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The Na’vi won the battle of the box office this weekend, as “Avatar: Fire and Ash” hauled in a hefty $88 million in the U.S. and Canada during its opening weekend.

The third installment of the Disney-owned 20th Century Studios’ “Avatar” franchise brought in an estimated total of $345 million globally, with about $257 million of that coming from international audiences. The movie reportedly has a budget of at least $350 million.

Box office analysts had expected a big international response to the most recent film, particularly since its predecessor “Avatar: The Way of Water” had strong showings in markets like Germany, France and China.

In China, the film opened to an estimated $57.6 million, marking the second highest 2025 opening for a U.S. film in the country since Disney’s “Zootopia 2” a few weeks ago. (That film went on to gross more than $271.7 million in China on its way to a global box office total of $1.1 billion.)

The strong response in China is another sign that certain movies can still do well in the country, which was once seen as a key force multiplier for big blockbusters and animated family films but has in recent years cooled to American movies due to geopolitics and the rise of its domestic film industry.

Angel Studio’s animated biblical tale “David” came in second at the box office this weekend, with an estimated domestic gross of $22 million. Lionsgate thriller “The Housemaid,” Paramount Animation and Nickelodeon Movies’ “The Spongebob Movie: Search for Squarepants” and “Zootopia 2” rounded out the top five.

The weekend’s haul likely comes as a relief to theater owners, who have weathered a roller coaster year.

After a difficult first three months, the spring brought hits like “A Minecraft Movie” and “Sinners” before the summer ended mostly flat. A sleepy fall brought panic to the exhibition business until closer to the Thanksgiving holiday, when “Wicked: For Good” and “Zootopia 2” drew in audiences.

IT was the year when those noisy Mancunian brothers brought the Britpop Nineties back to packed stadiums everywhere.

It was the year when Pulp made a charming first album in 24 years, with Jarvis Cocker singing about getting older with a wry smile on his face.

But I contest that one band from the era has been the most forward-facing, the most creative and the most kick-ass – Suede.

Which is why their vibrant, visceral, unflinching and wildly adventurous Antidepressants is our Album Of The Year.

Back in September to mark its release, frontman Brett Anderson told me: “We’ve fallen in love with being a rock band again.” And this week I caught up with him again to impart some good news . . . 

Congratulations! Antidepressants is the SFTW Album Of The Year. Does that make you happy?

Thank you. Very!

In all the years of Suede, where does 2025 rank?

Right up there. Somewhere between 2024 and 2026.

What have been the highlights of the year for you?

The South Bank takeover gigs in September were great – playing those new songs live for the first time was special.

I particularly enjoyed the Clore Ballroom show where we just did post-reformation stuff.

I thought that was an exciting and fairly unique thing to do for a band of our generation.

Also, I just love the South Bank. Walking over the footbridge from Embankment tube and looking at the skyline always gives me a sense of awe, a feeling of London being this big, beautiful, living thing.

Which of the new songs have you enjoyed singing live the most?

June Rain has a nice dynamic and slow sense of build which works great live. Plus the first half is spoken-word so I get to sit down a bit.

I personally think the album’s opening song Disintegrate should be the Christmas No.1 . . . do you agree?

Ha! Yes, love it. A kind of resolutely unseasonal Christmas song full of dread and fear.

Which album, aside from Suede’s, has been your favourite this year and why?

I liked Sprints’ All That Is Over. It was sharp and shouty and brainy and brash. (Sprints are an Irish garage punk band).

You told me that Suede are “the anti-nostalgia band”. What keeps you facing forwards rather than reflecting on the past (unlike some of your peers)?

Hmmm, huge question. I’ve always thought the point of any artist was to create rather than to repeat and consolidate.

That search for the next great song, the next great album, the next great moment has always been the carrot I’ve chased.

I come from a fiscally poor but culturally rich family background. My mum was an artist and a dressmaker and my dad was a classical music-obsessed taxi driver who made our furniture.

When I was a kid, we didn’t have any money, so if you wanted something you made it yourself.

I’m much less interested in what I wrote 30 years ago than in what I’m going to write next.

Have you started work on the third album of Suede’s “black and white” trilogy, following Autofiction and Antidepressants?

