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FOR one city in the UK, Christmas has come early as it’s been transformed into a wintry delight for a Hollywood movie.

Stars of the screen have been spotted in one of the country’s most famous streets to film scenes for the upcoming blockbuster.

York, known for being one of UK’s oldest cities, was also named the top place in the country for the best quality of life according to the Good Growth for Cities Index.

And now it is being turned into a winter wonderland for an upcoming movie.

The film is called ‘Merry Christmas Aubrey Flint’ and is due for release in 2026.

Spotted filming was Richard E Grant, known for his roles in Withnail and I, and Star Wars.

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Game of Thrones star John Bradley, who plays the titular character Aubrey Flint, was spotted filming scenes, along with fellow actor Kiell Smith-Bynoe.

Actress and more recently The Celebrity Traitors star Celia Imrie is also in the film.

According to production company WestEnd Films, the movie tells the story of a reclusive model soldier painter with a lifelong hatred of Christmas who ends up assisting with a care home production of A Christmas Carol.

Shopkeepers and passers by watched on as the stars filmed on Colliergate, a street very near The Shambles. 

One of the shops used as a filming location was Barnitts, a department store that sells everything from Christmas decorations to homeware and DIY tools.

Totally Awesome Toy Shop, will also make an appearance in the film, and the owner, Jo Patton, told the BBC: “To have a film star stood literally on your doorstep, in some ways wasn’t too strange, because in York you expect the unexpected.”

The cast and crew also filmed scenes outside an empty shop on Colliergate.

It was transformed from being empty to a miniature model shop and outside table salt lined the edges of the windows to create the illusion of snow.

York was founded by the Romans in 71AD making it one of the oldest cities in the country.

It’s possibly most famous for its 233ft tall York Minster that dates back to the 7th century.

Visitors are welcome to explore the cathedral whether you fancy a guided tour, or a trip up the tower – tickets for general admission starts at £20pp.

The Shambles, which was used to film the Christmas movie, is full of independent shops selling everything from gifts to baked treats or toys,

Lots of visitors compare the street to Harry Potter’s Diagon Alley which has towering timber-framed shop fronts.

It’s not just all mooching about seeing the sights, visitors can settle in one of York’s 365 pubs.

One writer who visited suggested popping into House of Trembling Madness which serves a selection of local beers and huge sharing boards of meats and cheeses.

One travel expert even named the city the ‘best for families’ – Travel guide creator Peter Naldrett, who has visited all 76 cities in the UK, raved about York.

He said: “York is the best UK city for families because it has so many captivating activities and attractions.

“There’s enough in York to keep both junior and secondary school children entertained, from the Viking Museum to York Chocolate Story and Harry Potter-style streets and a cold war bunker.

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“The Viking Museum has interactive activities for children, the Castle Museum has recreated Victorian Streets and there’s also the Shambles, the inspiration behind JK Rowling‘s Diagon Alley.”

“There’s so much to keep kids busy in York, families will be spoilt for choice.”

Here’s the UK’s ‘most beautiful town’ set to star in huge new Christmas movie with Hollywood stars…

Earlier this year, Hollywood stars like Kiefer Sutherland, Rebel Wilson and EastEnders‘ Danny Dyer descended on Knaresborough for the upcoming movie, Tinsel Town.

Between January and February 2025, cast and crew were spotted in the Yorkshire town, in areas like Castlegate, Riverside, and Green Dragon Yard.

Filming of the Sky Original Christmas movie meant that the festive decorations were up for months longer than usual.

The film, set to be released on November 28, will see Kiefer Sutherland play Bradley Mack, a failed Hollywood action star ending up in a small, snow-dusted village to star in the town’s eccentric production of Cinderella.

It’s here that he encounters a number of oddball locals, one of whom is no-nonsense choreographer Jill, played by Rebel Wilson.

It’s no wonder Knaresborough was picked as a filming location, as The Sun’s Katrina Turrill, who hails from the town, reckons it’s the “most beautiful town in the country” and “picture perfect”.

Knaresborough has pretty waterfront cafes and the opportunity to canoe down the river, while watching steam trains travel over the viaduct.

Katrina said: “If you venture down by the river from either Bond End or walking down the steps at the castle you’ll stand at the foot of the iconic viaduct. 

“Amongst the cafes and houses are two boat hire places – Blenkhorn’s and Marigold Cafe & Boating.  Both are open daily, weather permitting, and are a great way to soak up the stunning scenery.

“No visit to Knaresborough is complete without heading to Knaresborough Castle for the best view of the viaduct. 

“You don’t need to pay to enter the castle grounds, and I recommend seeing the view during the day and at night time, with the viaduct all lit up.”

IF you are seeking snow this Christmas without heading to Lapland, there is one place that is guaranteed to have it.

The UK’s SnowDome is celebrating its 20 years of Santa’s Wonder Wonderland.

Being a ski and snowboarding attraction, this means there is real snow inside, all year round.

Returning from November 15, this includes a Winter Wonderland trail with 1000 tonnes of real snow.

There will also be a Christmas Village with alpacas, a carousel and festival games.

Guests will be able to meet Santa and the elves as well as watch down go down the Summit Slide and have snowball fights.

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New this year is a live pantomime show of Beauty and the Beast, running for 25 minutes so little guests won’t get bored.

Also new this year is the immersive attraction SledEx HQ.

Families can explore Santa’s post headquarters, complete with a letter writing station to send to Father Christmas.

Otherwise if you need a food break, there is the woodland lodge-style Aspen’s Bar and Kitchen as well as The Lifthouse Coffee Co with everything from festive snacks to hot chocolate

Launching from next week, the festive experience runs until January 3, 2026.

Tickets start from £20 and it is advised to book ahead, with the experience lasting around two hours.

SnowDome Director, Isabelle Chadbourne said they were “delighted” to be returning for their 20th year.

She added: “With our new SledEx HQ, expanded layout and continued focus on immersive fun, families are in for an unforgettable experience.

“It’s a joy to see so many return year after year – and we cannot wait to welcome new visitors to the magic.”   

Families have previously raved about the experience.

One mum wrote last year: “This is our 8th year visiting Winter Wonderland at the Snowdome and I’m yet to be disappointed.”

Another commented: “Santa’s Winter Wonderland at SnowDome is truly enchanting.

“The magical atmosphere, adorned with twinkling lights and festive decorations, creates a perfect holiday escape. 

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Gabby Logan has been a mainstay of the BBC Sport presenting team for many years, but she was given a reality check by her daughter when she tried to push her into certain sports

Few individuals could be better suited to front BBC Sport than self-proclaimed sports fanatic Gabby Logan.

Gabby, who competed for Wales in rhythmic gymnastics at the 1990 Commonwealth Games, has remained a familiar face for decades through her contributions to ITV and BBC, presenting World Cups, Olympic Games, Six Nations and countless other sporting occasions.

Following Gary Lineker’s exit from the corporation’s premier football programme, Match of the Day, she has joined the presenting roster tipped to succeed him. However, Gabby was decisively “put in her place” by her daughter Lois when she tried to guide her towards the sports she herself was most passionate about.

She explained to The Telegraph: “I always used to say to Lois, when she first got into horses at the age of nine: ‘Oh, if you played golf, I would play with you every night. If you played tennis, I’d play with you all the time.’

“And she’s like: ‘Mummy, those are your dreams, not mine.’ So I was very much put in my place… I used to tell Clare Balding that I’d had her love child.”

Gabby’s Clare Balding reference proved rather fitting.

Now aged 20, Lois works as a show jumper and recently took part in her first horse race as a jockey.

Lois’s twin brother Reuben has also inherited the family’s athletic streak, featuring as a back-row forward for Sale Sharks.

As a mum, Gabby admits she finds it challenging watching both her children pursue physically demanding and potentially dangerous sports. “They’ve not made it easy for me, have they?” she quipped.

“Or for Kenny, in terms of a nice, sedate sport – something a little less frenetic and potentially fraught with danger.

“Still, for me it was important that they had a passion and did something they wanted to do in life, and they both love sport.”

Reuben may have regretted his choice to go into professional rugby on one particular occasion, though.

One of his regular gym sessions at the club turned into a toe-curlingly embarrassing experience when one of his mum’s podcasts was played over the PA system.

It happened to be the episode in which Gabby, 50, was discussing changes in her sex life since her husband – former rugby international Kenny Logan – had his prostate removed following a cancer diagnosis in 2022.

Gabby has been outspoken about reconnecting with intimacy after menopause. She told The Sun: “Taking HRT saw my libido returning. I started with a very small dose of oestrogen and testosterone gels, and progesterone in tablet form. I noticed massive changes within a few weeks. It was a lovely feeling – like myself again.

“My libido came back within about a week. I felt a massive improvement there, and that was important to me and also to Kenny. Once I was on HRT and my libido returned, our sex life was back on track – even to the extent of having daytime sex. There are plus points to becoming empty nesters!”

I’ve visited 26 places in ten countries over the past 12 months. A number I’d argue is a few more than ideal, at least if you want to avoid the sensation of constantly rushing around, and being stuck in a loop of packing and unpacking a toiletries bag.

Over the past year, I’ve managed to tick off 10 countries and 26 destinations from my travel list. A number that’s a tad more than ideal if you’re not keen on the constant hustle and bustle, and the never-ending cycle of packing and unpacking toiletries.

Among these destinations are some that still leave me in awe. The alien-like landscape of Deception Island in Antarctica, a whale graveyard, is undoubtedly the highlight.

Likewise, the sight of condors soaring above as I trekked up an Andes mountain following a gaucho’s trail is something I won’t forget anytime soon.

Closer to home, this was the year I finally set foot on Lindisfarne in Northumberland. This tidal island, which recently featured in Danny Boyle’s zombie film, 28 Years Later, is truly magical.

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My visit last midsummer was particularly memorable with the sun shining, beetles scurrying in the grass, and seals serenading across the bay. However, it’s not any of these places that I’m eager to revisit next year, fingers crossed. That honour goes to Catania.

I had a fleeting, 12-hour visit to this Sicilian city in August and now, I’m resolved to go back.

If you’ve been to this Italian island, chances are you landed in the much larger and more famous Palermo. It’s a captivating city, brimming with attractions like a sprawling botanical garden, the beautifully restored Palazzo Butera, and a top-notch puppet museum.

Despite its charm, there’s a sense that Palermo has perhaps overindulged the tourist trade. Its renowned Capo Market has shifted from selling fresh produce to street food, and the daily queue for a baked goodie at the former monastery, Santa Caterina, often stretches to 100 people.

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In contrast, Catania, located roughly 200 km east of Palermo on Sicily’s coast, exudes an authenticity and tranquillity that sets it apart from its older sibling.

While Palermo is large, audacious and rough around the edges, Catania is neater, more stylish and refined. The city, home to 300,000 residents, was established by the Greeks in the 8th century BC and has been shaped by centuries of conquest and natural disasters, most notably the catastrophic earthquake of 1693.

This rebuilding led to the creation of its stunning Baroque architecture, now recognised as a UNESCO World Heritage Site. A stroll through the historic centre leads you to Piazza del Duomo, where the grand Catania Cathedral and the famous Fontana dell’Elefante, a lava-stone elephant statue that has become the city’s emblem, reside.

The Via dei Crociferi, adorned with ornate churches and monasteries, is frequently hailed as one of Sicily’s most beautiful streets.

One of the most captivating reasons to visit Catania, and why I’m so eager to go back, is its breathtaking location. The city is nestled between the Ionian Sea and Mount Etna, Europe’s most active volcano. After an evening spent sipping spritz and carafes of light table wine, our group climbed onto the roof of our apartment block and looked north.

