Elle Simone Scott, a chef and cookbook author best known for her work on “America’s Test Kitchen,” has died. She was 49.
Describing her as “one of [the organization’s] brightest stars,” “America’s Test Kitchen” Chief Content Officer Dan Souza confirmed in a statement Thursday that Scott died Monday after a long battle with ovarian cancer. The news was first announced Wednesday on “ATK’s” Instagram.
“Scott brought warmth and a vibrant spirit to everything she did,” Souza said. “Friends and colleagues will remember [her] for her ability to create community and provide opportunities for others, both inside and outside of work … Her legacy will live on at America’s Test Kitchen and in the homes and hearts of the millions of home cooks whose lives she touched.”
A Detroit native, Scott joined “America’s Test Kitchen” in 2016 and became the first Black woman cast member on the popular PBS cooking show. In addition to authoring cookbooks “Boards: Stylish Spreads for Casual Gatherings” and “Food Gifts: 150+ Irresistible Recipes for Crafting Personalized Presents,” she hosted “The Walk-In” podcast and worked as a food stylist.
In a tribute on Instagram, friend and fellow TV chef Carla Hall praised Scott for being “a force” and “a trailblazer.”
“At America’s Test Kitchen, Elle helped open doors that had long been closed — becoming one of the first Black women audiences saw in the test kitchen, and doing so with grace, authority, and joy,” wrote Hall. “Her voice mattered. Her work mattered. She mattered.”
According to WBUR, Scott, who lived in Boston, pivoted to a career in food in 2008 after she lost her home, car and job as a social worker during the recession.
“The thought occurred to me, ‘if I have to do something for the next 25 years of my life, it better be something I love,’ ” Scott said during a 2019 radio segment. “The only thing I could think of was cooking. It was the one thing that brought me peace and joy.”
She became an advocate for representation in food media and the culinary world, co-founding SheChef Inc., an organization for women chefs of color that provides mentorship to young women pursuing a career in the field, in 2013.
“I thought it would be a great way to create a network to bring those underrepresented people together to see how we could support each other, create a network where we can help each other grow professionally — also to just deal with the angst of being women in kitchens where we are the only women in the kitchen,” Scott told WTOP News in 2019.
Scott was first diagnosed with ovarian cancer in 2016, according to the Detroit News, but told the outlet she was cancer-free in 2020.
“Elle faced ovarian cancer with courage and honesty, using her platform to educate, advocate, and uplift even while fighting for her life,” Hall said in her tribute. “We honor you, Elle. Your legacy lives on in every kitchen you inspired and every cook who finally saw themselves reflected back.”
Unification Minister Chung Dong-young, South Korea’s point man on inter-Korean relations, speaks during a ceremony to mark his inauguration at the government complex in Seoul, South Korea, 25 July 2025. File Photo by YONHAP/ EPA
Jan. 8 (Asia Today) — South Korea’s Ministry of Unification said Thursday it will publicly livestream work reports by two affiliated organizations for the first time.
The ministry said the Inter-Korean Exchange and Cooperation Support Association and the Inter-Korean Hana Foundation will deliver their reports Wednesday at the inter-Korean talks headquarters conference room. The event will be streamed on the ministry’s UniTV channel.
A ministry official told reporters the live broadcast of an affiliated agency work report is unprecedented, adding that government ministries are now moving toward livestreaming work reports more broadly. The official said the ministry has received such reports when needed but they have not previously been made public.
President Lee Jae-myung received the first livestreamed work report last month. On Wednesday, senior presidential secretary for public relations and communication Lee Kyu-yeon said livestreamed policy briefings would be expanded to all 47 government ministries.
Lee said the government plans to livestream events led by the prime minister and ministries, major policy issues and matters of public interest. When ministries request live broadcasts on KTV, KTV will make them available to the public through television and YouTube channels. The Ministry of Unification is expected to use its own broadcast staff.
Lee said expanding live policy broadcasts is expected to improve transparency in government affairs and strengthen policy credibility.
A fundraiser aimed at keeping Mickey Rourke housed has hit the brakes temporarily after the Oscar-nominated actor rejected more than $100,000 from fans and supporters earlier this week.
