government had to stop using excessive force in Chicago after months of agents firing pepper balls and tear gas at the slightest perceived insult. Her decision reasoned that Bovino’s sworn testimony about a Chicago under siege by pro-immigrant activists was “not credible” because he provided “cute” answers when he wasn’t “outright lying.”
Among the victims of those lies: Scott Blackburn, who was arrested for allegedly assaulting Bovino during an immigration raid even though videos showed the migra man tackle Blackburn like they were playing sandlot football, and Cole Sheridan, whom Bovino claimed injured his groin while arresting him during a protest; federal prosecutors quickly dropped all charges against Sheridan when they realized there was a lack of evidence to back up Bovino’s story.
And then there is Ramos-Brito, who had to endure a federal trial that hinged on Bovino insisting he was guilty of assaulting a federal agent in Paramount. He shook his head in disgust when I told him about Bovino’s continued tall tales.
“Justice was served for me,” Ramos-Brito said, “but not for others. I got lucky.”
Brayan Ramos-Brito, 30, of Compton, was found not guilty of assaulting a federal agent during June’s immigration enforcement protests in Los Angeles County.
(Gary Coronado/For The Times)
We spoke in front of the Home Depot where the June 7 protest happened, where Trump’s year of immigration lies went into overdrive. The day laborers who used to gather there for years weren’t around. The gate where la migra and protesters faced off was closed.
Ramos-Brito still drives down that stretch of Alondra Boulevard for his snacks from the Chevron station that stands a block away from where his life forever was changed. It took him months to go public with his story. Scars remain on his ribs, back and shoulders.
“There’s times when little moments come through my head,” he acknowledged.
What finally convinced him to speak up was think about others out there like him. He now realizes speaking out against Trump’s lies is the only way to stop him for good.
“Whoever is going through the same that I did, keep fighting,” Ramos-Brito said softly. “They should look at my experience to give them hope.”
It was abundantly clear to actor-director Bradley Cooper that if “Is This Thing On?,” his comedy-drama set in New York’s stand-up scene, lacked authenticity, the film would fail. With the iconic Comedy Cellar at its heart, he found the key to unlocking that — by casting several of the real-life comedians who regularly take the stage there. Among them were two women at the top of their game right now with sold-out shows and substantial social media followings: Chloe Radcliffe and Jordan Jensen.
“Bradley fell in love with the Comedy Cellar and the relationships that go on there,” Jensen recalls.
“Is This Thing On?” is based on an anecdote from the life of British comedian John Bishop, whose career started when he stumbled into an open-mic night in Manchester, England, while temporarily separated from his wife. In the film, Will Arnett plays a fictionalized version of Bishop, Alex Novak, a finance guy, and the narrative shifts to New York.
“The idea was, ‘If we use people who aren’t comics to play comics, there’s not going to be a juxtaposition between Arnett and this super-tight group of people,’” Jensen says. “His character is this stuffy, bored guy, and he enters into this world of people who have day jobs just like him, but they step into this room, and it’s all dirty humor and busting each other’s balls.”
Radcliffe realized early on that Cooper, who also produced and co-wrote the film, understood the level of commitment required to portray the stand-up world realistically. She saw the first signs of him getting it when he screened 10 minutes of test footage for the comedians at his home, just a few blocks from the Greenwich Village club.
Comedian Chloe Radcliffe on stage as her character, Nina, in “Is This Thing On?”
(Jason McDonald / Searchlight Pictures)
“The second the test footage started, I immediately felt so confident that we are in the right hands,” she recalls. “Any lingering doubt or trepidation was totally washed away immediately, because Bradley just has such clarity of vision and taste. It was clear that he and Will had both embedded themselves deeply in the world of stand-up. Bradley wanted to capture what is real, and he was like, ‘If that means going off script, do it. If that means going to a weird place, do it.’”
Jensen adds, “I don’t think I said one actual line from the script. I would improvise something, and along the way, as I got the point across, it was OK. He might occasionally tell us to say a line, but it was in between 100% moments of improvisation, and he would be rolling camera.
“When I saw the movie, it was really moving. The way he showed it reintroduced me to it and made me be like, ‘Oh yeah, this place is f— magical.’”
Cooper wanted to capture what goes on offstage as well as on, and a significant part of that happened around a particular table at the Olive Tree Cafe, which sits above the underground comedy club. It’s where the acts gather before, after and in between their sets.
“We shot a scene around the comics’ table on the very first day,” Radcliffe says. “About a week or 10 days later, Bradley wanted to reshoot it because he looked at the footage and realized that it looked like a movie. He wanted to make something that looked like the real environment. I admire that so much. Not only is he willing to ask us for our input, but he’s also willing to go back and make new decisions based on new information.”
According to Jensen, in another scene in the cafe, the filmmaker asked whether the comedian’s coats, which PAs had removed from the shot, would be there, and when he was told they would, ordered them to be put back. The level of detail even extended to whether the comics would share fries from a single plate or have their own. It all mattered.
Comedian Jordan Jensen was used to riffing through her scenes on camera while playing her character, Jill, in “Is This Thing On?”
(Jason McDonald / Searchlight Pictures)
Radcliffe describes Cooper’s reverence for the Comedy Cellar and the comics as an appreciated display of “humility and willing” that extended to both the filmmaker and Arnett, asking for their input on techniques that would improve Novak’s set.
“We wound up chatting about things like where the funny idea is in a punch line, so you might rearrange the sentence so that the most surprising part of it comes at the end. That’s an unnatural way of delivering that sentence,” she reveals. “I would see Will running the set at the Cellar before the shoot, and he is so naturally funny that even if he went off script and started riffing, he instinctively hits punch lines. He has this natural sense of rhythm.”
However, neither the actor nor the director, who also plays Novak’s best friend, Balls, rested on their laurels. To gauge real audiences’ reactions to the material, they ran it multiple times in rooms for months before filming started. It’s something Jensen calls “the ballsiest thing I’ve ever seen a person do.”
“I would be on a show months before the movie was happening,” she says. “They’d be like, ‘Here’s Alex Novak,’ and I was like, ‘Who is that?’ I would see that it was Will Arnett and then I’d be like, ‘F—, he’s bombing. Oh, this is the movie.’”
However, the bombing was intentional, and things would change as the set progressed. She continues, “What I realized is they had written it so that the first chunk in the movie, he doesn’t do so great, the second chunk he does a little better, and the last chunk he does the best, which is how comedy works. I can’t imagine in a million years doing that and not breaking at some point, and being like, ‘Hey, by the way, I’m actually doing this for a movie.’”
While Arnett was on stage, Cooper would stand in the back of the room, taking notes, making changes and doing research. However, Jensen says watching Arnett tank, even on purpose, was “brutal.”
Will Arnett with director Bradley Cooper on the set of “Is This Thing On?”
(Jason McDonald / Searchlight Pictures)
“These were not open mic nights; they were real shows. It was Will Arnett’s reputation, and he was bombing on purpose, but it totally worked out in the long run. He was operating like a real comic up there.”
There were also little things that Arnett did, sometimes by accident, that made his delivery next-level. One example is when he breathes into the microphone.
“It was totally an improvised thing,” Jensen enthuses. “It was this moment of awkwardness that is so authentic that it makes you immediately empathize with him. You’re like, ‘Oh, man, I know that feeling of the air leaving your mouth, hitting the mic, and now everybody has heard that you’ve let out a sigh of grief.’”
Radcliffe, who plays Nina, and Jensen, who plays Jill, are close friends in real life and read for each other’s roles. Aside from being able to take Cooper and Arnett behind the curtain of the comedy scene, their relationship added an extra level of authenticity to the film and to each other’s performances.
“We’ve been really close since pre-pandemic, and she and I have a lot of similar energies,” Radcliffe muses. “We can both be trashy little gremlins. She has a level of aggression that I don’t quite step into, and I think I have a level of exasperation that she doesn’t quite step into. We play off each other really well. She’s so subversive and transgressive, and she’s got such a magnetism in where she is willing to go on stage that I think is unmatched in a lot of other comics working right now.”
Jensen, who is a big fan of Cooper’s work, recalls being starstruck when he first opened the door to his home when the cast came over to read the script for the film. “He opened the door and said, ‘Hi, I’m Bradley.’ I just looked at Chloe over his shoulder, beelined right to her, and snuggled up next to her on the couch, because I was so intimidated,” she said. “It would have still been great if she weren’t there, but having her there was the best. It’s one of those things where when I’m really old, I’ll tell people, and they won’t believe me.”
The Trump administration made work requirements for low-income people receiving government assistance a priority in 2025.
The departments of Health and Human Services, Agriculture and Housing and Urban Development have worked to usher in stricter employment conditions to receive healthcare, food aid and rental assistance benefits funded by the federal government.
The idea is that public assistance discourages optimal participation in the labor market and that imposing work requirements not only leads to self-sufficiency, but also benefits the broader economy.
“It strengthens families and communities as it gives new life to start-ups and growing businesses,” the Cabinet secretaries wrote in a New York Times essay in May about work requirements.
Yet many economists say there is no clear evidence such mandates have that effect. There’s concern these new policies that make benefits contingent on work could ultimately come at a cost in other ways, from hindering existing employment to heavy administrative burdens or simply proving unpopular politically.
Here is a look at how work requirements could affect the millions of people who rely on the Supplemental Nutrition Assistance Program (SNAP), Medicaid and HUD-subsidized housing:
SNAP
What President Trumprefers to as his “Big Beautiful Bill” in July expanded the USDA’s work requirements policy for SNAP recipients who are able-bodied adults without dependents.
Previously, adults older than 54, as well as parents with children under age 18, at home were exempted from SNAP’s 80-hours monthly work requirement. Now, adults up to age 64 and parents of children between the age of 14 and 17 have to prove they’re working, volunteering or job training if they are on SNAP for more than three months.
The new law also cuts exemptions for people who are homeless, veterans and young people who have aged out of foster care. There are also significant restrictions on waivers for states and regions based on how high the local unemployment rates are.
The Pew Research Center, citing the most recent census survey data from 2023, notes 61% of adult SNAP recipients had not been employed that year, and that the national average benefit as of May was $188.45 per person or $350.89 per household.
Ismael Cid Martinez, an economist at the Economic Policy Institute, said the people who qualify for SNAP are likely working low-wage jobs that tend to be less stable because they are more tied to the nation’s macroeconomics. That means when the economy weakens, it’s the low-wage workers whose hours are cut and jobs are eliminated, which in turn heightens their need for government support. Restricting such benefits could threaten their ability to get back to work altogether, Martinez said.
“These are some of the matters that tie in together to explain the economy and [how] the labor market is connected to these benefits,” Martinez said. “None of us really show up into an economy on our own.”
Angela Rachidi, a researcher at the conservative think tank American Enterprise Institute, said she expects the poverty rate to decline as a result of the work requirements but even that wouldn’t ultimately affect the labor force.
“[E]ven if every nonworking SNAP adult subject to a work requirement started working, it would not impact the labor market much,” Rachidi said by email.
Medicaid
Trump’s big bill over the summer also created new requirements, starting in 2027, for low-income 19- to 64-year-olds enrolled in Medicaid through the Affordable Care Act’s Medicaid expansion or through a waiver program to complete 80 hours of work, job training, education or volunteering per month. There are several exemptions, including for those who are caregivers, have disabilities, have recently left prison or jail or are pregnant or postpartum.
The nonpartisan Congressional Budget Office has predicted that millions of people will lose healthcare because of the requirements.
Nationally, most people on Medicaid already work. The majority of experts on a Cornell Health Policy Center panel said that new national requirements won’t lead to large increases in employment rates among working adults on Medicaid, and that many working people would lose healthcare because of administrative difficulties proving they work.
Georgia is currently the only state with a Medicaid program that imposes work requirements, which Gov. Brian Kemp created instead of expanding Medicaid. The program, called Georgia Pathways, has come under fire for enrolling far fewer people than expected and creating large administrative costs.
Critics say many working people struggle to enroll and log their hours online, with some getting kicked out of coverage at times because of administrative errors.
And research released recently from the United Kingdom-based research group BMJ comparing Georgia with other states that did not expand Medicaid found Georgia Pathways did not increase employment during the first 15 months, nor did it improve access to Medicaid.
Kemp’s office blames high administrative costs and startup challenges on delays because of legal battles with former President Biden’s administration. A spokesperson said 19,383 Georgians have received coverage since the program began.
HUD
HUD in July also proposed a rule change that would allow public housing authorities across the country to institute work requirements, as well as time limits.
In a leaked draft of that rule change, HUD spells out how housing authorities can choose to opt in and voluntarily implement work requirements of up to 40 hours a week for people getting rental assistance, including adult tenants in public housing and Section 8 voucher-holders.
HUD also identified two states — Arkansas and Wisconsin — where it could trigger implementation based on existing state laws if and when the HUD rule change is approved. The proposal remains in regulatory review and would be subject to a public comment period.
HUD spokesman Matthew Maley declined to comment on the leaked documents, which broadly define the age of work-eligible people being up to age 61, with exemptions for people with disabilities and those who are in school or are pregnant. Primary caregivers of disabled people and children under 6 years old are also exempted.
HUD’s proposed rule change also notes that it is only defining the upper limits of the policy, allowing flexibility for local agencies to further define their individual programs with additional exemptions.
In a review of how housing authorities have tested work requirements over time, researchers at New York University found few successful examples, noting only one case where there were modest increases in employment — in Charlotte, N.C. — as compared to seven other regions where work requirements were changed or discontinued “because they were deemed punitive or hard to administer.”
THE list of living names in Billy Joel’s We Didn’t Start the Fire has shrunk to a jaw-dropping three.
Three decades after the tongue-twister song topped charts around the world, most of its human landmarks are gone.
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Brigitte Bardot’s death was announced on SundayCredit: GettyThe iconic French actress circa 1960sCredit: GettyMusician Billy Joel performs during his 100th lifetime performance at Madison Square Garden in 2018Credit: AP
Out of the 59 people name-checked in the 1989 mega-hit, only Bob Dylan, rock n roll singer Chubby Checker, and “subway vigilante” Bernie Goetz are still alive.
The grim-but-fascinating fact has been doing the rounds on social media after Bardot’s death was announced on Sunday.
One shocked fan admitted: “This is how I find out Chubby Checker is still alive.”
