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Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

This week I spoke to James L. Brooks, whose legendary career includes “The Mary Tyler Moore Show,” “Terms of Endearment,” “Broadcast News” and “The Simpsons,” about his new film “Ella McCay,” which opens in theaters Dec. 12.

The film stars Emma Mackey as a classic Brooksian heroine: a lieutenant governor of a small, unnamed state with a genuine desire to make other people’s lives better who unexpectedly finds herself thrust into the job of governor.

Albert Brooks and Emma Mackey in the movie “Ella McCay.”

(Claire Folger / 20th Century Studios)

Warm and affectionate toward its characters while also clear-eyed about their all-too-human imperfections, the film is the kind of made-for-adults dramedy that is currently out-of-favor with Hollywood.

“I don’t believe people don’t want comedy,” Brooks said. “Obviously, I hope that you have meat on the bone and that doesn’t mean you can’t do a real scene about real difficulty, especially with this picture.”

Matt Brennan spoke to Renate Reinsve, star of Joachim Trier’s “Sentimental Value,” while the two of them toured Frank Lloyd Wright’s Hollyhock House. Carlos Aguilar spent time with Amy Madigan, the veteran actor enjoying renewed career energy thanks to her role as Aunt Gladys in “Weapons.”

Among the movies’ new releases, Amy Nicholson reviewed Rian Johnson’s latest Benoit Blanc story, “Wake Up Dead Man: A Knives Out Mystery,” calling it the “darkest, funniest and best installment yet.”

Mila Kunis, Daniel Craig and Josh O’Connor in the movie “Wake Up Dead Man: A Knives Out Mystery.”

(Netflix)

Amy also reviewed Chloé Zhao’s “Hamnet,” an adaptation of Maggie O’Farrell’s novel about William Shakespeare (Paul Mescal) and his wife Agnes (Jessie Buckley) as they grapple with the death of their young son Hamnet, a grief that results in the play “Hamlet.”

If you are really looking to get away from family this week, consider Julia Loktev’s five-and-a-half-hour documentary “My Undesirable Friends: Part I — Last Air in Moscow,” which chronicles the fall of one of the last independent news channels in Russia, largely run by women, during the country’s invasion of Ukraine. Loktev and one of the film’s subjects, Ksenia Mironova, will be at the Laemmle Royal for Q&As after certain shows on the 28th and 29th.

As Tim Grierson put it in his review, “During a year in which the worst-case scenarios of a second Trump presidency have come to fruition, ‘My Undesirable Friends’ contains plenty of echoes with our national news. The canceling of comedy shows, the baseless imprisonment of innocent people, the rampant transphobia: The Putin playbook is now this country’s day-to-day. Some may wish to avoid Loktev’s film because of those despairing parallels. But that’s only more reason to embrace ‘My Undesirable Friends.’ Loktev didn’t set out to be a witness to history, but what she’s emerged with is an indispensable record and a rallying cry.”

Also opening this week is another of the year’s most boldly unconventional films, Kahlil Joseph’s “BLKNWS: Terms and Conditions,” a dense, collage-like exploration of Black identity and history, playing at the Lumiere Music Hall. Anyone who saw the recent blockbuster exhibition of artworks by Joseph’s brother, the late Noah Davis, at the Hammer Museum will also find “BLKNWS” a worthwhile experience.

Cinematographer Roger Deakins on the future of the Coen brothers

Cinematographer Roger Deakins photographed at the Toronto International Film Festival in 2019.

(Jay L. Clendenin / Los Angeles Times)

Roger Deakins is among the most celebrated and best-known cinematographers of his era. A two-time Oscar winner, he has worked with filmmakers such as Joel and Ethan Coen, Sam Mandes, Denis Villeneuve and many more, on films including “No Country for Old Men,” “The Big Lebowski,” “Skyfall,” “Sicario,” “Blade Runner 2049” and “1917.”

Deakins, 76, who often works in collaboration with his wife James Ellis Deakins, has for the past few years been hosting a podcast, “Team Deakins,” interviewing filmmakers. He has recently published “Reflections: On Cinematography,” which is part memoir and part how-to, drawing from his personal archives to explore his work on so many contemporary classics.

On Sunday, the American Cinematheque will screen director Andrew Dominik’s 2007 “The Assassination of Jesse James by the Coward Robert Ford” at the Aero Theatre with both Roger and James present for a Q&A and book signing.

They recently got on a video call from their home in Santa Monica to talk about the book, their relationship and whether to expect another movie from the Coen brothers.

Javier Bardem in Joel and Ethan Coen’s 2007 movie “No Country for Old Men.”

(Miramax Films)

One of the things that’s so striking about the book is that it is very much a memoir, the story of your life, but it is told through these movies and an exploration of your artistic practice.

Roger Deakins: Well, that was the balance. We didn’t want it to be a technical manual and we didn’t want it to be a sort of tell-all or just recounting old stories.

James Deakins: When you work in the film business, it’s so intense. Your work is your life.

Roger Deakins: Especially when I started out, shooting in documentaries for a few years, that was the life experience that opened the world to me. I didn’t see the world other than my experiences shooting films, whether it was documentaries or later fiction films, like going together to Morocco to shoot “Kundun.” The life experience actually has always been as important to me as the actual work.

Can you tell me a little bit more about just the relationship between the two of you, traveling together, working on all these different movies? What has that meant to you?

Roger Deakins: It’s all very weird. That is so not me.

James Deakins: The reason why we work so well together is Roger’s very intent on what he is doing and doesn’t particularly want to talk to other people during that time period. And I do — I love to talk to people. I love to solve problems. I love to do all that. So together we kind of make this whole. But we also have a lot of people come up to us and ask us for relationship advice.