Yes, we’ve written a handful of songs already. I want it to be harder and more extreme than Antidepressants, a relentless onslaught, incessant and uncompromising and very rhythmic.

I already have a title which I’m keeping secret.

You also spoke to me of the importance of family relationships. Does that mean Christmas is a special time for you?

My family and my band are of course so, so important to me and in many ways they feed into each other. It’s hard to write about family without coming across as schmaltzy but luckily I can find the cloud in any silver lining.

Among my favourite songs I’ve ever written are Life Is Golden and She Still Leads Me On which have both been inspired by fatherhood and family.

And yes, Christmas is especially great when you have kids.

Happily though, now my son is older, there’s less pressure for me to dress up in a Santa suit.

What are your hopes for 2026 – for you, your family, the band, and for humankind?

For the band to write a great follow-up to Antidepressants and for humankind to stop scrolling. My hope for myself is always the same – to be a good husband and father.

2. ROSALIA

Lux

THE Spanish star known for her reinvention of ­folk and flamenco turned her attention to more bombastic, classical genres on this fourth album.

Backed by the London Symphony Orchestra it was a lavish production sung in a variety of languages. Bonkers but brilliant. JS 

People Watching

WITH its widescreen ambition, driving intensity and visceral lyrics, songs about “the human experience” couldn’t fail to draw comparisons with Fender’s “biggest hero”, Bruce Springsteen.

But it also marked the Geordie’s coming of age as a major artist in his own right. SC 

4. ROBERT PLANT with SUZI DIAN

Saving Grace

FOR six years, Led Zeppelin legend Plant has surrounded himself with acoustic musicians who live near his Worcestershire home, singer Dian among them.

Together, they gave us a ravishing mix of trad and contemporary covers. Rarely has he sounded so sublime. SC 

5. BIFFY CLYRO 

Futique 

A REFLECTIVE album shaped by friendship, family and loss, it captured Biffy Clyro at their most emotionally open.

Goodbye explored mental health, while A Thousand And One and Two People In Love delivered some of the most moving moments. JS 

6. MARGO PRICE 

Hard Headed Woman

FURTHER proof that Price tells it like it is. This was a stirring return to her country roots, following the trippy rock textures of Strays.

It drew comparisons with her beloved debut, Midwest Farmer’s Daughter, but was inspired by another decade of life experience. SC 

7. TURNSTILE

Never Enough

THIS fourth album from the hardcore punks from Baltimore, known for their energetic live shows, crossed into the mainstream.

The title track had a catchy chorus and melodic guitar breaks while at its heart there was still an uncompromising mandate to rock out. JS 

8. THE DIVINE COMEDY

Rainy Sunday Afternoon

WE’VE long been intrigued by Neil Hannon – not just because he once wrote a song called Something For The Weekend.

These 11 tracks assumed a reflective tone, with love and loss prominent themes, and featured some of Hannon’s most sumptuous tunes. SC 

9. YUNGBLUD

Idols

THIS album sees Yungblud questioning hero worship and identity after a life-changing encounter with a fan.

Inspired by Britpop, it’s his most confident work yet, opening with a nine-minute rock opera and driven by limitless self-belief and ambition. JS 

10. LADY GAGA

Mayhem 

GAGA proved why we loved her in the first place, returning to her dance-pop roots.

She recalled the vibe of her 2008 debut The Fame yet delivered an album for the here and now.

It was marked out by strong singles Abracadabra and Disease. SC 

11. GEESE

Getting Killed

THIS was a case of do believe the hype. With mesmerising singer Cameron Winter at the helm, Brooklyn’s indie rock saviours might channel The Strokes, The Stones, or even Nirvana, but they’re too weird and original to be slaves to their influences.

On the brink of greatness. SC 

12. JACOB ALON

In Limerence

FEW debuts arrived so perfectly formed as this one featuring the tender storytelling of Scottish singer Alon.

With an impossibly pure voice which sat somewhere between Bon Iver and Thom Yorke, it was full of fragile hope.

Vulnerable and haunting ambient soundscapes. JS 

13. PULP

More

JARVIS and Co’s first album in 24 years was dedicated to dear departed bassist Steve Mackey – and it summoned the old mischief. “I am not ageing.

