work

HumAngle, the newsroom known for its in-depth coverage of conflict, displacement, and insecurity across West Africa, has announced a major overhaul of how our journalists work and rest.

From January 2026, an Anti-Burnout Work Policy that restructures the work year into nine active months and three mandatory rest months will be introduced, while maintaining a full 12-month salary for our journalists.

The move, an attempt at reimagining what sustainable journalism looks like, is designed to protect mental health, reduce burnout, and sustain the quality of reporting from some of the region’s most difficult environments.

Under the new system, editorial staff will work in three cycles each year:

• Work: January–March 
• Rest: April
• Work: May–July 
• Rest: August
• Work: September–November 
• Rest: December

Traditional annual leave will be embedded into these rest periods, which are intended to serve as structured breaks for recovery, reflection, and creative renewal. The in-house workweek for journalists will also be shortened to three days — Monday to Wednesday.

Support teams and staff of the advocacy arm, HumAngle Foundation, will have a different, flexible structure: they will be required to work two in-office days per week, with the remaining days remote, and will receive 28 days of paid annual leave. Accountability and performance expectations will remain in place, but alongside a clearer recognition of human limits.

Why rest is now part of the job

HumAngle’s reporters routinely work in and around conflict zones, camps for displaced people, and communities living with violence and trauma. This kind of journalism demands not just technical skill but emotional stamina and deep empathy, and the costs are often borne silently. We have a dedicated clinical psychologist who supports staff well-being and manages secondary trauma that results from our regular interaction with violence and victims of violence.

HumAngle sees burnout not simply as personal exhaustion, but as a direct threat to credible journalism, storytelling, creativity, and accuracy. Building rest into the structure of work itself is a step towards treating mental health as a core requirement for excellence, not an afterthought. Well-rested journalists are better able to think clearly, write powerfully, and engage more sensitively with vulnerable sources and communities.

The policy aims to ensure continuity in coverage while allowing staff to step back regularly, process the emotional weight of their work, and return with renewed focus.

A cultural shift in African newsroom practice

Care, structure, and humanity, especially in newsrooms that routinely deal with violence, loss, and injustice, are critical for the sustainability of newsrooms. By aligning productivity with well-being, HumAngle hopes to model an alternative to the long-standing culture of overwork that exists in many media spaces.

The policy is a commitment to our people and our mission: to demonstrate that rest and excellence can reinforce each other, and that protecting journalists’ minds is part of preserving the integrity of the stories they tell.

I think about Rob Reiner almost every time I put on my socks.

I am old enough to remember the famously hilarious (and largely improvised) bit from “All in the Family” in which Reiner’s Mike “Meathead” Stivic and Carroll O’Connor’s Archie Bunker argue about the correct order of donning footwear — both socks first (Archie’s method) or sock/shoe, sock/shoe (Mike’s).

The straight-faced back and forth was, and is, a pitch-perfect exhibition of how much time and energy we waste judging, and arguing about, personal differences that are none of anyone’s business and matter not at all.

I also think about Reiner whenever my now-adult children and I sit down for a movie night. When all other suggestions fail, at least one of his films — ”Stand by Me,” “The Princess Bride,” “A Few Good Men,” “When Harry Met Sally…,” “Misery” — will achieve consensus, in large part, because of that same understanding.

Reiner was, above all, a compassionate filmmaker, willing to excavate all manner of conflict and tension in search of the essential humanity that connects us all.

Reiner helped shape the culture of my youth and early adulthood with such brilliant empathy that his random appearances on television — as Jess’ (Zooey Deschanel) father in “New Girl” or, more recently, Ebra’s (Edwin Lee Gibson) business mentor on “The Bear” — sparked immediate reflexive delight, as if a beloved uncle had shown up unexpectedly at a family dinner.

It helped, no doubt, that I share his political leanings. Reiner’s advocacy for gay marriage and early education were well-known, as was, in recent years, his unvarnished criticism of President Trump, who Reiner, like many others, considered a danger to democracy.

That criticism should have prepared me for the chilling invective unleashed by some, including Trump, in the wake of the news that Reiner and his wife, Michele Singer Reiner, were found dead in their home on Sunday night, victims of a knife attack, and that their son Nick, who has a history of drug addiction, was in police custody.

Even as the millions who were touched by Reiner’s work struggled to process their shock, grief and horror, Trump responded with a post in which he claimed that the Reiners’ murders were “reportedly due to the anger he caused others through his massive, unyielding, and incurable affliction with a mind crippling disease known as TRUMP DERANGEMENT SYNDROME, sometimes referred to as TDS.”

Horror unfolds around the world on a daily basis. This weekend, a father and son opened fire on a Hanukkah celebration in Australia, killing 15 and wounding many others; a gunman killed two and wounded nine at Brown University; and two members of the Iowa National Guard were killed and three others injured by gunmen in Syria.

Even so, between the shocking news of the Reiners’ deaths, the possible involvement of their son and the unhinged and cold-hearted response of the president of the United States, it is difficult to know how to react, short of tearing out one’s hair and screaming up to an indifferent sky.

No person’s life means intrinsically more than any other — many people are killed by violence each and every weekend, often by family members; that we seem to have become inured to mass shootings is another sort of horror.

But Reiner’s work, in film, television and politics, affected millions around the world personally and culturally. In “All in the Family,” his young leftie was far from the hero of the piece — Mike’s values were more humane and progressive than the bigoted Archie’s, but he could be just as narrow-minded as his father-in-law and just as capable of change.

As a director, Reiner championed independent filmmaking, which is to say smartly written movies that told interesting stories about characters that were recognizable in their humor and humanity (which is one reason he was so successful in adapting Stephen King’s work, including the novella “Stand by Me” is based on and “Misery”).

His political activism too was grounded in the desire to make life better for those historically marginalized by policy and culture. He campaigned against tobacco use and for Proposition 10, which increased the tax on cigarettes, and funded early education. In 2009, he used his considerable influence to co-found the American Foundation for Equal Rights and successfully fought to legally challenge Proposition 8, which banned same-sex marriage in California.

As an artist and a public figure, he put his money where his mouth was and remained invariably sincere, a powerful and compelling trait that has become increasingly rare in a time of the sound-bite inanities, muddy thinking, obvious contradictions and outright falsehoods that threaten our public and political discourse.

Reiner mastered many mediums and wielded a broad palette but his signature artistic trait was empathy. No story was too small, or too brutal, to be examined with kindness and an understanding that the most grave injustice we can commit is to choose apathy or revenge when connection and transcendence are always possible.

The news cycle surrounding the Reiners’ deaths is likely to get worse, as details emerge and reactions of all kinds continue. For a long while, it will be difficult to think of Reiner and his wife as anything but victims of a brutal crime of truly tragic proportions and the regrettable heartlessness that our political divisions have created.

Ironically, and mercifully, solace for this loss, and so many others, can be found in Reiner’s work, films and performances that are impossible to watch without feeling at least a little bit better.

As Hollywood and the world mourns, I will try to think of Reiner as I always have. After all, no matter the order, we all put on our shoes and socks one at a time.

And then, as his artistic legacy teaches us, we stand and try to do the best we can with whatever happens next.

Rob Reiner was a movie director who began as an actor who wanted to direct movies. The bridge between these careers was “This Is Spinal Tap” in 1984, his first proper film, in which he also acted. His original inclination, based on the music documentaries he had studied, had been not to appear onscreen, but he decided there was practical value in greeting the audience with a face familiar from eight seasons of “All in the Family” as Archie Bunker’s left-wing son-in-law, Michael “Meathead” Stivic.