Roger Deakins: When we met, I think I was 41 or something. We were both fairly kind of, not lonely, but we were loners, both of us. And we connected on a film. We met on a film together. James was script supervisor on a film that I was shooting. And after that film, it just seemed obvious to me that we should be together. And it’s been wonderful. We’ve just shared these life experiences together. I couldn’t really understand other relationships, which seemed to work well, where one person goes away and works on a movie for like six months and then comes back home and tries to step back into a relationship like nothing had happened. I don’t see that. So we’ve always shared things together. Doing the podcast was very much James’ idea, but I’ve kind of warmed to it.

James Ellis Deakins, left, and Roger Deakins at the 95th Academy Awards at the Dolby Theatre in 2023.

(Robert Gauthier / Los Angeles Times)

When people ask for relationship advice, what do they want to know?

James Deakins: They’re saying, “I’ve got to travel so much. How do I keep it together?” Or: How do we work together? Just, will this work? Is it possible? It’s very strange, because we’ve just done a very technical Q&A and my head’s there, and then someone comes up to me — and I can always kind of tell because they’re bearing down on me — and they go, “I just want to ask you…”

Roger, in the book you talk about how, when you were starting out and in film school, you thought of yourself as a director. As you started shooting more for other people, did that create a sense of a path not taken?

Roger Deakins: I would be lying if I was saying there wasn’t a little bit way down deep inside of me that was saying: What if I had tried to become a director instead? But on the other hand, I’ve been part of so many movies with so many really nice, intelligent people. And I really do have a confidence problem. We did try and get together a couple of projects a number of years ago and I just don’t have the confidence. I’m terrible going into a studio and pitching a project.

I’m just not that political person. I love nothing more than being on a set with a whole group of people. I love just working with the camera crew and electricians and the grips and the painters and everybody else. I love that collaboration. And often a director is in a much more lonely place.

Do you feel like you have a signature? What is it that you bring to a project?

Roger Deakins: I hope I don’t have a signature. I hope I just have a way of relating to a story and something in front of me. Maybe there’s some sort of personal perspective.

James Deakins: Well, I think you bring a commitment to the project. And you also are so committed to creating the director’s vision as opposed to you coming in and saying, “Well, let’s make it the way that I always do it.” And so I think you allow what the director has in his head to come out.

Roger Deakins: It’s also really important that you’re not just there to create pretty pictures. Oh, that’s a great sunset, but what the hell does it have to do with this story? Or: Let’s put up five cameras and get a lot of material and we’ll cut something out of it later. That’s the extreme version of something that’s anathema to me.

You say that people confuse pretty cinematography with good cinematography. How do you define good cinematography?

Roger Deakins: Cinematography that’s not noticed. Not noticed because people are too absorbed in the story. When you go to a premiere or any screening and you come out and somebody comes out and says, “Oh, I love that shot where such and such” — that was a mistake because not one shot should stand out. Somebody said, “Oh, wasn’t that a lovely sunset?” Then you’ve taken the audience out of the film. You’ve just drawn attention to the image.

Ryan Gosling in the movie “Blade Runner 2049.”

(Stephen Vaughan / Warner Bros. Pictures)

So even for all the astonishing images you’ve created, you still think that they shouldn’t be noticed?

Roger Deakins: In a way. I mean, obviously on some films you’ve got more license than others. Obviously I could have more fun on “Skyfall” in certain instances, or “Blade Runner,” more than I could on “No Country for Old Men.” “Blade Runner,” I could do these kind of lighting things in the Wallace building because that was part of the character, that was part of his creation, not mine. So it kind of felt integral to the character. But in another situation, I’m never going to do that kind of lighting.

You haven’t shot anything for a few years now. Are you hoping to find something?

Roger Deakins: Kind of. It depends which day you ask me, really.

James Deakins: Really depends on the project. And we haven’t seen anything, really.

A lot of people are very eager for Joel and Ethan Coen to work together again. Have you had any conversations with them?

Roger Deakins: Well, Joel’s just been directing a film in Scotland, his own film. I’ve talked to Joel on and off lately and, well, actually Ethan not that long ago, but I’m not sure what their plans are now. So that’s all talk. That’s like talking about my football team, Manchester United. What’s the next player they’re going to buy? Who knows?

Points of interest

‘Coming Home’

Jane Fonda and Jon Voight in the movie “Coming Home.”

(Herbert Dorfman / Corbis via Getty Images)

On Monday, the Frida Cinema will show Hal Ashby’s 1978 “Coming Home,” starring Jane Fonda, Jon Voight and Bruce Dern. Fonda and Voight both won Academy Awards for their performances and the film was named best picture by the Los Angeles Film Critics Assn.

“Coming Home” is an exploration of the costs of war at home and also about learning to live with disability. Voight plays a Vietnam veteran who returns a paraplegic, struggling to adjust to his new life. Fonda is a woman whose husband (Dern) is deployed to Vietnam. When she begins to volunteer at the local VA hospital, she reconnects with Voight’s Luke, a friend from high school. As the two begin an affair, all three of their lives are upended.

Critic Kristen Lopez will be there to introduce the screening, as well as sign copies of her new book, “Popcorn Disabilities: The Highs and Lows of Disabled Representation in the Movies.”

Via email, Lopez explained her selection of “Coming Home,” saying “it’s one of the few movies that, I think, even though it’s not cast authentically, does illustrate the disabled experience in an authentic way. Director Hal Ashby, producer Jane Fonda and star Jon Voight did deep research into disabled veterans, specifically wheelchair users, and it’s the first movie I remember seeing that got the little bits of disabled business correct. It’s also a movie that, even today, is remarkably progressive in how it portrays disability. Luke Martin has a home and a car, he’s self-sufficient, and too often we don’t see how disabled people live.”