No, I’m just ripening,” cried the singer on Grown Ups, a song filled with lyrical twists and turns. SC 

14. CMAT

Euro-Country

WITH songs about Teslas and Jamie Oliver, there was a quirky, kitsch element to Ciara Mary-Alice Thompson’s third album.

It also plumbed deeper depths of emotional pain but was allied to soft pop melodies.

Issues tackled included social media and objectification. JS 

15. MATT BERNINGER

Get Sunk

TALL, elegant, blessed with a sumptuous baritone, The National’s frontman and lyricist is an, er, National treasure.

But he managed to save wonderfully evocative songs for his second solo outing, including the intoxicating ebb and flow of opener Inland Ocean. SC 

16. DAVE

The Boy Who Played The Harp

HIS first album in four years found Dave drawing on the power of his biblical namesake King David to explore vulnerability and masculinity.

With James Blake’s ghostly production on Selfish and Chapter 16 (ft. Kano), it struck a reflective mood. JS 

17. JASON ISBELL

Foxes In The Snow

THE Alabama-born artist recorded his latest offering without his ace band, the 400 Unit, but with an old acoustic guitar for company.

“This is the first time I’ve done an album with just me and a guitar,” he told SFTW of the exquisite, stripped-back song cycle. SC  

18. BILLY NOMATES 

Metalhorse 

METALHORSE emerged from a personal, tumultuous period for Tor Maries.

A loose concept album set in a dilapidated funfair it featured radio hit The Test, while Strange Gift offered hope.

Closing song Moon Explodes was especially moving, written after Maries’ MS diagnosis. JS 

19. BIG THIEF

Double Infinity

FEW vocalists could handle the word “incomprehensible” like Adrianne Lenker on this LP’s fuzzy joy of an opening track.

Though the indie darlings have contracted to a three piece, there was nothing shrinking about their fearless, exilharating sonic adventure .SC  

20. OLIVIA DEAN

The Art Of Loving

MELLOW and sumptuous, the second album from the stylish Londoner was smooth soul to relax into.

Tracks such as Nice To Each Other and Lady Lady were warm and all-enveloping, exploring affairs of the heart with a particular emphasis on self-care. JS 

21. LILY ALLEN

West End Girl

LILY’S fifth album, the first in seven years, was also her most vulnerable and intensely personal.

It came after her split from actor husband David Harbour and the songs laid it all out in heartbreakingly painful detail.

Infidelity and betrayal were constant themes. JS 

22. BON IVER

Sable, Fable

DIVIDED into two distinct halves, the first was an understated return to the folky stylings of Justin Vernon’s wintery debut album, For Emma, Forever Ago.

The second blossomed into more upbeat territory, primed for glorious spring sunshine. SC  

23. THE WATERBOYS

Life, Death And Dennis Hopper

MIKE Scott took us on a wild ride with this 25-track album celebrating “one of the great American lives”, actor and hellraiser Dennis Hopper.

He summoned a blizzard of musical styles and included cameos from Bruce Springsteen, Steve Earle and Fiona Apple. SC  

24. AFRICA EXPRESS 

Bahidora 

EVEN before Blur completed their reunion gigs, Damon Albarn headed to the Mexican jungle with a dizzying array of 70-plus artists from four continents.

The result? A thrilling mash-up of African rhythms, electronic textures, Latin soul, rock, hip hop – everything! SC  

25. MAVIS STAPLES

Sad And Beautiful World

SHE bears one of the greatest living voices . . .  and it remained in towering form.

Well into her Eighties, Staples tackled our uncertain world with unerring compassion.

Guests included Buddy Guy, Bonnie Raitt, Wilco’s Jeff Tweedy and Bon Iver’s Justin Vernon. SC  

26. BRANDI CARLILE

Returning To Myself 

THIS record found Brandi in an introspective, stripped-back mood after a landmark year.

Working with Aaron Dessner, Andrew Watt and Justin Vernon, the album reconnected her with loneliness, self-belief and politics, from the reflective title track to the powerful Church & State. JS  

27. WOLF ALICE

The Clearing

THE fourth album from the Brit award winners was a grandiose affair, a bold and confident leap forward.

Tracks like Bloom Baby Bloom incorporated all their strengths with bombastic choruses and lush melodies, showcasing Ellie Rowsell’s exceptional rock vocal range. JS 

28. STEREOLAB

Instant Holograms On Metal Film

A STRONG return after 15 years from the much-loved Anglo-French combo.