Illuminating the dark sky above us was a burst of orange. Lava was erupting from the top of Etna.

Vibrant buses bound for the volcano regularly set off from Catania, transporting daring tourists up the volcano and through lava fields, craters, and even vineyards that flourish in the fertile volcanic soil.

For those not captivated by volcanoes and stunning architecture, spending a week just eating and drinking is arguably just as satisfying. Street food plays a significant role in daily life there and has a rich history.

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If arancini balls, cannoli, and granita (a refreshing Sicilian sorbet sometimes served in a warm brioche) didn’t originate here, they’ve certainly been perfected.

The fun carries on at the La Pescheria market, situated near Piazza del Duomo, where Sicilian-speaking stallholders will sell you a cone of deep-fried seafood.

The great news for those, like me, planning a trip to Catania is that there are direct flights from London Gatwick, Stansted, Luton, and Manchester airports, with airlines such as British Airways, easyJet, Jet2, and Ryanair providing services. One-way tickets this month start from just £19.

Perhaps a bargain too tempting to pass up….

Just when it seemed the Washington Commanders’ night couldn’t get much worse, it actually got much, much worse.

With his team trailing the Seattle Seahawks by 31 points midway through the fourth quarter Sunday night, Commanders quarterback Jayden Daniels suffered a gruesome injury to his non-throwing arm that will likely keep him off the field for several weeks.

After Washington’s 38-14 loss, coach Dan Quinn had little information on his second-year quarterback, saying only that Daniels had a “left arm injury” and that he hoped to provide an update in the morning.

Multiple media outlets are reporting that Daniels dislocated his elbow and will undergo an MRI on Monday to determine the severity of the injury.

A former star at Cajon High, Daniels won the Heisman Trophy at Louisiana State in 2023 and was selected at No. 2 overall by the Commanders in the 2024 NFL draft. He immediately took the league by storm, earning Pro Bowl and offensive rookie of the year honors while leading Washington to an unlikely appearance in the NFC championship game.

Season 2 has been a disappointment. Going into this weekend, Daniels had already missed three games with knee and hamstring injuries and the Commanders had struggled to a 3-5 record.

Then came Sunday night. Down by four scores in the fourth quarter, Washington drove to the Seattle 2-yard-line and was looking to make a slight dent in the deficit when disaster struck. On second-and-goal with 7:39 remaining in the game, Daniels faked a handoff and scrambled to his right before being spun down by Seattle’s Drake Thomas for a 2-yard loss.

As he was being taken to the ground, Daniels put out his left arm to brace himself. His elbow bent the wrong way. Commanders guard Sam Cosmi called the scene “gut-wrenching.”

“I didn’t see what happened exactly. I just heard a pause and I kind of put my head down and prayed for him,” Cosmi said. “You just don’t want to see that happen.”

A similar scene took place nearly 13 years ago for Washington, when another rising young star at quarterback, Robert Griffin III, re-injured his knee during a home game against the Seahawks. His career was never the same afterward.

Griffin was one of several people who took to social media Sunday night to comment on the matter. He seemed to speak for the majority of them when he wrote on X, “WHY WAS JAYDEN DANIELS EVEN STILL IN THE GAME?!?!?!”

“The Seattle Seahawks had the game won,” a visbly distraught Griffin said in a video also posted to X. “I understand you want to play to the end, but with the injuries that he’s already had this year, and the injuries he had last year, why is he in the game? Doesn’t make sense.”

Griffin, who currently works as a college football analyst on Fox Sports, added: “You can’t say a knee and a hamstring leads to an elbow injury like that. It was a freak accident, freak play. But I can’t help but feel for Jayden Daniels. Man, I can’t help but feel for Washington Commanders fans. Just a demoralizing blow, man.”

Asked by reporters after the game whether any consideration was given to removing Daniels before that series, Quinn seemed to indicate that the plays being called didn’t seem to present a high injury risk.

“Obviously in hindsight, you don’t want to think that way, where injury could take place,” Quinn said. “Obviously, we’re more concerned in that spot to run and hand off and not have reads to go, but just the end result, obviously I’m bummed.”

Later in the news conference, in response to a similar question, Quinn gave a similar answer.

“Yeah, obviously, I’m just gutted by this, bummed,” Quinn said. “The one that he was on injured is usually a runner or throwing the flats, not a scramble. So it wasn’t a designed read or play into that spot. If we run it 50 times, it’s either hand off or throw, say, 50 times. So it’s a bummer, man, in a big way.”

Backup quarterback Marcus Mariota has led the Commanders to a 1-2 record starting in place of Daniels this season.

EVERY year an enormous – and free – parade takes place in London with floats and live bands – and something new is launching this year.

The Lord or Lady Mayor’s Show dates back to the 13^th century and is full of of celebratory entertainment, and this year is a very special one.

Dame Susan Langley DBE will be appointed as the Lady Mayor, which makes her only the third woman to hold the post in over 800 years, and the 697th Mayor of the City of London.

She will also be the first ever to be titled the ‘Lady Mayor of London‘.

To celebrate her inauguration, there will be a traditional parade of bands and 50 floats throughout the city.

Over 7,000 people take part in the event from all over the world – and the procession is over three miles long, which is longer than the actual route.

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The event is completely free and you’ll get to see marching bands, a huge Cinderella carriage, dancers, even a resorted Bluebird K7 (a hydroplane) will make an appearance.

There are representatives of all three armed forces there too, Taiko drummers and mounted knights.

This year, the Lady Mayor’s Show will be held on November Saturday 8, 2025 between 11AM and 2.30PM.

Roads will be closed as people line up in the streets to see the event underway – so don’t travel by car as you’ll meet lots of no entry signs.

In the morning, the Lady Mayor’s Show will begin at Mansion House and go towards the Royal Courts through St Paul’s.

In the afternoon, the parade will come back through Embankment and Victoria Street.

The official website suggests for a ‘full experience’, to watch the outward procession between 11AM and 12PM between Bank and St Paul’s.

For a quieter experience with fewer crowds, watch the parade on its return to Mansion House between 1.15PM and 2.30PM around Embankment.

Historically, the Lord Mayor’s Show is the oldest and longest civic procession in the world.

It started as early as the 13th century when King John granted that the City of London could appoint its own Mayor.

The condition being that each new Mayor would have to pledge loyalty to the Crown.

The journey then became a huge event that has been held for around 800 years and was eventually named the Lord Mayor’s Show.

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At a Starbucks in downtown Culver City, Amit Jain pulls out his iPad Pro and presses play. On-screen, one of his employees at Luma AI — the Silicon Valley startup behind a new wave of generative video tools, which he co-founded and now runs — lumbers through the company’s Palo Alto office, arms swinging, shoulders hunched, pretending to be a monkey. Jain swipes to a second version of the same clip. Same movement, same hallway, but now he is a monkey. Fully rendered and believable, and created in seconds.

“The tagline for this would be, like, iPhone to cinema,” Jain says, flipping through other uncanny clips shared on his company’s Slack. “But, of course, it’s not full cinema yet.” He says it offhandedly — as if he weren’t describing a transformation that could upend not just how movies are made but what Hollywood is even for. If anyone can summon cinematic spectacle with a few taps, what becomes of the place that once called it magic?

Luma’s generative AI platform, Dream Machine, debuted last year and points toward a new kind of moviemaking, one where anyone can make release-grade footage with a few words. Type “a cowboy riding a velociraptor through Times Square,” and it builds the scene from scratch. Feed it a still photo and it brings the frozen moment to life: A dog stirs from a nap, trees ripple in the breeze.

Dream Machine’s latest tool, Modify Video, was launched in June. Instead of generating new footage, it redraws what’s already there. Upload a clip, describe what you want changed and the system reimagines the scene: A hoodie becomes a superhero cape, a sunny street turns snowy, a person transforms into a talking banana or a medieval knight. No green screen, no VFX team, no code. “Just ask,” the company’s website says.

For now, clips max out around 10 seconds, a limit set by the technology’s still-heavy computing demands. But as Jain points out, “The average shot in a movie is only eight seconds.”

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Jain’s long-term vision is even more radical: a world of fully personalized entertainment, generated on demand. Not mass-market blockbusters, but stories tailored to each individual: a comedy about your co-workers, a thriller set in your hometown, a sci-fi epic starring someone who looks like you, or simply anything you want to see. He insists he’s not trying to replace cinema but expand it, shifting from one-size-fits-all stories to something more personal, flexible and scalable.

“Today, videos are made for 100 million people at a time — they have to hit the lowest common denominator,” Jain says. “A video made just for you or me is better than one made for two unrelated people. That’s the problem we’re trying to solve… My intention is to get to a place where two hours of video can be generated for every human every day.”

It’s a staggering goal that Jain acknowledges is still aspirational. “That will happen, but when the prices are about a thousand times cheaper than where we are. Our research and our engineering are going toward that, to push the price down as much as humanly possible. Because that’s the demand for video. People watch hours and hours of video every day.”

Scaling to that level would require not just faster models but exponentially more compute power. Critics warn that the environmental toll of such expansion could be profound.

For Dream Machine to become what Jain envisions, it needs more than generative tricks — it needs a built-in narrative engine that understands how stories work: when to build tension, where to land a joke, how to shape an emotional arc. Not a tool but a collaborator. “I don’t think artists want to use tools,” he says. “They want to tell their stories and tools get in their way. Currently, pretty much all video generative models, including ours, are quite dumb. They are good pixel generators. At the end of the day, we need to build general intelligence that can tell a f— funny joke. Everything else is a distraction.”

The name may be coincidental, but nine years ago, MIT’s Media Lab launched a very different kind of machine: Nightmare Machine, a viral experiment that used neural networks to distort cheerful faces and familiar cityscapes into something grotesque. That project asked if AI could learn to frighten us. Jain’s vision points in a more expansive direction: an AI that is, in his words, “able to tell an engaging story.”

For many in Hollywood, though, the scenario Jain describes — where traditional cinema increasingly gives way to fast, frictionless, algorithmically personalized video — sounds like its own kind of nightmare.

Jain sees this shift as simply reflecting where audiences already are. “What people want is changing,” he says. “Movies obviously have their place but people aren’t spending time on them as much. What people want are things that don’t need their attention for 90 minutes. Things that entertain them and sometimes educate them and sometimes are, you know, thirst traps. The reality of the universe is you can’t change people’s behaviors. I think the medium will change very significantly.”

Still, Jain — who previously worked as an engineer on Apple’s Vision Pro, where he collaborated with filmmakers like Steven Spielberg and George Lucas — insists Hollywood isn’t obsolete, just due for reinvention. To that end, Luma recently launched Dream Lab LA, a creative studio aimed at fostering AI-powered storytelling.

“Hollywood is the largest concentration of storytellers in the world,” Jain says. “Just like Silicon Valley is the largest concentration of computer scientists and New York is the largest concentration of finance people. We need them. That’s what’s really special about Hollywood. The solution will come out of the marriage of technology and art together. I think both sides will adapt.”

It’s a hopeful outlook, one that imagines collaboration, not displacement. But not everyone sees it that way.

In Silicon Valley, where companies like Google, OpenAI, Anthropic and Meta are racing to build ever more powerful generative tools, such thinking is framed as progress. In Hollywood, it can feel more like erasure — a threat to authorship itself and to the jobs, identities and traditions built around it. The tension came to a head during the 2023 writers’ and actors’ strikes, when picket signs declared: “AI is not art” and “Human writers only.”

What once felt like the stuff of science fiction is now Hollywood’s daily reality. As AI becomes embedded in the filmmaking process, the entire ecosystem — from studios and streamers to creators and institutions — is scrambling to keep up. Some see vast potential: faster production, lower costs, broader access, new kinds of creative freedom. Others see an extraction machine that threatens the soul of the art form and a coming flood of cheap, forgettable content.