‘Putney Swope’

An image from “Putney Swope,” directed by Robert Downey Sr.

(Cinema 5 / Photofest)

Opening the series “Present Past 2025: A Celebration of Film Preservation” at the Academy Museum will be the world premiere of a new 35mm print of Robert Downey Sr.’s 1969 “Putney Swope.” A biting satire of how corporate culture handles race, the film stars Arnold Johnson as the title character, who is unexpectedly made president of a major advertising firm and proceeds to upend all of its messaging. Paul Thomas Anderson has often spoken of Downey as an influence — an influence that can be clearly seen in the anti-authoritarian “One Battle After Another.”

In his original January 1970 review, Charles Champlin wrote, “‘Putney Swope’ is not so much a movie as a cartoon with real people. … ‘Putney Swope’ is not for anyone who demands good taste in movies, or restraint, or a presumption of dignity in the human character. But in its youthful, irreverent and uninhibited but medicinal way, ‘Putney Swope’ is shocking good fun.”

Also playing as part of the Academy’s preservation series, which runs through Dec. 22, will be world premiere restorations of William Wyler’s 1934 “Glamour,” John M. Stahl’s 1933 “Only Yesterday,” Lloyd Corrigan’s 1931 “Daughter of the Dragon” and George Marshall’s 1945 “Incendiary Blonde.” Other titles in the series include North American restoration premieres of Konrad Wolf’s 1980 “Solo Sunny” and Mikio Naruse’s 1955 “Floating Clouds,” plus the U.S. restoration premieres of Howard Hughes’ 1930 “Hell’s Angels” and Pedro Almodóvar’s 1986 “Matador.”

‘While You Were Sleeping’

Peter Gallagher and Sandra Bullock in the romantic comedy “While You Were Sleeping.”

(Michael P. Weinstein / Hollywood Pictures)

On Dec. 5, the New Beverly will screen a matinee of John Turteltaub’s 1995 “While You Were Sleeping.” (Take that extra long lunch or just knock off work early. It’s the holidays.) This winsome, utterly charming romantic comedy really helped cement Sandra Bullock’s screen persona and stardom, and deservedly so. A lonely woman (Bullock) who works in a ticket booth for the Chicago Transit Authority quietly pines for a handsome man (Peter Gallagher) she sees every day. After she helps save him from an accident, a misunderstanding at the hospital leads his family to believe she is his fiancée while he is in a coma. Then she meets his brother (Bill Pullman) and the complications really ensue.

In his original review of the film, Peter Rainer wrote, “Bullock is a genuinely engaging performer, which at least gives the treacle some minty freshness. Her scenes with Pullman are amiable approach-avoidance duets that really convince you something is going on between them. Like Marisa Tomei, Bullock has a sky-high likability factor with audiences. She can draw us into her spunky loneliness — you want to see her smile.”

Hardcover fiction

1. The Correspondent by Virginia Evans (Crown: $28) A lifelong letter writer reckons with a painful past.

2. Brimstone by Callie Hart (Forever: $33) The deluxe limited edition continues the fantasy adventure begun in “Quicksilver.”

3. Heart the Lover by Lily King (Grove Press: $28) A woman reflects on a youthful love triangle and its consequences.

4. What We Can Know by Ian McEwan (Knopf: $30) A genre-bending love story about people and the words they leave behind.

5. Queen Esther by John Irving (Simon & Schuster: $30) The novelist revisits his bestselling “The Cider House Rules.”

6. The Loneliness of Sonia and Sunny by Kiran Desai (Hogarth: $32) The fates of two young people intersect and diverge across continents and years.

7. Audition by Katie Kitamura (Riverhead Books: $28) An accomplished actor grapples with the varied roles she plays in her personal life.

8. Shadow Ticket by Thomas Pynchon (Penguin Press: $30) A private eye in 1932 Milwaukee is hired to find a missing dairy heiress.

9. The Black Wolf by Louise Penny (Minotaur Books: $30) The latest mystery in the Armand Gamache series.

10. Dog Show by Billy Collins, Pamela Sztybel (illustrator) (Random House: $20) The former U.S. poet laureate captures the essence of dogs in a collection of poems that includes watercolor canine portraits.

…

Hardcover nonfiction

1. 1929 by Andrew Ross Sorkin (Viking: $35) An exploration of the most infamous stock market crash in history.

2. Bread of Angels by Patti Smith (Random House: $30) A new memoir from the legendary writer and artist.

3. Nobody’s Girl by Virginia Roberts Giuffre (Knopf: $35) A posthumous memoir by Jeffrey Epstein and Ghislaine Maxwell’s most outspoken victim.

4. Something From Nothing by Alison Roman (Clarkson Potter: $38) More than 100 recipes that make the most of a well-stocked pantry.

5. The Uncool by Cameron Crowe (Avid Reader Press/Simon & Schuster: $35) The filmmaker recounts his experiences as a teenage music journalist.

6. Lessons From Cats for Surviving Fascism by Stewart Reynolds (Grand Central Publishing: $13) A guide to channeling feline wisdom in the face of authoritarian nonsense.

7. Always Remember by Charlie Mackesy (Penguin Life: $27) Revisiting the world of “The Boy, the Mole, the Fox and the Horse.”