Another said: “The kind of useless trivia I’ll be physically incapable of not repeating at the next dinner party.”
Billy’s catchy banger is a whirlwind history lesson.
It rattles through headlines and pop culture moments in strict chronological order starting the year Billy Joel was born in 1949, and racing toward the late 1980s.
One of the song’s most packed lines – “Bardot, Budapest, Alabama, Khrushchev” – covers 1956, the year iconic French actress Brigitte Bardot shot to global fame in And God Created Woman.
It also nods to the Hungarian Revolution in Budapest, the Montgomery Bus Boycott in Alabama, and Nikita Khrushchev’s rise to power in the Soviet Union after Stalin’s death.
Music also runs through the song like a second timeline.
Chart topper Billy, now age 79, kicks things off with Cry singer Johnnie Ray in 1949, one of the first modern pop stars signed to a major label.
He quickly follows with Bill Haley & His Comets, whose Rock Around the Clock sent rock ’n’ roll into overdrive.
Elvis Presley turns up in 1955, Buddy Holly marks 1959 and the tragedy of the Day the Music Died, Chubby Checker dances into 1960.
Bob Dylan appears in 1961 as pop music takes a sharp turn toward protest and social change.
By the time Joel hits the mid-to-late 1960s, it’s Beatlemania and Woodstock.
Bernie Goetz gets a mention after he became a household name in 1984 for shooting four black men on a train in New York after they allegedly demanded money.
One of the men was left brain damaged and paraplegic, and the shooting became a symbol of deep racial divide in the city.
Goetz handed himself in to police nine days later and was dubbed the “subway vigilante” by local media.
Billy pictured in 1989Credit: GettyThe Twist singer Chubby Checker is now 84 years oldCredit: Getty Images – GettyBoby Dylan circa 1970s, is also now aged 84Credit: GettySubway gunman Bernhard Goetz is around 78 years old todayCredit: Reuters
Jang Dong-hyuk, leader of the People Power Party, drinks water during an all-night filibuster on a bill to create a special tribunal for cases tied to former President Yoon Suk Yeol’s Dec. 3 martial law at the National Assembly in Seoul on Dec. 23. File Photo by Asia Today
Dec. 28 (Asia Today) — South Korea’s People Power Party said Sunday it expelled former lawmaker Lee Hye-hoon after she accepted a nomination to serve as planning and budget minister in President Lee Jae-myung’s administration, calling the move an act that damaged the party ahead of local elections.
The party said its Supreme Council approved a resolution to expel Lee and void her party duties as an official. It said accepting the nomination amounted to misconduct because she agreed to join a Cabinet for the rival administration while holding a party post.
In a statement, the People Power Party said Lee, as a district party committee chair, “voluntarily agreed” to the appointment and thereby aided the current government. The party described it as an act of “disloyalty” with local elections six months away.
The party also said Lee continued party activities, including work related to evaluating elected officials, without disclosing her nomination as a State Council member, which it said disrupted party order and obstructed party operations.
The party warned it would respond “decisively and strictly” to any conduct that undermines its values and responsibilities, citing party rules and its constitution.
It also condemned President Lee and Lee Hye-hoon for what it described as turning a Cabinet post tied to national finances into an object of political bargaining and urged them to publicly apologize and take responsibility.
Piling on, stripping down, looking back, pushing ahead: Musicians found all sorts of uses for the album form this year, long after the jukebox in your pocket first threatened its existence. Here are the 25 LPs that held together the shards of my attention span in 2025.
Our picks for this year’s best in arts and entertainment.
1. Jensen McRae, “I Don’t Know How but They Found Me!” The year’s sharpest pop songwriting came from an overachieving L.A. native who understands at 28 that romantic relationships don’t live — and certainly don’t die — between just two people. In chatty yet carefully measured tunes with nearly as many hooks as words, McRae illuminates the accumulated humiliations and misunderstandings against which every couple flails. You’ll laugh, you’ll cry, you’ll wonder whether her ex’s sister had any luck with the baby.
2. SZA, “Lana” The only dishonest thing about “Lana,” which arrived just before Christmas last year as 15 new songs slipped under the wrapping of 2022’s “SOS,” is that SZA says it’s not an album.
3. Madi Diaz, “Fatal Optimist” Nothing to lose and nowhere to hide.
4. Morgan Wallen, “I’m the Problem” It’s his party, and he’ll cry if he wants to.
5. Dijon, “Baby” An album about new parenthood that feels like new parenthood.
6. Bad Bunny, “Debí Tirar Más Fotos” After the adventure, the homecoming.
7. Tobias Jesso Jr., “Shine” A pop-star whisperer takes a moment to listen to himself.
8. Parker McCollum, “Parker McCollum” Beware the Nashville authenticity play — and admit that sometimes it works.
9. Gigi Perez, “At the Beach, In Every Life” Like an emo-folk snowglobe.
10. Justin Bieber, “Swag” On which, having survived teen-pop stardom, he flicks another ash out on the old patio.
11. Geese, “Getting Killed” Rock is safe in the hands of the 25-and-unders.
12. Alemeda, “But What the Hell Do I Know” Seriously.
13. Sam Fender, “People Watching” A pint hoisted in the heartland.
14. Lady Gaga, “Mayhem” The second (third?) life of a showgirl.
15. Bon Iver, “Sable, Fable” “I could leave behind the snow / For a land of palm and gold.”
17. CMAT, “Euro-Country” Hungry for love, hungry for sex, hungry for anything not cooked by Jamie Oliver.
18. Haim, “I Quit” Lots of breakup albums seek comfort in certainty; Haim’s lives on the slippery surface of doubt.
19. Lucy Dacus, “Forever Is a Feeling” Sensual or cerebral is a false dichotomy.
20. Summer Walker, “Finally Over It” A sculpted eyebrow arched in perpetuity.
21. Lily Allen, “West End Girl” [Flush-faced emoji]
22. Bruce Springsteen, “Streets of Philadelphia Sessions” From the Boss’ “Tracks II” trove of lost albums, a more vivid depiction of Bummed-Out Bruce than director Scott Cooper’s leaden “Deliver Me From Nowhere.”
23. Zach Top, “Ain’t in It For My Health” Nashville’s friskiest traditionalist.
24. Eddie Chacon, “Lay Low” Shimmering slow-mo psychedelia.
25. Mariah Carey, “Here for It All” Crinkly ’70s soul, jumping slap-bass gospel, a faithful cover of Wings’ wonderfully gloopy “My Love”: As its title promises, Carey’s 16th studio album opens its doors to a little bit of everything.
A funny thing about this year’s best films: Half of them are adaptations. As a movie lover who’s always hunting for new talent, new ideas and new stimuli, I used to view that as creative inertia. But 2025 has changed my mind.
Now I see artists drawing inspiration from the past to show that Hollywood should trust the sturdy bones that have kept it running for over a century: good yarns, bold casting, films that don’t feel made by focus groups or doomsaying bean-counters (or, God help us, AI), but by blood and sweat.
Our picks for this year’s best in arts and entertainment.
From original tales to radical reworkings of classics both high-falutin’ and raucously lowbrow, these 10 filmmakers all know that the most vital part of the storytelling business has stayed exactly the same. They have to wow an audience. And they did.
1. ‘Sinners’
Michael B. Jordan as twins Smoke and Stack in the movie “Sinners.”
(Warner Bros. Pictures)
A period-piece-vampire-musical mashup could have been discordant, but writer-director Ryan Coogler confidently makes all three genres harmonize. In “Sinners,” Coogler double-casts his longtime collaborator Michael B. Jordan as twin bootleggers Smoke and Stack, then pits them against a pack of banjo-picking bloodsuckers helmed by a roguish Jack O’Connell. We’re expecting a big, bloody brouhaha and we get it. Underneath the playful carnage, however, the question at stake is: Why suffer the daily indignities of the Jim Crow-era South when you could outlive — and eat — your oppressors? “Sinners” is the most exciting film of 2025, both for what it is and for what it proves: that fresh blockbusters still exist and people are eager to gobble them up.
The stage’s iconic mean girl glides from 1890s Norway to 1950s England in this vibrant and venomous adaptation of Henrik Ibsen’s “Hedda Gabler.” Tessa Thompson stars as the restless housewife who needs to secure her milquetoast husband (Tom Bateman) a promotion and has a nasty habit of playing with guns. Keeping pace with her manipulative anti-heroine, writer-director Nia DaCosta (“Candyman”) makes a few calculated moves of her own, including gender-swapping Hedda’s ex into a curvaceous career woman (a haughty Nina Hoss) whose drab and geeky new girlfriend (Imogen Poots) irritates their hostess’ insecurities. As a capper, “Hedda” stages its brutal showdown at an all-night vodka-and-cocaine-fueled mansion shebang with a live jazz band, a lake for skinny-dippers and a hedge maze where former lovers are tempted to canoodle. The original play is over a century old, but every scene feels screamingly alive.
Joaquin Phoenix, left, and Pedro Pascal in “Eddington.”
(A24)
No film was more polarizing than Ari Aster’s COVID-set satire about a mask-hating sheriff (Joaquin Phoenix), a sanctimonious mayor (Pedro Pascal) and the high-tech cabal that benefits when these two modern cowboys come to blows. “Eddington” immortalizes the bleak humor and lingo of May 2020 (think murder hornets, Antifa and toilet paper hoarders). More stingingly, it captures the mental delirium of a small town — make that an entire planet — that hasn’t yet realized that there’s a second sickness seeping in through their smartphones. Everyone’s got a device in their hand pretty much all the time, aiming their cameras at each other like pistols in a Wild West standoff. Yet no character grasps what’s really going on. (I have a theory, but when I explain the larger conspiracy, I sound cuckoo too.) This is the movie that will explain pandemic brain to future generations. With distance, I’m pretty sure the haters will come around.
Leonardo DiCaprio in the movie “One Battle After Another.”
(Warner Bros. Pictures)
Every shot in Paul Thomas Anderson’s invigorating nail-biter is a banger: sentinels skateboarding over rooftops, caged kids playing catch with a crumpled foil blanket, Teyana Taylor’s militant Perfidia Beverly Hills blasting an automatic rifle while nine months pregnant. It’s the rare film that instantly imprints itself on the viewer. On my second watch, I was shocked by how much of “One Battle After Another” already felt tattooed on my brain, down to the shudder I got from Sean Penn’s loathsome Col. Lockjaw licking his comb to tidy his bangs. Riffing from Thomas Pynchon’s “Vineland,” the central drama follows flunky anarchist Bob (Leonardo DiCaprio) fumblingly attempting to rescue his daughter (Chase Infiniti) from Lockjaw’s clutches. But he’s not much help to her, and as the title implies, this is merely one skirmish in humanity’s sprawling struggle for freedom that has, and will, drag on forever. Anderson’s knack for ensemble work stretches back as far as “Boogie Nights,” yet here, even his unnamed characters have crucial roles to play. His world-building has never before felt this holistic and inspirational.
(“One Battle After Another” is now playing in theaters.)
5. ‘Kiss of the Spider Woman’
Jennifer Lopez and Tonatiuh in the movie “Kiss of the Spider Woman.”
(Roadside Attractions)
The backstory behind this stunner couldn’t be more baroque: Director Bill Condon (“Dreamgirls”) boldly revamped a Broadway musical of an Oscar-winning drama (itself taken from an experimental novel) about two inmates in an Argentine cell who mentally escape into the movies. Each incarnation has doubled down on the sensorial overload of what came before. If you know “Kiss of the Spider Woman’s” lineage, you’ll be impressed by how Condon ups the fantasy and stokes the revolutionary glamour with more Technicolor dance showcases for Jennifer Lopez’. (She’s doing her best Cyd Charisse, which turns out to be darned good.) If this is your first taste of the tale, give yourself over to the prickly but tender relationship between prisoners Luis and Valentin, played by feisty new talent Tonatiuh and a red-blooded Diego Luna. This is go-for-broke filmmaking with a wallop. As Luis says of his own version of “Kiss of the Spider Woman” playing in his head, “Call it kitsch, call it camp — I don’t care, I love it.”
Thai director Ratchapoom Boonbunchachoke’s Cannes Grand Prix winner opens with a haunted vacuum cleaner. From there, it gets even more surprising. Ghosts have infested a wealthy widow’s factory and are possessing appliances, seducing her son and cozying up to the prime minister for favors. Some of these people have died by accident, some by corporate neglect or worse. This droll spook show bleeds into romance and politics and, to our shock, becomes genuinely emotional. (It helps to remember that the military killed over 80 Bangkok protesters in 2010.) But why vacuum cleaners, you ask? The conceit is more than a sticky idea. Ordinary people can get crushed but the anger they leave behind lingers like fine dust.
(“A Useful Ghost” opens Jan. 16, 2026, in theaters.)
7. ‘The Roses’
Olivia Colman and Benedict Cumberbatch in the movie “The Roses.”
(Jaap Buitendijk / Searchlight Pictures)
Technically, “The Roses” is rooted in the 1980s hit novel and subsequent blockbuster “The War of the Roses,” which starred Michael Douglas and Kathleen Turner as an estranged couple who attack each other with lawyers, poison and chandeliers. In spirit, however, this redo is pure 1930s screwball comedy. Leads Benedict Cumberbatch and Olivia Colman are skilled verbal ninjas who hurl razor-sharp insults at each other’s egos, and although their characters’ divorce happens in California, director Jay Roach lets the actors keep their snippy British accents. The script by two-time Oscar nominee Tony McNamara (“The Favourite,” “Poor Things”) adds a cruel twist to the original: This time around, the marrieds truly do try their damnedest to love and support each other. And still, their walls come tumbling down.
Ye and Elon Musk in the documentary “In Whose Name?”
(AMSI Entertainment)
Nico Ballesteros was a high schooler with an iPhone when he entered Kanye West’s orbit in 2018. Over the next six years, the Orange County kid shot over 3,000 hours of footage as Ye (as the artist legally became known in 2021) jetted from Paris to Uganda, Calabasas to the White House, meeting everyone from Kenny G to Elon Musk on a quest to fulfill his creative and spiritual goals while incinerating his personal life and public reputation. Ye gave the documentarian full access with no editorial oversight, besides one moment in which he tells the camera that he wants the film to be about mental health. This riveting tragedy definitely is. We see an egomaniac whose fear of being beholden to anything motivates him to go off his meds, a billionaire provocateur who believes he can afford the consequences of his bigotry and, above all, a deeply flawed man who nukes his entire world to insist he’s right.