Reiner’s television career began at 21, partnered with Steve Martin, writing for “The Smothers Brothers Comedy Hour.” As an actor, his early years were characterized by the small parts and guest shots that describe the early career of many performers we come to know well. He played multiple characters on episodes of “That Girl” and “Gomer Pyle, USMC,” a delivery boy on “Batman,” and appeared on “The Andy Griffith Show” and “Room 222.” His last such role, in 1971, the same year “All in the Family” premiered, was on “The Partridge Family” as a tender-hearted, poetry-writing, tattooed biker who becomes attached to Susan Dey‘s character and somewhat improbably takes her to a school dance. It’s a performance that prefigures the tenderness and humanity that would become a signature of his work as a writer, director and performer — and, seemingly, a person.

On “All in the Family,” in his jeans and work shirt, with a drooping mustache that seemed to accentuate a note of sadness, Reiner largely played the straight man, an irritant to Carroll O’Connor’s Archie Bunker, teeing up the issue-oriented dialectic. Once in a while he’d be given a broad comic meal to chew, as when wife Gloria (Sally Struthers) goes into labor while they’re out for dinner, and he accelerates into classic expectant-father sitcom panic. But minus the “Meathead” material, “All in the Family” is as much a social drama as it is a comedy, with Mike and Gloria struggling with money, living with her parents, new parenthood, and a relationship that blows hot and cold until it finally blows out for good. He’s not a Comic Creation, like Archie or Edith with their malaprops and mispronunciations, or even Gloria, but his importance to the storytelling was certified by two supporting actor Emmys.

Rob Reiner, Sally Struthers, Caroll O’Connor and Jean Stapleton in a scene from Norman Lear’s television series “All in the Family.”

(Bettmann Archive via Getty Image)

What Reiner carried from “Family” into his later appearances was a sort of bigness. He could seem loud — and loudness is something Norman Lear’s shows reveled in — even when he’s speaking quietly. Physically he occupied a lot of space, more as time went on, and beginning perhaps with “Spinal Tap,” in which he played director Marty DiBergi, he transformed tonally into a sort of gentle Jewish Buddha. In the 2020 miniseries “Hollywood,” Ryan Murphy’s alternate history of the 1930s picture business, the studio head he plays is not the desk-banger of cliche, but he is a man with an appetite. (“Get me some brisket and some of those cheesy potatoes and a lemon meringue pie,” he tells a commissary waiter — against doctor’s orders, having just emerged from a heart attack-induced coma. “One meal’s not going to kill me.”) He’s the boss, but, in a scene as lovely as it is historically unlikely, he allows his wife (Patti LuPone), who has been running things during his absence, to also be the boss.

Reiner left “All in the Family” in 1978, after its eighth season to explore life outside Michael Stivic. (In 1976, while still starring on “Family,” he tested those waters, appearing on an episode of “The Rockford Files” as a narcissistic third-rate football player.) “Free Country,” which he co-created with frequent writing partner Phil Mishkin, about a family of Lithuanian immigrants in the early 1900s, aired five episodes that summer. The same year, ABC broadcast the Reiner-Mishkin-penned TV movie “More Than Friends” (available on Apple TV) in which Reiner co-starred with then-wife Penny Marshall. Directed by James Burrows, whose dance card would fill up with “Taxi,” “Cheers” and “3rd Rock From the Sun,” it’s in some respects a dry run for Reiner’s “When Harry Met Sally…,” tracking a not-quite-romantic but ultimately destined relationship across time.

Future Spinal Tap lead singer Michael McKean appears there as a protest singer, while the 1982 CBS TV movie “Million Dollar Infield,” written again with Mishkin, features Reiner alongside future Spinal Tap lead guitarist Christopher Guest and bassist Harry Shearer; it’s a story of baseball, families and therapy. Co-star Bruno Kirby the year before had co-written and starred in Reiner’s directorial debut, “Tommy Rispoli: A Man and His Music,” a short film that aired on the long-gone subscription service On TV as part of the “Likely Stories” anthology. Kirby’s character, a Frank Sinatra-loving limo driver (driving Reiner as himself), found its way into “This Is Spinal Tap,” though here he is the center of a Reineresque love story.

After “Spinal Tap,” as Reiner’s directing career went from strength to strength, he continued to act in other people’s pictures (“Sleepless in Seattle,” “Primary Colors,” “Bullets Over Broadway” and “The Wolf of Wall Street,” to name but a few) and some of his his own, up to this year’s “Spinal Tap II: The End Continues.” On television, he mostly played himself, which is to say versions of himself, on shows including “It’s Garry Shandling’s Show,” “Curb Your Enthusiasm” and, of all things, “Hannah Montana,” with a few notable exceptions.

Rob Reiner and Jamie Lee Curtis play the divorced parents of Jess (Zooey Deschanel) in Fox’s “New Girl.”

(Ray Mickshaw / Fox)

The most notable of these, to my mind, is “New Girl,” in which Reiner appeared in 10 episodes threaded through five of the series’ seven seasons, as Bob Day, the father of Zooey Deschanel’s Jess. Jamie Lee Curtis, married to Guest in the real world, played his ex-wife, Joan, with Kaitlin Olson as his new, much younger partner, Ashley, who had been in high school with Jess. He’s positively delightful here, whether being overprotective of Deschanel or suffering her ministrations, dancing around Curtis, or fencing with Jake Johnson’s Nick. Improvisational rhythms characterize his performance, whether he’s sticking to the script or not. Most recently, he recurred in the fourth season of “The Bear,” which has also featured Curtis, mentoring sandwich genius Ebraheim (Edwin Lee Gibson); their scenes feel very much like what taking a meeting with Reiner might be like.

Coincidentally, I have had Reiner in my ear over the past couple of weeks, listening to the audiobook version of “A Fine Line: Between Stupid and Clever,” which he narrates with contributions from McKean, Shearer and Guest. A story of friendship and creativity and ridiculousness, all around a wonderful thing that grew bigger over the years, Reiner’s happy reading throws this tragedy into sharper relief. I have a DVD on the way, though I don’t know when I’ll be up to watching it. I only know I will.

Alang, India – Standing on the windswept coastline of the Arabian Sea in the western Indian state of Gujarat, Ramakant Singh looks towards the empty, endless horizon.

“In the olden days, ships lined up at this yard like buffaloes before a storm,” says the 47-year-old. “Now, we count the arrivals on our fingers.”

Ramakant works at Alang — the world’s largest ship-breaking yard, located in Bhavnagar district of Gujarat, Prime Minister Narendra Modi’s home state. For two decades, Ramakant has cut apart vessels as large as oil tankers and cargo carriers that sailed in from Europe and other Asian countries for his livelihood.

With its unique tidal pattern and gently sloping beach, Alang in the 1980s became the backbone of India’s ship recycling industry, where ships could be beached and dismantled at a minimal cost.

Over the decades, more than 8,600 vessels — collectively weighing roughly 68 million tonnes of light displacement tonnage (LDT), which is the actual weight of a ship without fuel, crew and cargo — have been taken apart here, accounting for nearly 98 percent of India’s total and about a third of the global ship recycling volume.

Across the world’s oceans, an ageing fleet of cargo ships, cruise liners, and oil tankers is nearing the end of its life. Of the roughly 109,000 vessels still in service, nearly half are more than 15 years old — rusting giants that will soon be retired.

Each year, close to 1,800 ships are declared unfit to sail and sold for recycling. Their owners pass them on to international middlemen, known as cash buyers — operating out of global shipping hubs such as Dubai, Singapore, and Hong Kong. These brokers, in turn, resell the vessels to dismantling yards in South Asia, where the final act of a ship’s life unfolds.

In Alang, ships are driven ashore at high tide — a process called beaching. Once grounded, hundreds of workers cut them apart piece by piece, salvaging steel, pipes, and machinery. Almost everything — from cables to cupboards — is resold for use by construction and manufacturing industries.

However, over the past decade, the number of ships arriving on Alang’s coast has dwindled. Once a skyline of giant hulls that looked like high-rise buildings against the town’s asbestos roofs, only a few cruise ships and cargo carriers dot the horizon today.