8. Book of Lives by Margaret Atwood (Doubleday: $35) The author of “The Handmaid’s Tale” tells her story.

9. Good Things by Samin Nosrat (Random House: $45) The celebrated chef shares 125 meticulously tested recipes.

10. The Let Them Theory by Mel Robbins (Hay House: $30) How to stop wasting energy on things you can’t control.

…

Paperback fiction

1. On the Calculation of Volume (Book III) by Solvej Balle (New Directions: $16)

2. Project Hail Mary by Andy Weir (Ballantine: $22)

3. Hamnet by Maggie O’Farrell (Vintage: $19)

4. Martyr! by Kaveh Akbar (Vintage: $18)

5. I Who Have Never Known Men by Jacqueline Harpman (Transit Books: $17)

6. The Frozen River by Ariel Lawhon (Vintage: $18)

7. Remarkably Bright Creatures by Shelby Van Pelt (Ecco: $20)

8. On the Calculation of Volume (Book I) by Solvej Balle, Barbara J. Haveland (translator) (New Directions: $16)

9. The Princess Bride by William Goldman (Harper Perennial: $22)

10. Tomorrow, and Tomorrow, and Tomorrow by Gabrielle Zevin (Vintage: $19)

…

Paperback nonfiction

1. Fight Oligarchy by Sen. Bernie Sanders (Crown: $15)

2. The Artist’s Way by Julia Cameron (TarcherPerigee: $24)

3. The White Album by Joan Didion (Farrar, Straus & Giroux: $18)

4. Braiding Sweetgrass by Robin Wall Kimmerer (Milkweed Editions: $22)

5. Just Kids by Patti Smith (Ecco: $19)

6. The Most Human by Adam Nimoy (Chicago Review Press: $20)

7. The Art Thief by Michael Finkel (Vintage: $18)

8. All About Love by bell hooks (Morrow: $17)

9. The Best American Essays 2025 by Jia Tolentino and Kim Dana Kupperman (editors) (Mariner Books: $19)

10. Meditations for Mortals by Oliver Burkeman (Picador: $19)

It’s championship week in the high school football playoffs.

Here’s a look at top matchups on Friday and Saturday:

Southern Section

FRIDAY

DIVISION 1

Santa Margarita (9-3) vs. Corona Centennial (11-1) at the Rose Bowl, 7 p.m.

The last team standing will be the one able to execute on offense in a showcase of two aggressive, physically tough defenses. Santa Margarita has an advantage with versatile linebacker Dash Fifita and a defensive line second to none. Coach Carson Palmer twice played in the Rose Bowl as a player for USC. Centennial must find a way to run the ball or quarterback Dominick Catalano will have a long night. The pick: Santa Margarita.

DIVISION 3

Oxnard Pacifica (13-0) at Palos Verdes (10-3), 7 p.m.

Pacifica’s speed will cause Palos Verdes problems, especially if quarterback Taylor Lee can get the ball to his playmakers. Any team with quarterback Ryan Rakowski will not go down easily, but Rakowski suffered a broken thumb last week. Backup Giorgio Di Mascio has shown he can fill in when needed. The pick: Pacifica.

SATURDAY

DIVISION 2

Los Alamitos (11-2) at San Clemente (9-4), 7 p.m.

No team has turned around its season quicker than San Clemente, which has gone from unranked to playing in the championship game with a five-game winning streak. And the teams they’ve beaten were good — Los Alamitos, Edison, Beaumont, Vista Murrieta and Leuzinger. Defense has been key. Patrick Norman leads the team with 109 tackles. The Tritons will have to make sure Los Alamitos running backs Lenny Ibarra and Kamden Tillis are held in check. The pick: San Clemente.

DIVISION 5

Rio Hondo Prep (13-0) at Redondo Union (9-4), 7 p.m.

With a student population of just 150, Rio Hondo Prep faces its toughest challenge yet going for a 17th championship. Coach Mark Carson has schemes and strategies taught to players once they arrive in seventh grade. Running back Noah Penunuri (1,203 yards, 22 touchdowns) is recovering from an ankle injury. Redondo Union, with a student body of nearly 3,000, is in its first title game since 1944. Quarterback Cole Leinart is the son of Heisman Trophy winner Matt Leinart. The pick: Rio Hondo Prep.

City Section

FRIDAY

DIVISION III

Hawkins (10-2) vs. Santee (9-4) at Birmingham, 2 p.m.

It’s been a long road back for Hawkins after the program hit rock bottom in 2016 with forfeits, the firing of the coaching staff and an exodus of players during a season that ended up 0-13. Coach Ronald Coltress has stayed the course. Senior Jamarieah Wallace is closing in on 900 yards rushing. Santee’s Darnell Miller gets the chance to put on a show. He has rushed for more than 3,000 yards and 31 touchdowns. The pick: Santee.

DIVISION II

San Fernando (10-3) vs. Cleveland (5-8) at Birmingham, 6 p.m.

Everything changed when Cleveland quarterback Domenik Fuentes came back from an injury in Week 1 to lead the Cavaliers in the playoffs. San Fernando’s Julian Sarzo has passed for 1,500 yards. The pick: Cleveland.

SATURDAY

DIVISION I

Marquez (11-2) vs. South Gate (10-3), at L.A. Southwest College, 2 p.m.

It will be the passing of South Gate quarterback Michael Gonzalez vs. the all-around game of junior Elyjah Staples, perhaps the top college prospect in the City Section. He gets sacks, catches passes and makes plays. The pick: Marquez.

OPEN DIVISION

Crenshaw (10-1) vs. Carson (8-3) at L.A. Southwest College, 6 p.m.

These two defenses have given up a combined 14 points in the playoffs. As impressive as Crenshaw has been, Carson has reached another level behind quarterback Chris Fields III. Crenshaw’s speed on defense and resiliency should make for a defensive battle. The pick: Carson.