An image from the movie “Sirāt,” directed by Oliver Laxe.
(Festival de Cannes)
The techno soundtrack of Oliver Laxe’s desolate road thriller has rattled my house for months. Lately, I’ve spent just as much time contemplating the movie’s silence — those hushed stretches in which this caravan of bohemians speeds across the Moroccan desert looking like the only free people left on Earth. A father, Luis (“Pan’s Labyrinth’s” Sergi López), and his 12-year-old son team up with this band of tattooed burnouts in the hope of finding the boy’s runaway sister. Before long, Luis is just hoping to make it to safety, assuming anywhere safe still exists. Static on the radio warns that World War III might be underway. These outsiders click off the news and crank up the music. The paradox of “Sirāt” is that I’m dying to talk about it more but I’ve got to keep my mouth shut until people experience its dramatic twists for themselves.
(“Sirāt” returns to theaters on Feb. 6, 2026.)
10. ‘The Naked Gun’
Pamela Anderson and Liam Neeson in the movie “The Naked Gun.”
(Frank Masi / Paramount Pictures)
Liam Neeson needed this pummeling pun-fest. So did everyone else in 2025. Director Akiva Schaffer’s continuation of the “Police Squad!” franchise let the 73-year-old “Taken” star poke fun at his own bruising gravitas. Playing the son of Leslie Nielsen’s Lt. Frank Drebin, Neeson kept us in hysterics with a stupid-brilliant barrage of surreal wordplay and daffy slapstick. The casting was as odd — and perfect — as rumors that he and his co-star Pamela Anderson started dating on set. This fourth sequel didn’t try to outsmart the classic Zucker, Abrahams and Zucker template. It simply told the same old story: Cop meets babe, cop and babe canoodle with a magical snowman, cop drops his trousers on live TV, this time minus the blimp. Goodyear? No, the worst — which made Neeson our hero.
Since I’m all jazzed-up about great movies, here are 10 honorable mentions very much worth a watch.
“The Ballad of Wallis Island” A kooky millionaire strong-arms his favorite mid-aughts folk duo into playing a reunion show on his Welsh island. Sounds cutesy, but it’s the movie I recommended most — to everyone from my mailman to my mother. They all loved it. Join the fan club.
“Bunny” This East Village indie by debut director Ben Jacobson is a scummy gem. A gigolo’s birthday goes very wrong. But all the characters racing up and down the stairs of his uber-New York walk-up hovel are a howl.
“If I Had Legs I’d Kick You” Rose Byrne excels equally at comedy and drama. This audit of a breakdown smashes both together and cranks the tension up to eleven. Playing a high-stress working mom of an ill child, her try-hard heroine leans in so harrowingly far, she goes kamikaze.
“Lurker” Today’s celebrity might be viral on Instagram and unknown everywhere else. Alex Russell’s stomach-churning psychodrama stars Archie Madekwe as an L.A.-based singer on the brink of genuine fame and Théodore Pellerin as the hanger-on who endures — and exploits — the fledgling star’s power moves and hazy boundaries.
“Magic Farm” Filmmaker Amalia Ulman’s rascally farce stars Chloë Sevigny and Alex Wolff as clickbait journalists who fly to Argentina to shoot a viral video about a singer in a bunny costume and wind up looking twice as ridiculous.
Keke Palmer, left, and SZA in the movie “One of Them Days.”
(Anne Marie Fox / Sony Pictures)
“One of Them Days” Keke Palmer and SZA play broke Baldwin Hills roommates who have nine hours to make rent. I’d happily watch their stoner high jinks in real time.
“The Perfect Neighbor” Pieced together primarily from police body-camera footage, Geeta Gandbhir’s documentary unfurls in a Florida cul-de-sac where a community — adults, kids and cops — agrees that one woman is an entitled pill. The problem is she thinks they’re the problem. And she has a gun.
“Sisu: Road to Revenge” If Buster Keaton were alive, he’d hail this grisly, mostly mute Finnish action flick as a worthy successor to “The General.” It even boasts a thrilling sequence on a train, although director Jalmari Helander also brazenly poaches from “Die Hard” and “Mad Max: Fury Road.”
“Train Dreams” Trees fall in the woods and a 20th-century logger (Joel Edgerton) plays an unheard, unthanked but beautiful role in the building of America.
“Wake Up Dead Man: A Knives Out Mystery” Detective Benoit Blanc (Daniel Craig) teams up with a soul-searching priest (Josh O’Connor) to solve a perplexing church stabbing. From deft plot twists to provocative Catholic theology, Rian Johnson’s crowd-pleasing murder mystery is marvelously executed.
EDMONTON, Canada — Jason Hills grew up in a rural hamlet in southern Alberta so small there were no traffic lights. Which wasn’t a problem because there wasn’t any traffic either.
But there was a curling rink.
“There was nothing else really to do,” Hills said. “So if you weren’t curling you’d go hang out at the curling rink. It’s a community thing. It’s like everyone gets together.”
In much of the world curling is a curiosity, a sport which, like luge or the biathlon, surfaces every four years at the Winter Olympics — as it will do in February in Cortina D’Ampezzo, Italy — then quickly fades from view.
Canada’s Tracy Fleury (R) releases the stone during a gold medal match against Switzerland at the World Women’s Curling Championship in Uijeongbu on March 23.
(JUNG YEON-JE/AFP via Getty Images)
In Canada, however, it’s as much a part of the culture as poutine and maple syrup.
More than 2.3 million people — or one of every 18 Canadians — participate in the sport annually. That’s about 100 times the level of participation in the U.S. And more than 11 million Canadians watched the sport on TV in 2024, according to estimates from Curling Canada, the national governing body for the sport.
“It’s just embedded in the fabric of Canada,” said Elaine Dagg-Jackson, an Olympic bronze medalist and now one of Canada’s top curling coaches. “Canadians have a real identity with what curling is and what it stands for. It’s a gracious sport where people are being polite. They shake hands before and after the game.
“The curling rink was just a really good place to be in Canada. And still is. It just really suits the culture.”
The objectives of the sport are simple: Teams of two to four players slide 44-pound granite stones, also known as rocks, down a narrow 150-foot-long sheet of ice toward a target area called the house, aiming to get their stone closest to the center of the house. One or two players from the throwing team use carbon-fiber brooms to sweep the ice in front of the moving stone, influencing its path and speed.
A round of play ends when each team has thrown eight stones; in Olympic curling, a match consists of 10 ends, eight in mixed curling, with games typically lasting two to three hours.
The simplicity of the sport is both its charm and its curse. Because there is no running, jumping or lifting of heavy objects, everyone from young children to octogenarians can, and do, compete in amateur curling in Canada.
“It’s relatively inexpensive and it’s relatively accessible,” said Heather Mair, an associate professor at the University of Waterloo. “It’s not a hard sport to play and have fun at. It’s hugely entertaining. And you can really play your whole life.
“I don’t know too many sports you could go out with your grandfather and participate. It can be really family-oriented as a sport.”
But while it looks easy, to excel at the highest levels, where millimeters separate winners from losers in competitions that can stretch for as long as seven hours over multiple days, the sport requires surprising strength, stamina, precision and agility.
Canada’s Brett Gallant curls the stone during the 2022 Winter Olympics in Beijing on Feb. 17, 2022.
(LILLIAN SUWANRUMPHA/AFP via Getty Images)
“It definitely takes a toll on your body,” Rachel Homan, a three-time Canadian Olympian and three-time world champion, said during a break in training on a bright Edmonton morning. “That part of the game is maybe overlooked; the physical toll it takes. It’s definitely demanding.”
The curling events at February’s Winter Olympics will be held at the Cortina Olympic Stadium in Cortina D’Ampezzo, one of four event clusters in and around Milan. Canada, which has medaled in curling in every Olympics in the modern era, winning a record six golds, will send a dozen athletes — including Homan, the reigning world champion — to Italy to compete in the men’s, women’s and mixed doubles.
The U.S., which has won two Olympic curling medals, both in the men’s competition, will also have a dozen curlers in Italy competing in all three events. But if the sport is a national pastime in Canada, one that competes with hockey for fans and media attention, it remains something of an oddity in the U.S., where it draws huge TV audiences every four years during the Olympics, then fades from view until the next Winter Games.
“It’s so frustrating to see curling become the next best thing to sliced bread for a month and then it comes off the radar for four years,” said Korey Dropkin, a five-time U.S. champion and a 2023 world champion in mixed doubles. “I want to see something that’s on national television in the U.S. every week. I want to be able to expose our amazing sport to the U.S. audience day in, day out.
“I hope that in the near future we’ll be able to create more opportunities for exposure for curling.”
Curling was born in Scotland in the early 16th century but grew up centuries later on the Canadian prairies, where the severe weather, rural landscape and boredom provided fertile ground.
“In many parts of the country there’s long, long winters,” Dagg-Jackson said. “The farmers would be busy all summer, but in the winter they were looking for something to do. So the old adage in Canada is you could go to any town in rural Canada and find a grain elevator and a curling rink.”
Members of the Highland Curling Club, formed in 1898, play on flooded sheets of ice on Jan. 11 in Inverness, Scotland.
(Jeff J Mitchell / Getty Images)
The sport, which predates hockey by several decades, was brought to Montreal by Scottish emigrants during the colonial period, more than a half-century before Canada became a country. It then moved west as settlers pushed into what would become the central provinces, where the game was played on ponds and lakes before coming indoors.
In many ways the sport and the harsh conditions in which it thrived embodied the traditional values and traits — resilience, community, politeness, resourcefulness — that have come to define Canada’s unique “northern character.”
Mair, the Waterloo professor, has studied the role curling played in creating social and inter-generational connections and found the sport may have been more important from a mental perspective than from a physical one.
“I don’t know if you can appreciate what a Canadian winter is like, but anything that gets us out of our homes and talking to one another is really, really important,” she said. “We know how necessary it is that we spend time socializing with one another, especially in the dark winter days.”
As a result, it quickly became hugely popular, but for reasons that went beyond sport. Most curling rinks, Mair said, provide social spaces where players can visit with the people they’re competing against.
“So you’re sitting there for half an hour with people that you might never run into in any other part of your life and you start to build social relationships,” she said. “In really small rural communities, those are pretty essential. That’s kind of how it started.”
Aksarban Curling Club president Steve Taylor demonstrates how to push off the hack to deliver a stone in front of an all-ages group learning about the sport in Omaha, Neb., in 2018.
(Nati Harnik / Associated Press)
It’s also why the flat lands of Saskatchewan, Manitoba and Alberta became the earliest hotbeds of curling, which aligned well with the farming season. But the sport didn’t stay there. Curling clubs soon sprung up on Army bases and in fishing communities, in big cities and small towns, where it was taught in schools and played in retirement homes. (Curling has taken a different path in the U.S., where it has become popular in nontraditional winter-sports areas such as North Carolina, Florida, Texas and the San Francisco Bay area.)
“There were entire generations, for the most part, who really had a sense of the game,” Mair said. “The[re] were plumbers and carpenters and teachers, they had regular day jobs and yet they were these really talented athletes who would take the sport to these elite levels.
“So you could come from a teeny, tiny club and you might know someone who’s playing in the national championship.”
That romanticism inspired a radio play and novella by W.O. Mitchell, a writer and broadcaster who chronicled life on the Canadian prairies in the mid 20th century. In “The Black Bonspiel of Willie MacCrimmon,” which was also adapted for television, a cobbler from a small town in rural Alberta strikes a deal with the devil to trade his soul for curling success.
American John Shuster watches Matt Hamilton, center, and Colin Hufman, left, sweep his throw during a match against Canada at the Beijing Winter Olympics in 2022.
(Brynn Anderson / Associated Press)
But as curling moved from the prairies to the cities, the object lessons the sport taught changed as well. If Mitchell’s tale is a decades-old take on the timeless tug of war between good and evil, “The New Canadian Curling Club,” a 2018 comedy by playwright Mark Crawford in which four immigrants show up for a learn-to-curl class, is a modern exploration of multiculturalism and acceptance.
What the immigrants share, however, is a belief that understanding Canada starts with understanding curling.
“It’s weird and wonderful. And like all good things, it takes a little time to appreciate,” Mair, who teaches in the department of recreation and leisure studies at Waterloo, said of the sport. “At first glance you’re not totally sure what’s going on. And then as the layers start to kind of unfold, you realize just how interesting and complicated and engaging it can be.
“It’s fun. It really is. It’s quirky and fun. And I think we need more of that.”
But, she added, much of that has changed since curling entered the Olympics.
“We’re at a bit of a crossroads,” she said. “Elite sport is doing just fine in a lot of ways. [But] we need to have a different conversation about community sport. It’s not about a pathway to Olympic gold. It’s about rebuilding our communities and providing safe and accessible sports for everything. And curling is just so special in that way.”
Curling debuted in the Winter Games in 1924 with just three countries taking part; Great Britain, which fielded a team of Scottish curlers, won the gold medal. But the sport didn’t return to the official Olympic program for another 74 years and when it did, the exposure fueled interest in winter sports powerhouses such as China, Japan and South Korea, but also in Afghanistan, Andorra, Bolivia, the Virgin Islands, Kuwait and Mexico, which are all among the 67 members of the World Curling Assn.
“There’s a little bit of perception from America that curling is small potatoes. And it probably is compared to the big four sports,” said Marc Kennedy, a world and Olympic champion from Canada who will be competing in his fourth Olympics in Italy. “But it’s a big deal. Arguably one of the fastest-growing sports internationally. It’s massive in Asia. Some of our most popular athletes are from Japan.”
That added competitiveness — 30 countries attempted to qualify for this year’s Olympic tournament — has not only raised the stakes and professionalized the sport, it also threatens to crush curling’s gracious and polite traditions in a stampede for the top of the medal podium. In last spring’s world championship in Canada, for example, Chinese athletes were accused of touching a stone with a broom, kicking a stone and illegal sweeping — all forbidden acts.
In most other sports, that would have been considered gamesmanship. In curling, the accusations alone were an affront to the sport’s tradition and dignity.
Team Shuster’s Chris Plys throws the rock during the U.S. Olympic curling team trials in Omaha, Neb., on Nov. 20, 2021.