“Earlier, there was plenty of work for everyone,” Chintan Kalthia, who runs one of the few yards still open, tells Al Jazeera. “Now, most of the workers have left. Only when a new ship beaches do a few come back to Alang. My own business is down to barely 30-40 percent of what it used to be.”

According to data from India’s Ship Recycling Industries Association, 2011-12 marked Alang’s busiest financial year since it began operations in 1983, with a record 415 ships dismantled. Since then, the yard has faced a steep decline — of the 153 plots developed along the 10km (6-mile) coastline, only about 20 remain functional, and even they are operating at barely 25 percent capacity.

“But what’s going wrong in Alang has multiple reasons,” says Haresh Parmar, secretary of the Ship Recycling Industries Association (India). “The biggest is that globally, shipowners are not retiring their old vessels. Post-COVID, a surge in demand led to record profits in shipping. With freight rates soaring, owners are pushing ships beyond their usual operational life instead of sending them for dismantling.”

A key factor behind the surge in freight rates is global disruptions. Israel’s genocidal war in Gaza has had a ripple effect on global trade routes, with Yemen’s Houthi rebels repeatedly attacking commercial vessels in the Red Sea in solidarity with the Palestinians. The resulting security crisis has forced ships to bypass the Suez Canal and instead take the longer Cape of Good Hope route, sending freight rates soaring and delaying cargo worldwide.

Similarly, an analysis by the United Nations Conference on Trade and Development (UNCTAD) conducted in June 2022 found that the Russia-Ukraine war and other Middle East tensions had pushed up marine fuel costs by more than 60 percent, adding to operational expenses and shipping delays.

Together, these factors have sharply reduced the supply of end-of-life ships heading to Alang. “When owners are earning well, they don’t scrap their vessels,” says Parmar. “That’s why our yards are standing empty.”

Compliance raising costs

But that is not the only reason why Alang is struggling.

India’s ship recycling industry has undergone a significant transformation since the country acceded to the Hong Kong International Convention for the Safe and Environmentally Sound Recycling of Ships (HKC) in November 2019, becoming one of the first top ship-breaking nations to do so. Under the HKC and the 2019 Recycling of Ships Act, yards at Alang upgraded their infrastructure, installed pollution control systems, lined hazardous waste storage pits, trained workers, and maintained detailed inventories of toxic materials used in vessels.

These measures made Alang-Sosiya Ship Recycling Yards (ASSRY) one of the most compliant ship-recycling clusters in the developing world, with 106 of ASSRY yards having received HKC Statements of Compliance (SoC). Sosiya is a village located right next to Alang on the Gulf of Khambhat coast in Gujarat. Together, Alang and Sosiya form the entire stretch of beach where ship-breaking plots operate.

But achieving these standards came at a high cost: each yard had to invest between $0.56m and $1.2m to meet compliance norms, raising operational costs at a time when competition from neighbouring countries remains fierce.

“Think of it like a roadside eatery versus a global burger chain — the chain has shinier rules, cleaner kitchens, and safer gear, but you pay extra for the sparkle. The Hong Kong Convention works the same way,” said Kalthia, whose company, RL Kalthia Ship Breaking Private Limited, became the first ship recycling facility in India to receive HKC compliance certification from ClassNK in 2015, as their website shows. ClassNK is a leading Japanese ship classification society that audits and certifies international maritime safety and environmental standards.

“Compliance makes things safer and brings us up to international standards — it gives us an edge only on paper,” says Chetan Patel, a yard owner at Alang. “But it has also raised costs significantly.”

That, in turn, has made it hard for Alang’s ship-breakers to offer prices comparable to those of competitors.

“When neighbouring markets can pay more, shipowners go there,” Patel said.

Competing ship-recycling yards are thriving. In Bangladesh’s Chattogram port and Pakistan’s Gadani yard, shipowners are being offered $540-550 per LDT and $525-530 per LDT, respectively, compared with $500-510 per LDT at Alang.

“We can’t match the rates offered by Bangladesh and Pakistan,” says Parmar. “If we tried, we’d be running at a loss.”

This is reflected clearly in the data: the number of ships decommissioned in India dropped from 166 in 2023 to 124 in 2024. In contrast, Turkiye’s figures nearly doubled to 94 from 50, and Pakistan’s rose from 15 to 24 during the same period.

Supporting industries struggle

Alang is not just a ship-breaking yard, but a vast recycling ecosystem that sustains the surrounding region’s economy.

From the coastal town of Trapaj — the last big settlement before Alang — an 11km (7-mile) stretch of road is lined with sprawling, makeshift shops selling remnants of decommissioned ships. Everything that used to be part of life at sea eventually finds its way here: rusted chains, rescue boats, refrigerators, ceramic crockery, martini glasses, treadmills from shipboard gyms, air conditioners from cabins, and chandeliers from officers’ quarters.

“Whatever is there on the ship, we own it,” says Parmar. “Before the cutting begins, all valuable items are auctioned and reach these stores.”

Ram Vilas, who runs a ceramic shop selling salvaged crockery by the kilo, says most of his customers used to come from commercial establishments across Gujarat. “Now, business has gone dead,” he tells Al Jazeera. “This stretch you see doesn’t even have one-tenth of the crowd it used to. With fewer ships coming in, we don’t have enough stock to fill our shops.”

The ripple effects of Alang’s decline extend to other industries as well. Waste is handled by specialised facilities, while reusable steel is supplied to more than 60 induction furnaces and 80 rerolling mills, some 50km (30 miles) away in Bhavnagar, converting it into TMT bars – reinforced steel rods – and other construction materials.

But with fewer ships arriving, the supply of scrap steel has dropped sharply, disrupting operations of furnaces, mills, and hundreds of small businesses that depend on ship-derived goods. More than 200 retail and wholesale shops that once bustled with activity now face dwindling sales.

“Gas plants, rolling mills, furnace units, transporters, drivers — everyone connected to this chain has lost their livelihood,” says Parmar.

In Bhavnagar, 29-year-old Jigar Patel, who runs a flange manufacturing unit, says his business has suffered.

“I opened my unit in 2017, seeing the opportunity with steel sheets easily available from Alang,” he says. “But in the past two years, the slowdown has hit hard. Now, I have to buy sheets from Jharkhand. It’s not just expensive, but the raw steel is harder to cut and process. The Alang sheets were more malleable and ductile — they were made for work and of international standard.”

Workers at Alang, most of them migrants from poorer Indian states in the north and east, including Jharkhand, Bihar, Odisha and Uttar Pradesh, have also begun to leave. “They only show up when ships arrive at the docks,” Vidyadhar Rane, president of the Alang-Sosiya Ship Recycling and General Workers’ Association, tells Al Jazeera.

“Yard owners call them when there is work. The rest of the time, they find other jobs in nearby towns,” he says.

At its peak, Alang employed more than 60,000 workers. Today, that number has shrunk to fewer than 15,000, according to the union.

Ramakant, who first arrived in Alang at the age of 35, recalls working for seven straight years before the slowdown began. “Now, I only return when my employer calls,” he says, adding that he spends the rest of his time working in the industrial town of Surat.

The work at the yard, he admits, has become far safer than it once was. “This was once the deadliest job — we would see workers dying every other day. Now there’s training, safety gear, and order,” Ramakant says, looking towards the silent coast.

“But what’s the point of safety when there’s no work? Everything now depends on whether the next [ship] arrives at the yard or not.”

Netflix viewers have just uncovered a surprising link between the Knives Out thriller series and Daniel Craig’s famous James Bond franchise.

Netflix viewers have just spotted a surprising link between the beloved Knives Out trilogy and Daniel Craig’s iconic 007 films.

The streaming giant has just released Wake Up Dead Man, which marks the third thriller in the Rian Johnson whodunit franchise.

Craig reprises his role as eccentric detective Benoit Blanc and takes on a seemingly impossible murder case.

Wake Up Dead Man has bagged a stellar 92% Rotten Tomatoes score, with many viewers already crowning it as the best thriller in the series.