AI storytelling is just beginning to edge into theaters — and already sparking backlash. This summer, IMAX is screening 10 generative shorts from Runway’s AI Film Festival. At AMC Burbank, where one screening is set to take place later this month, a protest dubbed “Kill the Machine” is already being organized on social media, an early flashpoint in the growing resistance to AI’s encroachment on storytelling.

But ready or not, the gravity is shifting. Silicon Valley is pulling the film industry into its orbit, with some players rushing in and others dragged. Faced with consolidation, shrinking budgets and shareholder pressure to do more with less, studios are turning to AI not just to cut costs but to survive. The tools are evolving faster than the industry’s playbook, and the old ways of working are struggling to keep up. With generative systems poised to flood the zone with content, simply holding an audience’s attention, let alone shaping culture, is becoming harder than ever.

While the transition remains uneven, some studios are already leaning in. Netflix recently used AI tools to complete a complex VFX sequence for the Argentine sci-fi series “El Eternauta” in a fraction of the usual time. “We remain convinced that AI represents an incredible opportunity to help creators make films and series better, not just cheaper,” co-chief executive Ted Sarandos told analysts during a July earnings call.

At Paramount, incoming chief executive David Ellison is pitching a more sweeping transformation: a “studio in the cloud” that would use AI and other digital tools to reinvent every stage of filmmaking, from previsualization to post. Ellison, whose Skydance Media closed its merger with Paramount Global this week and whose father, Larry Ellison, co-founded Oracle, has vowed to turn the company into a tech-first media powerhouse. “Technology will transform every single aspect of this company,” he said last year.

In one of the most visible examples of AI adoption in Hollywood, Lionsgate, the studio behind the “John Wick” and “Hunger Games” franchises, struck a deal last year with the generative video startup Runway to train a custom model on its film and TV library, aiming to support future project development and improve efficiency. Lionsgate chief executive Jon Feltheimer, speaking to analysts after the agreement, said the company believes AI, used with “appropriate guardrails,” could have a “positive transformational impact” on the business.

Elsewhere, studios are experimenting more quietly: using AI to generate early character designs, write alternate dialogue or explore how different story directions might land. The goal isn’t to replace writers or directors, but to inform internal pitches and development. At companies like Disney, much of the testing is happening in games and interactive content, where the brand risk is lower and the guardrails are clearer. For now, the prevailing instinct is caution. No one wants to appear as if they’re automating away the heart of the movies.

Legacy studios like Paramount are exploring ways to bring down costs by incorporating AI into their pipeline.

(Brian van der Brug / Los Angeles Times)

As major studios pivot, smaller, more agile players are building from the ground up for the AI era.

According to a recent report by FBRC.ai, an L.A.-based innovation studio that helps launch and advise early-stage AI startups in entertainment, more than 65 AI-native studios have launched since 2022, most of them tiny, self-funded teams of five or fewer. At these studios, AI tools allow a single creator to do the work of an entire crew, slashing production costs by 50% to 95% compared with traditional live-action or animation. The boundaries between artist, technician and studio are collapsing fast — and with them, the very idea of Hollywood as a gatekeeper.

That collapse is raising deeper questions: When a single person anywhere in the world can generate a film from a prompt, what does Hollywood still represent? If stories can be personalized, rendered on demand or co-written with a crowd, who owns them? Who gets paid? Who decides what matters and what disappears into the churn? And if narrative itself becomes infinite, remixable and disposable, does the idea of a story still hold any meaning at all?

Yves Bergquist leads the AI in Media Project at USC’s Entertainment Technology Center, a studio-backed think tank where Hollywood, academia and tech converge. An AI researcher focused on storytelling and cognition, he has spent years helping studios brace for a shift he sees as both inevitable and wrenching. Now, he says, the groundwork is finally being laid.

“We’re seeing very aggressive efforts behind the scenes to get studios ready for AI,” Bergquist says. “They’re building massive knowledge graphs, getting their data ready to be ingested into AI systems and putting governance committees in place to start shaping real policy.”

But adapting won’t be easy, especially for legacy studios weighed down by entrenched workflows, talent relationships, union contracts and layers of legal complexity. “These AI models weren’t built for Hollywood,” Bergquist says. “This is 22nd-century technology being used to solve 21st-century problems inside 19th-century organizational models. So it’s blood, sweat and tears getting them to fit.”

In an algorithmically accelerated landscape where trends can catch fire and burn out in hours, staying relevant is its own challenge. To help studios keep pace, Bergquist co-founded Corto, an AI startup that describes itself as a “growth genomics engine.” The company, which also works with brands like Unilever, Lego and Coca-Cola, draws on thousands of social and consumer sources, analyzing text, images and video to decode precisely which emotional arcs, characters and aesthetics resonate with which demographics and cultural segments, and why.

“When the game is attention, the weapon is understanding where culture and attention are and where they’re going.” Bergquist says, arguing media ultimately comes down to neuroscience.

Corto’s system breaks stories down into their formal components, such as tone, tempo, character dynamics and visual aesthetics, and benchmarks new projects against its extensive data to highlight, for example, that audiences in one region prefer underdog narratives or that a certain visual trend is emerging globally. Insights like these can help studios tailor marketing strategies, refine storytelling decisions or better assess the potential risk and appeal of new projects.

With ever-richer audience data and advances in AI modeling, Bergquist sees a future where studios can fine-tune stories in subtle ways to suit different viewers. “We might know that this person likes these characters better than those characters,” he says. “So you can deliver something to them that’s slightly different than what you’d deliver to me.”

A handful of studios are already experimenting with early versions of that vision — prototyping interactive or customizable versions of existing IP, exploring what it might look like if fans could steer a scene, adjust a storyline or interact with a favorite character. Speaking at May’s AI on the Lot conference, Danae Kokenos, head of technology innovation at Amazon MGM Studios, pointed to localization, personalization and interactivity as key opportunities. “How do we allow people to have different experiences with their favorite characters and favorite stories?” she said. “That’s not quite solved yet, but I see it coming.”

Bergquist is aware that public sentiment around AI remains deeply unsettled. “People are very afraid of AI — and they should be,” he acknowledges. “Outside of certain areas like medicine, AI is very unpopular. And the more capable it gets, the more unpopular it’s going to be.”

Still, he sees a significant upside for the industry. Get AI right, and studios won’t just survive but redefine storytelling itself. “One theory I really believe in is that as more people gain access to Hollywood-level production tools, the studios will move up the ladder — into multi-platform, immersive, personalized entertainment,” he says. “Imagine spending your life in Star Wars: theatrical releases, television, VR, AR, theme parks. That’s where it’s going.”

The transition won’t be smooth. “We’re in for a little more pain,” he says, “but I think we’ll see a rebirth of Hollywood.”

“AI slop” or creative liberation?

You don’t have to look far to find the death notices. TikTok, YouTube and Reddit are full of “Hollywood is dead” posts, many sparked by the rise of generative AI and the industry’s broader upheaval. Some sound the alarm. Others say good riddance. But what’s clear is that the center is no longer holding and no one’s sure what takes its place.

Media analyst Doug Shapiro has estimated that Hollywood produces about 15,000 hours of fresh content each year, compared to 300 million hours uploaded annually to YouTube. In that context, generative AI doesn’t need to reach Hollywood’s level to pose a major threat to its dominance — sheer volume alone is enough to disrupt the industry.

The attention economy is maxed out but attention itself hasn’t grown. As the monoculture fades from memory, Hollywood’s cultural pull is loosening. This year’s Oscars drew 19.7 million viewers, fewer than tuned in to a typical episode of “Murder, She Wrote” in the 1990s. The best picture winner, “Anora,” earned just $20 million at the domestic box office, one of the lowest tallies of any winner of the modern era. Critics raved, but fewer people saw it in theaters than watch the average moderately viral TikTok.

Amid this fragmentation, generative AI tools are fueling a surge of content. Some creators have a new word for it: “slop” — a catchall for cheap, low-effort, algorithmically churned-out media that clogs the feed in search of clicks. Once the world’s dream factory, Hollywood is now asking how it can stand out in an AI-powered media deluge.

Audience members watch an AI-assisted animated short at “Emergent Properties,” a 2023 Sony Pictures screening that offered a glimpse of the uncanny, visually inventive new wave of AI-powered filmmaking.

(Jay L. Clendenin / Los Angeles Times)

Ken Williams, chief executive of USC’s Entertainment Technology Center and a former studio exec who co-founded Sony Pictures Imageworks, calls it a potential worst-case scenario in the making — “the kind of wholesale dehumanization of the creative process that people, in their darkest moments, fear.”

Williams says studios and creatives alike worry that AI will trap audiences in an algorithmic cul de sac, feeding them more of what they already know instead of something new.

“People who live entirely in the social media world and never come out of that foxhole have lost the ability to hear other voices — and no one wants to see that happen in entertainment.”

If the idea of uncontrolled, hyper-targeted AI content sounds like something out of an episode of “Black Mirror,” it was. In the 2023 season opener “Joan Is Awful,” a woman discovers her life is being dramatized in real time on a Netflix-style streaming service by an AI trained on her personal data, with a synthetic Salma Hayek cast as her on-screen double.

So far, AI tools have been adopted most readily in horror, sci-fi and fantasy, genres that encourage abstraction, stylization and visual surrealism. But when it comes to human drama, emotional nuance or sustained character arcs, the cracks start to show. Coherence remains a challenge. And as for originality — the kind that isn’t stitched together from what’s already out there — the results so far have generally been far from revelatory.

At early AI film festivals, the output has often leaned toward the uncanny or the conceptually clever: brief, visually striking experiments with loose narratives, genre tropes and heavily stylized worlds. Many feel more like demos than fully realized stories. For now, the tools excel at spectacle and pastiche but struggle with the kinds of layered, character-driven storytelling that define traditional cinema.

Then again, how different is that from what Hollywood is already producing? Today’s biggest blockbusters — sequels, reboots, multiverse mashups — often feel so engineered to please that it’s hard to tell where the algorithm ends and the artistry begins. Nine of the top 10 box office hits in 2024 were sequels. In that context, slop is, to some degree, in the eye of the beholder. One person’s throwaway content may be another’s creative breakthrough — or at least a spark.

Joaquin Cuenca, chief executive of Freepik, rejects the notion that AI-generated content is inherently low-grade. The Spain-based company, originally a stock image platform, now offers AI tools for generating images, video and voice that creators across the spectrum are starting to embrace.

“I don’t like this ‘slop’ term,” Cuenca says. “It’s this idea that either you’re a top renowned worldwide expert or it’s not worth it — and I don’t think that’s true. I think it is worth it. Letting people with relatively low skills or low experience make better videos can help people get a business off the ground or express things that are in their head, even if they’re not great at lighting or visuals.”

Freepik’s tools have already made their way into high-profile projects. Robert Zemeckis’ “Here,” starring a digitally de-aged Tom Hanks and set in one room over a period for decades, used the company’s upscaling tech to enhance backgrounds. A recently released anthology of AI-crafted short films, “Beyond the Loop,” which was creatively mentored by director Danny Boyle, used the platform to generate stylized visuals.

“More people will be able to make better videos, but the high end will keep pushing forward too,” Cuenca says. “I think it will expand what it means to be state of the art.”

For all the concern about runaway slop, Williams envisions a near-term stalemate, where AI expands the landscape without toppling the kind of storytelling that still sets Hollywood apart. In that future, he argues, the industry’s competitive edge — and perhaps its best shot at survival — will still come from human creators.