(Rebecca S. Gratz / Associated Press)
“In curling you always divulge that you broke a rule … and apologize,” said Dagg-Jackson, the former Olympian turned coach.
“It’s supposed to be a gentleman’s game. You’re supposed to call your own fouls,” added Chris Plys, a three-time U.S. Olympian. “Now we’re starting to see people doing questionable things.
“It’s sad because the best part of the game is just how honest everything is. And there’s people out there 1766928496 that are willing to do whatever it takes to win.”
Those athletes certainly aren’t cheating for the money since curlers, even at the highest level, have often had to work regular jobs to pay the bills. That could change this spring with the launch of the Rock League, the sport’s first professional competition, which will begin play shortly after the Milan-Cortina Olympics.
“The Rock League is going to be a huge new chapter to the sport,” said Dropkin, the Olympian who will captain the U.S. Rock League team. “That is going to present a whole lot of opportunities to curlers. Curlers now, curlers [in] the pipeline. They can actually make a living.”
The five-week circuit will feature six teams of five men and five women — one from the Asian-Pacific, two from Canada, two from Europe and one representing the U.S. — playing a variety of formats during stops in the U.S. and Canada. Competitors will not just earn money based on performance, but will receive salaries as well.
Historically the sport has relied heavily on prize money, which doesn’t go far. Kennedy’s winning five-man team at the 2025 Brier, the annual Canadian men’s championships, split $108,000 of the tournament’s $300,000 purse last March, which didn’t leave much after paying for travel and housing at the 10-day event.
The Dodgers will pay Shohei Ohtani more than that every time he comes to the plate over the next 10 seasons.
“I don’t think any of us get into curling with the idea of making millions of dollars,” said Kennedy, 43, a father of two who sold his frozen-food franchise 14 years ago to support his curling career. “You’ve got a lot of curlers out there that still play for the love of the game and for the opportunity to represent Canada at the Olympics or World Championships.
“If money was your motivation, then you’re probably in the wrong sport.”
Rachel Homan throws a rock during Canadian Olympic curling trials in Halifax, Nova Scotia, Canada, on Nov. 25.
(Darren Calabrese / Associated Press)
For Homan, 36, a mother of three young children who has traditionally relied on sponsorships, stipends from the national federation and winnings from underfunded tours such as the Grand Slam of Curling to make ends meet, the Rock League has the potential to change not only her life, but her legacy as well.
“In this league, being a part of it, might not mean anything for me financially right now. But it’s more about what you’re leaving behind and what you’re helping create,” said Homan, who will captain one of the league’s two Canadian teams.
Financing a professional league isn’t the only challenge curling will face coming out of the Milan-Cortina Games, though. Because while the Olympics may help the sport gather viewers, it has done little to reverse a steady decline in participation at the grassroots level, which is robbing the sport of its future athletes.
“It’s just hard to get young kids introduced to it and have access to it,” Kennedy said. “Back in the ‘50s, ‘60s, ‘70s and ‘80s it was the community center. Everybody kind of learned curling, especially out west. That’s what was driving a huge part of our sport for a long time.”
Not any more. Canada, like the U.S., has seen millions of people flee rural areas for big cities over the last several decades and as a result the local curling rink is no longer the civic hub it was when Jason Hills was growing up on the frigid plains of central Alberta. And what investment there is in the sport is now being directed to events such as the Olympics, the Grand Slam of Curling or the fledgling Rock League, not to building more community rinks.
“Curling had to pivot a bit,” said Dagg-Jackson, who takes her five grandchildren curling. “It used to be all about membership, about the thousands and thousands of curlers across the country. Now those few competitive curlers that shine in the spotlight are known to all Canadians because they’re on television all the time and they draw attention to the sport.
“Fifty years ago you just waited at the rink and people showed up because it was the place to be. Big events, Olympics, pro leagues, that’s the future of curling. But the culture and the lore, the history of curling, it’ll always be there.”
Democratic presidential nominee Bill Clinton says he still plans to show up in East Lansing, Mich., next Tuesday. But if he does, it looks as if the Arkansas governor will be making a solo appearance rather than confronting President Bush face to face as the bipartisan Commission on Presidential Debates had hoped. The commission’s terms for debate have been rejected by the Bush campaign, forcing cancellation of next week’s encounter and quite possibly of the two others the commission has tried to arrange. Partisans can argue who gains from all this. What ought to be clear to everyone is that voters are the big losers.
The commission, headed by former Democratic Party chairman Paul G. Kirk Jr. and former Republican Party chairman Frank J. Fahrenkopf Jr., was formed in 1987 with the idea of taking all the partisan squabbling out of debate arrangements.
The commission proposed three 90-minute presidential debates and one debate between the vice presidential candidates, with questions put by a single moderator. Clinton accepted; Bush wants questions to be asked by a panel of journalists. That latter format allows–almost requires–shorter answers while cutting down on the opportunity for follow-up questions aimed at drawing out precise rather than general responses. By insisting on playing by its rules or refusing to play at all, the Bush camp is negating the bipartisan commission’s purpose.
FORUM OF IDEAS: Voters lose, because here for the first time in this campaign would have been a chance to gauge the candidates’ ideas for dealing with the nation’s problems through something other than carefully prepared formal statements or sound bites largely without content.
Here would have been a chance to see how well Bush and Clinton do on their feet, not just in brief responses and retorts, but in sustained exposition. Anyone who doubts that there is a public hunger for serious talk about serious problems, and a disgust with the glitz and sloganeering that most campaigning has become, is not reading the popular mood accurately.
Certainly Ross Perot sensed that hunger, which is why he encouraged a movement in his name, and certainly he senses it still, which is why as he told The Times this week he may reactivate his campaign. Perot’s biggest complaint is that neither Bush nor Clinton is talking about how he would control the swelling federal deficit, arguably the greatest drag on economic growth. He’s right; the candidates are ducking the issue, because if they were to take it on honestly they would be forced to speak about what is conventionally regarded as politically unspeakable. They would have to tell voters that the deficit can be controlled only by cutting spending, which means reducing a lot of government programs people cherish, or by increasing revenues, which means raising taxes. They won’t say that. Perot would, and in doing so he might just force Bush and Clinton finally to get specific about the deficit crisis.
TIME OF TWISTS: That would be one more twist in a campaign year that can already be seen as one of the most unusual in modern times. Two major developments are already apparent: the reshuffle facing Congress–especially the House, where come January as much as one-third of the membership may be new–and the large number of women who have entered contests for state and national offices and the large number who at this point stand a good chance at election in November. A record 11, for example, have already won primaries for Senate seats.
There will be no end to analyses about what it all means, but some preliminary judgments can be made right now. People seem increasingly to have gone from being cynical about the political process to being angry.
Incumbents are one evident target of this anger, while women candidates benefit because, among other reasons, many of them tend to be relatively new entrants into the political arena. It would be comforting to think that the shallowness and dishonesty of so much of what passes for political discourse have become no less a target of righteous public wrath. Certainly that would be one of the most positive things to take place in our political life in a very long time.
A ping-pong ball at top speed travels over 70 miles an hour — so fast it could zip across Manhattan in less than two minutes. Director Josh Safdie’s hyperactive, head-spinning “Marty Supreme” keeps pace. Set in 1952 New York, this deranged caper races after a money-grubbing table tennis hustler (he prefers “professional athlete”) named Marty Mauser (Timothée Chalamet) who argues like he plays, swatting away protests and annoying his adversaries to exhaustion.
Hounding his shoe-store co-worker to give him $700 from the safe, Marty hammers the poor sap with every trick he’s got — emotional pressure, physical violence, bribery, humiliation, revenge — until he hits one that wins. The high-strung kid is pure nerve and he looks like one, too; he’s the embodiment of a twitch. But with a paddle in his hands, Marty turns into Gene Kelly in “Singin’ in the Rain.” He could win a match swinging an umbrella.
The character’s inspiration is Marty Reisman, one of the so-called “bad boys of ping-pong,” according to a U.S. Table Tennis Assn. official in 1972, explaining why the rascal wasn’t invited to the USA versus China exhibition games referred to as “ping-pong diplomacy.” You may remember those matches from “Forrest Gump,” but Tom Hanks’ guileless sweetheart would never use the sport to smuggle gold bars out of Hong Kong, as the real Reisman once did.
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Reisman’s exploits, immortalized in his 1974 memoir “The Money Player,” are too outrageous to squeeze into one film, even for a chaos-feeding filmmaker such as Safdie, going solo after co-directing “Good Time” and “Uncut Gems” with his brother Benny. (A trilogy, maybe.) Reisman’s biography opened with him fleeing French-occupied Hanoi, Vietnam, the day before it fell to the Viet Minh and detoured to a meeting with the Pope in Rome before drunkenly landing a plane in Brazil. The book was optioned shortly after publication. He felt it should star Robert De Niro.
That movie never happened and Reisman died in 2012 at the age of 82, still insisting he deserved to bask in the spotlight. He’d be happy to see Safdie’s “Marty Supreme,” which time-travels audiences back seven decades to when American table tennis players were certain bright days were ahead.
As an athlete, Chalamet seems to have lost muscle for the role. Yet as funny as it is to see a guy this scrawny carry himself like Hercules, he leaps and strikes with conviction. His Marty yearns for prestige. Safdie even concocts a subplot in which he invents his signature orange ball solely so he can wear all-white like the posh jocks of Wimbledon. He starts the film desperate to fly to a tournament in London, in part to escape the walk-up apartment where he’s always squabbling with his mother (Fran Drescher) and uncle (Larry “Ratso” Sloman) and a nosy neighbor (Sandra Bernhard). Perilously, Marty’s secret lover (a simmering Odessa A’zion) lives with her jealous husband (Emory Cohen) in an apartment one floor below.
Marty and A’zion’s Rachel belong together, if only to quarantine their equally manipulative genes from the general population. Before the opening credits, the couple improvises a lie to get some privacy to mate. Cinematographer Darius Khondji sends the camera inside her body to see Marty’s most aggressive sperm wriggle to the finish line. Rachel’s egg becomes the moon; the moon becomes a ping-pong ball. Game on.
From this scene forward, Marty will dash around the city and the globe, chasing his dreams and out-running his parental responsibilities. Along the way, he trips over a gun-toting gangster named Ezra (Abel Ferrara), a faded movie star, Kay (Gwyneth Paltrow, sullen and aloof), and her callous husband Milton (“Shark Tank” investor Kevin O’Leary), the chief executive of a pen corporation who thinks Marty can make him a mint in ping-pong-crazed Asia. O’Leary, a first-time actor, easily embodies the face of capitalism.
Flaunting that he can turn anyone into an actor, Safdie crowds his New York with bit parts played by big personalities: magician Penn Jillette, fashion designer Isaac Mizrahi, basketball player George “The Iceman” Gervin, highwire artist Philippe Petit, playwright David Mamet, journalist Naomi Fry and grocery tycoon John Catsimatidis. The musician Tyler Okonma, better known as the Tyler, the Creator, is great in his feature film acting debut as Willy, Marty’s gambling wingman. He was previously seen onscreen getting electrocuted by a piano in “Jackass Forever.” Okonma brings that same energy here and it’s perfect.
Marty’s main foe — and personality opposite — is a Japanese player named Koto Endo (Koto Kawaguchi) who lost his hearing in the Tokyo airstrikes that happened seven years before and uses a deadly quiet foam-backed paddle. Marty’s friendliest rival, Béla (Géza Röhrig), survived Auschwitz, and in a jaw-dropper of a scene, shares a story of endurance that actually happened to the Polish player Alex Ehrlich. Imprisoned in the camps shortly after winning silver at the World Championships in 1939, Ehrlich was renowned for a record-breaking competitive volley that lasted over two hours, a back-and-forth so relentless that the referee quit with a sore neck. The rhythm of it could be a metronome for this movie’s plot — it whips us around to the point of delighted collapse.
The soundtrack is an unexpected backbeat of synth hits by Tears for Fears and New Order that bleeds into a Tangerine Dream-esque score by Daniel Lopatin — a startling choice for an era where people act like World War II happened yesterday. But to our modern ears, the music has its own vintage: It’s the sound of the greed-is-good 1980s, when movies rooted for ruthless strivers such as “Risky Business’” Tom Cruise, who opened a brothel in his parents’ bedroom.
Safdie’s script, co-written by Ronald Bronstein, is even structured like an ’80s movie that builds up to the big showdown, be it a ski race, a car-washing competition or a frat house decathlon à la “Revenge of the Nerds.” The catch is that Marty — not Endo — may be the bully who deserves to lose. How loudly are we willing to cheer for a callow guy who thinks of WWII as an opportunity for trash talk, boasting he’ll “drop a third bomb” on Endo’s fans? (In fairness, Tokyo promotes their rematch with a poster of Marty that looks uncomfortably close to antisemitic Nazi propaganda, a pointed choice by Safdie and the production designer Jack Fisk.)
Marty is convinced he’s a self-made success who doesn’t need anyone’s help; the people we see him squeeze and squash would disagree. He’s similar to Adam Sandler’s rapacious jeweler in “Uncut Gems,” except that scoundrel contained his damage to the Diamond District and people as shady as him. Safdie sends Marty out to bedevil the world, shipping him to Paris where he gets snippy with a maître d’ who doesn’t speak English and then to Cairo where he steals a chunk of the Great Pyramids.
Listening to a Japanese newsreel describe him as a villain referred to only as “the American,” you realize that “Marty Supreme” is more than a caricature of Reisman. It’s a biography of our national ego, with Marty brashly lecturing the British head of the International Table Tennis Assn. that a champion from the United States would boost the sport’s global reputation. After the commissioner makes this conceited Yank grovel, Marty simply replies: “It’s every man for himself where I come from.”
Like Marty, Chalamet was raised in New York City, and since he arrived on the scene, there’s never been a doubt he’ll win an Oscar. The only question is, when? To Chalamet’s credit, he’s doing it the hard way, avoiding sentimental pictures for pricklier roles about his own naked ambitions. For “A Complete Unknown,” he taught himself to play guitar like Bob Dylan while revealing that the bard was a rat, and in the even-better “Dune: Part Two,” played a naif radicalized into a galaxy-destroying messiah.