This comes as no surprise considering its talented cast, which includes Josh O’Connor, Glenn Close, Josh Brolin, Kerry Washington, and Mila Kunis.

But the ensemble cast has caught moviegoers’ attention with more than just their acting chops. Many have pointed out that each instalment in the franchise has featured at least one actor that Craig worked with during his James Bond days.

Taking to Reddit, one fan posted a series of images of Bond actors who have also appeared in the Knives Out trilogy.

They shared their discovery, writing: “Something interesting I noticed after watching the movies back to back. With Wake Up Dead Man featuring Andrew Scott and Jeffrey Wright , Daniel Craig has worked again with at least one other actor from his James Bond movies on all 3 Knives Out films.”

Fans of the series will remember that the first film featured Oscar nominee Ana de Armas as nurse Marta Cabrera.

Craig and de Armas also collaborated in No Time to Die, in which the actress played CIA agent Paloma.

However, as some fans on Reddit pointed out “Ana de Armas was a Knives Out actor in a Bond movie, not the other way around,” since she joined the Bond universe two years after starring in the mystery film.

Craig later reunited with fellow Bond star Dave Bautista in Glass Onion, the Knives Out sequel.

Spectre fans will remember Bautista as terrifying henchman Hinx, a character worlds away from his light-hearted Glass Onion role as gamer Duke Cody.

Irish actor Andrew Scott also featured in the same 2015 Bond film as intelligence agent Max Denbigh.

Scott plays misguided writer Lee Ross in Wake Up Dead Man, though he sparingly shares scenes with Craig.

Another No Time to Die star, Oscar nominee Jeffrey Wright also reunites with Craig in the new Knives Out film.

Wright plays Bishop Langstrom, who serves as something of a mentor for main character Father Jud Duplenticy (O’Connor).

Fans were especially thrilled to see this duo collaborating again, four years after Wright played Bond’s ally Felix Leiter.

Responding to the Reddit thread, one fan penned: “God I love Jeffery Wright,” with someone else agreeing: “Was the best surprise seeing him!”

And a third added: “The Jeffrey wright one really made me happy. Didn’t know he was in it!”

Wake Up Dead Man: A Knives Out Mystery is streaming now on Netflix

’Tis the season of Top 10 lists. On occasion, being at the bottom of the list is a plus.

I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter, wondering if you’ve felt that 1% decrease in traffic congestion this year. I had plenty of time to contemplate its veracity the other day while inching my way down the 405 Freeway on my drive home. Let’s just say I’m unconvinced.

Let’s think happier thoughts — the continued, sweeping success of the year’s best movie, “One Battle After Another.”

This week’s digital cover story

(Bexx Francois / For The Times)

I spoke with the women of Paul Thomas Anderson’s acclaimed epic, “One Battle After Another,” on a rainy day last month in the midst of that atmospheric river that washed through the city. You want to talk traffic congestion? Try going down San Vicente during rush hour on the way to a premiere at the Academy Museum.

The only movie worth that effort this year might be … “One Battle After Another.”

For our Envelope digital cover story, we gathered stars Regina Hall, Chase Infiniti and Teyana Taylor for a stunning photo shoot with Times contributor Bexx Francois, followed by a conversation accompanied by a slate of appetizers that evoked memories of the night before when Taylor’s French fries went missing at their Governors Awards table.

“I went to the bar during the dinner and came back,” Taylor says. “And Regina’s like, ‘Somebody took my plate.’ And I look down and say, ‘Somebody ate my fries.’” She motions at Hall. “Goldilocks over here.”

There were no beefs over the apps that day, just the kind of camaraderie evident by the care Infiniti showed her co-stars, helping them keep their immaculate outfits pristine. “One Battle After Another” feels like a lock for a Screen Actors Guild Award (now known as the Actors) ensemble nomination, in no small part due to the exemplary work of these three women, along with co-stars Leonardo DiCaprio, Sean Penn and Benicio Del Toro.

Taylor won a supporting actor prize Sunday from the Los Angeles Film Critics Assn. for her portrayal of Perfidia Beverly Hills, the revolutionary leader of the French 75. The character dominates the movie’s 35-minute opening section, an extended prologue that ends with Perfidia betraying members of her group to avoid prison and abandoning her daughter in the haze of postpartum depression.

“Perfidia anchors this movie,” Taylor says. “We got a boat ride to the middle of the ocean and we gonna anchor this boat, and when we anchor this boat, I’m done.” She turns to Hall. “Then I need you to get on your jet ski and go.”

Taylor loves Perfidia, as do Infiniti and Hall. She’s protective of the character, admitting that, yes, Perfidia is selfish. But also: She has her reasons.

We talked about a scene that Anderson cut from the film featuring Perfidia and Hall’s steadfast Deandra, another member of the French 75. Perfidia calls Deandra from custody, Sean Penn’s Lockjaw lurking in the background, and tells Deandra, “Remember those baby socks I was telling you about? I need you to go out and get them.”

It’s code: Perfidia wants Deandra to make sure that she takes care of her baby, Willa, and get out of town.

“When people have certain opinions of Perfidia, that’s the part of her that they didn’t see,” Taylor says. “People write her off, but she made that phone call.”

“Perfidia and Deandra are best friends,” Hall says. “Watching the movie, you can feel that. But that scene made it clear.”

“But in hindsight,” Taylor says, “artistically that scene would not have made sense. We needed Perfidia to be selfish.”

“She’s not selfish,” Infniti, who plays Willa, interjects. “She was doing the only thing she felt she could do.”

“That’s true,” Taylor replies. “But she’s also selfish. That’s why I think Paul is a f— genius. He is a mad scientist. He really knew what to do with this movie to create a healthy dialogue. He got people talking.”

More coverage of ‘One Battle After Another’

The UCLA gymnastics team offered fans a sneak peek of what can be expected during the 2026 season at its annual Meet the Bruins event Saturday.

The Bruins are coming off a runner-up finish at the NCAA championships and a sweep of the Big Ten regular season and conference titles.

Bar routines have been an area of growth for UCLA during the past season, and the team is shaping up to have better depth. The gymnasts have been pushing each other to improve, and UCLA coach Janelle McDonald is pleased with the progress.

UCLA gymnast Jordan Chiles, center, fires up teammates during the Meet the Bruins exhibition on Saturday, Dec. 13, 2025, at Pauley Pavilion.

(Dylan Petrossian/UCLA Athletics)

“Really excited about where we are at on bars,” McDonald said. ”I feel like it can be a great event for us and just really working on the consistency of the details right now.”

There are skills the Bruins want to clean up and tighten before the first meet of the new season in January, including sharper execution and landings.

“There were a couple of uncharacteristic things that we don’t typically see in practice, people that are really consistent with sticking and having steps,” McDonald said after the Meet the Bruins exhibition.

The seniors say they are focused on adding routines and events, emphasizing learning, growing and pushing themselves in their final year.

“I feel like both Ciena [Alipio] and Maddie [Anyimi] have had that mentality all summer long to really be able to come into the preseason and make a statement. It was great to see them out there in different events and to see them perform so confidently,” McDonald said.

Sophomore Macy McGowan did not perform on floor due to an injury and has been working throughout the offseason, building back each week to get stronger.

Jordan Chiles showed off her Prince themed floor routine for the final time and will replace it with something new during the competition season.

“I am really excited to do this floor routine,” said Chiles, who was a finalist on “Dancing with the Stars” during the offseason. ”We’ve already started and honestly, I’m like, ‘This is not Jordan. I’ve done the cutesy, I’ve done the hip-hop, I’ve done all those things and this is more the passionate, confident last era of being a Bruin.’”

Freshman Ashlee Sullivan stepped onto the Pauley Pavillion floor for the first time and has been adjusting to the transition from elite competition to collegiate gymnastics.

“When I came here, we were already hitting the ground running,” Sullivan said. “Like everyone looked so good. The team looked competition ready. Feeding off of that, everyone … pushes me to be [the] best I can.”