On Thursday, the GoFundMe page had a “donations paused” tag on it while Kimberly Hines, Rourke’s manager of nine years, addressed the situation in an update.
“Thank you so much for your generosity and for standing with Mickey during this time,” she wrote. “Your support truly means a great deal to us, and we are grateful for every donation. We remain committed to finding a resolution and are working with Mickey to determine the next steps.”
Rourke, 73, said in a video posted Monday that he didn’t know who set up the campaign. The effort, ostensibly aimed at keeping Rourke in his home when he faced eviction because of nearly $60,000 in unpaid rent, was set up Sunday by members of his management team and raised more than its $100,000 goal by Tuesday morning. Dozens of the more than 2,700 people who donated also posted messages about how much the actor’s films had meant to them over the years.
“I wouldn’t know what a GoFund foundation is in a million years,” said Rourke, who was a leading man in the 1980s with movies including “Barfly” and “Angel Heart” and was Oscar-nominated for his work in 2008’s “The Wrestler.” “My life is very simple and I don’t go to outside sources like that.”
He said later in the video that he “would never ask strangers or fans for a nickel. That’s not my style. You ask anyone who knows me. It’s humiliating and it’s really f— embarrassing.”
Rourke said that he wound up in “a really bad situation” with the house he had been renting for years in Beverly Grove. New owners bought the place, wouldn’t fix anything, he said, and raised the rent to $7,000 a month from $5,200. He alleged that the floors were rotted, there was no running water in a couple of places there should have been and the place was infested with rodents.
Rourke was served with notice of eviction in December, with the landlords also looking to recapture $59,100 in unpaid rent for 2025. Ricardo Villalobos, the attorney representing owner Eric Goldie in the eviction case, did not reply to The Times’ request for comment about Rourke’s allegations. The eviction paperwork, reviewed by The Times, was filed Dec. 29.
Hines did not respond to The Times’ request for comment but spoke with the Hollywood Reporter on Tuesday, telling the trade that it wasn’t true that Rourke didn’t know the origins of the fundraiser. She validated some of the things he said about the condition of the property and added a few details of her own. In her GoFundMe update Thursday, she included a link where donors who wanted a refund could submit a claim. The fundraiser lists Hines as the beneficiary.
She told the trade outlet that she and her assistant ran the fundraiser idea past Rourke’s assistant and everyone thought it might be helpful. Hines and her assistant arranged for movers and a U-Haul to help Rourke, got the “Iron Man 2” villain and his three dogs out and into a nearby hotel and secured an apartment for him to move into soon in Koreatown, she said, before his landlords were to change the locks that day on what she called an “uninhabitable” house.
“Nobody’s trying to grift Mickey. I want him working. I don’t want him doing a GoFundMe,” said Hines, who fronted the money Rourke needed in an “emergency” situation. “The good thing about this is that he got four movie offers since yesterday. People are emailing him movie offers now, which is great because nobody’s been calling him for a long time.”
The actor “doesn’t know the word moderation,” she told THR. “So he either has a lot or has nothing. He lives check to check.” Hines said it was time for a reality check with her client about living within his means off Social Security and income from any work that might come his way.
In his video, Rourke took some responsibility for his situation.
“Listen, I’ve done a really terrible job in managing my career. I wasn’t very diplomatic. I had to go to over 20 years of therapy to get over the damage that was done to me years ago, and I worked very hard to get through that,” the “9½ Weeks” star said. “I’m not that person anymore.”
After telling supporters they should get their money back, he added, “Like all storms, this’ll pass, and I’ll go to work and things will get back to whatever normal is.” Until then, don’t worry about him, he said, because he’s grateful for what he has.
“I’ve got a roof over my head, I’ve got food to eat. … I don’t need anybody’s money, and I wouldn’t do it this way. I’ve got too much pride. This ain’t my style.”
The total amount pledged to the fundraiser had dropped from more than $100,000 earlier this week to a little less than $97,000 Thursday after it was paused. Late Wednesday, Rourke’s Instagram page reposted a World Boxing News story summing up the reason for the pause.
In a new partnership with chipmaker Nvidia, Universal Music Group plans to introduce what it calls “responsible AI” that could change music discovery and creation.