James Ryan has been handed a three-week suspension after the red card he was shown during Ireland’s 24-13 defeat by South Africa at the Aviva Stadium on Saturday was upheld by an independent disciplinary committee.

Second row Ryan’s yellow card for a high hit on Malcolm Marx in the early stages of the loss to the Springboks was subsequently upgraded to a 20-minute red card.

The independent committee determined that by applying World Rugby’s sanctioning provisions, a mid-range entry point of six weeks was appropriate.

That has been reduced to three weeks, however, in light of Ryan accepting the red card, his clean record and other mitigating factors.

The sanction could be further reduced to two weeks should Ryan complete World Rugby’s Coaching Intervention Programme as a substitute for the final week of his suspension.

That option is aimed at modifying specific techniques and technical issues which contributed to the incidence of foul play.

As it stands, Ryan is ruled out of Leinster’s United Rugby Championship game against Dragons this weekend and the Investec Champions Cup matches at home to Harlequins on 6 December and away to Leicester Tigers on 12 December.

Hardcover fiction

1. The Black Wolf by Louise Penny (Minotaur Books: $30) The latest mystery in the Armand Gamache series.

2. The Correspondent by Virginia Evans (Crown: $28) A lifelong letter writer reckons with a painful past.

3. What We Can Know by Ian McEwan (Knopf: $30) A genre-bending love story about people and the words they leave behind.

4. The Proving Ground by Michael Connelly (Little, Brown & Co.: $32) The Lincoln Lawyer is back with a case against an AI company for its role in a girl’s killing.

5. The Secret of Secrets by Dan Brown (Doubleday: $38) Symbologist Robert Langdon takes on a mystery involving human consciousness and ancient mythology.

6. Alchemised by SenLinYu (Del Rey: $35) A woman with missing memories fights to survive a war-torn world of necromancy and alchemy.

7. The Loneliness of Sonia and Sunny by Kiran Desai (Hogarth: $32) The fates of two young people intersect and diverge across continents and years.

8. Heart the Lover by Lily King (Grove Press: $28) A woman reflects on a youthful love triangle and its consequences.

9. Queen Esther by John Irving (Simon & Schuster: $30) The novelist revisits the world of his bestselling “The Cider House Rules.”

10. The Widow by John Grisham (Doubleday: $32) A small-time lawyer accused of murder races to find the real killer to clear his name.

…

Hardcover nonfiction

1. Bread of Angels by Patti Smith (Random House: $30) A new memoir from the legendary writer and artist.

2. 1929 by Andrew Ross Sorkin (Viking: $35) An exploration of the most infamous stock market crash in history.

3. Nobody’s Girl by Virginia Roberts Giuffre (Knopf: $35) A posthumous memoir by Jeffrey Epstein and Ghislaine Maxwell’s most outspoken victim.

4. Lessons From Cats for Surviving Fascism by Stewart Reynolds (Grand Central Publishing: $13) A guide to channeling feline wisdom in the face of authoritarian nonsense.

5. Book of Lives by Margaret Atwood (Doubleday: $35) The author of “The Handmaid’s Tale” tells her story.

6. Always Remember by Charlie Mackesy (Penguin Life: $27) Revisiting the world of “The Boy, the Mole, the Fox and the Horse.”

7. The Uncool by Cameron Crowe (Avid Reader Press/Simon & Schuster: $35) The filmmaker recounts his experiences as a teenage music journalist.

8. The Let Them Theory by Mel Robbins, Sawyer Robbins (Hay House: $30) The podcast host explains how to stop wasting energy on things you can’t control.

9. Giving Up Is Unforgivable by Joyce Vance (Dutton: $28) A rallying cry for citizen engagement to preserve American democracy.

10. Notes on Being a Man by Scott Galloway (Simon & Schuster: $29) The NYU professor and podcaster explores what it means to be a man in modern America.

…

Paperback fiction

1. The God of the Woods by Liz Moore (Riverhead Books: $19)

2. How About Now by Kate Baer (Harper Perennial: $18)

3. The Frozen River by Ariel Lawhon (Vintage: $18)

4. Project Hail Mary by Andy Weir (Ballantine: $22)

5. I Who Have Never Known Men by Jacqueline Harpman (Transit Books: $17)

6. The City and Its Uncertain Walls by Haruki Murakami (Vintage: $19)

7. Martyr! by Kaveh Akbar (Vintage: $18)

8. Remarkably Bright Creatures by Shelby Van Pelt (Ecco: $20)

9. The Housemaid by Freida McFadden (Grand Central: $19)

10. The Bell Jar by Sylvia Plath (Harper Perennial Modern Classics: $18)

…

Paperback nonfiction

1. On Tyranny by Timothy Snyder (Crown: $12)

2. The Wager by David Grann (Vintage: $21)

3. Fight Oligarchy by Sen. Bernie Sanders (Crown: $15)

4. How to Know a Person by David Brooks (Random House Trade Paperbacks: $20)

5. Braiding Sweetgrass by Robin Wall Kimmerer (Milkweed Editions: $22)

6. Meditations for Mortals by Oliver Burkeman (Picador: $19)

7. The Art Thief by Michael Finkel (Vintage: $18)

8. All About Love by bell hooks (Morrow: $17)

9. Signs by Laura Lynne Jackson (Dial Press Trade Paperback: $22)

10. The Best American Essays 2025 by Jia Tolentino and Kim Dana Kupperman (editors) (Mariner Books: $19)

Disney World and Universal have an incredible selection of rides whether you’re into thrill rides or gentler kid-friendly ones

I spent an incredible two weeks visiting both Disney World and Universal in Florida. The two parks are enormous and there’s more to do in both of them than anyone can possibly do in a fortnight.