Tiana Sumanasekera, Nola Matthews, Jordis Eichman, Kai Mattei, Ava Callahan and Sullivan joined the roster this season, bringing a wide variety of skills to the UCLA lineup.

The 2026 season begins Jan. 3, when the Bruins will compete against Washington, California and Oregon State.

Lord Krishna, Hinduism’s compassionate god of divine love, is often portrayed with a flute in hand. Perhaps that has something to do with the story that when he cut a large drum in half, producing two hand drums for rhythmic accompaniment, which is a mythical origin for the tabla, these small hand drums came to be treated like a back-up rhythm section. Melody was the star. In classical Indian music, sitar masters were stars, and tabla players traveled second class and were poorly paid.

A father and son changed that. Alla Rakha was the loyal tabla partner of Ravi Shankar, who created an international rage for raga in the 1960s, holding sway over the likes violinist Yehudi Menuhin, the Beatles and Philip Glass. His son, Zakir Hussain, an equally great tabla guru, expanded tabla allure into jazz, swaths of pop music, film and television. He became one of the most convincing early proponents of the world music movement, readily fitting in tabla with flamenco as well as with African, Indonesian , Afro-Cuban, you-name-it drumming. Hussain and his tabla’s most warmly human sounds have entered the wide world’s soundtrack.

Monday will be the first anniversary of Hussain’s death, at age 73, from a pulmonary illness. His last work was a collaboration with Third Coast Percussion, which commissioned “Murmurs of Time” in celebration of the Chicago ensemble’s 20th anniversary. It was the only work by one of the world’s greatest percussionists for a percussion ensemble. Hussain lived long enough to record “Murmurs” with the group but not hear the final mix, let alone play it in public.

The recording with Hussain, “Standard Stoppages,” along with other percussion works, came out just in time for 2026 Grammy nominations and shows up in — and should be an obvious shoe-in to win in — the category for chamber music/small ensemble performance. In the meantime, Third Coast has been touring “Murmurs” featuring a Hussain disciple, Salar Nader, as soloist. Last weekend Third Coast brought the engaging CD program to a sold-out Nimoy, as part of the CAP UCLA season.

Nader, who was born in Hamburg to a family of Afghani refugees and grew up in California, began studying with Hussain at age 7. He is one of the most prominent of the next generation of tabla players poised to take the next step for their instrument, begging the question of whence tabla.

In retrospect, the path taken by Alla Rakha and Zakir Hussain was a lesson in how to create something new and widespread out of the devotion to a profound, yet arcane, learned, physically demanding and extraordinarily complex tradition.

Rakha may have been a formidable traditionalist, so much so that tabla was his whole education, but he found pleasure (and income) writing songs for Bollywood films in the early 1950s. When he returned full time to classical Hindustani music, working with various soloists, he eventually hooked up with Shankar, with whom he then worked almost exclusively. With their quirky and exciting question-and-answer dialogues, the duo riveted the the Monterey Jazz Festival and San Francisco’s Fillmore Auditorium (where I heard them regularly as a college student), to say nothing of Woodstock. No one wanted one without the other.

Hussain (his name was given him by a wandering holy man who showed up at his parents’ door one morning shortly after he was born) heard tabla in the womb. His father lovingly tapped delicate rhythms on his baby boy as he held him in his arms. By his early teens, Hussain was already a Mumbai sensation.

However strict a teacher, Rakha believed in individuality, carbon copies being for the waste bin. And Hussain grew up not only on Hindustani music but the records by the Doors, the Grateful Dead and Jefferson Airplane his dad brought back from his West Coast appearances with Shankar. It wasn’t long before Hussain found himself on the West Coast as well, heady with its 1960s pop music scene. He became friends with Dead drummer Mickey Hart. He met George Harrison, who convinced him that there were thousands of rock drummers but no one with Hussain’s tabla talent.

Even so, Hussain became a tabla master of all trades. He acted, engagingly, in the 1983 feature “Heat and Dust,” along with contributing to the soundtrack. He became part of world-music-jazz ensemble Shakti, founded by guitarist John McLaughlin. Hussain was the drumming glue for Hart’s percussion revolution begun with “Planet Drum,” the recording that brought world music into the world of pop.

Before long, Hussain became a fixture in jazz (playing with the likes of Herbie Hancock and Charles Lloyd). He showed up on the soundtracks of “Apocalypse Now” and made Ryuichi Sakamoto’s score for “Little Buddha” work. He played bluegrass with Béla Fleck. He counted Michael Tilson Thomas, Barack Obama and Nancy Pelosi among his fans.

But while Hussain put tabla center stage, his real accomplishment was as a collaborator. Indian rhythm is incredibly complex and sophisticated. Its own center is religious practice. Tabla players sing the rhythms as well as playing them, the most difficult and astonishing form of chanting there is. The drums can produce melody and, while mellow, come alive with a speed that dramatically raises the pulse rate.

In “Murmurs of Time,” Hussain created a kind of tabla concerto. The ensemble spends much of its time on mallet instruments, setting the stage, keeping a melodic line or pulse going. The opening is an awakening, with group vocalized rhythms, but that is something only a tabla player can really pull off. “Murmurs” is ultimately through with a rousing tabla and drum set dialogue at the end, reminiscent of his father and Shankar’s gripping finales.

Hussain wrote “Murmurs” for himself, working closely with Third Coast over a year. “Wrote” isn’t quite right. He didn’t write down his own part; he needed room for freedom and improvisation. Nader, very impressively, learned the demanding solo from the recording, and he then, as Hussain would have expected, added his own character.

That is something that will need to grow over time. On recording, we have a deeply moving farewell. In concert, “Murmurs” transitions into something new, while, as yet a work in progress, still honoring the guru.

In a discussion on stage after the concert, Nader, who lives in Los Angeles, emphasized his own interest in what’s next for tabla. He too has worked in film, including participating on the soundtrack for Mira Nair’s “Reluctant Fundamentalist.” He’s had fling with Broadway with “The Kite Runner.” He said he’s ready for almost anything. He’s worked in hip-hop, noting tabla is a natural — and it is, “Planet Drum” having been an early influence.

Tabla is here to stay, and Nader bears watching.

Kathy Kanjo, the director and CEO of the Museum of Contemporary Art San Diego, has been named the new director of the UC Irvine Langson Orange County Museum of Art. The news comes a little more than two months after UC Irvine announced it had acquired Orange County Museum of Art in a merger that created the new institution.

At that time, a rep for UCI said the hope was to announce a new director in the new year, so Kanjo’s appointment comes ahead of schedule. Kanjo has been at MCASD since 2016. Prior to that, she served as director of the University Art Museum at UC Santa Barbara.

When I first wrote about the merger, UC Irvine confirmed that it was taking over OCMA’s assets, employees and debt. A rep for UC Irvine declined to comment on a number, writing in an email that the budget for the new museum will come from university operating funds.

Kanjo inherits responsibility for a substantial collection of more than 9,000 artworks, including UC Irvine’s Gerald Buck Collection of more than 3,200 paintings, sculptures and works on paper by some of the state’s most important artists, including David Hockney and Ed Ruscha.

“The newly merged collection is both anticipated and underknown,” wrote Kanjo in an email. “I am eager to unveil and contextualize the artistic legacies of the Irvine, Buck, and OCMA collections from a particularly California point of view. Collected over time and together at last, these objects are an asset to be shared generously and supported by scholarly research. The constellation that is the UC Irvine Langson Museum offers a portrait of our state’s innovative artistic impulses.”

Kanjo also said the new museum would get a significant boost from UC Irvine’s research strength and commitment to public service.

“We will create rigorous and welcoming exhibitions that resonate with our region’s diverse audiences, young and old,” she wrote.

Despite the great fanfare of its opening in 2022, OCMA — with its 53,000-square-foot, $98-million Morphosis-designed building on the eastern edge of the Segerstrom Center for the Arts campus — never seemed fully realized. Problems were hinted at — but never explained — in April when CEO Heidi Zuckerman announced her intention to step down.