That belief in the value of human authorship is now being codified by the industry’s most influential institution. Earlier this year, the Academy of Motion Picture Arts and Sciences issued its first formal guidance on AI in filmmaking, stating that the use of generative tools will “neither help nor harm” a film’s chances of receiving a nomination. Instead, members are instructed to consider “the degree to which a human was at the heart of the creative authorship” when evaluating a work.

“I don’t see AI necessarily displacing the kind of narrative content that has been the province of Hollywood’s creative minds and acted by the stars,” Williams says. “The industry is operating at a very high level of innovation and creativity. Every time I turn around, there’s another movie I’ve got to see.”

The new studio model

Inside Mack Sennett Studios, a historic complex in L.A.’s Echo Park neighborhood once used for silent film shoots, a new kind of studio is taking shape: Asteria, the generative AI video studio founded by filmmaker-turned-entrepreneur Bryn Mooser.

Asteria serves as the creative arm of Moonvalley, an AI storytelling company led by technologist and chief executive Naeem Talukdar. Together, they’re exploring new workflows built around the idea that AI can expand, rather than replace, human creativity.

Mooser, a two-time Oscar nominee for documentary short subject and a fifth-generation Angeleno, sees the rise of AI as part of Hollywood’s long history of reinvention, from sound to color to CGI. “Looking back, those changes seem natural, but at the time, they were difficult,” he says.

Ed Ulbrich, left, Bryn Mooser and Mateusz Malinowski, executives at Moonvalley and Asteria, are building a new kind of AI-powered movie studio focused on collaboration between filmmakers and technologists.

(David Butow / For the Times)

What excites him now is how AI lowers technical barriers for the next generation. “For people who are technicians, like stop-motion or VFX artists, you can do a lot more as an individual or a small team,” he says. “And really creative filmmakers can cross departments in a way they couldn’t before. The people who are curious and leaning in are going to be the filmmakers of tomorrow.”

It’s a hopeful vision, one shared by many AI proponents who see the tools as a great equalizer, though some argue it often glosses over the structural realities facing working artists today, where talent and drive alone may not be enough to navigate a rapidly shifting, tech-driven landscape.

That tension is precisely what Moonvalley is trying to address. Their pitch isn’t just creative, it’s legal. While many AI companies remain vague about what their models are trained on, often relying on scraped content of questionable legality, Moonvalley built its video model, Marey, on fully licensed material and in close collaboration with filmmakers.

That distinction is becoming more significant. In June, Disney and Universal filed a sweeping copyright lawsuit against Midjourney, a popular generative AI tool that turns text prompts into images, accusing it of enabling rampant infringement by letting users generate unauthorized depictions of characters like Darth Vader, Spider-Man and the Minions. The case marks the most aggressive legal challenge yet by Hollywood studios against AI platforms trained on their intellectual property.

“We worked with some of the best IP lawyers in the industry to build the agreements with our providers,” Moonvalley’s Talukdar says. “We’ve had a number of major studios audit those agreements. We’re confident every single pixel has had a direct sign-off from the owner. That was the baseline we operated from.”

The creative frontier between Hollywood and AI is drawing interest from some of the industry’s most ambitious filmmakers.

Steven Spielberg and “Avengers” co-director Joe Russo were among the advisors to Wonder Dynamics, an AI-driven VFX startup that was acquired by Autodesk last year. Darren Aronofsky, the boundary-pushing director behind films like “Black Swan” and “The Whale,” recently launched the AI studio Primordial Soup, partnering with Google DeepMind. Its debut short, “Ancestra,” directed by Eliza McNitt, blends real actors with AI-generated visuals and premiered at the Tribeca Film Festival in June.

Not every foray into AI moviemaking has been warmly received. Projects that spotlight generative tools have stoked fresh arguments about where to draw the line between machine-made and human-driven art.

In April, actor and director Natasha Lyonne, who co-founded Asteria with her partner, Mooser, announced her feature directorial debut: a sci-fi film about a world addicted to VR gaming called “Uncanny Valley,” combining AI and traditional filmmaking techniques. Billed as offering “a radical new cinematic experience,” the project drew backlash from some critics who questioned whether such ventures risk diminishing the role of human authorship. Lyonne defended the film to the Hollywood Reporter, making clear she’s not replacing crew members with AI: “I love nothing more than filmmaking, the filmmaking community, the collaboration of it, the tactile fine art of it… In no way would I ever want to do anything other than really create some guardrails or a new language.”

Even the boldest experiments face a familiar hurdle: finding an audience. AI might make it easier to make a movie, but getting people to watch it is another story. For now, the real power still lies with platforms like Netflix and TikTok that decide what gets seen.

That’s why Mooser believes the conversation shouldn’t be about replacing filmmakers but empowering them. “When we switched from shooting on film to digital, it wasn’t the filmmakers who went away — it was Kodak and Polaroid,” he says. “The way forward isn’t everybody typing prompts. It’s putting great filmmakers in the room with the best engineers and solving this together. We haven’t yet seen what AI looks like in the hands of the best filmmakers of our time. But that’s coming.”

New formats, new storytellers

For more than a century, watching a movie has been a one-way experience: The story flows from screen to viewer. Stephen Piron wants to change that. His startup Pickford AI — named for Mary Pickford, the silent-era star who co-founded United Artists and helped pioneer creative control in Hollywood — is exploring whether stories can unfold in real time, shaped by the audience as they watch. Its cheeky slogan: “AI that smells like popcorn.”

Pickford’s flagship demo looks like an animated dating show, but behaves more like a game or an improv performance. There’s no fixed script. Viewers type in suggestions through an app and vote on others’ ideas. A large language model then uses that input, along with the characters’ backstories and a rough narrative outline, to write the next scene in real time. A custom engine renders it on the spot, complete with gestures and synthetic voices. Picture a cartoon version of “The Bachelor” crossed with a choose-your-own-adventure, rendered by AI in real time.

At live screenings this year in London and Los Angeles, audiences didn’t just watch — they steered the story, tossing in oddball twists and becoming part of the performance. “We wanted to see if we could bring the vibe of the crowd back into the show, make it feel more like improv or live theater,” Piron says. “The main reaction is people laugh, which is great. There’s been lots of positive reaction from creative people who think this could be an interesting medium to create new stories.”

The platform is still in closed beta. But Piron’s goal is a collaborative storytelling forum where anyone can shape a scene, improvise with AI and instantly share it. To test that idea on a larger scale, Pickford is developing a branching murder mystery with Emmy-winning writer-producer Bernie Su (“The Lizzie Bennet Diaries”).

Piron, who is skeptical that people really want hyper-personalized content, is exploring more ways to bring the interactive experience into more theaters. “I think there is a vacuum of live, in-person experiences that people can do — and maybe people are looking for that,” he says.

Attendees check in at May’s AI on the Lot conference, where Pickford AI screened a demo of its interactive dating show.

(Irina Logra)

As generative AI lowers the barrier to creation, the line between creator and consumer is starting to blur and some of the most forward-looking startups are treating audiences as collaborators, not just fans.

One example is Showrunner, a new, Amazon-backed platform from Fable Studio that lets users generate animated, TV-style episodes using prompts, images and AI-generated voices — and even insert themselves into the story. Initially free, the platform plans to charge a monthly subscription for scene-generation credits. Fable is pitching Showrunner as “the Netflix of AI,” a concept that has intrigued some studios and unsettled others. Chief executive Edward Saatchi says the company is already in talks with Disney and other content owners about bringing well-known franchises into the platform.

Other AI companies are focused on building new franchises from the ground up with audiences as co-creators from day one. Among the most ambitious is Invisible Universe, which bypasses traditional gatekeepers entirely and develops fresh IP in partnership with fans across TikTok, YouTube and Instagram. Led by former MGM and Snap executive Tricia Biggio, the startup has launched original animated characters with celebrities like Jennifer Aniston and Serena Williams, including Clydeo, a cooking-obsessed dog, and Qai Qai, a dancing doll. But its real innovation, Biggio says, is the direct relationship with the audience.

“We’re not going to a studio and saying, ‘Do you like our idea?’ We’re going to the audience,” she says. “If Pixar were starting today, I don’t think they’d choose to spend close to a decade developing something for theatrical release, hoping it works.”

While some in the industry are still waiting for an AI “Toy Story” or “Blair Witch” moment — a breakthrough that proves generative tools can deliver cultural lightning in a bottle — Biggio isn’t chasing a feature-length hit. “There are ways to build love and awareness for stories that don’t require a full-length movie,” she says. “Did it make you feel something? Did it make you want to go call your mom? That’s going to be the moment we cross the chasm.”

What if AI isn’t the villain?

For nearly a century, filmmakers have imagined what might happen if machines got too smart.

In 1927’s “Metropolis,” a mad scientist gives his robot the likeness of a beloved labor activist, then unleashes it to sow chaos among the city’s oppressed masses. In “2001: A Space Odyssey,” HAL 9000 turns on its crew mid-mission. In “The Terminator,” AI nukes the planet and sends a killer cyborg back in time to finish the job. “Blade Runner” and “Ex Machina” offered chilling visions of artificial seduction and deception. Again and again, the message has been clear: Trust the machines at your peril.

Director Gareth Edwards, best known for “Godzilla” and “Rogue One: A Star Wars Story,” wanted to flip the script. In “The Creator,” his 2023 sci-fi drama, the roles were reversed: Humans are waging war against AI and the machines, not the people, are cast as the hunted. The story follows a hardened ex-soldier, played by John David Washington, who’s sent to destroy a powerful new weapon, only to discover it’s a child: a young android who may be the key to peace.

“The second you look at things from AI’s perspective, it flips very easily,” Edwards told The Times by phone shortly before the film’s release. “From AI’s point of view, we are attempting to enslave it and use it as our servant. So we’re clearly the baddie in that situation.”

In Gareth Edwards’ 2023 film “The Creator,” a young AI child named Alphie (Madeleine Yuna Voyles) holds the key to humanity’s future.

(20th Century)

In many ways, “The Creator” was the kind of film audiences and critics say they want to see more often out of Hollywood: an original story that takes creative risks, delivering cutting-edge visuals on a relatively lean $80 million. But when it hit theaters that fall, the film opened in third place behind “Paw Patrol: The Mighty Movie” and “Saw X.” By the end of its run, it had pulled in a modest $104.3 million worldwide.

Part of the problem was timing. When Edwards first pitched the film, AI was still seen as a breakthrough, not a threat. But by the time the movie reached theaters, the public mood had shifted. The 2023 strikes were in full swing, AI was the villain of the moment — and here came a film in which AI literally nukes Los Angeles in the opening minutes. The metaphor wasn’t subtle. Promotion was limited, the cast was sidelined and audiences weren’t sure whether to cheer the movie’s message or recoil from it. While the film used cutting-edge VFX tools to help bring its vision to life, it served as a potent reminder that AI could help make a movie — but it still couldn’t shield it from the backlash.

Still, Edwards remains hopeful about what AI could mean for the future of filmmaking, comparing it to the invention of the electric guitar. “There’s a possibility that if this amazing tool turns up and everyone can make any film that they imagine, it’s going to lead to a new wave of cinema,” he says. “Look, there’s two options: Either it will be mediocre rubbish — and if that’s true, don’t worry about it, it’s not a threat — or it’s going to be phenomenal, and who wouldn’t want to see that?”

After “The Creator,” Edwards returned to more familiar terrain, taking the reins on this summer’s “Jurassic World Rebirth,” the sixth installment in a franchise that began with Steven Spielberg’s 1993 blockbuster, which redefined spectacle in its day. To date, the film has grossed more than $700 million worldwide.