Led, as ever, by Tim Gane and Laetitia Sadier, the album revisited their distinctive blend of art-pop and motorik beats, really hitting the mark on the effervescent Electrified Teenybop! SC  

29. RICHARD ASHCROFT

Lovin’ You

ASHCROFT’S first album of new music since 2018 arrived after he supported Oasis on tour.

From the Joan Armatrading-sampled Lover to the title track, which sampled Mason Williams’ 1968 Classical Gas, it was a vocally focused, emotionally wide record. JS 

30. WET LEG

Moisturizer

MORPHING from duo to fully-fledged band, the follow-up to their debut album was still as oddball as ever, but it came with a tighter focus.

Tracks like Davina McCall and Jennifer’s Body were heartfelt, kooky love songs backed by ragged, punky basslines. JS  

31. SOMBR

I Barely Know Her

A SPECIAL debut full of heartbreak from the bedroom pop star who quit school to make music.

His melancholy voice accompanied by his own guitar, bass and keyboards and drums, made this magical, with Dime and disco-tinged 12 To 12 emerging as standouts. JS 

32. MOLLY TUTTLE

So Long Little Miss Sunshine

THE Grammy-winning singer forged her reputation at the forefront of the bluegrass revival.

Now she has spread her wings with this ravishing work of myriad styles. It also provided her with the confidence to be open about her alopecia. SC  

33. TOM GRENNAN

Everywhere I Went, Led Me To Where I Didn’t Want To Be

THE down-to-earth singer from Bedford laid his feelings bare on this reflective fourth album shaped by growth, friendship and vulnerability.

It balanced anthemic pop with emotional depth, from Shadowboxing to Boys Don’t Cry. JS 

34. TAYLOR SWIFT

The Life Of A Showgirl

RECORDED in stolen moments during the record-shattering Eras tour, it found Swift reflecting on love and life in the spotlight after falling for NFL star Travis Kelce.

Working with Max Martin and Shellback, it was polished, theatrical pop with self-aware glamour and emotional insight. JS 

35. JOHN FOGERTY

Legacy: The Creedence Clearwater Revival Years

FOGERTY celebrated the recent end of his decades-long fight to get his publishing rights back.

It meant he could belt out timeless hits Proud Mary, Born On The Bayou, Bad Moon Rising and Up Around The Bend with unbridled joy rather than lingering bitterness. SC  

36. MIDLAKE

A Bridge To Far

BEST remembered for their second record, 2006’s The Trials Of Van Occupanther, these enduring Texans rekindled their love of melody-rich folk rock. Two decades on, A Bridge To Far might just have been their best since that hallowed album. SC 

37. TATE MCRAE

So Close To What

THE Canadian singer’s third album was slick and polished futuristic pop and highlighted her journey from teenage dancer to arena-selling pop princess.

Tracks like Purple Lace Bra were multilayered with beats, synths and strings, and created a sultry, sizzling mood. JS 

38. BEIRUT

A Study Of Losses

FOLLOWING Zach Condon’s sortie to the Arctic Circle for 2023’s exquisite Hadsel came this work of unerring beauty.

The 11 songs and seven instrumentals, spanning nearly an hour, struck a melancholy tone but they left a lasting and profound impression. SC 

39. ALISON KRAUSS & UNION STATION

Arcadia

TO Robert Plant’s duet pal Krauss, her latest project was “like stepping into an old pair of shoes”.

Her first album with her virtuoso bluegrass band since 2011 evoked bygone times, while still connecting with 21st Century listeners. SC

40. TOM SMITH

There Is Nothing In The Dark That Isn’t There In The Light

AFTER 20 years fronting Editors and two records with Andy Burrows, Tom Smith stepped out on his own.

His first solo album stripped everything back to the core of his songwriting, capturing the honesty, anxiety and hope that shaped this new chapter. JS 

41. FKA TWIGS 

Eusexua 

THE album title was a made-up word taken from euphoria and sexual to describe “a feeling so intense it transcended the human form”. 

And it lived up to its name.

On the arty, left field side of electronica, this third record was her most complete and satisfying. JS 

42. THE DELINES

Mr Luck & Ms Doom

WHEN ex-Richmond Fontaine frontman Willy Vlautin (lyricist/guitarist in this band) is involved, you tend to get songs with disturbing narratives about people from the wrong side of the tracks.