Disney World’s scale, especially, is hard to believe. It is effectively its own city or county. It is comparable in size to San Francisco in the USA or Manchester in the UK and is twice the size of Manhattan. It has its own roads and transport system including ferries, a cable car network and 490 buses. For comparison, the entire Cardiff Bus network has 171 buses.

Around 58 million people visit Disney World every year. Estimates from the ONS indicate that there were around 42.6m inbound visits to the UK in 2024. Disney World employs 80,000 people, making it the largest employer in the state of Florida.

Universal seems small in comparison but by any other measure Universal itself is also huge. And its comparatively smaller size gives it plenty of advantages, particularly in allowing guests to “hop” easily between some parks on foot, something that’s not possible in Disney World.

Of course, both Disney World and Universal, which are both near Orlando, are about far more than rides. There are countless shows on everything from Beauty and the Beast to Indiana Jones, as well as parades, fireworks and character meets, not to mention thousands of shops. But for many people the rides take centre stage.

In two weeks, I did more than 50 of them. I was travelling with young children so I got to sample the “thrill” rides as well as those for younger children. Both are a huge part of the Disney and Universal experiences and many of the kids’ rides are just as enjoyable as the more adrenaline-pumping (and, at times, frankly insane) flagship roller coasters. So I’ve included both in the list to help you make the most of your trip, especially if you’re visiting as a family. But one ride will live in the memory more than any other. Here are my top 10 rides from both Disney World and Universal, ranked in order:

10. Ko’okiri Body Plunge – Volcano Bay, Universal

At the heart of Universal’s Volcano Bay water park is the volcano itself. And going from the top to the bottom via a 125ft drop, 70-degree fall through a dark tube is this body plunge ride. You start to realise how scary this drop is going to be during your long climb up the stairs to the top – it’s way higher than it looks. You begin the ride by climbing into a one-person pod at the top. Then, with no warning, the floor gives way and you plummet to the bottom at blistering speed, emerging into a pool at the bottom. Watch it here:

9. Avatar Flight of Passage – Animal Kingdom, Disney World

The queue for this ride is an event in itself. You pass through an “active ACE (Alpha Centauri Expeditions) research lab” complete with working experiments and a life-size Avatar in a tank before you reach the linking chamber where you have fun while linking to your avatar. This journey builds up a huge amount of anticipation for the ride itself but nothing prepares you for what is to come. You put on 3D glasses and board your own mountain banshee before embarking on a totally immersive flight. Though your seat doesn’t actually go anywhere (though it does tilt and turn to an often- terrifying degree) the ride is completely immersive and you really feel like you’re flying. It’s a Disney must-ride! Harry Potter and the Escape from Gringotts at Universal Studios is a similarly brilliant experience.

8. Monsters Unchained: The Frankenstein Experiment – Epic Universe, Universal

Monsters Unchained is the marquee attraction of Dark Universe at Universal’s new Epic Universe and tells the story of Dr Victoria Frankenstein’s attempt to control Dracula in her “ultimate challenge”. Like Avatar above, the build-up to this ride is as much of an attraction as the ride itself, building suspense as you go, not least when riders are shown a model of the chair they’ll be sitting on being hurled around by an enormous robotic arm as a crazed scientist Igor raves at them on a screen. Harry Potter and the Forbidden Journey at Universal Studios is a similar style of ride and just as good.

7. Haunted Mansion – Magic Kingdom, Disney World

In some ways, Haunted Mansion is a much gentler version of Monsters Unchained. There’s far less motion to the two-person Doom Buggy carriages that take you through the mansion as the disembodied voice of a ghostly host guides you through so it’s kid-friendly (though obviously there’s a major supernatural theme). The part of the ride where ghosts dance as a pianist plays is fantastic. I loved this ride, all the more so for being able to experience it with my nine-year-old daughter and five-year-old son.

6. ET Adventure – Universal Studios, Universal

There are lots of gentle-ish flying rides across the two parks and you should also try Peter Pan’s flight at Magic Kingdom. But this was the pick of the bunch for me, especially for some pretty serious childhood nostalgia vibes. You sit on a bicycle as you try to avoid chasing police and secretive forces to get ET home. It’s wonderful.

5. Popeye and Bluto’s Bilge-Rat Barges – Islands of Adventure, Universal

There are lots of fantastic water rides across Disney and Universal and I could have picked any number of them here. Tiana’s Bayou Adventure at Magic Kingdom is superb, featuring a major and thrilling drop at the end. Pirates of the Caribbean, also at Magic Kingdom, is also fantastic, with pirates so realistic I found myself checking with fellow riders that some of them were not in fact actors. Na’vi River Journey at Epcot is stunning, with the animatronic Na’vi Shaman seen towards the end of the ride reportedly the most advanced Audio-Animatronics figure ever designed by Walt Disney Imagineering at a reported cost of $23m.

Living with the Land at Epcot is a one-of-a-kind (very) gentle educational boat ride, as are It’s a Small World at Magic Kingdom and Jungle Cruise in the same park, one of very few rides which comes with a host (Kilimanjaro Safaris at Animal Kingdom is another). Jurassic Park River Adventure at Islands of Adventure is also brilliant – and exciting.

But I’ve gone for Popeye and Bluto’s Bilge-Rat Barges at Universal’s Islands of Adventure as my pick of the bunch. It’s a great white water ride without being excessive so it’s kid-friendly. And it gets you absolutely soaked.