So what’s the takeaway? Maybe there’s comfort in the known. Maybe audiences crave the stories they’ve grown up with. Maybe AI still needs the right filmmaker or the right story to earn our trust.

Or maybe we’re just not ready to root for the machines. At least not yet.

When much of Altadena burned in January, it affected not just the city’s homes but also its businesses. Popular local shops went up in flames just like everything else, and work-from-home artisans — displaced from not just their residences but also their work spaces and all the materials contained within — were suddenly without a place to live or a place to work.

On the Westside, the Palisades fire, also in January, tore through Pacific Palisades and Malibu, forever changing the fabric of these tight-knit neighborhoods and small businesses. Although rebuilding efforts are underway, progress and construction are expected to take several years as residents and business owners deal with permit approval, insurance hindrances and inflation.

Even now, local businesses that remain have struggled to regain a foothold.

With the giving spirit in mind this holiday season, we’ve put together this list of gifts from Altadena, Pacific Palisades and Malibu businesses, all of whom were affected in some way by the Eaton and Palisades fires. Purchase one of these items and you’ll spread good cheer (and good money) around areas that still need all the help they can get.

If you make a purchase using some of our links, the L.A. Times may be compensated. Prices and availability of items and experiences in the Gift Guide and on latimes.com are subject to change.

Owned by Hope Creature, the business sells plants, gifts and garden supplies in one building and organic drinks and pastries in another. A 50-foot greenhouse shelters indoor tropicals, organic edibles, drought-tolerant native plants and small potted succulents, which go for less than $2. The outdoor seating area is outfitted with plants available for purchase.

“A lot went into making this space architecturally stunning as well, with every design detail considered,” Creature says. “The space also serves as a platform for our ongoing community programming, which showcases what the space is all about — bringing people together to explore, learn and connect.”

The queer-owned-and-run cafe offers standard coffee fare including matcha, espresso, cortado, cold brew and drip options from local roaster Unity, as well as a selection of teas and pastries.

Open daily from 7:30 a.m. until 5 p.m., the shop’s enclosed outdoor patio (buttressed on either side by the cafe/general store and greenhouse) offers a peaceful reprieve from the relative hustle and bustle of Eagle Rock Boulevard.

On Monday, Louisiana State fired football coach Brian Kelly.

On Wednesday, the state governor Jeff Landry said the university’s athletic director, Scott Woodward, should have no say in the selection of the new coach.

On Thursday, Woodward and LSU “agreed to part ways,” according to the school’s athletic department.

And on Friday, the interim athletic director attempted to assure everyone that, despite all that has transpired in this week, the department is not in disarray.

“This place is not broken,” Verge Ausberry said during a news conference at which he sat between two members of the LSU Board of Supervisors at the front of a meeting room inside Tiger Stadium. “The athletic department is not broken. We win.”

Ausberry has been given “full authority” to run the athletic department and lead the search for a new football coach, board member John Carmouche told reporters.

“We’re going to hire the best football coach there is,” said Ausberry, a former Tigers football player who has worked in LSU athletics administration since 1991. “That’s our job. We are not going to let this program fail. LSU has to be in the playoffs every year in football.”

Woodward, a Baton Rouge native and LSU graduate, had served as the university’s athletic director since April 2019. During that span, the Tigers won two national titles in baseball and one each in football, women’s basketball and gymnastics.

One major move made during Woodward’s tenure was the 2021 firing of football coach Ed Orgeron, who had led the Tigers to the national championship following the 2019 season, and subsequent signing Kelly, the former Notre Dame coach, to a guaranteed 10-year contract worth about $100 million.

This week, days after LSU suffered its third loss in four games, Kelly was fired with more than six years remaining on his contract. Running backs coach Frank Wilson was named interim head coach.

“When Coach Kelly arrived at LSU four years ago, we had high hopes that he would lead us to multiple SEC and national championships during his time in Baton Rouge,” Woodward said in announcing Kelly’s firing. “Ultimately, the success at the level that LSU demands simply did not materialize.”

The move leaves the university on the hook for a substantial buyout. Louisiana’s governor said Wednesday he was involved in the discussions that led to Kelly’s ouster but made clear that he was unhappy with the finances of the situation.

“My role is about the fiscal effect of firing a coach under a terrible contract,” said Landry, who was speaking to reporters about other matters but was asked about recent developments at LSU. “All I care about is what the taxpayers are going to be on the hook for.”

Unnamed private donors are said to have pledged to cover the cost of Kelly’s buyout.

“If big billionaires want to spend all that kind of money, no problem,” Landry said. “But if I’ve got to go find $53 million … it’s not going to be a pleasant conversation.”

Landry also made it clear that he had no intention of allowing Woodward to play a role in the hiring of the next coach.

“Hell, I’ll let Donald Trump select him before I let [Woodward] do it,” the Republican governor said.

The next night, Woodward was out.

“We thank Scott for the last six years of service as athletic director,” LSU Board of Supervisors chair Scott Ballard said in a statement. “He had a lot of success at LSU, and we wish him nothing but the best in the future. Our focus now is on moving the athletic department forward and best positioning LSU to achieve its full potential.”

The news of Woodward’s departure dropped during a women’s basketball exhibition game between LSU and Langston. Tigers coach Kim Mulkey, who was hired by Woodward in 2021, did not attend a postgame news conference, with associate head coach Bob Starkey telling reporters Mulkey was “heartbroken” over the news.

Woodward wrote in an open letter to Tiger Nation: “Others can recap or opine on my tenure and on my decisions over the last six years as Director of Athletics, but I will not. Rather, I will focus on the absolute joy that LSU Athletics brings to our state’s residents and to the Baton Rouge community. …

“Our University will always hold a special place in my heart and I will never be too far from LSU.”

The Associated Press contributed to this report.

A little over a year ago, Madi Diaz lay in bed in an apartment near Dodger Stadium sweating out a gnarly case of COVID-19.

The Nashville-based singer and songwriter had traveled to Los Angeles to record the follow-up to her album “Weird Faith,” which came out in early 2024 and would go on to earn two Grammy nominations, including one for a beautifully bummed-out duet with her friend Kacey Musgraves. But after three or four days of work in the studio, Diaz became sick just as the Dodgers were battling the Mets in last October’s National League Championship Series.

“I could literally see the stadium lights — there were drones everywhere and people honking and lighting things on fire,” she recalls. “I was just like, Why, L.A. — why?”

Her suffering in a city she once called home was worth it: “Fatal Optimist,” the LP Diaz eventually completed in time to release this month, is one of 2025’s most gripping — a bravely stripped-down set of songs about heartbreak and renewal arranged for little more than Diaz’s confiding voice and her folky acoustic guitar.

In the album’s opener, “Hope Less,” she wonders how far she might be willing to go to accommodate a lover’s neglect; “Good Liar” examines the self-deception necessary to keep putting up with it. Yet Diaz also thinks through the harm she’s doled out, as in “Flirting” (“I can’t change what happened, the moment was just what it was / Nothing to me, something to you”).

And then there’s the gutting “Heavy Metal,” in which she acknowledges that enduring the pain of a breakup has prepared her to deal with the inevitability of the next one.

“This record is me facing myself and going, ‘I have to stay in my body for this entire song,’ ” Diaz, 39, says on a recent afternoon during a return trip to L.A.

What makes the unguardedness of the music even more remarkable is that “Fatal Optimist” comes more than a decade and a half into a twisty-turny career that might’ve left Diaz more leathered than she sounds here.

Beyond making her own albums — “Fatal Optimist” is her sixth since she moved to Nashville in 2008 — she’s written songs for commercials and TV shows and for other artists including Maren Morris and Little Big Town; she’s sung backup for Miranda Lambert and Parker McCollum and even played guitar in Harry Styles’ band on tour in 2023.

Yet in a tender new song like “Feel Something,” about longing to “be someone who doesn’t know your middle name,” Diaz’s singing reveals every bruise.

“Music is a life force for Madi,” says Bethany Cosentino, the Best Coast frontwoman who tapped Diaz as a songwriting partner for her 2023 solo album, “Natural Disaster.” “She has to do it, and it’s so authentic and so real and so raw because it’s not coming from this place of ‘Well, guess I gotta go make another record.’ ”

“If she doesn’t put those emotions somewhere,” Cosentino adds, “I think she’ll implode.”

Which doesn’t mean that putting out a record as vulnerable as “Fatal Optimist” hasn’t felt scary.

“I was gonna say it’s like the emperor’s new clothes,” Diaz says with a laugh over coffee in Griffith Park. “But I know I’m not wearing any clothes.” Dressed in shorts and a denim shirt, her hair tucked beneath a ball cap, she sits at a picnic table outside a café she liked when she lived in L.A. from 2012 to 2017.

“For a second, I was like, Damn, I wish I’d brought my hiking shoes — could’ve gone up to the top,” she says. “I would absolutely have done that as my masochistic 28-year-old self. Hike in the heat of the day? Let’s go.”

Diaz points to a couple of touchstones for her LP’s bare-bones approach, among them Patty Griffin’s “Living With Ghosts” — “a star in Orion’s Belt,” as she puts it — and “obviously Joni Mitchell’s ‘Blue,’ ” she says. “That’s just a duh.”

Like Mitchell, Diaz achieves a clarity of thought in her songs that only intensifies the heartache; also like Mitchell (not to mention Taylor Swift), she can describe a partner’s failings with unsparing precision.

“Some ‘I’m sorry’s’ are so selfish / And you just act like you can’t help it,” she sings in “Why’d You Have to Bring Me Flowers,” one of a handful of what she jokingly calls “folk diss tracks” on “Fatal Optimist.” It goes on: “Bulls— smile, in denial / We’ve been circling the block / We’ve been in a downward spiral.”

“There are definitely a couple songs on this record where I felt apologetic as I was writing it,” she says. “Then when I finished it was just like: It had to be done.” She grins. “They’re tough,” she says of her exes. “They’ll be fine.”

Asked whether any of her songs express her feelings in a way she wasn’t capable of doing with the ex in question, she nods.

“I’d say I could get about halfway there in real life,” she says. “It’s almost like I couldn’t finish the thought within the relationship, and that was the signal that we couldn’t go onward. Or that I couldn’t go onward.”

Has writing about love taught her anything about herself and what she wants?

“I travel a lot — I’m all over the place,” she says. “And I really like to come and go as I please. But it’s funny: In retrospect, I think maybe I was chasing a relationship that was a little more traditional, even though I don’t know if I can actually be that way. So that’s a weird thing to be aware of.”

Madi Diaz in Pasadena.

(Annie Noelker / For The Times)

Diaz grew up home-schooled in a Quaker household in rural Pennsylvania and learned to play piano and guitar when she was young; when she was a teenager, her talent took her to Philadelphia’s Paul Green School of Rock, whose founder was later accused of abuse and sexual misconduct by dozens of former students, including Diaz. (“It was a really toxic place,” she told the New York Times.)

She studied at Berklee College of Music in Boston before dropping out and heading to Nashville, where she started making her name as a singer-songwriter operating at the intersection of country and pop. After a few years of fruitful grinding, she came to L.A. to “see how high the ceiling was,” she says, and quickly fell in with a group of musician friends.

“We used to love going to the Smog Cutter,” she says of the shuttered Silver Lake dive bar, “to have a couple Bud Lights and sing Mariah Carey really poorly.”

Diaz was making money writing songs — Connie Britton sang one of her tunes on the soapy ABC series “Nashville” — but she struggled to achieve the kind of liftoff she was looking for as an artist. “Turned out the ceiling was quite high,” she says now with a laugh.