This firmly ticked that box – and then there was Amy Boone’s enriching, expressive vocals. SC 

43. DAVID BYRNE

Who Is The Sky?

THE world may be going to hell in a handcart, but at least Talking Heads legend Byrne kept a smile on his face.

That was the vibe you get from his latest effort, most notably on rousing opening track Everybody Laughs, which came with a cameo from longtime collaborator St Vincent. SC 

44. BLOOD ORANGE

Essex Honey

ECLECTIC and imbued with an aching sense of loss and nostalgia, Dev Hynes’ fifth album as Blood Orange was an exploration of his upbringing in London.

A collection of memories recalled through spindly indie, jazz, chunky beats and evocative soundscapes. JS 

45. DAMIANO DAVID

Funny Little Fears

FOR Maneskin’s Damiano David, this felt the right moment for a solo album, revealing a more personal, previously hidden side.

It was less rocky than Maneskin, confronting fear and identity through piano-led pop inspired by Keane, The Killers, and Elton John. JS 

46. RON SEXSMITH

Hangover Terrace

THE Canadian has assembled a fine body of work, marked out by sumptuous melodies and perceptive lyrics.

He returned with one of his strongest collections.

Recorded in London, the album visited his childhood, his current concerns and much more in between. SC 

47. MY MORNING JACKET

Is

SINGER Jim James hoped the band’s genre-hopping tenth album would help people “navigate the chaos in the world”. 

If the overall vibe was psychedelic rock with plenty of reverb, MMJ employed elements of pop, country, soul, reggae, you name it. SC 

48. ETHEL CAIN

Willoughby Tucker, I’ll Always Love You

FEW artists have been able to express the intimate, sometimes painful, feelings about first love as well as the singer from Florida.

Evoking a haunting, Southern gothic atmosphere, her ambient rock sound-scapes framed a raw, heartfelt song cycle. SC 

49. CAR SEAT HEADREST

The Scholars

THE career trajectory of Will Toledo is nothing short of breathtaking.

He started out making lo-fi DIY albums in his parents’ car and now, as frontman of a fully fledged band, he made this crazily ambitious rock opera in the vein of Tommy or Ziggy Stardust. SC 

50. ADDISON RAE

Addison

THE debut album from the former TikTok star, who rose to popularity with her dance videos, broke the code.

Stepping confidently beyond influencer fame, she moved into sleek, self-aware pop.

Playful hooks and glossy production balanced vulnerability and attitude. JS 

WASHINGTON — The Justice Department violated the constitutional rights of a close friend of James B. Comey and must return to him computer files that prosecutors had hoped to use for a potential criminal case against the former FBI director, a federal judge said Friday.

The ruling from U.S. District Judge Colleen Kollar-Kotelly not only represents a stern rebuke of the conduct of Justice Department prosecutors but also imposes a major hurdle to government efforts to seek a new indictment against Comey after an initial one was dismissed last month.

The order concerns computer files and communications that investigators obtained years earlier from Daniel Richman, a friend of Comey’s and Columbia University law professor, as part of a media leak investigation that concluded without charges. The Justice Department continued to hold onto those files and conducted searches of them this fall, without a new warrant, as they prepared a case charging Comey with lying to Congress five years ago.

Richman alleged that the Justice Department violated his 4th Amendment rights by retaining his records and by conducting new warrantless searches of the files, prompting Kollar-Kotelly to issue an order last week temporarily barring prosecutors from accessing the files as part of its investigation.

The Justice Department said the request for the return of the records was merely an attempt to impede a new prosecution of Comey, but the judge again sided with Richman in a 46-page order Friday that directed the Justice Department to give him back his files.

“When the Government violates the Fourth Amendment’s prohibition on unreasonable searches and seizures by sweeping up a broad swath of a person’s electronic files, retaining those files long after the relevant investigation has ended, and later sifting through those files without a warrant to obtain evidence against someone else, what remedy is available to the victim of the Government’s unlawful intrusion?” the judge wrote.

One answer, she said, is to require the government to return the property to the rightful owner.