4. Tron Lightcycle/Run – Magic Kingdom, Disney World

This exceptional ride sees riders climb aboard their very own Lightcycle and take off on a high-speed adventure, racing against the Grid’s most menacing “programs”. Part of the ride takes place in daylight under the ride’s domed roof where you soar at speed above the park-goers on foot below, with the other half of the ride in near darkness set against thrilling screens. Guardians of the Galaxy at Epcot was another futuristic contender for this spot, but the additional spinning on that roller coaster made it too much to handle and Tron was a much smoother and more enjoyable ride.

3. Fearless River – Volcano Bay, Universal

If you thought you liked a lazy river, then wait until you try the Fearless River at Universal, which my family all took to calling the “crazy river”. We went around it so many times I lost count, with the kids refusing to leave for large parts of the day, usually to my secret delight. A strong current carries you around the river as you float in large rubber rings (or just swim) at a pretty fast pace, with big, chopping waves and churning rapids adding to the adventure. Life jackets are a must for adults as well as the kids. It’s amazing.

2. Surf Pool – Typhoon Lagoon, Disney World

There are wave machines… and then there’s the Typhoon Lagoon Surf Pool. I’d seen so many videos of this before arriving at Disney’s Typhoon Lagoon and wasn’t convinced it was real until I saw it with my own eyes. The Surf Pool is the centrepiece of this Disney water park and is a relatively calm and enjoyable pool for the most part. But every 90 seconds a “sonic boom” is heard sparking immediate squeals and screams of excitement at what is to come: a six-foot wave that comes surging through the pool consuming everything in its path. Some experienced lagoon-goers are able to body-surf it. Others, like me, were just battered. At one point, it knocked me into a backwards somersault. I’ve never seen anything like it.

1. Velocicoaster – Islands of Adventure, Universal

Of all the amazing rides throughout Disney World and Universal, this one stands out as the best. I’d been watching videos of it for weeks and was so nervous about riding it that I didn’t know I’d follow through with it until I was at the front of the queue and stepping on to the ride with a thumping heart.

Velocicoaster is the fastest and tallest launch coaster in Florida, launching to 70mph in 2.4 seconds. The Velocicoaster’s “top hat” is 155-feet tall, with riders plunging from its peak down an 80-degree drop. There are inversions and the “Mosasaurus roll” which inverts riders over water at 53mph to end the ride. A truly incredible experience that I will never forget. Other superb roller coasters I tried were Hagrid’s Magical Creatures Motorbike Adventure in the Islands of Adventure and Stardust Racers at Epic Universe. The Crush n Gusher water coaster at Typhoon Lagoon is also fantastic, as is the Seven Dwarfs Mine Train at Magic Kingdom. For a gentler ride for younger children that’s still fun, try the Trolls Trollercoaster at Universal Studios.

Chelsea boss Sonia Bompastor has confirmed goalkeeper Hannah Hampton will be sidelined “for a few weeks” with a quad injury.

England international Hampton picked up the injury in Saturday’s 1-1 draw with Arsenal and she was left out of the Blues’ squad for their 6-0 win at Austrian side St Polten on Tuesday.

“We’ll see if we can see her before the end of the year, but I’m not sure,” Bompastor said on Friday.

Asked if Hampton was likely to miss England’s upcoming friendlies against China on 29 November and Ghana on 2 December, the Chelsea boss replied: “Yeah, it could be the case. Yes.”

The 24-year-old’s injury comes amid controversy over comments made by former England goalkeeper Mary Earps in her autobiography.

Earps, who was dropped by Lionesses boss Sarina Wiegman in favour of Hampton before Euro 2025, described Hampton as being a “disruptive and unreliable” character.

In response to the comments, Bompastor backed her goalkeeper Hampton, saying she had shown “class” and that she felt Earps had disrespected Wiegman.

Hampton was replaced in goal by Swiss goalkeeper Livia Peng for Chelsea’s mid-week victory in the Women’s Champions League.

Chelsea, who face Liverpool on Sunday, are second in the Women’s Super League – one point behind leaders Manchester City.

PIXIE Lott oozed elegance in a bejewelled LBD just two weeks after giving birth to her second child.

The Mama Do hitmaker, 34, welcomed her second baby boy with husband Oliver Cheshire, 37, in October.

The popstar beamed as she stepped out in London for the premiere of her new movie, Christmas Karma.

She opted for a floor-length frock with a roll neck and huge silver sequin balloon sleeves for the event at Curzon Mayfair.

Pixie swept her blonde hair into a stylish up-do with front pieces left free to frame her face, and kept her make-up fresh and natural.

She took time to pose for the cameras on the Red Carpet, flashing a cheeky glance over her shoulder before placing her hands on her hips.

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The glowing parent-of-two was then joined by hubby Oliver for a few joint snaps.

Pixie stars in the festive movie based on a modern-day Christmas Carol.

She plays Mary Cratchit, Bob Cratchit’s wife, in the flick to be released today.

The pop princess’ role in the festive flick comes after she revealed she’d written a Christmas song dedicated to her newborn.

Pixie gave the first play of the tune on her Instagram page, as the soundtrack to a video showing her enjoying some tender moments with the tot.

Speaking of the tune, First Christmas, she wrote in the caption: “I just wrote a song for our new baby boy especially for this time of year.

“Pre save now in my bio and get tickets to my Christmas show in December to see it live.”

BABY JOY

Off-screen, the All About Tonight singer announced her happy baby news on her Instagram page last month.

Pixie posted a sweet video of her newborn baby boy and wrote: “He’s here,” with a blue heart emoji.

The clip showed her newborn’s little feet and hands for the first time.

Pixie’s close celebrity pals were quick to congratulate the star.

Gaby Roslin wrote: “Ahhh huge congratulations to you beautiful and your whole family. Big love.”