The companies will begin research on how to advance human music creation and compensation for rights holders in the age of AI, as revealed in the deal announced Tuesday. With this technology, the new partners say they hope to leverage AI-powered tools to aid and protect artists’ work, instead of using hands-off generative AI.
“We look forward to working closely with NVIDIA to direct AI’s unprecedented transformational potential towards the service of artists and their fans as we work together to set new standards for innovation within the industry, while protecting and respecting copyright and human creativity,” said Sir Lucian Grainge, Universal Music Group’s chief executive, in a press release.
Universal Music Group will use Nvidia’s Music Flamingo program, a large audio-language model designed to understand music in-depth. It was launched in November and can understand musical elements like structure, harmony, instrumentation and lyrics. The program can process songs up to 15 minutes long and will also be able to capture the historical and cultural context, as well as various emotional arcs.
With the program’s ability to process songs thoroughly, Universal Music Group aims to use this tool to help connect artists and fans. Instead of relying on typical genres or tags, Music Flamingo allows listeners to discover new music in a more automated fashion.
There are also plans for Nvidia and Universal Music Group to begin developing an incubator in which artists, songwriters and producers will help design and experiment with new AI tools. The company said it hopes this process will help AI tools fit into creative processes with greater ease.
Universal Music Group, with its corporate headquarters in the Netherlands and another office in Santa Monica, was founded in 1996. The music giant behind artists like Taylor Swift and Billie Eilish is valued at roughly $40 billion on the U.S. stock market, with shares selling around $25.35 each. The deal with Nvidia follows several other AI agreements that Universal has inked with companies like Klay and Stability AI.
Nvidia was founded in 1993, with the original goal of bringing 3D graphics to video games and multimedia projects. As the tech industry has continued to evolve, Nvidia has emerged as the leader in computer chips designed to power AI tools and applications.
“By extending NVIDIA’s Music Flamingo with UMG’s unmatched catalog and creative ecosystem, we’re going to change how fans discover, understand, and engage with music on a global scale,” said Richard Kerris, the general manager for media and entertainment at Nvidia, in a statement.
“And we’ll do it the right way: responsibly, with safeguards that protect artists’ work, ensure attribution, and respect copyright.”
Emmerdale fans think they have worked out who Rhona Goskirk keeps having secret and cryptic phone calls and messages with, and it could be a familiar face on the ITV soap
19:40, 07 Jan 2026Updated 19:46, 07 Jan 2026
Emmerdale fans think they have worked out who Rhona Goskirk keeps having secret and cryptic phone calls and messages with(Image: ITV)
Viewers of Emmerdale believe they have figured out who Rhona Goskirk keeps calling.
During the call she said: “Have you done it?”. It’s not yet clear what she was talking about and who the caller was. Then on Wednesday, she yet again secretly called someone.
This time the person did not answer, with their identity not shared. She sighed over not being able to speak to the person, and had a desperate message for them.
She was heard telling them: “Call me back as soon as possible please. April is going to the police.” She sounded like this was something that would impact them, despite April planning on reporting Ray and Celia Daniels over her ordeal, including drug dealing and sexual exploitation.
So why would Rhona be so against this, and who would she try to warn? Is it linked to Ray’s murder which is yet to be made public? Viewers are starting to speculate that the return of Rhona’s ex Graham Foster could be tied into the plot.
Graham rose from the dead during Corriedale, making a shock appearance after being killed off in 2020. He was on the phone in the scene, yet another cryptic phone call.
Now, fans are theorising that the scenes were linked, and Rhona has been calling Graham. One fan said: “It has to be Graham – surely!” as another wrote: “Graham methinks…”
A third fan agreed: “Yes, Rhona still having secret phone chats today and I did wonder if it was to Graham.” Another fan suggested: “I’m so confused about Rhona’s mystery phone calls recently and I don’t know who we’re meant to think it is.
“It seems to be every time Ray is mentioned but also seems weird it’s just as Graham has returned, and so I wonder if it’s Graham she is speaking too and if maybe he’s involved in Ray dying.”
Another viewer said: “I think she’s already been in contact with him,” as a further post read: “She rang Graham.” Another read: “I think it was Graham who Rhona spoke to they were together when he allegedly died I think it was Graham who killed Ray.”