Here, Chalamet again fuses his personal drive into his performance, claiming that he spent seven years training to play ping-pong like Reisman, and unlike Tom Hanks in “Gump,” he’s doing his own stunts. Voters seem content to let the young talent dangle, trusting that he’ll continue flogging himself to make more great pictures like this.
The movie’s moxie makes it impossible not to get caught up in Marty’s crusade. We’re giddy even when he’s miserable. Performing with the Harlem Globetrotters in some of the most war-scarred, joy-desperate corners of the planet, his own shame prevents him from appreciating how much he’s entertaining the crowd. When you weigh his selfish desires against any other character’s needs, Marty is as hollow as a ping-pong ball. It really is all about his balls. Their embossing reads: “Marty Supreme — Made in America.”
‘Marty Supreme’
Rated: R, for language throughout, sexual content, some violent content/bloody images and nudity
Cynthia Erivo’s aggressively feathered Balenciaga at the “Wicked: For Good” New York premiere. Alexander Skarsgård’s Ludovic de Saint Sernin halter top and snug leather pants at the London premiere of the BDSM dramedy “Pillion.” Jacob Elordi’s Celine suit — in monster green, no less — at the Newport Beach Film Festival as the actor promoted “Frankenstein.”
If these recent outings haven’t convinced you that Hollywood is in its method dressing era, well, where in the Law Roach have you been?
From left: “Pillion’s” Alexander Skarsgård, “Marty Supreme’s” Timothée Chalamet and “Frankenstein’s” Jacob Elordi.
(Photos by Getty Images)
For those not familiar, method dressing is when stars wear looks on a press tour inspired by the movie they’re promoting. The practice has been around since the days of Old Hollywood, when actors like Audrey Hepburn, in “Breakfast at Tiffany’s” and “Sabrina,” melded their star personas with their characters. More recently, Geena Davis and Gwyneth Paltrow channeled their projects with their premiere fits in the 1990s, and the casts of 2015’s “Cinderella” and 2018’s “Black Panther” did the same.
“Method dressing often becomes prologue to the film itself — it sets the tone and the context of the film and makes you curious about it,” says Ross Martin, president of marketing agency Known. “[But it’s also] a signal that the actor you like really is deeply invested in this film. They’re not just showing up, they’re actually embodying the character in the world of the film.”
‘Wicked’ stars Cynthia Erivo and Ariana Grande.
(Photos by Getty Images)
Martin cites Timothée Chalamet’s orange-hued campaign for “Marty Supreme” as a particularly skillful deployment of the trend. “If your favorite actor keeps showing up in the same way over and over again, that used to be rewarded,” he says. “Now there’s this pressure on Hollywood stars to define and then redefine themselves … [you] don’t want to see the same Chalamet that [you] just saw playing Bob Dylan. What you’re seeing is really modern marketing tools applied in very strategic ways to the traditional medium of films. It’s really necessary because 90% of the movies that are released don’t get the marketing dollars they need to launch. So this is innovation by necessity.”
Savvy stylists are also driving the red carpet cosplay. “Previously, stylists were responsible for making sure that stars appeared on trend,” says Raissa Bretaña, fashion historian and lecturer at New York’s Fashion Institute of Technology. “As they gained more prominence in the movie industry, it was less about making sure the stars were on trend and more about making sure the stars were setting the trends.”
Setting trends and creating meme-worthy, TikTok- and Instagram-friendly moments that often reach more eyeballs than the films themselves. An image of “a star wearing a beautiful gown isn’t enough anymore,” says Bretaña. “It is meant to engage with the algorithm. How do we get people talking more about this movie? How do we get more eyes on it by having a different manifestation of it in our real life?”
Indeed, during the “Challengers” press tour, online chatter peaked each time Zendaya stepped out in a new tennis-centric look. “I’m a storyteller, and the clothes are my words,” Zendaya’s stylist Law Roach recently said to Variety. As for his work with the actor on “Dune: Part Two” — including Thierry Mugler’s sartorial mic drop — Roach told Vogue the “looks served as an extension of the wardrobe from the movie; it was intentional and purposeful.”
Zendaya in outfits inspired by her movie “Challengers”
(Photos by Getty Images)
Pop culture commentator Blakely Thornton has been following method dressing closely, posting frequently on press tour fashions. “Maybe [Zendaya] walked so Cynthia and Ariana could run,” he says. “The stars are taking it upon themselves to be like, ‘I have to invest in myself in this capacity to get what I need out of it.’” It’s an important distinction, he notes, as film execs aren’t always footing the bill for stylists. “The studios are pretending that it’s not something they have to pay for when it’s something in the internet era you must require. Because if these people came out wearing a turtleneck to every premiere, you wouldn’t be happy.”
Enrique Melendez, the stylist behind Jenna Ortega’s viral red carpet looks for the “Beetlejuice Beetlejuice” press tour, believes his work was key in boosting interest for new demographics. “Jenna being of a newer generation, wearing pieces and looks celebrating the original film had a whole new wave of young people researching the references and Easter eggs with their parents who understood exactly what they meant.”
Still, you can’t guarantee virality: There’s a fine line between a “Spider-Man” triumph and a “Madame Web” tragedy. Some of it can be attributed to an actor’s commitment, says Martin, contrasting Chalamet’s enthusiastic campaign with Dakota Johnson’s reluctant “Madame Web” tour. It also depends on the film itself. Bretaña says method dressing tends to work best with sci-fi or fantasy projects because of the inherent drama in their costuming.
She’s excited by an upcoming period film, Emerald Fennell’s adaptation of “Wuthering Heights,” starring on-theme veterans Margot Robbie and Jacob Elordi. “I think ‘Wuthering Heights’ will be our litmus test to see if method dressing will spill over into historically inspired garments,” says Bretaña. “In the past, whenever actors promoted period films, they try to look as contemporary as possible in order to distance themselves.”
Actors actually looking like themselves on the red carpet? Groundbreaking.
Attack comes a day after an Israeli army reservist in civilian clothes rammed his vehicle into a Palestinian man praying on the roadside.
Published On 26 Dec 202526 Dec 2025
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Two people have died in a stabbing and car-ramming attack in northern Israel, officials say.
Israeli police and emergency workers said a Palestinian from the Israeli-occupied West Bank attacked and killed a man and a woman on Friday before he was shot and wounded.
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The attack came a day after an Israeli military reservist dressed in civilian clothes rammed his vehicle into a Palestinian man who was praying on a roadside in the West Bank after earlier firing shots in the area.
“Footage was received of an armed individual running over a Palestinian individual,” the Israeli military said in a statement about Thursday’s attack, adding that the Israeli reservist’s military service had been terminated. The Palestinian man went to hospital for checks after the attack before returning home.
In Friday’s incident, Israeli police said the attacker first crashed his vehicle into people in the northern city of Beit Shean, killing a 68-year-old man, and then sped onto a highway.
Later, he fatally stabbed a 20-year-old woman near the highway, “and the suspect was ultimately engaged with gunfire near Maonot Junction in Afula following intervention by a civilian bystander,” police said, adding that the attacker was taken to a hospital.
Both the victims were pronounced dead at the scene by paramedics, Israel’s rescue services said. A teenage boy was hospitalised with minor wounds sustained in the car-ramming, according to bystanders.
The Israeli military said the attacker had “infiltrated into Israeli territory several days ago”.
Since Israel’s genocidal war in Gaza began in October 2023, tens of thousands of Palestinians have been killed there.
At the same time, Israeli settlers have escalated violence in the West Bank, seizing Palestinian land and harassing civilians while Israeli forces conduct regular raids and arrests.
More than 1,000 Palestinians have been killed in the West Bank since October 7, 2023, mostly in operations by security forces and some by settler violence, according to the United Nations.
In the same period, 57 Israelis have been killed in Palestinian attacks.
After Friday’s incident, Israeli Defence Minister Israel Katz said he had instructed the military to respond forcefully in the West Bank town of Qabatiya, where he said the assailant came from.
The Israeli military said it was “preparing for an operation” in the area.
Conor McDermott-Mostowy would like to compete at the Milano Cortina Winter Olympic Games. And he certainly has the talent, desire and ambition to do so.
What he lacks is the money.
“You could definitely reach six figures,” David McFarland, McDermott-Mostowy’s agent, said of what the speedskater needs annually to live and train while chasing his Olympic dream.
In the last year, finding that money has been increasingly difficult because McDermott-Mostowy is gay. Since President Trump returned to the White House in January, bringing with him an agenda that is hostile to diversity, equity and inclusion, sponsors who once embraced LGBTQ+ athletes and initiatives have turned away from the likes of McDermott-Mostowy, with devastating effect.
“There’s definitely been a noticeable shift,” said McFarland, who for decades has represented straight and gay athletes in a number of sports, from the NFL and NBA to professional soccer. “Many brands and speaking opportunities that previously highlighted LGBTQ athletes are now being pulled back or completely going away.”
“And these aren’t just symbolic partnerships,” he added. “They’re vital income opportunities that help athletes fund training, fund their competition and their livelihoods.”
The impact is being felt across a wide range of sports where sponsorship dollars often make the difference between winning and not being able to compete. But it’s especially acute in individual sports where the athletes are the brand and their unique traits — their size, appearance, achievements and even their gender preferences — become the things that attract or repel fans and financial backers.
“What’s most frustrating is that these decisions are rarely about performance,” McFarland said. “They’re about perceptions in the LGBTQ community. And that kind of fear-driven retreat harms everyone involved because, beyond the human costs, it’s also very short-sighted. The LGBTQ community and its allies represent a multitrillion-dollar global market with immense buying power.”
Travis Shumake, the only openly gay driver on the NHRA circuit, ran a career-high five events in 2022 and said he once had deals with major brands such as Mission Foods, Procter & Gamble and Kroger while using a rainbow-colored parachute to slow his dragster.
Kroger is the only one whose support has yet to shrink and as a result, Shumake had to keep his car in its trailer for the final eight months of the year.
And when he did race, his parachute was black.
Travis Shumake competes at the NHRA Nationals at Las Vegas Motor Speedway in November 2024.
(Marc Sanchez / Icon Sportswire via Getty Images)
“It was looking very optimistic and bright,” said Shumake, who spends about $60,000 for an engine and as much as $25,000 for each run down the dragstrip. “Being the only LGBTQ driver would have been very profitable. I ended last season with plans to run six to eight races. Great conversations were happening with big, big companies. And now it’s, I did one race, completely based on funding.”
“When you’re asking for a $100,000 check,” he added, “it’s very tough for these brands to take that risk for a weekend when there could be a large backlash because of my sexual identity.”
A sponsorship manager for a Fortune 500 company that had previously backed Shumake said he was not authorized to discuss the decision to end its relationship with the driver.
Daniel T. Durbin, director of the Institute of Sports, Media and Society at the USC Annenberg school, said there could be several reasons for that. A shrinking economy has tightened sponsorship budgets, for example. But there’s no doubt the messaging from the White House has had a chilling effect.
“It certainly makes the atmosphere around the issue more difficult because advertising and promotion tied to social change has come under fire by the Trump administration,” Durbin said.
In addition, corporate sponsors that once rallied behind diversity, whether out of conviction or convenience, saw the election results partly as a repudiation of that.
“We may be pissing off 50% of the population if we go down this path. Do we really want to do that with our brand?” Durbin said of the conversations corporations are having.
Backing away from causes such as LGBTQ+ rights doesn’t necessarily mean those corporations were once progressive and are now hypocritical. For many, the only color of the rainbow they care about is green.
“You’re trying to give people a philosophy who don’t have a philosophy,” Durbin said. “And even if they believe in causes, they’re not going to self-destruct their company by taking up a cause they believe in. They’re going to take it up in part because they think it’s positive for the bottom line.
“That’s the way it works.”
As a result, others have had to step up to try to help fill the funding gap. The Out Athlete Fund, a 501(c)(3) organization, was recently created to provide financial assistance and other support to LGBTQ+ athletes. McDermott-Mostowy was the first to get a check, after a November event in West Hollywood raised more than $15,000.
“We’re here to help cover their costs because a lot of other people aren’t doing it,” said Cyd Zeigler, a founding board member of the group and co-founder of OutSports, a sports-news website focused on LGBTQ+ issues.
That kind of retrenching, from deep-pocketed corporate sponsors to individuals giving their spare change, is threatening to derail the careers of athletes such as McDermott-Mostowy, who relies on his family and a modest U.S. Olympic & Paralympic Committee stipend for most of his living and training expenses. And since he’ll turn 27 before the Milano Cortina Olympic Games open in February, he may not be able to wait for the pendulum to swing back to have another chance at being an Olympian.
“I’m 99% sure I qualify for [food] stamps,” said McDermott-Mostowy, who medaled in the 1,500- and 500-meter events in October’s national championships, making him a strong contender for the U.S. heading into the Olympic long track trials Jan. 2-5 in Milwaukee. “What really saves us every year is when we travel. Almost all of our expenses are paid when we’re coming [with] the team.
“If I didn’t make the World Cup one year, I would be ruined.”
McDermott-Mostowy’s past success and his Olympic potential are what he pitches to sponsors, not that he’s gay. But that’s what makes him stand out; if he qualifies for Milano Cortina, he would be one of the few gay athletes on the U.S. team.
“I have always been very open about my sexuality. So that wasn’t really a debate,” he said.
“I have definitely heard from my agent that, behind closed doors, a lot of people are like ‘Oh, we’d love to support queer athletes. But it’s just not a good time to be having that as our public face.’”
The debate isn’t a new one, although it has evolved over the years. Figure skater Amber Glenn, who last year became the first out queer woman to win the U.S. championship, remembers gender preferences being a big topic of discussion ahead of the 2014 Games in Russia, where public support for LGBTQ+ expression is banned.
“At that point I wasn’t out, but I was thinking, ‘What would I do? What would I say?’” Glenn said. “Moving forward I hope that we can make it where people can compete as who they are and not have to worry about anything.
“Figure skating is unique. We have more acceptance and more of a community in the queer space. That’s not the case for all sports. We’re definitely making progress, but we still have a long way to go.”
Conor McDermott-Mostowy hopes to be competing for the U.S. in speedskating at the Milano Cortina Olympic Games in February.
(Dean Mouhtaropoulos / Getty Images)
In the meantime, athletes such as McDermott-Mostowy and Shumake may have to find ways to re-present themselves to find new sources of support.