Meanwhile UC Irvine had been planning to construct a museum for its collection for quite some time. That, too, never really got off the ground. If there were ever a time to build consensus around a new mandate for the merged organizations, that time is now. Kanjo has a vision for the future that appears to center scholarship.

“I want to clarify the core identity of the collection and find connections back to campus and into the community,” she wrote. “The post is appealing because of its connection to UC Irvine, a leading research university, and the opportunity to work with the students within the Claire Trevor School of the Arts and all of the campus resources. The potential to foster innovation by working in a cross-disciplinary/cross-campus way is strong.”

I’m arts and culture writer Jessica Gelt, planning a drive to Orange County in the new year. Here’s your arts and culture news for the week.

On our radar

Broadway star Ben Platt will perform 10 shows at the Ahmanson starting Friday.

(Rob Kim / Getty Images)

Ben Platt: Live at the Ahmanson
The award-winning star of stage and screen hits town for 10 shows where he’ll sing his greatest hits and Broadway favorites. And where Platt goes, his big-time friends follow, so expect some great surprise guests each night.
8 p.m. Friday-Saturday and Dec. 19-20; 3 and 8 p.m. Sunday and Dec. 21; 7:30 p.m. Wednesday-Thursday. Ahmanson Theatre, 135 N. Grand Ave., downtown L.A. centertheatregroup.org

“Holiday Legends” is this year’s seasonal performance by the Gay Men’s Chorus of Los Angeles.

(Gay Men’s Chorus of Los Angeles)

Holiday Legends
The Gay Men’s Chorus of Los Angeles’ annual celebration pays homage to the greats, including Mariah Carey, Irving Berlin and Johnny Mathis, plus traditional choral classics, pop Christmas anthems and Hanukkah favorites.
8 p.m. Saturday. 3 p.m. Sunday. Saban Theatre, 8440 Wilshire Blvd., Beverly Hills gmcla.org

The Huntington in San Marino.

(Allen J. Schaben/Los Angeles Times)

Stories from the Library: From Brontë to Butler
This series highlights the literary side of the Huntington and its world-class library. In the newest exhibition, journals, letters, photographs and personal items provide a behind-the-scenes look at two centuries of women writers bookended by Charlotte Brontë and Octavia E. Butler.
Through June 15. The Huntington, 1151 Oxford Road, San Marino. huntington.org

The week ahead: A curated calendar

FRIDAY
Holiday Soirée & Cabaret
Fountain Theatre celebrates the season with a live announcement of its 2026 season, a cabaret performance from Imani Branch & Friends, plus, a raffle and reception. There will also be two separate performances of the cabaret.
Soirée and cabaret: 7 p.m. Friday. Cabaret: 7 p.m. Saturday; 2 p.m. Sunday. Fountain Theatre, 5060 Fountain Ave. FountainTheatre.com

Violinist Renaud Capuçon.

(Los Angeles Philharmonic)

Mozart & Sibelius
Violinist Renaud Capuçon joins conductor Gustavo Gimeno and the L.A. Phil for a program that combines “Mozartian elegance with brooding Nordic drama.”
8 p.m. Friday and Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Santasia
The long-running holiday spectacle featuring broad comedy, musical parodies and old school claymation returns to L.A. for a 26th year.
Through Dec. 27. Whitefire Theatre, 13500 Ventura Blvd., Sherman Oaks. santasia.com

SATURDAY

Laurel Halo performs Saturday at the Nimoy.

(Norrel Blair)

Laurel Halo
Currently based in L.A., the musician combines ambient, drone, jazz and modern sensibilities in new works for piano and electronics in a preview of her forthcoming album.
8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu

Sound + Source
Art meets music as DJs Novena Carmel, Francesca Harding and KCRW music director Ale Cohen provide a site-specific soundtrack to the exhibition “Corita Kent: The Sorcery of Images.”
11 a.m.-6 p.m. Marciano Art Foundation, 4357 Wilshire Blvd. marcianoartfoundation.org

Pacific Jazz Orchestra
The 40-piece hybrid big band and string ensemble, led by Chris Walden, presents its “Holiday Jazz Spectacular,” featuring vocalists Aloe Blacc, Sy Smith and Brenna Whitacre.
8 p.m. Alex Theatre, 216 N. Brand Blvd., Glendale. pacificjazz.org

Holiday Family Faire
Theatricum Botanicum’s annual daylong winter wonderland featuring performances, food and drink and a marketplace; followed by “It’s a Wonderful Life: A Live Radio Play,” by Joe Landry, and starring Beau Bridges, Wendie Malick, Joe Mantegna and Rory O’Malley.
11 a.m. Family Faire; 5 p.m. “It’s a Wonderful Life.” Will Geer Theatricum Botanicum, 1419 Topanga Canyon Blvd, Topanga. theatricum.com

SUNDAY

The band Emily’s Sassy Lime in Olympia, Wash., circa 1995.

(Emily’s Sassy Lime)

Artist Talk
Emily Ryan, Amy Yao and Wendy Yao of the ‘90s Orange County riot grrrl band Emily’s Sassy Lime join artist-activist-musician Kathleen Hanna of the band Bikini Kill for a discussion of adolescence, creativity and community. The talk is part of the museum’s “2025 California Biennial: Desperate, Scared, But Social,” which closes Jan. 4.
2 p.m. UC Irvine Langson Museum/Orange County Museum of Art, 3333 Avenue of the Arts, Costa Mesa. ocma.art

English Cathedral Christmas
The Los Angeles Master Chorale brings the magic of Canterbury Cathedral downtown, reveling in the grand tradition of British choral works from the 16th century to the present..
7 p.m Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. lamasterchorale.org

TUESDAY
Aron Kallay
In “Midcentury/Modern,” the pianist performs works from world premieres by Michael Frazier, Zanaida Stewart Robles and Brandon Rolle, along with 20th century works by Grażyna Bacewicz and Sergei Prokofiev in a program presented by Piano Spheres.
8 p.m. Thayer Hall at the Colburn School, 200 S. Grand Ave., downtown L.A. pianospheres.org

WEDNESDAY
BOTH: A Hard Day’s Silent Night
Open Fist Theatre Company’s annual holiday charity concert benefiting Heart of Los Angeles, an organization that helps kids in underserved communities, infuses the music of the Beatles with Gospel flair to tell the Christmas story.
8 p.m. Wednesday-Friday; 3:30 and 9 p.m. Saturday; 3:30 and 7 p.m. Sunday. Atwater Village Theatre, 3269 Casitas Ave. openfist.org

Elaine May and Walter Matthau star in “A New Leaf,” which screens at the Academy Museum on Wednesday.

(Film Publicity Archive/United Archives via Getty Images)

A New Leaf
Elaine May made Hollywood history with this 1971 screwball noir as the first woman to write, direct and star in her own feature film. Walter Matthau co-stars as a playboy who has burned through his own fortune so plans to marry and murder May’s kooky heiress to get hers.
7:30 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org

Culture news and the SoCal scene

Architect Frank Gehry in his Playa Vista office in 2015.

(Ricardo DeAratanha / Los Angeles Times)

The world is mourning the death of legendary architect Frank Gehry, who died last Friday at age 96. Times classical music critic Mark Swed wrote a beautiful appreciation about how Gehry used his buildings — Walt Disney Concert Hall in particular — to transform music. I made a video appreciation that tried to encapsulate Gehry’s best work, and his deep connection to his adopted hometown, and L.A. Times contributor Sam Lubell compiled a list, with photographs, of Gehry’s finest buildings in L.A., and around the world. Deputy managing editor Shelby Grad wrote about the importance of the Gehry-designed Danzinger studio.

This week also marked the release of The Times best-of-2025 lists. These include Swed’s selection of the best of L.A.’s classical music performances; Times theater critic Charles McNulty’s pick of the best theatrical works;
and former (sob!) Times art critic Christopher Knight’s 10 best art shows at SoCal museums.