The suggestion kept on being shared as a fan wrote: “Rhona’s got Graham to kill Ray maybe?” A fan also said: “Rhona phoned someone to warn them that April was going to the police station to report all that’s happened so that left me more confused… is Rhona in contact with Graham?”
It’s safe to say several fans think it was Graham as the comments continued. One thought included: “It has to be Graham right? Seems like too much of a coincidence otherwise.” A further one read: “I defo think it’s Graham. Who else would it be?
“They needed to build something on the lead up to his grand reveal in Corriedale and tie up the Ray thing quickly as the SL with him and Celia came to an end so abruptly. Soap writers are clearly a big fan of this “back from the dead” trope at the minute, after bad coat Becky rocked up in Weatherfield, and Cindy arrived fit and well in Walford after dying in prison.”
BCB refutes reports saying ICC had issued an ultimatum over Bangladesh’s refusal to play its World Cup games in India.
Cricket authorities in Bangladesh have agreed to “work closely” with the International Cricket Council (ICC) to resolve security concerns regarding their team’s participation in the upcoming T20 World Cup in India.
The Bangladesh Cricket Board (BCB) will cooperate with the tournament’s organisers in order to ensure the country’s participation, it said in a statement on Wednesday, three days after saying its men’s team will not travel to the neighbouring country.
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“The ICC has conveyed its willingness to work closely with the BCB to address the concerns, and has assured that the board’s inputs will be welcomed and duly considered as part of the detailed security planning for the event,” the BCB’s statement said.
“The BCB will continue constructive engagement with the ICC and relevant event authorities in a cooperative and professional manner to arrive at an affable and practical solution that ensures the smooth and successful participation of the team in the ICC Men’s T20 World Cup 2026,” the statement added.
The sport’s governing body and the BCB reportedly held a virtual meeting on Tuesday in response to Bangladesh’s request for a change of venue for its fixtures.
India and Sri Lanka are co-hosting the 20-team tournament from February 7, but all of Bangladesh’s group matches were allocated to Indian venues.
Bangladesh’s refusal to travel to India stemmed from a recent controversy, when its star fast bowler Mustafizur Rahman was dropped by his Indian Premier League (IPL) franchise Kolkata Knight Riders at the directive of the Board of Control for Cricket in India (BCCI).
It led to an outcry from cricket fans and administrators in Bangladesh, urging the BCB to take reciprocal action. In turn, the BCB asked the ICC to relocate its games from India to Sri Lanka over security concerns, saying its team will not travel to India.
Following two days of silence, the ICC – led by former BCCI chief Jay Shah – and BCB held a call to discuss the issue, with the tournament’s and Bangladesh’s opening match just more than a month away.
According to a report on ESPNCricinfo, the ICC told the BCB during the meeting that Bangladesh will need to travel to India or risk forfeiting points.
However, the BCB refuted the report and termed its claims as “completely false”.
“The BCB has taken note of certain reports published in a section of the media suggesting that the board has been issued an ultimatum. Such claims are completely false, unfounded and do not reflect the nature or content of the communication received from the ICC,” it said.
Earlier, Bangladesh’s interim government also banned the broadcast of the IPL, saying the unceremonious dumping of a “star player defied logic” and had “hurt people”.
It is the latest flashpoint in a growing dispute with neighbouring India, which has now extended to cricket ties between the two nations.
The ongoing tensions flared in recent weeks after a 25-year-old Hindu man was lynched and burned publicly in Bangladesh following allegations of blasphemy.
A few days later, Hindutva activists tried to storm the Bangladesh High Commission in New Delhi as they rallied against the neighbouring nation for failing to protect its Hindu minorities.
Diplomatic relations between the once-close allies have been sharply tested since August last year, when former Prime Minister Sheikh Hasina fled to New Delhi from Dhaka after an uprising against her rule.
Bangladesh blames India for a number of its troubles, including Indian Prime Minister Narendra Modi’s support for Hasina when she was in power.
Emmerdale fans think a major red herring is tricking us after a Corriedale twist saw John Sugden meet a grim demise on the ITV soap, with Victoria Sugden hinted to be the killer
21:48, 05 Jan 2026Updated 21:49, 05 Jan 2026
Emmerdale fans think they know who really killed John Sugden in the Corriedale crossover(Image: ITV)
Emmerdale fans think they know who really killed John Sugden in the Corriedale crossover, after the episode teased it was Victoria Sugden.