AJ Odudu posted: “Awww CONGRATULATIONS.”

Earlier this year, the singer revealed she and husband Oliver were expecting their second child.

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The couple are already parents to son Albert, who was born in October 2023.

Previously, Pixie and Oliver only revealed their son’s name a month after his birth when they celebrated his christening.

A look at two of this week’s top high school football playoff games in the Southland:

FRIDAY

Leuzinger (8-1) at Crean Lutheran (10-0), 7 p.m.

Leuzinger, the Bay League champions, has a top offensive line and an aggressive, hard-hitting defense that will try to contain Crean Lutheran’s athletic quarterback, Caden Jones, who has 29 touchdown passes. This Division 2 opener is part of a division loaded with tough first-round matchups. The pick: Leuzinger.

Laguna Beach (9-1) at Sherman Oaks Notre Dame (5-5), 7 p.m.

Can Laguna Beach deal with Notre Dame’s huge offensive line? That’s the big question in this Division 3 playoff opener. Versatile quarterback Wyatt Brown has run for 19 touchdowns. If the Knights can throw around their weight, things will look good. Laguna Beach has talented junior quarterback Jack Hurst, who has 41 touchdown passes. The pick: Notre Dame.

A historic drought in the country has culminated in a ‘100 percent drop in precipitation’ in the Tehran region.

The main source of drinking water for residents of the Iranian capital Tehran is at risk of running dry within two weeks, according to state media, due to a historic drought plaguing the country.

The Amir Kabir Dam, one of five that provide drinking water for Tehran, “holds just 14 million cubic metres of water, which is eight percent of its capacity”, the director of the capital’s water company, Behzad Parsa, was quoted as saying by the IRNA news agency on Sunday.

At that level, it can only continue to supply Tehran with water “for two weeks”, he warned.

The announcement comes as the country experiences its worst drought in decades. The level of rainfall in Tehran province was “nearly without precedent for a century”, a local official declared last month.

The megacity of more than 10 million people is nestled against the southern slopes of the often snow-capped Alborz Mountains, which soar as high as 5,600 metres (18,370 feet) and whose rivers feed multiple reservoirs.

A year ago, the Amir Kabir dam held back 86 million cubic metres of water, Parsa said, but there had been a “100 percent drop in precipitation” in the Tehran region.

Parsa did not provide details on the status of the other reservoirs in the system.

According to Iranian media, the population of Tehran consumes around three million cubic metres of water each day.

As a water-saving measure, supplies have reportedly been cut off to several neighbourhoods in recent days, while outages were frequent this summer.

In July and August, two public holidays were declared to save water and energy, with power cuts an almost daily occurrence amid a heatwave that saw temperatures rise beyond 40 Celsius (104 Fahrenheit) in Tehran and exceed 50C (122F) in some areas.

“The water crisis is more serious than what is being discussed today,” Iranian President Masoud Pezeshkian warned at the time.

Water scarcity is a major issue throughout Iran, particularly in arid provinces in the country’s south, with shortages blamed on mismanagement and overexploitation of underground resources, as well as the growing impact of climate change.

Iran’s neighbour Iraq is experiencing its driest year on record since 1993, as the Tigris and Euphrates Rivers, which flow into the Persian Gulf from West Asia, have seen their levels drop by up to 27 percent due to poor rainfall and upstream water restrictions, leading to a severe humanitarian crisis in the country’s south.

STRANGER Things star David Harbour admitted he has “made mistakes” over the last 10 years just WEEKS before ex-wife Lily Allen released her bombshell album.

The couple, who split after a five year marriage in February this year, have had their relationship thrust into the spotlight after Lily’s blistering attack on her marriage on new album, West End Girl.

The 14-track album was dropped last week, but shortly before the release, Harbour briefly spoke about ‘regrets’ while promoting the upcoming final season of Stranger Things.

Talking to Esquire Spain, Harbour was asked to reflect on the past decade of his life in line with how long he has played burly cop Jim Hopper on the show.

He responded by calling it a “hard question” and, while not addressing Lily specifically, he said: “I would change either everything or nothing. 

“You either accept your path completely and realise that even the pain and the slip-ups and the mistakes are all part of the journey, and that there’s truth and growth, wisdom and deeper empathy and connection in all that.”

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“It’s kind of like a house of cards,” he added. “The minute you try to change one thing you kind of have to change it all.”

Ultimately he said he’d change “everything” and “just make his life happy and silly”, though it would “suck” not to be an actor.

West End Girl

On West End Girl, Lily chronicles her relationship with Harbour, starting with their whirlwind relationship after meeting on Raya in 2019 and setting up their life together in New York.

However, she notes things began to unravel after she landed a part in a West End production of 2:22 A Ghost Story, which required her to come back to London.

She then accuses him of getting close to a woman she names “Madeline”, despite them having an “arrangement” for him to sleep with other people.

Mentioning her on the track ‘Tennis’, fans were abuzz with the question: “Who the f**k is Madeline?”

While Lily has said the album, which features alleged dates and supposed voice notes, is a mixture of fact and fiction, the the real life “Madeline” has spoken out, with New Orleans based costume designer Natalie Tippett, 34, claiming to have been involved in the fling.

David and Natalie reportedly began an affair while working on 2021 film We Have A Ghost, despite marrying Lily the previous year in Las Vegas.

He later allegedly flew Natalie to his home in Atlanta, Georgia.

Since the album has been released, Harbour has not commented on the claims on the songs – which took Lily 10 days to make and record.

It’s also unclear where the line between fact and fiction stands on the album.

Despite this, Lily made another dig at her ex – dressing up as cartoon character Madeline for Halloween as she partied with friends in Los Angeles.