Swed also wrote a story that came out of a recent trip to Tokyo about Carl Stone, an L.A. based composer from the Japanese capital, who uses his laptop to record environmental sounds and transform them into sonic sculptures. “Stone’s iPad, with its open sonic complexity, created a sense of space, a roomy aural soundscape in which jazz and butoh became elements not egos, not larger than life, just more life, the merrier,” writes Swed.

McNulty wrote an interesting essay about characters breaking the fourth wall and how it can galvanize an audience. “Breaking the fourth wall is a tried-and-true method of calling an audience to attention. But a new breed of dramatist, writing in an age of overlapping calamities — environmental, political, economic, technological and moral — is retooling an old playwriting device to do more than inject urgency and immediacy in the theatrical experience,” McNulty writes.

I spent time in Palm Springs over the Thanksgiving break to cover the grand reopening of the Palm Springs Plaza Theatre, which recently underwent a $34-million restoration. To celebrate, it hosted an intimate show featuring actor, singer, songwriter Cynthia Erivo.

I also had the pleasure of sitting down for an interview with Broadway actor Ben Platt in advance of his 10-day residency at the Ahmanson Theatre. We bonded over being anxious people, and he shared that he keeps his anxiety in check through live performance.

Cameron Watson is the new artistic director of Skylight Theatre Company.

(David Zaugh)

Cameron Watson has been named Skylight Theatre Company’s new artistic director, beginning Jan. 1. He will replace Gary Grossman, who is stepping down after four decades at the helm of the Los Feliz-based theater, during which time he turned the company into one of the most respected small theaters in the city. “Cameron’s passion, his theatrical vision and his ability to lead, listen, nurture and mentor make him the perfect fit for Skylight,” Grossman said in a statement.

Earlier this week, philanthropist MacKenzie Scott gave $20 million to the Japanese American National Museum — the largest single gift in the organization’s history. Scott, the former wife of Amazon founder Jeff Bezos, also gave the museum $10 million in 2021.

Hamza Walker, the Brick executive director who is behind the critically acclaimed “Monuments” exhibit at the Brick and MOCA, has been honored with the 2026 Audrey Irmas Award for Curatorial Excellence, given by the Bard College Center for Curatorial Studies. “Hamza’s three decades of curatorial practice have brought forward voices and perspectives that challenge dominant narratives, create dialogue, and have left a lasting imprint on the field,” said Tom Eccles, executive director of the Center for Curatorial Studies, in a statement.

Sherman Oaks resident Kate Stermer won the National Portrait Gallery’s 2025 Teen Portrait Competition, alongside Matilda Myers of Towson, Md. The annual competition is open to teens ages 13 to 17, and the museum says it received more than 1,100 entries from 48 states, Guam, Puerto Rico and Washington, D.C. We here at Essential Arts are proud of you, Kate!

— Jessica Gelt

And last but not least

The Times this week released its annual list of the 101 best restaurants in Los Angeles. I plan to go to every one. Well, maybe, like 20. It could get expensive.

Emmerdale fans are convinced they know who will take down Celia Daniels and Ray Walters in a shocking turn of events – and it’s not Cain Dingle

Emmerdale fans have rumbled who will take down villainous Celia Daniels and Ray Walters in a surprise twist. Many had been hopeful that Cain Dingle might finally be the one to see to the end of the two village villains.

Celia and son Ray have been running a huge drugs and human trafficking ring from the farm near Moira’s including keeping Bear and others as modern slaves.. As well as this, the pair have been getting April to run drugs for them.

Marlon and Rhona, desperate to get Rhona out of the ‘game’, have insisted they can pay Ray money to make sure she’s relieved of the job, but things went from bad to worse when Ray made more demands.

In tonight’s episode, Marlon got some surprise news from Paddy about young Dylan’s future. Fans will remember Dylan was deliberately run over by Ray in shocking scenes last week.

“I’ve just seen a doctor and you’re not going to believe this. After being told to prepare for the worst, they’re now saying he’s turned a corner and he’s doing really well,” Paddy told Marlon.

“In fact, he’s doing that well, they reckon that if he keeps improving they might be able to wake him up in the next day or two. I can’t tell you how relieved I am.”

It’s clear Marlon thinks Dylan waking up is the end of their problems and they can finally get Ray caught for all that he’s done so far, ending the shocking drugs ring he and Celia are running.

“When Dylan wakes up, we can persuade him to tell the police what happened – what Ray did,” Marlon told Rhona, who replied: “He will realise that the only way out of this is to go to the police and tell the truth.”

However, is Dylan the one to bring down Ray finally, or will the family still be under his clutches? The storyline comes amid an exit for Celia Daniels star Jaye Griffiths, who confirmed she’d be leaving the ITV soap.

Speaking to The Mirror, she said: “I knew it was finite from the start, which I am very sad about. I would like to stay forever, but it’s such a strong arc … The reason Celia works is because she has no little voice in her head. You know that little voice that tells women, particularly, that you’re not enough, you’re too tall, you’re too short, you’re too fat, you’re too thin, you’re too old, you’re too young.

“That self-critical, nasty voice that stops us doing many things. Celia doesn’t have one of those. That is very freeing. If there are no consequences internally, if there’s no conscience, you can do anything you want.”

Like this story? For more of the latest showbiz news and gossip, follow Mirror Celebs on TikTok, Snapchat, Instagram, Twitter, Facebook, YouTube and Threads.

Change may be the only constant, but blazing infernos tearing through Pacific Palisades, Kaskade’s home for the last 15 years, was a new kind of change for him.

After 24 days of burning, his entire life looked different. Between tours, the famed DJ and dance music producer, born Ryan Raddon, spent the majority of his time at Palisades hot spots like the Village. Now he frequents Santa Monica and Brentwood by force. Of the 30 families in his church, only four of their houses remain standing, including his. Unfortunately, his brother’s house was lost to the fires.

“The community is destroyed. It doesn’t exist anymore. It’s hard not to be angry,” Raddon says, remarking that he’s been wondering if he should stay in the Palisades. His three daughters grew up there. Does he take away their childhood home?

When asked how this sudden and unprecedented shift affected the music he made for “undux,” his first album since 2015’s “Automatic,” Raddon takes several moments to collect his thoughts.

“I’ve done quite a bit of press for this record, and you’re the first person to bring that up,” he admits. He made two attempts to write a new album in the last three years, but he was already going through personal struggles before the fires. Divorcing his wife of nearly three decades and watching two of his daughters leave home led to melancholy songs that didn’t feel right to release. Eventually, he decided to finish the body of work, no matter what.

“I need to just make this, see what it is and get through it,” Raddon says. He was able to complete it with the help of songwriters he’s known for years, such as Cayson Renshaw, Finn Bjarnson and Nate Pyfer. “It is therapeutic to sit down and work with another songwriter. [Telling them] I have a lot going on I want to write about.”

The title of the album is “undux,” pronounced “undo,” because everything going on left him feeling undone. The result is a collection of tracks that skews deeper and less euphoric than previous Kaskade albums.

Raddon ventures away from his standard four-on-the-floor house music and into broken beats on “Started Over.” Warm orchestral strings and Renshaw’s ghostly vocals serve as vehicles for big emotional builds over the scattered drums, painting a sonic picture of how messy the heavy moments can feel.

“If Only” is a clean, guitar-driven indie dance tune that directly recounts Raddon’s experience in the aftermath of the blaze: “It’s all ashes / What the hell just happened? / Somehow I’m still standing / But I’m asking what for?”

The title of Raddon’s album is “undux,” pronounced “undo,” because everything going on left him feeling undone.

(Allen J. Schaben / Los Angeles Times)

There is still music on the album befitting of Raddon’s dozens of main-stage sets he plays every year. The lead single, “DNCR,” coasts on banging piano chords and an energetic kick. But he wrote the upbeat songs after working through the taxing emotions he brought into the process.