The judge did, however, permit the Justice Department to file an electronic copy of Richman’s records under seal with the Eastern District of Virginia, where the Comey investigation has been based, and suggested prosecutors could try to access it later with a lawful search warrant.

The Justice Department alleges that Comey used Richman to share information with the news media about his decision-making during the FBI’s investigation into Hillary Clinton’s use of a private email server. Prosecutors charged the former FBI director in September with lying to Congress by denying that he had authorized an associate to serve as an anonymous source for the media.

That indictment was dismissed last month after a federal judge in Virginia ruled that the prosecutor who brought the case, Lindsey Halligan, was unlawfully appointed by the Trump administration. But the ruling left open the possibility that the government could try again to seek charges against Comey, a longtime foe of President Trump. Comey has pleaded not guilty, denied having made a false statement and accused the Justice Department of a vindictive prosecution.

The Comey saga has a long history.

In June 2017, one month after Trump fired Comey as FBI director — while the agency was investigating Russia’s interference in the 2016 presidential election and its ties to the Trump campaign — he testified that he had given Richman a copy of a memo he had written documenting a conversation he had with Trump and had authorized him to share the contents of the memo with a reporter.

After that testimony, Richman permitted the FBI to create an image, or complete electronic copy, of all files on his computer and a hard drive attached to that computer. He authorized the FBI to conduct a search for limited purposes, the judge noted.

Then, in 2019 and 2020, the FBI and Justice Department obtained search warrants to obtain Richman’s email accounts and computer files as part of a media leak investigation that concluded in 2021 without charges. Those warrants were limited in scope, but Richman has alleged that the government collected more information than the warrants allowed, including personal medical information and sensitive correspondence.

In addition, Richman said the Justice Department violated his rights by searching his files in September, without a new warrant, as part of an entirely separate investigation.

“The Court further concludes that the Government’s retention of Petitioner Richman’s files amounts to an ongoing unreasonable seizure,” Kollar-Kotelly wrote. “Therefore, the Court agrees with Petitioner Richman that the Government has violated his Fourth Amendment right against unreasonable searches and seizures.”

Tucker writes for the Associated Press.

The eight remaining candidates met with UCLA’s search committee on Zoom, each answering the same set of questions.

When those conversations ended, Martin Jarmond, the athletic director who was presiding over the Bruins’ quest to find their next great football coach, asked everyone on the committee to prioritize which candidates needed to be seen in person.

Everyone’s list included the same name: Bob Chesney.

The James Madison coach had already wowed the committee by then, according to multiple people with knowledge of the search who spoke with The Times on condition of anonymity because of the private nature of the process.

Chesney’s experience building programs into winners, established track record of success at multiple levels, ability to develop talent and appreciation for everything UCLA had to offer were all selling points that made him an attractive candidate early in a search lasting 2½ months.

Along the way, Chesney and the six-person committee nurtured a relationship based on shared values and mutual respect, according to those familiar with the process, making him feel prioritized when other potential suitors emerged as part of a coaching carousel that threatened to spin out of control as new openings materialized seemingly by the day.

After Jarmond and Erin Adkins, the executive senior associate athletic director who was also part of the search committee, flew to see Chesney last month in Virginia, the coach and his suitors came to the same conclusion — they were a perfect match. Chesney agreed to become the Bruins’ new coach on Dec. 1, accepting a five-year deal.

On Tuesday morning on campus inside the Luskin Center, UCLA will introduce a coach whose hiring might be the coup of the carousel.

“We owe UCLA students, alumni, supporters and fans a football program built to succeed in the modern age of college sports, and hiring coach Chesney will do just that,” search committee member Bob Myers said. “We not only believe in him as a head coach, but also as a person. His character and values were a huge factor in our decision. Coach Chesney exudes all the qualities you want in someone charged with leading our student-athletes at UCLA.”

The buzz around Chesney only intensified Sunday when James Madison was selected for the College Football Playoff, dramatically increasing his profile. UCLA has agreed to allow Chesney to coach the 12th-seeded Dukes (12-1) through a CFP run that starts Dec. 20 when they face fifth-seeded Oregon (11-1) at Autzen Stadium, the Bruins undoubtedly getting free air time during the TNT broadcast when their new coach is mentioned. The committee was firmly behind Chesney participating in the playoff, celebrating his team’s selection.