Along with the professional frustrations came “a nuclear explosion of a breakup” with a fellow songwriter, Teddy Geiger. “They were going through a huge identity shift,” Diaz says of Geiger, who came out as transgender, “and we worked in the same industry, and it just kind of felt like there wasn’t a place for me here.”

Diaz returned to Nashville, which didn’t immediately super-charge her career. “I was bartending at Wilburn Street Tavern and making Jack White nachos,” she recalls. “He would never remember this, but I remember. I was like, This is my life now.”

In fact, her acclaimed 2021 album “History of a Feeling” — with songs inspired by the complicated dynamics of her and Geiger’s split — finally brought the kind of attention she’d been working toward. She signed with the respected indie label Anti- (whose other acts include Waxahatchee and MJ Lenderman) and scored the road gig with Styles after he reached out via DM; she also became an in-demand presence in Nashville’s close-knit songwriting scene.

“I don’t know of anybody in town that doesn’t love Madi,” says Little Big Town’s Karen Fairchild, who adds that Diaz “has instincts about melodies that are all her own. Sometimes I’m thinking, ‘How’s she gonna fit that into the phrasing?’ But she always does.”

For “Fatal Optimist,” Diaz took an initial pass at recording her songs with a full band before deciding they called for the minimalist setup she landed on with her co-producer, Gabe Wax, at his studio in Burbank.

“We did it with no headphones, no click track, no grid,” she says. “It speeds up and slows down, and it goes in and out of tune as instruments do.” (One unlikely sonic inspiration was a singles collection by the pioneering riot grrrl band Bikini Kill, which she hailed for its “still-kind-of-figuring-it-out energy.”)

Diaz describes herself as a perfectionist but says “Fatal Optimist” was about “trying to find our way through the cracks of imperfection to break the ground and sit on the surface. I feel so proud that we let it live there.”

She’s touring behind the album this fall, playing solo shows — including a Nov. 20 date at the Highland Park Ebell Club — meant to preserve the album’s solitary vibe.

“I don’t know if I’d really thought that through when I made the decision,” she says with a laugh.

As good as she is on her own — and for all the torment she knows another relationship is likely to hold — “I’m a die-hard loyalist,” Diaz says. “I’m still looking for connection more than anything else.”

Chris Wood, Dilane Bakwa, Oleksandr Zinchenko and Ola Aina remain unavailable for Nottingham Forest.

Wood could return from a knee injury in time to face Leeds United next weekend.

Back-up goalkeeper Angus Gunn has also been after damaging knee ligaments during training.

Manchester United defender Lisandro Martinez has returned to full training following nine months out with a knee injury although he is not in contention to travel to the City Ground.

“He [Martinez] wants to go to this one, he is not going to this one, he is going to take time,” said United boss Ruben Amorim.

“He is really good, he is really good, and he gives us that edge in every training session and that is also really good for us.

Harry Maguire is a doubt after missing the 4-2 win against Brighton last weekend due to a knock and Leny Yoro could once again deputise.

Players out: Nottingham Forest – Gunn, Wood, Bakwa, Zinchenko, Aina Manchester United – Martinez

Doubts: Nottingham Forest – none Manchester United – Maguire

Key FPL notes:

In recent months, federal agents camped out in the lobby of a Southern California hospital, guarded detained patients — sometimes shackled — in hospital rooms, and chased an immigrant landscaper into a surgical center.

U.S. Immigration and Customs Enforcement agents also have shown up at community clinics. Health providers say officers tried to enter a parking lot hosting a mobile clinic, waved a machine gun in the faces of clinicians serving the homeless, and hauled a passerby into an unmarked car outside a community health center.

In response to such immigration enforcement activity in and around clinics and hospitals, Gov. Gavin Newsom last month signed SB 81, which prohibits medical establishments from allowing federal agents without a valid search warrant or court order into private areas, including places where patients receive treatment or discuss health matters.

But while the bill received broad support from medical groups, health care workers and immigrant rights advocates, legal experts say California can’t stop federal authorities from carrying out duties in public places like hospital lobbies and general waiting areas, parking lots and surrounding neighborhoods — places where recent ICE activities sparked outrage and fear. Previous federal restrictions on immigration enforcement in or near sensitive areas, including health care establishments, were rescinded by the Trump administration in January.

“The issue that states encounter is the supremacy clause,” said Sophia Genovese, a supervising attorney and clinical teaching fellow at Georgetown Law. She said the federal government has the right to conduct enforcement activities, and there are limits to what the state can do to stop them.

California’s law designates a patient’s immigration status and birthplace as protected information, which like medical records cannot be disclosed to law enforcement without a warrant or court order. And it requires health care facilities to have clear procedures for handling requests from immigration authorities, including training staff to immediately notify a designated administrator or legal counsel if agents ask to enter a private area or review patient records.

Several other Democratic-led states also have taken up legislation to protect patients at hospitals and health centers. In May, Colorado Gov. Jared Polis signed the Protect Civil Rights Immigration Status bill, which penalizes hospitals for unauthorized sharing of information about people in the country illegally and bars ICE agents from entering private areas of health care facilities without a judicial warrant. In Maryland, a law requiring the attorney general to create guidance on keeping ICE out of health care facilities went into effect in June. New Mexico instituted new patient data protections, and Rhode Island prohibited health care facilities from asking patients about their immigration status.

Republican-led states have aligned with federal efforts to prevent health care spending on immigrants without legal authorization. Such immigrants are not eligible for comprehensive Medicaid coverage, but states do bill the federal government for emergency care in certain cases. Under a law that took effect in 2023, Florida requires hospitals that accept Medicaid to ask about a patient’s legal status. In Texas, hospitals now have to report how much they spend on care for immigrants without legal authorization.

“Texans should not have to shoulder the burden of financially supporting medical care for illegal immigrants,” Gov. Greg Abbott said in issuing his executive order last year.

California’s efforts to rein in federal enforcement come as the state, where more than a quarter of residents are foreign-born, has become a target of President Trump’s immigration crackdown. Newsom signed SB 81 as part of a bill package prohibiting immigration agents from entering schools without a warrant, requiring law enforcement officers to identify themselves, and banning officers from wearing masks. SB 81 was passed on a party-line vote with no formal opposition.

“We’re not North Korea,” Newsom said during a September bill-signing ceremony. “We’re pushing back against these authoritarian tendencies and actions of this administration.”

Some supporters of the bill and legal experts said California’s law can prevent ICE from violating existing patient privacy rights. Those include the Fourth Amendment, which prohibits searches without a warrant in places where people have a reasonable expectation of privacy. Valid warrants must be issued by a court and signed by a judge. But ICE agents frequently use administrative warrants to try to gain access to private areas they don’t have the authority to enter, Genovese said.

“People don’t always understand the difference between an administrative warrant, which is a meaningless piece of paper, versus a judicial warrant that is enforceable,” Genovese said. Judicial warrants are rarely issued in immigration cases, she added.

The Department of Homeland Security said it won’t abide by California’s mask ban or identification requirements for law enforcement officers, slamming them as unconstitutional. The department did not respond to a request for comment on the state’s new rules for health care facilities, which went into immediate effect.

Tanya Broder, a senior counsel with the National Immigration Law Center, said immigration arrests at health care facilities appear to be relatively rare. But the federal decision to rescind protections around sensitive areas, she said, “has generated fear and uncertainty across the country.” Many of the most high-profile news reports of immigration agents at health care facilities have been in California, largely involving detained patients brought in for care.

The California Nurses Assn., the state’s largest nurses union, was a co-sponsor of the bill and raised concerns about the treatment of Milagro Solis-Portillo, a 36-year-old Salvadoran woman who was under round-the-clock ICE surveillance at Glendale Memorial Hospital over the summer.

Nurses say immigration agents brought a patient to California Hospital Medical Center in Los Angeles and stayed in the patient’s room for almost a week.

(Mel Melcon/Los Angeles Times)

Union leaders also condemned the presence of agents at California Hospital Medical Center south of downtown Los Angeles. According to Anne Caputo-Pearl, a labor and delivery nurse and the chief union representative at the hospital, agents brought in a patient on Oct. 21 and remained in the patient’s room for almost a week. The Los Angeles Times reported that a TikTok streamer, Carlitos Ricardo Parias, was taken to the hospital that day after he was wounded during an immigration enforcement operation in South Los Angeles.

The presence of ICE was intimidating for nurses and patients, Caputo-Pearl said, and prompted visitor restrictions at the hospital. “We want better clarification,” she said. “Why is it that these agents are allowed to be in the room?”

Hospital and clinic representatives, however, said they already are following the law’s requirements, which largely reinforce extensive guidance put out by state Attorney General Rob Bonta in December.

Community clinics throughout Los Angeles County, which serve more than 2 million patients a year, including a large portion of immigrants, have been implementing the attorney general’s guidelines for months, said Louise McCarthy, president and chief executive of the Community Clinic Assn. of Los Angeles County. She said the law should help ensure uniform standards across health facilities that clinics refer out to and reassure patients that procedures are in place to protect them.

Still, it can’t prevent immigration raids from happening in the broader community, which have made some patients and even health workers afraid to venture outside, McCarthy said. Some incidents have occurred near clinics, including an arrest of a passerby outside a clinic in East Los Angeles, which a security guard caught on video, she said.

“We’ve had clinic staff say, ‘Is it safe for me to go out?’” she said.

At St. John’s Community Health, a network of 24 community health centers and five mobile clinics in South Los Angeles and the Inland Empire, chief executive Jim Mangia agreed the new law can’t prevent all immigration enforcement activity, but said it gives clinics a tool to push back with if agents show up, something his staff has had to do.

Mangia said St. John’s staff had two encounters with immigration agents over the summer. In one, he said, staff stopped armed officers from entering a gated parking lot at a drug and alcohol recovery center where doctors and nurses were seeing patients at a mobile health clinic.

Another occurred in July, when immigration agents descended upon MacArthur Park on horses and in armored vehicles, in a show of force by the Trump administration. Mangia said masked officers in full tactical gear surrounded a street medicine tent where St. John’s providers were tending to homeless patients, screamed at staff to get out and pointed a gun at them. The providers were so shaken by the episode, Mangia said, that he had to bring in mental health professionals to help them feel safe going back out on the street.

A DHS spokesperson told CalMatters that in the rare instance when agents enter certain sensitive locations, officers would need “secondary supervisor approval.”

Since then, St. John’s doubled down on providing support and training to staff and offered patients afraid to go out the option of home medical visits and grocery deliveries. Patient fears and ICE activity have decreased since the summer, Mangia said, but with DHS planning to hire an additional 10,000 ICE agents, he doubts that will last.

KFF Health News is a national newsroom that produces in-depth journalism about health issues and is one of the core operating programs at KFF — the independent source for health policy research, polling, and journalism.

India have called up batter Shafali Verma in place of the injured Pratika Rawal for their Women’s World Cup semi-final against Australia.

Rawal sustained an ankle injury while fielding during India’s final group game against Bangladesh on Sunday.

The 25-year-old opener tried to stop a boundary on the slippery outfield at the DY Patil Stadium in Navi Mumbai and was later unable to bat in the match.

Rawal is the tournament’s second-highest run-scorer with 308 in six innings at 51.33, behind only fellow India opening batter Smriti Mandhana.

India’s request to replace Rawal in their squad with Verma was approved by the International Cricket Council’s event technical committee for the tournament.

Verma has not played a one-day international for India since October 2024 but has played 50-over cricket for India A in recent months.

The 21-year-old was left out of India’s original squad for the World Cup but will now come into contention for a place against Australia in the semi-final showdown on 30 October.

Amanjot Kaur opened against Bangladesh after Rawal limped out while Uma Chetry and Jemimah Rodrigues are other potential partners for Mandhana at the top of the order.