“Any time you’re being honest, and you’re going into the studio, you can’t avoid that stuff,” Raddon says. “This was a hard record for me to make.”

When Raddon’s manager heard “undux,” he was glad Raddon was feeling better, but he also delivered a stern warning: Only die-hards would appreciate the softer approach. Labels echoed this impression before the Vancouver-based electronic powerhouse, Monstercat, signed the album.

“When I sent the record out, people generally weren’t having it,” Raddon says. “Labels that I had worked with in the past, and some other people that are making noise in the space right now, said, ‘Call us back when you’re doing dance music.’”

“Undux” includes dance music. But it’s not all peak-time bangers like his biggest hits, such as “I Remember” and “Atmosphere.” In the years following “Automatic,” most of Raddon’s output was that kind of music. Streaming shifted listening habits away from long players and toward playlists and algorithms, both of which favor singles. Singles in the dance realm historically do the best numbers-wise when they’re primed for live.

Raddon’s most extensive releases in this period were his five “Redux” EPs. The Redux project channels his earliest years of DJing, when he was focused on keeping the dance floor moving. Kaskade releases get people moving, too, but songwriting defines that music. Using lyrics and melodies to tell the type of stories he needed to share after the fires.

“Making a single’s neat, but when you sit down in the studio, there’s so much pressure. I need to be able to play this at 2 a.m. in my set. That’s a weird box to work in,” Raddon shares. “When I’m making an album, there’s no thought of that. Let me just write and create.”

“The coolest thing for me is seeing dance music get a little bit of respect. [There’s been] so much success in bringing the music to a wider audience. It’s been a long road,” Raddon says.

(Allen J. Schaben / Los Angeles Times)

It makes sense that Raddon spent so many years producing for the live space. Right around the release of “Automatic,” he started a historic run on stage. In 2015, he brought the largest audience to an EDM act in the history of Coachella. In 2021, he was the first artist to play for a public audience at SoFi Stadium. In 2022, he broke the record for the biggest electronic music headlining concert in North America at the L.A. Coliseum with Kx5, his collaborative project with deadmau5.

Raddon has also been called upon to bring his art form to professional sports. In 2024, he became the first Super Bowl in-game DJ, and that May, he was the first-ever starting grid DJ at a Formula 1 race during Miami’s grand prix.

Despite so many individual wins, Raddon is most thrilled about the positive change this “decade of triumph” represents for the entire scene. He became one of the first figures of dance music legitimacy when he broke through with his 2004 hit “Steppin’ Out.” Now dance music has three Grammy categories.

“The coolest thing for me is seeing dance music get a little bit of respect. [There’s been] so much success in bringing the music to a wider audience. It’s been a long road,” Raddon says.

Raddon has been on top of the genre throughout that long road, making him one of dance music’s only consistent superstars.

Raddon especially emphasizes the ability to adapt. He started DJing when vinyl was the only option, and he recalls when certain DJs refused to play CDs when that technology developed. Now everyone uses digital files. The same principle applies to making music. He is rather calm in the wake of AI tools (though he admits he feels at ease about it because he’s already found established success with his music).

“This train is moving. You’re getting on, or you’re not. There’s no fighting it,” Raddon says.

The loss of his community in the Palisades and the shifts in his family life may be the most difficult changes he has ever faced. But he’s still on the train moving forward with the help of the music.

After the US government placed sanctions on the United Nations’ special rapporteur on the occupied Palestinian territories, Francesca Albanese, her life turned upside down.

Credit cards stopped working, she told Al Jazeera. A hotel reservation booked by the European Parliament was cancelled. Medical insurance was denied. For Albanese, the consequences of her work on Israel’s genocide against the Palestinian people of Gaza were not just professional — they were personal, too.

“We are turned into non-persons,” she said at the Doha Forum, calling the sanctions imposed against her “unlawful” under international law.

“But again, for me, it’s important that people understand the extent … the United States, Israel and others would go to silence the voice of justice, the voice of human rights,” Albanese said.

As leaders, diplomats, and legal experts gathered in Qatar’s capital for the Doha Forum this weekend under the theme “Justice in Action: Beyond Promises to Progress”, the crisis in Gaza dominated discussions.

Allegations of genocide against Israel, repeated vetoes blocking UN ceasefire resolutions, and growing pressure on international justice mechanisms have made Gaza a test case for the rules-based international order, raising questions about whether international law is capable of providing justice.

‘Sense of insecurity around me’

According to Albanese’s legal assessments, Israel’s conduct in its war on Gaza constitutes a genocide, a term that prominent human rights groups such as Amnesty International, Human Rights Watch and Israel’s B’Tselem have also used.

When announcing the sanctions on Albanese, US Secretary of State Marco Rubio accused her of waging a “campaign of political and economic warfare against the United States and Israel”. She says the allegation is baseless.

“I have been subjected to smear campaigns,” she said, adding that US officials have accused her of being an anti-Semite, of supporting violence, and of failing to condemn the crimes committed on October 7 against Israeli civilians.

“It has created a sense of insecurity around me. I have received threats from all corners,” Albanese said.

In addition to targeting Albanese, the US imposed sanctions in August on nine judges and prosecutors of the International Criminal Court (ICC), including two European citizens, after the court began investigating alleged Israeli war crimes in Gaza.

“This is mafia-style intimidation that we are subjected to, just for doing our job,” Albanese noted, warning that sanctions and intimidation of legal experts set a dangerous precedent.

“There will be that pressure [on ICC judges and legal experts] that, if I go on this route, this is going to be scrutinised. This is the idea, to make it impossible for the organisation, for the ICC to work,” she cautioned.

“Imagine that every US person interacting with us, someone who works in the US or is a citizen, could go to jail for up to 20 years. It creates a chilling effect.”

Western hesitance

In November 2024, the ICC issued arrest warrants for Israeli Prime Minister Benjamin Netanyahu and former Defence Minister Yoav Gallant for alleged “war crimes”.

The US called the move “outrageous”, and while the United Kingdom and Canada said they would adhere to international law, they did not make clear if they would uphold the warrant.

Many Western countries have not described Israel’s actions in Gaza as genocide and have continued to send the country arms, despite growing allegations of war crimes occurring in Gaza.

Albanese emphasised that nations continuing to transfer arms are failing in their legal obligations.

“They have the obligation to prevent a genocide that has already been recognised as plausible in January 2024 by the International Court of Justice,” she said.

Janine Di Giovanni, co-founder of the Reckoning Project, which documents war crimes in Sudan, Ukraine and Gaza, said the position of many Western states reeked of a glaring “double standard”.

“There is one set of laws and rules that pertain to Ukraine … and another set for brown and Black people,” she said, pointing to the ICC’s historical focus on African leaders and the failure of Western powers to hold Israel accountable.

Di Giovanni directed her criticism at European Union foreign policy chief Kaja Kallas, saying the former Estonian prime minister had been “negligent” when it came to Gaza.

“She points out over and over again what [Russian President] Putin has done in Ukraine, but not a word about Gaza,” she added.

“She’s the EU foreign policy chief. She has a responsibility to point out Israel’s criminality.”

Is international law still relevant?

With multilateral institutions and the international law system coming under growing pressure from nation-states, Albanese said that international law does work and that “we need to make it work”.

“I often make the example, if a cure doesn’t work, would you trash all medicine? No,” she asserted.

“This is the first genocide in history that has awakened a conscience, a global conscience, and has the potential to be stopped.”

Meanwhile, Reckoning Project’s Di Giovanni said the UN General Assembly could be “activated to work at a higher level and a more effective level than what they’re doing, while the Security Council is blocked”.

“But maybe this shows us that we need to have a greater reform for how the Security Council works,” she said.

Di Giovanni added that it was crucial to address the “extraordinary heinous crimes that Netanyahu and others” have committed, or else it would send a message that “impunity is rampant”.

“Without accountability, there is no global security,” she said.