The process leading to Chesney’s hiring started as most coaching searches do, with a firing. The dismissal of coach DeShaun Foster on Sept. 14 after an 0-3 start — giving him a 5-10 record over a little more than one season — left the Bruins with a need to recalibrate their approach in picking a successor.

Jarmond identified three principal guidelines for the search while meeting with UCLA chancellor Julio Frenk. There needed to be alignment among everyone involved in the process about what they wanted in their new coach, ample investment to allow that coach to compete in the Big Ten and nationally, and ultimately the identification of a strong leader who embodied the school’s core values.

Jarmond was open to any candidate, including NFL coaches and college coordinators, but eventually came to prioritize sitting head coaches who had gone through the recent transformative changes in college sports involving the transfer portal, roster management and the name, image and likeness space. There was also a strong preference for someone who had experience turning around a program, building it into a sustained winner.

A search committee that included Jarmond, Adkins, Myers, sports executive Casey Wasserman, Washington Commanders general manager Adam Peters and former Bruins linebacker Eric Kendricks cast a wide net, starting with a list of 40 possible candidates. The committee gathered preliminary background information on those coaches and met regularly via phone calls and in person, with Peters often joining via Zoom because he was based on the East Coast.

Peters offered intelligence based on his extensive network of NFL personnel who regularly visited college campuses and observed coaches. Myers and Wasserman provided insights based on their vast experience as top-level sports executives. Kendricks, who has spent a decade playing in the NFL, queried candidates on playing style, practice habits, accountability measures and coaching philosophy.

As the committee continued to gather information and assess possible fit, it halved the list of candidates to 20, then narrowed it further to 12 and then eight, which included seven sitting college head coaches and one college coordinator. After the round of Zoom calls, the committee identified six candidates it wanted to remain in contention. Jarmond and Adkins flew to see four candidates in person, keeping two others in the running for possible future meetings.

After every interview and in-person meeting, the committee members always asked themselves the same things: Did this candidate possess the qualities they were seeking and could he fulfill their vision for winning?

Chesney, 48, kept checking every box from early in the process. On his Zoom with the committee, Chesney detailed his plan for winning with the Bruins and gave examples of experiences at other schools that revealed his appreciation for what it took to succeed at a highly rigorous academic institution. His resume was just as impressive as his answers.

Chesney’s 132-51 record included success at the Division III, Division II, Football Championship Subdivision and Football Bowl Subdivision levels. Part of that success included dramatic turnarounds. Assumption, which had gone 3-7 under previous coach Corey Bailey in 2012, enjoyed a steady rise under Chesney, going from 6-5 in Year 1 to 7-4 in Year 2 to 11-2 in Year 3.

It was a similar story at Holy Cross, which had gone 4-7 the year before Chesney’s arrival. By Chesney’s second season, the Crusaders started a four-year run of making the FCS playoffs, reaching a quarterfinal in 2022.

While coach Curt Cignetti already had James Madison rolling, the Dukes going 11-2 and reaching the Armed Forces Bowl in 2023, Chesney has now managed in only two years to take the program somewhere his predecessor couldn’t — the CFP.

It’s that sort of sustained success that left UCLA’s search committee with no qualms about Chesney not having won at the Power Four level. Given Chesney’s track record, the committee believed that all he needed to win big at college football’s highest level was an opportunity.

UCLA plans to support its new coach with enhanced resources, making a significant commitment to grow its assistant coach salary pool alongside additional investment in front-office, recruiting and strength and conditioning personnel as well as a restructured NIL operation.

Jarmond and Adkins flew to Virginia on Sunday so that they could accompany Chesney on his flight to Southern California on Monday ahead of his introduction a day later. Chesney will return to James Madison on Wednesday, continuing preparations to take his team somewhere the Bruins hope he can lead them.

Feeling like winners already, the Bruins are about to unveil the coach who seems to have all the answers..

A brand-new NIL

Chesney is going to have some new resources at his disposal.

As part of an aggressive restructuring, UCLA has transitioned its name, image and likeness efforts for football to the same third-party media and branding agency that handles the school’s other teams.

Champion of Westwood will assist Chesney in an effort to elevate his team’s NIL endeavors in the same way it has for men’s basketball — through its Men of Westwood arm — as well as women’s basketball, softball and other teams on campus.