“It’s not like I’m going back in the closet,” said Shumake, who has decided to rent out his dragster to straight drivers next year rather than leave it parked and face bankruptcy. “It’s just that maybe it’s not the main storyline at the moment. I’m trying a bunch of different ways to tell the story, to rebrand.”
“It’s been weird to watch,” added Shumake, who once billed himself as the fastest gay guy on Earth. “I know it will swing back. I also fear, did I make the right choices when I had a partnership with Grindr and I had rainbow parachutes? Like did I come on too strong?
“I’ve chosen to go the gay race car driver route and it’s just a little bit of a slowdown. I don’t think I need to blame myself. It’s just a fear people are having at the moment.”
A fear that’s proving costly to the athletes who can least afford to pay.
Nobody does a jaw-drop reaction like Bobby Berk. It’s only surprising when you assume he’s probably seen it all after eight seasons traveling the world as the interior design expert on Netflix’s reboot of “Queer Eye”; writing his 2023 book, “Right at Home: How Good Design is Good for the Mind”; making many TV appearances (including a Taylor Swift video) and selling pretty much anything to make your home shine on BobbyBerk.com.
But in his new HGTV series “Junk or Jackpot?”, premiering Friday at 9:30 p.m. Pacific, genuine reactions come often from Burke as he enters the homes of Los Angeles collectors and sees not only rooms jam-packed with action figures, pinball machines, puppets, marionettes and more, but also some jackpot items just sitting on a bookshelf. In one episode, for example, a collector shows Berk a trading card he has that is appraised in the $100,000 range. “I’m pretty sure I said, ‘What the f—?’ though I assume it was bleeped because it’s HGTV,” says Berk from his Los Angeles home. “I’m used to Netflix, where I could say whatever I wanted. But, yeah, that was just crazy to me.”
Reactions aside, the real marvel on “Junk or Jackpot?” is watching an enthusiastic Berk swoop into people’s homes to help them learn how to come to terms with a collecting hobby that has grown into something that’s stifling homes and putting a damaging strain on relationships. “Obviously, I’m not a therapist. I’m a designer, even though in our field, we often make the joke that we’re not just designers, we’re marriage counselors,” he says.
But Berk, born in Houston and raised in conservative Mount Vernon, Mo., is a self-taught pro at identifying what isn’t working and doing everything possible to fix it, including in his own life. Case in point: Berk, not feeling safe coming out in Mount Vernon, left home at 15 and bounced around for several years in various cities, never finishing high school. “From 15 to 22, I moved around and can’t even count the amount of places I had to move around to just due to finances and situations going on in life,” he recalls.
Eventually, he landed in New York City and worked for stores like Restoration Hardware, Bed Bath & Beyond and Portico before he opened his first online store in 2006 and first physical store in Soho in 2007. Soon thereafter, Berk was racking up appearances on networks like HGTV and Bravo before “Queer Eye” came calling in 2018 and took him to new heights, including his 2023 Emmy win for structured reality program. He also received an honorary degree from Otis College of Art and Design in 2022.
Now, with “Junk or Jackpot?” about to launch, the 44-year-old Berk spoke about how he was handpicked by pro wrestler and movie star John Cena for the show, the key to helping collectors let go of things that are weighing down their lives, and, after living many places and traveling the globe, where he considers home with husband Dewey Do and their mini Labradoodle, Bimini.
“I’m not a therapist. I’m a designer, even though in our field, we often make the joke that we’re not just designers, we’re marriage counselors,” Berk says.
(Jason Armond/Los Angeles Times)
What are the origins of “Junk or Jackpot?” and what does John Cena have to do with it all?
I’ve been toying back and forth with HGTV for years, even when I was still on “Queer Eye,” but with my exclusivity with Netflix, I couldn’t do design shows with anybody else. We always just kept that line of communication open, so then when this specific opportunity came about, Loren Ruch, the head of HGTV, who’s unfortunately since passed, reached out. He said, “Hey, John Cena’s created the show for us and you’re the top of his list of who he wants it to host it.” John was a big “Queer Eye” fan, so I said yes. It shot here in L.A., which was really important to me. We were really lacking for entertainment jobs here in the city so that was a big plus for me to be able to bring jobs here to L.A. to all of our amazing crews.
And it’s not your typical design show. Obviously, there’s nothing wrong with a typical design show and they do help people. But coming from “Queer Eye” where everyone we helped was because it was somebody deserving, somebody that was going through something and needed that extra boost in their life. That’s what this was with “Junk or Jackpot?”
Every single collector, as we’re calling them, had a story going on. With Patrick and Roger [in the premiere episode], Roger had moved out and their relationship was on the rocks because there was literally no space for Roger. With Carly and Johnny in another episode, they had a kid that they weren’t expecting to have in their early 40s, so it was a life-changing moment for them. Their priority needed to be their son, J.D.
I love the show because it was helping people at these moments in their life where they’re like, “We have this thing that we love and has brought us joy, but now this thing is actually starting to have negative things happening in our life.” I wanted to come in and really bring back the joyous part of their collection.
HGTV hasn’t given you a huge budget to revamp the homes and the collectors have to work themselves to sell off their collectibles to pay for the renovation. How did that angle come about?
It was a bit of therapy and I wanted the collectors to really realize that, yes, the collection that they have has value but this other thing that is happening in their life because of this collection has value, too. I wanted them to either be able to prove to themselves that what they were wanting to change in their life had more value than those things. Like with Patrick, Roger had a value.
I wanted them to go through the exercise of “You need to start parting with things.” And if you notice, I never pushed them to get rid of the most precious pieces of their collection. I pushed them to get rid of the things that often they had duplicates of but weren’t necessarily something like, “Oh, I got this as a child” or “somebody got this for me.” I wanted them to emotionally disconnect with those things so they could prioritize things better in life and in the future, they would have a lot easier time letting go even if I wasn’t there to push them.
Swatches and mood boards in Berk’s office. The host of “Junk or Jackpot?” says it is not your typical design show.(Jason Armond/Los Angeles Times)
How do you consider budget with the collectors? In one episode, you choose to cover a brick wall instead of tearing it down and building a new one.
The homeowners are the ones footing the bill for this, because again, a portion of this is the exercise of letting go. To your point, if we had just come in at HGTV and said, “Here’s all the money!” They’re like, “All right, I have no motivation to get rid of anything.” I wanted to make sure we made budget-conscious decisions and I think that’s also a really important thing to share with people at home that you don’t always have to go out and knock out a fireplace if you hate the material. You can do a thing like micro cement and you can completely change it for a minimal cost.
What would you say you learned from shooting the first season of “Junk or Jackpot?”
I wouldn’t say I learned anything necessarily new, but it was reaffirmed to me the emotional attachment and mental health aspect that your space and design can have on you, either in a good way or a bad way.
In the bad way, your house becomes so cluttered and overwhelmed with something that used to spark joy for you, but it’s now having an effect on not only your mental health, but your relationships with other people. On the other hand, the difference in your mental health just redoing that space, reorganizing that space, reclaiming that space can have on your mental health and your relationships not only with yourself, but with your family and your friends.
Vivian, who collects Wonder Woman memorabilia, her friends stopped coming over because there was just nowhere to sit. Her best girlfriend used to come in from Vegas all the time, where she lives, and she would spend the night and now she’s like, “I just can’t anymore because I’m surrounded literally. It’s too much and I just can’t do it anymore.” You see how just changing your space really can change your life.
“I wanted to make sure we made budget-conscious decisions and I think that’s also a really important thing to share with people at home, that you don’t always have to go out and knock out a fireplace if you hate the material,” Berk says.
(Jason Armond / Los Angeles Times)
Season 1 is set in Los Angeles but assuming you get more seasons, would you want to do other cities or countries?
I personally would always love just to keep doing L.A. I live there and with “Queer Eye” for eight years, we traveled all over America. That being said, this is a very niche show, so it might be hard to continue doing it in the same city season after season, so we probably will have to go to other cities, and I’d be fine with that. But I would at least like another season or two in L.A. After spending the last eight years filming “Queer Eye,” I like being home.
That said, you have lived in New York, you’re in L.A. now and you also have a place in Portugal. Where do you call home?
L.A. is definitely home for me. Portugal’s great, but L.A. is definitely home. Although the more time we spend in Southeast Asia, specifically Vietnam, since my husband’s originally from there, that also feels like home. I believe in reincarnation, and I was definitely from over there in my last life. Like when I landed in Vietnam, in China, anywhere in Southeast Asia — I just feel very at home.
“Queer Eye” was such a roller coaster for all you guys but what are your reflections now that it is behind you? Were you able to enjoy it at the time?
Yes and no. It was an amazing roller coaster. I enjoyed most of it, but there were times where we were just exhausted. I don’t know if you know the flight app “Flighty,” but it tracks your flights and tells you how many hours you’ve been in planes every year and how many times you’ve been on the exact same plane. I was looking the other day at how much I flew in 2019. Keep in mind in 2019, five months of the year I was filming, so I wasn’t flying anywhere. So this was just seven months, and I flew 200 flights. I flew over 500,000 miles. I don’t miss that. That was a lot. But as much as I can remember of it, I look back with fondness.
This article contains spoilers from Season 5, Vol. 2, of “Stranger Things.”
What could be more gulp-inducing than trying to defeat a nightmarish vine-covered villain and wipe out an eerie and horror-filled alternate dimension? Maybe writing a satisfying conclusion to a mega-popular TV show built on that idea.
Ross and Matt Duffer, the sibling masterminds behind Netflix’s “Stranger Things,” are closer to finding out if they’ve achieved that in the eyes of the show’s fans. On this morning in early December, the duo are in their own alternate dimension limbo with the show’s final season release — Vol. 1 is out and they’re bracing for impact with Vol. 2.
“The day that [Vol. 1] was released, I paced around all day,” Matt says. “I did absolutely nothing, just waiting for reactions to come in and reviews to come in because you really never know how people are going to react. There’s pros and cons to the show growing in size in the way it did — people just take it apart to an insane degree. It’s scary, always scary. You never really get used to it.”
But the self-doubt keeps them sharp, he says. “It forces you to not get lazy.”
“It’s a balance between feeling very confident, then it swings to being very insecure about it — and it’s hard to keep sight,” Ross adds. “You watch these episodes dozens and dozens of times over and over again. And the strange thing about this show is that a very small group of people had seen the episodes, a really small circle, then suddenly you’re just blasting it out to millions of people all at the same time.”
The pair are sitting on a couch in the office they share — “E.T.,” “Alien” and “Batman Returns” posters adorn the walls — at their facilities, Upside Down Productions, in Los Angeles. While they were able to revel in fan reaction for a few days after the release of Vol. 1, they’re back in work mode. At this point, they still have to finalize sound and color, as well as some visual effects, on the series finale.
“Very boring visual effects,” Matt quips. “If I have to look at one more shot of spores and fog, I’m going to lose my mind.”
Nancy Wheeler (Natalia Dyer), Jonathan Byers (Charlie Heaton), Steve Harrington (Joe Keery) and Dustin Henderson (Gaten Matarazzo) in Season 5 of “Stranger Things.”
(Netflix)
For now, the drip-drop release around the year-end holidays continues, with Vol. 2 (Episodes 5 through 7) now streaming. The episodes contain some of the season’s bigger emotional beats, including one of TV’s most amicable breakups between teenagers, a mended friendship and a character finally living his true self openly. The Duffers discussed that and more in this edited conversation.
Let’s start with those final 10 minutes of Episode 7. Will [Noah Schnapp] shares a part of himself that he’s kept secret for a long time. He realizes that if he wants to be successful in defeating Vecna, he can’t feel afraid about this part of myself. How did you decide Will’s coming out would be revealed?
Matt: It’s something that we’ve been planning to do for a really long time. Initially, it was planned for Season 4, and we just felt it was unearned by the end of it. We wrote that scene with him in the back of the van and him talking to Jonathan [Charlie Heaton]. But I like the idea of Will slowly building to this moment. He has a breakthrough in Episode 4 in a major way, but he has this one final step to take in order to really unlock his full potential. Something we really wanted to do with the show is tie his emotional growth with these powers that he’s developed.
Ross: Putting it at the penultimate [episode] ultimately made sense because what we’re trying to do with the second volume is get our characters in a place where they all felt confident in themselves. Will being one of the major character arcs that carries through the season, but also with Dustin [Gaten Matarazzo] and Steve [Joe Keery] and Nancy [Natalia Dyer] and Jonathan — we wanted to get people, before they go into this final battle, having dealt with their internal fears and doubts.
Matt: Because that’s what Vecna weaponizes against you. If you don’t have that self-hatred or self-doubt or those insecurities, then he can’t hurt you. When Will purges himself of that, he becomes unstoppable — or that’s the hope.
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1.Noah Schnapp as Will Byers, the show’s central character.2.With his mother, Joyce (Winona Ryder). In Season 5, Vol. 2, Will comes out to her and his friends. “It’s something that we’ve been planning to do for a really long time,” says creator Matt Duffer.(Netflix)
What did you want that moment to be? What didn’t you want it to be?
Ross: We were nervous about it because you want to get it right, particularly working with Noah, who had recently come out himself. When he read it and we got his blessing, we felt really, really good about it. For us, it clicked writing it when we started talking about, “What are Will’s actual fears here in the future?” When the show really works for us is when we can combine both our mythology and the supernatural with the emotional. In this case, it’s going: Vecna is taking these fears and weaponizing them against Will, so Will actually talking to the group about these fears, as opposed to keeping them to himself — that’s when the scene really clicked.
The original plan was for him to come out to Joyce [Winona Ryder], and we started writing it and it felt really wrong because if he’s really going to be confronting these fears, he has to open up to to his friends as well. Once we did that, and we put the group in there, and we had him talk about what he saw in his future, that’s when the scene felt, as a coming-out scene, like something very unique to this show.
Matt: It’s the scene we spent the longest on this season because we were so anxious about it and getting it right. It was the most important scene of the season. I can’t emphasize enough how much the actors influence the characters, and their journeys as people really feed into what we’re writing and how we write those characters. You’re trying to channel Noah and what he went through and his growth, which we’ve watched as a person, as he’s found himself. Most of what is in the show is the first take, the first close-up that we did of Noah. It was incredible to watch because it’s one of those moments where Noah was not acting. Those words were real that he was saying. It was very emotional. It felt so real to Noah, so truthful to him. Hopefully the scene feels like that to other people because a lot of kids are watching. You feel a certain responsibility, especially with scenes like that. You can’t be careless about it.