WASHINGTON — Betty Ford reportedly said that if the White House West Wing is the “mind” of the nation, then the East Wing — the traditional power center for first ladies — is the “heart.”

That “heart” beat for more than 100 years as first ladies and their teams worked from their East Wing offices on everything from stopping drug abuse and boosting literacy to beautifying and preserving the White House itself. It’s where they planned White House state dinners and brainstormed the elaborate themes that are a feature of the U.S. holiday season.

That history came to an end after wrecking crews tore down the wing’s two stories of offices and reception rooms this month. Gone is an in-house movie theater, as well as a covered walkway to the White House captured in so many photos over the years. An East Wing garden that was dedicated to Jacqueline Kennedy was uprooted, photographs show.

President Trump ordered the demolition as part of his still-to-be approved plan to build a $300-million ballroom.

The Republican former real estate developer has long been fixated on building a big White House ballroom. In 2010, he called a top advisor to then-President Obama and offered to build one. Trump made no secret of his distaste for the practice of hosting elegant White House state dinners underneath tents on the South Lawn. The Obama White House did not follow up on his request.

Now Trump, in his second term, is moving quickly to see his wish for what he calls a “great legacy project” become reality. He has tried to justify the East Wing tear-down and his ballroom plans by noting that some of his predecessors also added to the White House over the years.

First ladies and their staffs witnessed history in the East Wing, a “place of purpose and service,” said Anita McBride, who worked there as chief of staff to First Lady Laura Bush.

“Tearing down those walls doesn’t diminish the significance of the work we accomplished there,” McBride told the Associated Press.

McBride said she supports a ballroom addition because the “large and expensive tent option” that has been used when guest lists stretched longer than could be comfortably accommodated inside the White House “was not sustainable.” Tents damage the lawn and require additional infrastructure to be brought in, such as outdoor bathrooms and trolleys to move people around, especially in bad weather, she said.

Others feel differently.

Krish O’Mara Vignarajah, who was policy director for First Lady Michelle Obama, said the demolition was a “symbolic blow” to the East Wing’s legacy as a place where women made history.

“The East Wing was this physical space that had seen the role of the first lady evolve from a social hostess into a powerful advocate on a range of issues,” she said in an interview.

Here’s a look at some of the history that came out of the East Wing and the first ladies who spent time there:

Rosalynn Carter

She was the first first lady to have her own office in the East Wing. Most first ladies before Carter had worked out of the private living quarters on the second or third floor of the residence. Carter wanted a place where she could separate work and home.

“I always need a place to go that is private, where I don’t have to dress and don’t have to put on makeup,” she wrote in her memoir. “The offices of the staff of the first lady were always in the East Wing, and it seemed a perfect place for my office too.”

In her memoir, Carter wrote about her favorite route to her office in winter months. She walked through the basement, past laundry rooms and workshops and the bomb shelter kept for the president and his staff. The thermostats in the residence above had been turned down low because of President Carter’s energy conservation program, making the East Wing so cold that she was forced to wear long underwear.

The subterranean passageway shown to her by a residence staffer provided some relief. “With Jimmy’s energy conservation program, it was the only really warm place in the White House, with large steam pipes running overhead,” the first lady wrote.

Nancy Reagan

Photos from the East Wing in the early 1980s show the first lady meeting with staff, including her press secretary, Sheila Tate. For a generation of Americans, Nancy Reagan was most closely associated with a single phrase, “Just Say No,” for the anti-drug abuse program she made a hallmark of her White House tenure.

As Reagan once recalled, the idea for the campaign emerged during a 1982 visit with schoolchildren in Oakland. “A little girl raised her hand and said, ‘Mrs. Reagan, what do you do if somebody offers you drugs?’ And I said, ‘Well, you just say no.’ And there it was born.”

Hillary Clinton

Clinton bucked history by becoming the first first lady to insist that her office be in the West Wing, not the East Wing. In her memoir, Clinton wrote that she wanted her staff to be “integrated physically” with the president’s team. The first lady’s office relocated to what is now the Eisenhower Executive Office Building while Clinton was assigned an office on the second floor of the West Wing.

“This was another unprecedented event in White House history and quickly became fodder for late-night comedians and political pundits,” Clinton later wrote.

Laura Bush

Bush wrote in her memoir about what it was like at the White House after the Sept. 11 attacks. Most of her staff members, in their 20s, “kicked off their high heels and fled from the East Wing” after they were told to “run for their lives” when reports suggested the White House was a target, she wrote.

“Now they were being asked to come back to work in a building that everyone considered a target and for a presidency and a country that would be at war.”

Michelle Obama

Obama was the first Black woman to serve as first lady, becoming a global role model and style icon who advocated for improved child nutrition through her “Let’s Move” initiative. She and her staff in the East Wing also worked to support military families and promote higher education for girls in developing countries.

Photos from the time show Obama typing on a laptop during an online chat about school nutrition and the White House garden she created.

Melania Trump

Trump pushed the boundaries of serving as first lady by not living at the White House during the opening months of President Trump’s first term. She stayed in New York with their then-school-age son, Barron, so he wouldn’t have to switch schools midyear. When she eventually moved to the White House, she and her East Wing aides launched an initiative called “Be Best,” focused on child well-being, opioid abuse and online safety.

Jill Biden

Biden was the first first lady to continue a career outside the White House. The longtime community college English professor taught twice a week while serving as first lady. But in her East Wing work, she was an advocate for military families; her late father and her late son Beau served in the military. Biden also advocated for research into a cure for cancer and secured millions of dollars in federal funding for research into women’s health.

Superville writes for the Associated Press.

On the night of September 24, 2025, Hollis Frazier-Herndon performed an acoustic rendition of his song “Eldest Child” for a sold-out crowd at USC’s Shrine Auditorium. During his croon of the lyrics, “Eldest child, eldest child, I know your momma and your daddy so goddamn proud. They don’t know me, no. They don’t know me now,” the artist known as 2hollis went from a fractured growl to a sweet silky falsetto to a full collapse into tears.

It was a moment of raw catharsis as well as a culmination. During a pre-show interview backstage, Hollis revealed the hidden meaning behind the lyrics. He said the figurative “momma and daddy” are actually his fans, whose expectations he’s glad he’s fulfilled, even though they “don’t actually know each other” in real life. Thus, a sold-out crowd enthusiastically singing back at him evoked an emotional release. In tandem with that though, is the fact that this was 2hollis’ first show in his hometown since his Altadena childhood house burned down in the January 2025 fires. The embrace from his extended community after he persevered through that tragedy and continued to ascend to musical stardom was palpable.

“I’m at a place now where I feel like, in a way, it’s sort of a phoenix situation,” Hollis said about his post-fire rise from the ashes. “The whole town burned down. It was terrible and insane. But it weirdly felt like that needed to happen [to make the new album what it is]. I don’t know, it’s hard seeing somewhere you grew up just be a deserted place.”

On the day before the release of his fourth album, “star,” in April, 2hollis posted a picture of a burnt-edged tarot card with the same title. He added a message explaining that the star card was the only thing he and his mother found intact when they returned to Altadena to assess the damage. It was also later reported by 032c Magazine that atop a tall hill behind Hollis’ family property existed a wooden and metal star statue filled with lightbulbs that would glow at night. That star, which Hollis and his childhood friends would hike up to, also burned. The album “star,” 2hollis’ best version of his signature crystalline hardstyle EDM, meets grimy rage trap, meets velvet emo pop punk, emerged directly and impactfully from the remains of the roaring flames.

At the end of the full throttle album opener “flash,” Hollis said he added recorded sounds of the wind chimes from his Altadena home porch, triggered by the Santa Ana winds in the lead up to the fire. You can also hear faint gusts and flame sounds emerge sparsely throughout the project. He let the weather itself dictate the type of immersive experience the album could be, even as it also chronicles his layered chase for notoriety and glory.

“There are a lot of self-reflective moments, and it is very personal and emotional, but it’s also like one big party,” he explained. “I feel like, in a f—ed up kind of way, that’s what a fire is, too. It’s so big and full of visceral anger and emotion and almost a sad kind of wave. But then, also, it’s lit.”

2hollis is a visual thinker, thus he envisions scenes and uses optical inspiration to craft his imaginative rave-like soundscapes. Grammy-winning producer Finneas, during a recent interview with Spotify, recalled a time in the studio with 2hollis when he described a sound he was trying to capture as “a crystal with a pretty face on it.” This is a regular practice. Backstage, he described the process of juxtaposing an RL Grime-esque intense trap drop with a synth piano inspired by the movement and presence of a porcelain Chinese lucky cat he kept in his bedroom studio at the Altadena house. This was for his song “burn” from “star,” a scorcher which also happened to be the last song recorded in his home before the flames hit.

For 2hollis’ most openly psyche’d song on the album, “tell me,” where he professes lyrics like, “Everybody I don’t know tryna know me these days I don’t even know who I am,” his mental visual for the ending electro drop is illuminating. “I always imagined heavy rain there and lightning shining on someone’s face,” Hollis said about a perhaps heroic moment linked to the fire. “And it’s also like a face-off. Maybe me versus my ego on a rainy war field at the end of ‘Squid Game.’”

2hollis often creates outlandish alternate worlds he hopes to thrust his listening audience into. “I think there’s become this thing with a lot of artists where they feel the need to be relatable,” he proclaimed questioningly. “That’s cool, but I want [to present] the fantasy of, ‘Let me listen and pretend I’m not me for a few minutes.” In a time of constantly looming shaky ground, Hollis presents escapism as mindful.

2hollis

(Sandra Jamaleddine)

2hollis, at times, appears in tandem with a white tiger. The animal bears the name of his first album and appears on stage at his shows as a large figurine that roars vehemently behind him during song transitions. As much as it feels a part of his fantastical sonic world, it is also deeply tied to his personal story.

On a follow-up call from backstage at a later show in Detroit, Hollis recalled a period of debilitating psychosis he experienced at 18 years old. He mediated and prayed to Archangels as an attempt to pull himself back together. When he invoked the spirit of the Angel Metatron, he would picture a white tiger destroying all the darkness and “demonic shit” around him. “It was wild and sounds insane, but it really helped me come out of it,” he said.

The more one speaks to Hollis, the more one realizes he embodies the Shakespearean line “All the world’s a stage.” Even in the most wholesome times in his life, as a little league baseball player and school theater kid, he would get a similar “butterfly in the stomach feeling” from the performance of it all. But by that same token, he is also someone who values solitude and garnered his appreciation for it from Altadena itself.

Hollis describes it as a place of “untouched, unscathed innocence.” A place where he could walk his dog up to the star behind his home, meditate, and look at the city of LA in the distance. “I go back there all the time even though there’s nothing there anymore,” Hollis said from Detroit about his home’s unending pull. “It’s just comforting to be there by myself. The energy that was there before didn’t die.”

That far-gone youthful time alone is where Hollis dreamed of the world he’s in now. He said, if he could, he’d say to that wide-eyed yet apprehensive kid, “Dude, you’re doing it, you were right, you knew. Now it’s beautifully harmoniously coming together.” On “tell me” 2hollis raps that he’s equal parts scared of “press,” “death,” and “judgment.” But now, with overwhelming chaos in his rearview, he proclaims, “I’m running headfirst into everything. I’m not dying. I’m not scared of sh—.”

2hollis performs at Shrine Auditorium on Monday.

MARTIN Kemp has given his followers an update on his health after his horror chainsaw accident, as he reveals whether his gigs will be still taking place.

The iconic singer, 65, worried fans when his radio star son Roman Kemp revealed his famous father had been rushed to hospital.

Giving fans an update on how he was doing following the accident. which saw him injure his fingers, Martin said: “Addressing Hey guys, just a little message.