Working with NIL agency Article 41, which has staff on campus to help athletes build their brands through content creation and social media strategies, Champion of Westwood is striving to create new opportunities for football players as part of an all-inclusive approach.

“Everyone is committed to being very symbiotic on this, which I think will lead to success,” said Ken Graiwer, the UCLA alumnus who runs Champion of Westwood. “Supporting NIL is supporting the program.”

As part of a new subscriber model in which payments can be made on a one-time or recurring basis, Champion of Westwood is offering benefits such as exclusive merchandise and player video updates directly from the locker room after a game.

Among its corporate sponsors, Champion of Westwood has partnered with Paige, the same apparel company that outfitted Dodgers stars Freddie Freeman and Mookie Betts.

“They were looking for the next generation of top athletes,” Graiwer said of Paige identifying UCLA as a client. “These are the great kinds of things that we’re doing.”

Champion of Westwood has also assembled a new advisory board that includes former UCLA quarterback Cory Paus, mega donor Michael Price and other heavyweights in the financial and entertainment sectors who can help facilitate introductions between players and individuals or companies interested in engaging them for NIL deals.

Olympic sport of the week: Men’s water polo

It was the sort of ending the cross-town rivalry deserved.

In another back-and-forth battle, Frederico Jucá Carsalade made sure the UCLA men’s water polo team came out on top with a goal as time expired Sunday at Stanford’s Avery Aquatic Center, lifting the Bruins to an 11-10 victory over USC in the national championship game.

USC’s Jack Martin had tied the score with 2:03 left before Carsalade’s goal gave UCLA its 125th NCAA title in school history and its second consecutive championship in men’s water polo. Carsalade finished with two goals and Ryder Dodd scored three, including back-to-back goals that pushed the Bruins into a 10-9 lead before the Trojans rallied.

It was payback after USC had won two of the three previous meetings between the teams this season. The victory gave UCLA coach Adam Wright his 10th NCAA title with the Bruins — six as head coach of the men’s water polo team, two as a player for the Bruins, one as head coach of the women’s water polo team and another as an assistant coach with the women’s team.

Opinion time

What is your level of happiness with the Bob Chesney hire?

Ecstatic, couldn’t be happier

Guardedly optimistic

In wait-and-see mode

This is the best they could do?

Click here to vote in our survey.

Poll results

We asked, “How optimistic are you for UCLA football in 2026?”

After 612 votes, the results:

They will qualify for a lower-tier bowl game, 47.1%
They will show some fight, but struggle to a losing record, 23.5%
It’s going to be another long season, 14.6%
They will make a quality bowl game, 10.7%
The Bruins will be in College Football Playoff contention, 4.1%

In case you missed it

Lauren Betts helps No. 3 UCLA pummel Oregon in Big Ten opener

Here are 15 reasons why UCLA should not abandon the Rose Bowl

Eric Dailey Jr. goes from zero to hero, powering UCLA to victory over Oregon

UCLA got its new football coach in Bob Chesney, but who will be coming with him?

‘That’s Bernie Madoff level’: UCLA’s Mick Cronin says agent greed drives player movement

Kroenke Sports and SoFi Stadium are new defendants in Rose Bowl lawsuit against UCLA

UCLA and USC football transfer portal tracker: Who’s in and who’s out?

Mixed results for UCLA on early signing day

How UCLA football salvaged its recruiting class, giving Bob Chesney an early boost

Have something Bruin?

Do you have a comment or something you’d like to see in a future UCLA newsletter? Email me at ben.bolch@latimes.com, and follow me on X @latbbolch. To order an autographed copy of my book, “100 Things UCLA Fans Should Know & Do Before They Die,” send me an email. To get this newsletter in your inbox, click here.

When the al-Assad regime falls, Ammar, a Syrian lawyer and former Sednaya prison detainee, is determined to uncover the truth about Syria’s missing. Haunted by the disappeared and his own imprisonment, he searches for answers in the ruins of Sednaya prison.

Among classified documents, he discovers records of enforced disappearances and deaths, exposing the regime’s brutality. With each case, Ammar pursues justice and closure, offering families a chance to grieve and heal.

His search is about more than closure – it provides a fragile hope and a path towards reconciliation and justice in a fractured Syria.