Shipping is a hallmark in every fandom. There’s a moment where Will mentions a crush he’s harbored. He doesn’t directly state it’s Mike, but Mike knows. The viewer knows. How would you describe their dynamic?
Ross: There is a lot of shipping that’s going on with this show. In terms of all the relationships — this goes with the Will storyline, it goes with Jonathan and Nancy — for us and the writers, what’s interesting is not who ends up with who. What’s interesting to us is, how are our characters growing as people? And most of the time, the answer to that is them finding strength within themselves as opposed to finding strength with someone else. When we were talking about Will, those are the conversations that we have. How do we get Will in a place that he feels confident and strong? And that, ultimately, is him confronting these fears and exposing himself to everyone, including Mike.
Matt: When we were growing up, shipping was not a thing. This is a new thing and it gets intense. Part of me likes it because it shows how passionate people are for the show. I don’t mind people interpreting things however they want. Obviously, Ross and I have what we intended. Ross touched on it thematically — in [Episode] 4, when Will finds his power, what we were intending was not that his love for Mike gives him these powers, but his love for himself and tapping back into how he felt when he was younger — that was the key to unlocking his full potential.
Ross: It’s more of an important message to put out to younger viewers. When I’m thinking about my younger self and our struggle growing up, to put out a message that’s “It’ll all be right if this secret crush you have works out” versus “You don’t need that.” Even if it disappoints some people, it’s the more important message to put out into the world.
Matt: Not one crush of mine worked out. It hurts you, though, right? If you feel feelings and it’s unrequited, it feels like an attack on you or makes you feel unwanted. So much of the show is two things: just our love for the supernatural in the movies that we grew up on, and the other part of it is dealing with all the feelings that we had growing up. The best thing for me in the world is when younger people come up to us, the very few that recognize us, and tell us how it helped help them through a difficult time in their lives. Even Robin’s speech to Will, giving him the confidence to come out, that makes it all worth it.
“To write them being back together and friends again was just such a relief,” says Ross Duffer of Dustin, left, and Steve.
(Netflix)
I want to move on to Dustin and Steve. The strain on their relationship comes to a head in these episodes, but also reaches a reconciliation. That moment between them on the collapsing stairwell —
Matt: It’s a very short moment, but incredibly emotional. We were really moved by Gaten and Joe’s performance. It wasn’t hard for them to get into that spot. They’re very close, they have a very sweet friendship that’s not entirely dissimilar from their friendship on the show. The one frustrating thing about the show being split in the way it is, is we didn’t put out a season of the show in Volume 1 — that’s half of a show. I’m excited for people to see Volume 2, mostly for the Steve-Dustin resolution.
Ross: It was hard even writing it, keeping them apart. We felt it was right, emotionally, but to write them being back together and friends again was just such a relief because we’ve missed them, and hopefully the audience has too.
And I love that Steve gets to have his a-ha moment where he comes up with what may be the plan that ends all this.
Ross: It’s funny, we’ve joked about this; he’s very convenient for us as writers because he’s always confused. He doesn’t know what’s going on. Dustin dings him for that in Episode 5, and it was so satisfying to have Steve come up with the final plan, or the linchpin for the final plan. That was such a thrill to write to finally give Steve a moment because the brainstorming almost always goes to Dustin.
Nancy and Jonathan, at one point, are bracing for imminent death and find themselves having this touching and tender moment, sharing confessions and hard truths. What was the lay of conversation for what you wanted from that moment — there’s the acknowledgment of their trauma bond and a slightly romantic unproposal?
Matt: It’s not dissimilar, in some ways, to the Mike-Will stuff. These are people who do love each other very much; it’s just a question of, “What does that mean? What does the future look like for them?” Whenever we talked about Jonathan-Nancy — there’s got to be this feeling that they feel like they must be together because of what they’ve been through, and how could you ever connect with somebody else who hadn’t been through the same thing? But are they right, in the long run, for each other? We wanted to express that as best as we can.
Ross: It was a challenging idea. We’ve been building to it, but to get it across in five-ish minutes, it’s a complicated thing. It’s not just a soap opera where it’s shipping and who’s going to end up with who. I’ve been through experiences similar to this, when you’re with someone for a very long time, you grow so close and you go through so many things together, and it reaches a point where you go, “Well, how could someone else understand?” But at the same time, is that suffocating to your own self-growth? So when we were talking about Nancy and Jonathan, and where do they go from here, it felt like for Nancy to really grow, it’s not about Steve, it’s not about Jonathan, it’s about giving herself the space.
Matt:And for Jonathan. They both felt the same way, they just weren’t expressing it. Especially when you’re young, you have trouble understanding or expressing those feelings. We wanted to put them in a life-or-death situation where it’s their last opportunity to confess. The reference for that scene was “Almost Famous,” when the plane’s about to crash and everybody, in the moment of near-death, tells everybody everything. And then the plane doesn’t crash and it’s awkward. This is the opposite.
Matt, left, and Ross Duffer are closer to releasing the “Stranger Things” series finale. Is it a happy ending? “Even in victory, it’s not confetti and dance parties,” Ross says.
(Jason Armond / Los Angeles Times)
To return to this idea of the characters wrestling with what life looks like after this is over, if it’s ever over — is a happy or triumphant ending possible? Do you even think of it in those terms?
Matt: It’s weird because we didn’t realize until we had finished writing it, how much was a reflection on the show itself. Everybody had a tricky year emotionally; it was a real roller-coaster in terms of dealing with the fact that something we had been putting everything into for 10 years was coming to an end. Ultimately, the show is more about childhood, coming of age and leaving that behind for a new part of your life. It’s not really a question of a happy ending versus a not-happy ending. It’s just a question of capturing what it feels like to move on. It’s a bittersweet thing, but I think it’s something that everybody goes through.
Ross: Even in victory, it’s not confetti and dance parties. It’s a little more complicated than that. I remember “Lord of the Rings,” reading it and watching the films as a kid — there’s that moment when they’re just back in the Shire, and there’s bit of like, “How can you understand? And how do you move on from this?” I remember at the time, when I was younger, feeling a bit of disappointment. I was like, “Can’t they just come back and everyone just celebrate and there’s a party and then we fade out?” But watching it older now, there’s something so much more resonant about it. That’s why we talk so much over the course of this season about “Even if we are able to defeat Vecna, what does that look like for all of us?” Because this Vecna and the evil in the Upside Down brought all these people together.
Matt: In terms of the parallels to the show ending, that’s really a complicated and confusing mix of emotions. Everybody’s sad to move on, but then there’s that sense that you have to move on. We try to capture that feeling.
I need you to tell me what the workflow is like on a show like this. It’s lore, science and nerd-heavy. What are the checks and balances of making sure you’re not messing things up?
Matt: The challenge, especially as the lore and mythology has gotten too complicated, is to ensure that it’s not weighing down the show and that there’s enough room for the characters. That is more important than anything. What we’ve been trying to do as much as possible with this season, because there is so much mythology, is tie it into characters and their growth.
Ross: For instance, the Jonathan-Nancy scene — the melting lab was not an idea we had and then thought, “Oh, we could put Jonathan and Nancy in the situation.” We know we want this conversation with Jonathan and Nancy. How do we get there? Then going, “Oh, what if the dark matter makes the lab unstable?” Most of the time, you’re starting character first, and then we’re adjusting the mythology in order to make those character moments work.
Matt: But also, a melting lab is cool! Everybody was super enthusiastic about that — Netflix, our production designer.
Ross: Other dimensions, everyone was fine with the wormholes. But when we suddenly go, “The lab is going to melt,” everyone was like, “Excuse me?” No one knew how to do it.
Matt: We had to fight for that melting lab, from a production and cost standpoint.
I thought we were going to have a “Titanic” situation.
Ross: Oh, “Titanic” was a reference. But we wanted them both on the table.
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1.Max Mayfield (Sadie Sink), left, and Holly Wheeler (Nell Fisher).2.Jamie Campbell Bower as Vecna.(Netflix)
There’s a massive culture of forecasting and dissecting — it can be overwhelming to me as a viewer because I feel like I’m not watching closely enough. But I also love seeing how people interpret things.
Ross: Especially with the superfans, the tiniest of detail is picked up on. I think it’s fun for them because they’re rewatching this over and over again, so every little minute thing is seen as something significant even when that wasn’t our intention — not that we don’t plant things for later and do Easter eggs, but 99.9% of the writers’ room is just talking about these characters in the story they’re on. That is hopefully how you’re going to be watching the show because it can get overwhelming when you see this stuff online. But at the end of the day, we’re having people engage with a long-form story, so it makes us generally happy.
Matt: But you hit on something important, which is everybody experiences the show very differently. Sometimes I go, “What show are you watching?” Whatever show they’re watching is a completely different show than the show we thought we wrote. Then sometimes, some are on exactly our wavelength. And you see this with debates over the season. Season 3 is either the best season ever or the worst season ever. This is why you can’t write to fans, because which fan are you writing to? It would be impossible. Ross and I just try to write what we think is cool and what our writers think is cool.
There are so many theories out there about how the show is ending. Has there been one where the person got it or close to it?
Ross: I remember Season 4 someone early, very early, before we’d even released it, had figured out the Henry-Vecna-One thing, which was pretty impressive. This season, though, I have not seen anyone get the ending correct, which is, hopefully, a good thing.
Matt: I think it’s good. We’ll find out. I like that the ending is not obvious to people.
My understanding is the final scene of the series is one you’ve had in mind for about seven or so years. In the end, did you reach it the way you thought you would?
Matt: Yes. The show changed a lot in the course of seven years, so aspects of it certainly changed. But I think the fundamental state, more or less, the scene is what we always thought it was going to be.
Ross: I would say there was a key idea that we came up with, breaking [Season] 5, that wasn’t in there seven years ago. There was one element that we changed, but generally it is what we always hoped it would be. After the finale is out, we’ll be happy to tell you.
Matt: It didn’t change the scene, it just added something that I think was really important.
You spoke earlier about the circle of people that you share episodes with. How do you know you’re on the right path?
Ross: It’s such a small group. It really comes down to just our group of writers. What I love about our writers’ room is, even with Matt and I, people are very happy to tell us that an idea is not working. It’s usually everyone building off of each other, and then someone synthesizes those ideas, pitches it out to the room, and you feel this collective relief and excitement within that room. And when that happens, we go, “That’s it. That’s the idea.”
Matt: This is how we’ve always worked, once the draft is written, Ross and I will do multiple passes to the point where we’re really happy and confident. We don’t like turning in anything even remotely rough to Netflix. But the final episode, that was actually weird. We didn’t get any notes from Netflix or the producers. It is that first draft that we turned in. We did multiple drafts of it, but once we turned it in, that was it.
Were you on time with that draft?
Matt: We’re never on time, as you can tell with the gaps between seasons. Ross and I are not the fast. We were actually writing it in the midst of shooting, which was not a great idea. But Ross and I do the best work when we have a gun to our heads.
Ross: There’s not a single finale of the show that wasn’t written in the midst of production, but we like it because it allows us to get a sense of what the season is, what’s working, how the actors are performing, and we can really write to that. If you look at our season finales, generally, they’re some of our better episodes, part of it because the story is culminating, but also because we’ve learned over the course of the season what this season really is, what is really clicking. Then you can lean into that.
Matt: The only weird thing to have is because we were behind, and this has never happened before, is the Holly sequences that are in Henry’s mind, that’s in summer, so we couldn’t wait to shoot those. We were shooting any scene in the woods with Holly before the script was done. That was odd because we were handing actors scripts and scenes when they hadn’t even finished the episode. But it worked out quite well.
But now, I don’t know if it’s because of us, but Netflix won’t start shooting a season of anything until all the scripts are written. I do think they’re missing out on something because … like the sense of discovery that it allows. That’s the nerve-racking thing to me about doing a movie next, is we won’t have that ability to have it evolve.
What was the reaction at the table read for the series finale that stood out to you?
Matt: As nervous as we are of how the audience is going to react, it will never match the nerves we had in terms of how the actors were going to react to it. They’ve been in it with us since the beginning and they’re so invested in these characters. I think everybody was crying. Noah started crying first, then it just spread from there.
How do you feel you’ve changed since starting the show?
Matt: It’s hard to know. You have to try to remember back to how we were 10 years ago. We were really green. We had only directed one movie before. And we never directed television before. We’ve become, hopefully, better leaders and more confident and better at communicating. Ross and I, because we’re twins, we were really good at communicating with each other, but not with other people, and I think we’ve gotten a lot better at working with a large group of people, and hopefully we’ve evolved as as filmmakers.
Ross: There was a lot of fear making that first season. It was almost out of panic and fear both, if we get this wrong — our first movie was a failure — if we mess up, we’ll never be able to tell a story again. And the lack of experience, especially in terms of production. Production was scary because our production on the movie was such a challenge and it was a traumatic experience. Now, we know so much more. We keep making it hard for ourselves because we keep raising the bar in terms of the scale of the production [and] the number of people we’re hiring. But at this point, we can walk into a set, we’re much more flexible now if actors are coming in with ideas that are different from what we had planned, there’s a lot more ability to explore.
Caleb McLaughlin, left, Finn Wolfhard, Millie Bobby Brown and Gaten Matarazzo when they were much younger in “Stranger Things.”
(Netflix)
To expand on the learning curve, there was a recent report that said Millie Bobby Brown had filed a complaint of bullying and harassment against David Harbour. As first-time showrunners, how was it helming a show with young actors and figuring out how to balance the responsibility of making sure they feel safe and cared for on set?
Matt: Ross and I just love working with kids, and it was fun this season to go back to that, in terms of bringing in a new generation of kids. Mostly what we try to do is treat them respectfully and listen to them and listen to their ideas. I think you just get so much better work out of them that way. We’ve become very close because we got to know them when they were really young. It feels less parental and more like an older brother situation, and we try to make it very relaxed so they’re not nervous around us, and they certainly are not. I think what’s been challenging, and mostly challenging for the kids, who are no longer kids anymore, is when the show became bigger and [dealing with] social media. I think if something’s been damaging, it’s social media. I saw it happening with Jake [Connelly], who plays Derek this year.