“You might have seen in the paper that I had a terrible accident with a chainsaw, which I did, but it was last week.

“I’m a lot better now.”

Reassuring fans he wasn’t cancelling any gigs, Martin said: “And just to let you know, if you were worried and you are going to Lincoln Cathedral tonight for the DJ gig, right, it is still on.

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“Yeah, but I appreciate your concerns and listen, it’s getting better by the minute, but I will explain how it happened another time, but just to reassure you, I am alright.

“Alright, lots of love. Bye.”

Yesterday, his son Roman shared the news about his dad’s hospital dash.

He explained on the You About podcast with Tom Grennan that his dad had had an accident with a chainsaw. 

The star said it was lucky that his dad wasn’t “fingerless” after the incident, which saw Martin pick the chainsaw up by the blade, to cut down a piece of wood.

The chat began with music star Tom saying to Roman: “What the hell has happened to your dad’s fingers?”

“Oh God,” Roman said, and then added: “It’s scary. Friday night I’d just finished work and looked at my phone, and dad sent a picture of his hand with all fingers heavily strapped up.

“And all he writes underneath in the family WhatsApp group is ‘yep… chainsaw.’”

Roman continued: “I was texting him saying ‘what?!’ but got no reply, and then Harley my sister is like ‘what’s happened?’ but again, no reply.

“So he said ‘Oh there was a bit of the branch that we wanted chopping down so I went and got a chainsaw.”

Roman said his first issue with what had happened was that his dad was handling a chainsaw in the first place.

“He’s 65. He’s got more than enough dough. Get a professional in, you can’t be doing that,” Roman said.

He then added: “My dad said ‘Oh yeah I picked it up by the blade.”

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Tom then joked that Roman’s mum wouldn’t be very happy if his dad lost his fingers, leaving Roman visibly shocked.

Roman then quipped: “Yeah because he wouldn’t be able to play guitar, exactly.”

The town has a rich history and is home to a number of charities

The charming town of Selby in North Yorkshire, known for its historic market and the grand Selby Abbey, has become a haven for charity shops.

With six on the high street alone, locals and visitors have even created a trail to explore them all. Forward thinking businesses and those who live in the town have turned what many other places fear into the saviour of their town centre.

Having a history that dates back to Roman and Viking eras, the small town has a population of around 17,000 who enjoy its rich heritage and culture. There are plenty of scenic routes thatnks to its location on the River Ouse and surrounding Yorkshire countryside.

However, the volunteer-led outlets in the town have been grappling with unsuitable donations, leading to waste and additional costs. To tackle this issue, local charity Up for Yorkshire launched The Shop for the Future project as part of its Zero Shelby initiative, reports the Express.

This project aims to help the shops manage unsuitable donations sustainably, while also celebrating their community contributions and raising awareness about their work. It kicked off with the creation of a Trail Map, laying out the constellation of charity shops across the North Yorkshire town for an easy crawl.

The town’s High Street charity shops include Martin House, which provides free family-led hospice care for children and young people with life-limiting illnesses. There’s also an RSPCA store, which is a self-funded and separately registered charity to the national RSPCA that supports the York Animal Home and local animals in need.

There’s also The Big Store – the charity shop of The Big Communitea, which supports mental health and wellbeing in the town through drop-ins, therapy, and practical help. Visitors can also find branches of St Leonard’s Hospice, Scope and the British Heart Foundation.

As part of the Zero Shelby initiative, a Sustainable Fashion show is scheduled to take place in Selby Abbey on November 12. Matt Fisher, community development lead for Up for Yorkshire, told BBC News that they view the town’s second-hand shops as a “strong starting point for change and an exciting opportunity to create a sustainable and vibrant high street to be enjoyed by everyone.”

In addition to these, there are various gift shops, homeware stores, vintage and antique outlets available. For bookworms, The Book Circle, an independent bookshop on Finkle Street, is a must-visit.

And if you fancy a bite to eat, local favourite Mister C fish and chips shop is renowned as one of the best in the UK.

Among the other charity shops elsewhere in the town are the well-known branches of Bernardo’s, Cancer Research UK and Yorkshire Cancer Research. But there are also locally-based stores working hard for good causes.

Mama Na Mtoto works to save the lives of mothers and babies in the UK and Kenya, while Selby Hands of Hope provides help to alleviate financial hardship in Selby. Selby Community Furniture Store collects furniture for free and upcycles and refurbishes it before selling it on, and Shelby Scrap CIC provides low-cost source materials for local groups and people.

Nakita Devi, a breath therapist at Limitless Living, has explained why she loves Bristol so much in the week that the city was named one of Lonely Planet’s places to visit in 2026

A resident of a UK city newly tipped as one of the best in the world to visit loves it, but would make one change if she could.

This week Bristol was included in Lonely Planet’s best places to visit list for 2026. This comes a few short months after it was named as one of Time Out’s best places in the world.

High praise indeed. And praise which Nakita Devi, a breath therapist at Limitless Living, feels is well deserved. She told The Mirror why she loves Bristol so much and what brought her back to the city.

“There’s a real blend here of history, culture, community, and events. The level of innovation and creativity almost feels tangible. I also love feeling a general sense of togetherness and trust that exists here – perhaps rare for a city,” she explained.

“I’ve lived in various other places and countries over the years, but Bristol is home because there are many people here committed to making life better for everyone; whether that’s through art and music, politics and education, social justice and inclusion, or family festivals and sober spaces. It really feels incredibly diverse, with something for everyone, more than anywhere else I’ve been.”

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When it comes to her recommendations for the best places to eat, drink and visit in Bristol, the 37-year-old was teeming with ideas.

“There are so many! Stokes Croft and Gloucester Road have a whole host of independent cafés, restaurants, and bakeries. King Street is also one of my favourites for bars and pubs with its history and cobbled stones. For dinner, personally I love Indian so Rock Salt and Nutmeg are two of my top recommendations,” the born-and-raised Bristolian said.

“I love the many open green spaces that are so accessible! Brandon Hill, Ashton Court, Blaise Castle, and Leigh Woods are just a few of my favourites for a wander any time of the year.”

However, as with all places, Bristol is not perfect (although some in the city might argue it is.)

Nakita has one small note for Bristol. “It can sometimes feel quite intense. I particularly notice it when I return after being away. There’s an aliveness or electricity here that can feel overwhelming at times. Additionally, with such a constant range of events to choose from, it’s easy to want to do it all instead of prioritising rest,” she said.

Nakita shared her views on the city in the week that Bristol was named as a must-visit destination for 2026 by Lonely Planet, thanks to its vibrant street art scene. The city is the only one in the UK to feature on the travel guide’s worldwide Best In Travel list for next year.

“Bristol’s street art scene makes for a fantastic inclusion in Best in Travel, Lonely Planet’s annual celebration of essential journeys and experiences for the coming year,” said Tom Hall, vice president of Lonely Planet.

“We’re delighted to shine a light on one of the UK’s most exciting cities, showcasing the talents of local artists. Exploring the colourful, creative murals dotted around the city is the perfect first step in getting to the heart of Bristol.”

The city reportedly boasts over 250 street artworks at various locations. ‘Our Common Ground’, a large new piece covering part of the Centre, was revealed in September, although it received a somewhat mixed response.

Banksy, perhaps the world’s most famous street artist and a native of Bristol, contributes significantly to the city’s reputation. Kathryn Davis, Chief Executive of tourism body Visit West, expressed her delight that Bristol had made it into Lonely Planet’s 2026 edition, highlighting the significant financial contribution the local arts scene brings to the city and wider region, reports Bristol Live.

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“Our ever-evolving outdoor gallery draws thousands of visitors from around the world each year, contributing millions of pounds to the local visitor economy,” she stated.

“Visitors not only stay in hotels and join tours, but they also contribute significantly to the visitor economy at large… Crucially, this impact extends beyond the city centre, helping to drive economic benefits across the wider city.”

According to Visit West, tourism is worth £2.6bn to the combined economy of Bristol, Bath and North East Somerset, South Gloucestershire and North Somerset. Around 45,000 people work in the ‘visitor economy’ of the region.

“We are thrilled that Lonely Planet has named Bristol in its Best in Travel 2026 for our city’s street art,” Ms Davis added. “We look forward to welcoming many more visitors this next year and beyond, to discover the humorous, playful, political and subversive street art in and around the city.”

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Let’s just kick the elephant out of the room right away. It’s hard to write a guide to Highland Park without addressing the “G” word. The neighborhood has been described as a poster child of gentrification, and for anyone who spends time there, it’s easy to see why.

Get to know Los Angeles through the places that bring it to life. From restaurants to shops to outdoor spaces, here’s what to discover now.

Within the Northeast neighborhood nestled between downtown L.A. and Pasadena, you’ll see the Highland Park of the past: find remnants like the stone castle that was once the home of Charles F. Lummis, a poet and journalist who famously walked from Cincinnati to Highland Park — yes, you read that correctly — to accept a job at the Los Angeles Times in the mid 1880s. (He later went on to found the Southwest Museum, L.A.’s first museum, close by.)

You’ll see the Highland Park that remains: a working-class hub where bandas practice outside for all to hear, the smell of street tacos fills the air, multigenerational families play together at the park and iconic fixtures like the 22-foot-tall Chicken Boy statue that hovers over North Figueroa like a friendly mascot.

And you’ll see the Highland Park that’s emerging: an L.A. hot spot where young people flock to sip on fancy cocktails along York Boulevard and hang out at a chic Prohibition-era bowling alley.

Somehow, all these versions exist together. These days, it’s common to see luxury companies like Le Labo, which sells candles for upward of $90, move next door to small businesses such as the beloved Mexican family-owned Delicias Bakery & Some that has been serving fresh pan dulce for nearly 35 years. The community collectively mourned when its 100-year-old historic movie theater closed last March.

As one of L.A.’s first suburbs, Highland Park began the 20th century as an artsy oasis that was dotted with charming Craftsman homes. By the 1960s, the neighborhood had transformed into an epicenter for Latino life. The evolution of Highland Park has brought all the usual tensions between longtime residents and newcomers, many of whom were priced out of areas like Silver Lake and South Pasadena.

In spite of that, Highland Park has managed to hold onto its roots and small-town charm. This is in part thanks to nonprofits like the Highland Park Heritage Trust and community members who have been working to preserve the neighborhood’s rich history and cherished cultural hubs.

“A lot of the identity is still here, things that just make it feel like home,” says Michael Nájera, 35, whose family has lived in the neighborhood for three generations. He and his wife co-founded a running club called Tofu Scramble that meets at local coffee shops on Friday mornings.

“There’s a strong sense of community here. Even with everything going on these days, it’s amazing to see people out — some of us because we can, and others at risk because they have to,” he adds, referring to the recent ICE raids. “And still, this feels like a place where it’s OK to be brown and to be outside.” It’s common to see local businesses displaying Know Your Rights cards in support of their neighbors.

Rocio Paredes, a director and photographer who attended Franklin Middle School and High School in Highland Park, adds that “Chicanoism is very engraved in our DNA here.” You can see the culture’s influence in spaces like the Centro de Arte Público and the Mechicano Art Center, both of which were home to Highland Park’s Chicano Arts Collective, an organization that helped advance the political aims of L.A.’s Chicano movement in the 1970s. And also at local restaurants. At Las Cazuelas, a family-run Salvadoran pupuseria that’s been open since 1985, Parades says, “It’s like a f— time capsule.”

From historic Craftsman homes, beautiful hills, bountiful green spaces, cuisine from various cultures, vintage shops of varied prices and a vibrant nightlife scene, there’s so much to appreciate about Highland Park.