Ross: And Nell [Fisher, who plays Holly], as well. That is something you feel more helpless about. But what has been beneficial for them, for Jake and Nell, [is] the kids that have been through it can help them through this more. Millie’s been through it. Finn’s been through it.
Matt: That’s the thing — yes, they have us, but they also have each other to get through this. I always think that that’s the key in terms of how they all turned out as grounded as they are. We were with all of them on this press tour, and I’m constantly impressed by how level-headed and grounded they are, and how ego-less they are; that they’re not broken by what they’ve been through. It’s been great with Jake to see it completely turn around. But that doesn’t excuse what people were doing before. It’s disgusting. I wish they had gone through this without social media.
A big talking point in Hollywood right now has been the bidding war for Warner Bros. Discovery. You have forged relationships with both Paramount and Netflix, the companies vying for it. How are you feeling about this moment and where things seem to be headed?
Matt: It’s just so hard to know what things are going to be like. It’s hard to say anything right now. Ross and I have been pretty open about wanting to make sure that the theatrical experience is preserved. For as long as stories have been told, it’s often in front of a group. There’s something about the communal experience and I just don’t want people being isolated. But as long as things are getting in theaters, I think it’s going to be OK. I’m trying to be optimistic about it.
Ross: I think the two fears are, with whatever happens, is you want to try to protect theatrical, which is in not the best state right now. And if you keep shrinking these windows, it just continues to de-incentivize people to go to the theater. That is not something we want to see. It’s a reason why we’re making a movie for theaters next; we believe in it and want to fight for it. The other is you need competition for artists because that’s the whole reason “Stranger Things” exists in the first place. If it’s too much consolidation, then shows like this are just going to become increasingly extinct.
Was it an easy sell, getting Netflix on board with releasing the series finale in theaters?
Matt: Yeah, actually. This is where the internet can frustrate me because something starts as a rumor and then goes around, then it’s fact. We pitched the idea to Netflix marketing — it was mine and Ross’ idea, then [Chief Content Officer Bela Bajaria] called us — it was only about five days [later] and [she] said, “Yeah, let’s do it.” We’re really grateful for them for supporting us. I cannot wait to go sneak into some theaters and watch it.
Jimmy Kimmel swapped his suit and late-night desk for a cardigan and Christmas living room scene as he shared with British viewers an important holiday message: “Tyranny is booming over here.”
Kimmel appeared on public broadcaster Channel 4 Thursday to deliver an “alternative Christmas message,” counter programming to the British monarch’s annual televised address.
Kimmel’s message focused on his battle with President Trump, who reveled in his talk show’s September suspension. Kimmel was benched for roughly a week after backlash to his comments about Charlie Kirk — and an ominous threat by the Federal Communications Commission chair. Kimmel had criticized MAGA supporters for attempting to “score political points” after the conservative activist’s killing. He also poked fun at Trump boasting about White House ballroom renovations after being asked about Kirk’s death.
“You may have read in your colorful newspapers my country’s president would like to shut me up because I don’t adore him in the way he likes to be adored,” he said. He attributed the return of “Jimmy Kimmel Live!” to the “millions and millions of people” who fought to get him back on the air in the name of free speech.
“And because so many people spoke out, we came back. Our show came back stronger than ever. We won, the president lost, and now I’m back on the air every night giving the most powerful politician on Earth a right, and richly deserved, bollocking,” he said, referencing the British slang for scolding. Earlier this month, Kimmel signed a contract extension with ABC through May 2027.
Past hosts of the alternative Christmas message, which began in 1993, include Edward Snowden, Jesse Jackson and a deepfake of Queen Elizabeth II.
During his address, Kimmel called the president “King Donny the 8th.” “We don’t have a problem with your king, just the guy who thinks he’s our king,” he said, apologizing for the state of America and its democratic institutions.
“Don’t give up on us,” Kimmel said. “We’re going through a bit of a wobble right now, but we’ll come around.”
To rebel is to defy. It is to understand that the world as it is can and should be better.
So it’s no surprise rebels were everywhere on our movie screens in 2025. Filmmakers in the U.S. and abroad depicted the lengths to which people will go to stand up against the bland (and at times violent) vision of conformity they see around them. It’s a theme that comes through most organically in these films’ costume designs.
In “Wicked: For Good,” for instance, Cynthia Erivo’s Elphaba Thropp stands apart from the glossy superficiality of the Emerald City. Paul Tazewell, an Oscar winner earlier this year for the first “Wicked,” once again wrapped Elphaba’s defiant spirit in the very fabric of her costumes. As she fights for animal rights and defies the authority of that fraud of a Wizard, the titular witch dons dresses and capes (and, yes, even a knitted cardigan that had the internet abuzz) that ground her in that land “made of dirt and rock and loam” she sings about.
Cynthia Erivo as Elphaba in “Wicked: For Good.”
(Giles Keyte / Universal Pictures)
Not that all rebels choose to stand out. In Paul Thomas Anderson’s politically urgent thriller “One Battle After Another” — costumed by four-time Oscar winner Colleen Atwood — members of the French 75 revolutionary group know better than to draw attention to themselves.
“Take Deandra [played by Regina Hall], for instance, who’s always lived off the grid,” Atwood tells The Envelope. “They have lives, but they are still somewhere on the wanted list, and some weirdo can suddenly know who they are. So they really have to blend in. They have to be not noticeable. That was a big goal with everybody’s costume in the movie, all the French 75 costumes — and Leo as well.”
That’s why DiCaprio spends much of the film in a red bathrobe, making him both incredibly hard to miss and also decidedly ordinary-looking. “Would you wear it the whole time?” Atwood remembers asking herself: “Would he get rid of it? And Paul goes, ‘Why would you take off your clothes if you’re running?’”
Leonardo DiCaprio, left, and Benicio Del Toro in “One Battle After Another.”
(Warner Bros. Pictures)
Atwood’s choice to put Benicio Del Toro in a gi and a turtleneck was similarly driven by this approach: These are all people who move through the world wanting to disrupt the system without making such disruption all that conspicuous. Here we may also add the off-the-rack suits Teddy and Don (Jesse Plemons and Aiden Delbis) wear in “Bugonia” to face their kidnapped CEO; the beret-and-turtleneck-wearing revolutionary (Richard Ayoade) in “The Phoenician Scheme”; and the stylish, delightfully unbuttoned shirts Wagner Moura wears throughout “The Secret Agent.”
Not all instances of rebellion are so obviously political. Take Harry Lighton’s deliciously kinky dom-com “Pillion,” which finds shy young Colin (Harry Melling) entering into a BDSM relationship with an enigmatic biker called Ray (Alexander Skarsgård).
“Ray’s an anomaly; he’s the rebel, you can’t place him,” costume designer Grace Snell says. When we first meet him, he is wearing a striking white leather biking outfit: “I wanted him to be like a light at night on this bike and a shiny toy for Colin.”
Harry Melling, left, and Alexander Skarsgård in “Pillion.”
(Festival de Cannes)
The leather and kink gear that Skarsgård, Melling and the rest of the “Pillion” cast wear allowed Snell to give audiences the Tom of Finland fantasy Lighton’s film clearly demands. Yet the film is about a quieter rebellion.
“Colin’s kind of testing his boundaries and understanding who he is as a gay man, and exploring what that means for him,” Snell says. It’s why he spends much of the film in uniform, as a traffic warden, as a member of a barbershop quartet, and later as the new member of Ray’s biker gang.
“Pillion” is about self-fashioning at its most elemental: how gear and uniforms, roles and positions, can help you bloom into yourself; how in losing yourself in another you can find who you want to be.
Blending such a lesson in ways political and personal is Bill Condon’s “Kiss of the Spider Woman,” also costumed by Atwood. The musical is framed by the tension between Valentin (Diego Luna), a righteous revolutionary, and Molina (Tonatiuh), a gay hairdresser, who share a prison cell under Argentina’s military regime.
Diego Luna and Jennifer Lopez in “Kiss of the Spider Woman.”
(Roadside Attractions)
Along with designer Christine L. Cantella, Atwood aimed to honor the history the film was depicting and the message it embodies. “Not only is it set in a revolutionary time, but it’s also about two people opening each other’s eyes to the world,” Atwood says, “in a way that is such a great message for today.”
Atwood and Cantella had to balance the dingy reality of the prison — where Molina finds modest beauty in his silk robes — and the movie musical he loses himself in — where Jennifer Lopez’s Aurora is dressed like a silver-screen siren throughout. Lopez’s big number, where she dons an ode to the all-white ensemble Chita Rivera wore in the original Broadway show, including a fedora to match, is all about the lure of escapist Hollywood fantasy: “Turn off the lights and turn on your mind,” she sings.
As the ending of the musical attests, there may be a way to do both, to be politically engaged and still enjoy the beauty of the world around you. For, as these varied films attest, a rebel doesn’t just voice their discontent at the status quo. They wear it proudly.
The incident is the third of its kind in recent weeks in which Tajik border guards and civilians have been killed.
Published On 25 Dec 202525 Dec 2025
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Five people have been killed in a firefight between border guards and intruders on Tajikistan‘s border with Afghanistan, the Tajik border protection agency says.
Heavily armed raiders from Afghanistan crossed into Tajikistan at the village of Kavo in the Shamsiddin Shokhin district on Tuesday and were located on Wednesday, according to a statement by the border agency published by Tajik news agency Khovar.
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The border agency said the men attacked a guard post, killing two border guards, and three of the intruders died in the ensuing gun battle.
The agency said the incident was the third of its kind in recent weeks in which Tajik border guards and civilians were killed.
The border guards secured the weapons and ammunition used by the intruders, including grenades, three M-16 rifles, a Kalashnikov assault rifle, three foreign-made pistols with silencers, 10 hand grenades, a night-vision scope, explosives and other ammunition at the scene, the agency said.
“The terrorists refused to obey orders from Tajik border guards to surrender and offered armed resistance. They intended to carry out an armed attack on one of the border posts of the Border Troops of the State Committee for National Security of the Republic of Tajikistan,” the statement said.
Chinese citizens working for a mining company in the region have also been among those killed.
The latest incident demonstrated “the Taliban government’s failure to fulfil their international obligations and repeated commitments to ensuring security and stability along the state border with the Republic of Tajikistan and to combating members of terrorist organisations, reflecting serious and recurring irresponsibility”, the statement added.
It agency said that it expected an apology from the Afghan leadership.
Tajikistan will defend its territorial integrity against “terrorists and smugglers” by all means, it added.
Afghanistan has not yet commented on the incident.
Drugs from Afghanistan are smuggled into Central Asia across the largely unsecured 1,340km (830-mile) border. Russian forces are stationed in Tajikistan and have in the past participated in joint exercises with Tajik forces to help secure the border.
This article contains spoilers for the Season 1 finale of Apple TV’s “Pluribus.”
Fellow misanthropes, Season 1 of “Pluribus” is done. Now what do we do, other than lean into our usual harsh judgment and mistrust of others?
Our spirit series left us wondering who or what will put the final nail in humanity’s collective coffin: an alien virus or a malcontent with an atomic bomb. As for saving everyone? Cranky protagonist Carol Sturka (Rhea Seehorn) struggled to find ways to preserve the human race for much of the series, but by the finale, she was fairly convinced that the planet would be better off without us.
For those of you who haven’t kept up with the best show on television this year, Carol’s among 13 people left on Earth who are immune to an alien virus that’s otherwise fused all of humanity’s consciousness together into one blissful hive mind. Now everyone thinks alike and has the same knowledge base, which means TGI Fridays waiters can pilot passenger planes and children can perform surgeries. No one is an individual anymore. They simply occupy the body formerly known as Tom or Sally or whomever. “Us” is their chosen pronoun.
This army of smiling, empty vessels just wants to please Carol — until they can turn her into one of them. Joining them will make her happy, she’s told. It’s a beautiful thing, having your mind wiped. But the terminally dissatisfied Carol would rather stew in her own low-grade depression and angst that forfeit her free will. Plus, her ire and rage is kryptonite against those who’ve been “joined.” When confronted with her anger, they physically seize up and stop functioning. Their paralyzing fear of Carol’s ire is empowering, pathetic and hilarious. The world literally comes to a standstill when she snaps. No wonder she’s my hero.
“Pluribus” comes from Vince Gilligan, the same brilliant mind behind “Breaking Bad” and “Better Call Saul.” The Apple TV series is nothing like his previous successes except that it’s set in Albuquerque, stars Seehorn and is singularly brilliant. And like those other seminal dramas, it plumbs deeper questions about how we see ourselves, who we really are and who we strive to be.
To be fair, Carol was irritated by the human race long before the alien virus converted them into worker bees. She was convinced most people were sheep — including those who loved the flowery writing and cheesy romance plots of her novels. But the the total loss of a free-thinking community isn’t all that satisfying, either.
In the finale, she connects with Manousos Oviedo (Carlos-Manuel Vesga), a fellow survivor who’s also immune to the virus. He wants nothing to do with the afflicted, no matter how peace-loving they appear. In the before times, it appears he was a self-sufficient loner. Postapocalypse, he travels all the way from Paraguay to meet Carol after he receives a video message from her. He drives most of the way before arriving at the treacherous Darién Gap, where he’s sidelined after falling into a thorny tree — but “they” save him, much to his chagrin. He eventually continues the journey, via ambulance.
Now saving the human race is up to two people who never had much love for it in the first place. They converse through a language translation app, which makes their arduous task all the more complicated — and hilarious.
Multiple theories have sprung up around what “Pluribus” is really about. One prevailing thought is that “the joining” is a metaphor for AI creating a world where all individual thought and creativity are synthesized into a single, amenable voice. Surrender your critical thinking for easy answers, or in the case of “Pluribus,” an easy life where you’ll never have to make a decision on your own again. Most humans would rather be a doormat than a battering ram, regardless of the urgency or circumstance.
Optimists might say, “Why pick one extreme or the other? There’s surely a place in the middle, where we can all live in harmony while holding onto our opinions and sense of self.” That’s sweet. Carol and I heartily disagree given the arc of history and all.
Just how my favorite new antihero will deal with her disdain for the Others is yet to be seen. Save the world or destroy it? We’ll all have to wait until next season to find out. Until then, “Pluribus” just needs some space.