As Emmerdale joined forces with Coronation Street for a special episode, villain John, played by actor Oliver Farnworth, met a grim demise. With suspects aplenty, the shocking cliffhanger alluded that his sister Victoria had caused his death.
That said it wasn’t onscreen, and there were other residents chasing him throughout the episode. John was on the run after his crimes were exposed earlier this year.
His husband Aaron Dingle’s failed attempt to get him to the police led to John fleeing with a gun. Corrie detective Kit Green set chase, only to be knocked out.
This led to a showdown with Robert Sugden and Cain Dingle, before John fled again. After some more chasing, Robert and Cain ended up at the hospital, only for us to see John dead in the woods with Victoria looming over him, shaken.
So has Victoria really killed her brother? Or has she simply found his body? What was she even doing in the woods? Answers will be revealed, but some fans are questioning of someone else is behind the murder.
They predicted we’ve been made to think Victoria has turned killer, when on fact she may have found him dead. Fans instead think Kit Green or Chas Dingle may have been the real killer.
One fan said: “Kit,” as another asked: “Who reckons Chas killed John?” A third questioned: “Did Victoria kill john or find him?” A fourth fan said: “Victoria was standing over John doesn’t mean she killed him.” Another added: “True was too dark to tell if she had the gun, still not sure how she popped up!”
It comes as cast members teased far-reaching consequences for the soaps going forward after Corriedale. Speaking exclusively to The Mirror, Shona Platt actress Julia Goulding teased how the big event will impact Shona and her husband David Platt.
Julia told us: “Imagine David and Shona and their life is a ball of wool. Imagine what would happen if a cat got hold of it, it would unravel.” Sally Carman-Duttine added: “There’s a possibility lives will be forever changed. There was a lot of frantic energy. We were all on a night shoot.”
As for Theo Silverton actor James Cartwright, he promised both soaps would never be the same. He told us: “There’s moments that will have real far-reaching consequences.
“It will change soap land forever. Soap land will never be the same again because of it. It’s like a meteor coming to Earth. You can take cover but it’s landing!”
THEY have barely aged in 20 years and can still fit into the hotpants that turned them into overnight stars.
Now, Cheeky Girls Monica and Gabriela Irimia, who first wiggled their way into the public eye on 2002 TV show Popstars: The Rivals, have revealed their secret to defying time at 43.
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Cheeky Girls Monica and Gabriela Irimia have revealed their secret to defying time at 43Credit: Paul TongeThe Cheeky Girls say their hotpants still fit 23 years since their breakthrough hitCredit: Mark Allan
Gabriela said with a laugh: “People always ask us our secret to looking good. We have a few strict rules — no eating after 7pm, exercise every day . . . and lots of sex.”
Gabriela was famously engaged to ex-Liberal Democrat MP Lembik Opik, prior to meeting partner Adam Zubek seven years ago.
She said: “I’m really happy in my life now. Lembik was a genuine guy, we had a great relationship. But there was a lot of pressure from all sides, including from his party.”
Monica married building contractor Shaun Taylor in 2016.
Their catchy Cheeky Song (Touch My Bum) co-written by their mum, Hungarian former midwife Margrit, was voted the “worst pop record of all time” in a 2004 Channel 4 poll.
Yet it sold 1.2million copies worldwide, reaching No2 in the UK charts.
And bookings are hotter than ever for the twins, who also work in the motoring trade, due to the famous track taking off on social media and TikTok.
Monica, who is younger by ten minutes, said: “People ask us if we’re now ‘cheeky women’ but no, we’re still cheeky girls.
We haven’t had any work done — except our boobs and our teeth, which were a 40th birthday present to ourselves.
“We’re proof that, at 43, you can still be sexy, have two successful careers and also have fun.
‘Best of both worlds’
“We’ve performed at some of the biggest festivals, tiny gigs and at old people’s homes and student unions, and we love every minute of it.
“Our smallest gig was for three people at a hunting lodge for a multi- millionaire on a shooting weekend. Our strangest was for a room of deaf people who danced to the vibrations.”
As for those shiny silver hotpants, two years after Kylie Minogue rocked hers in Spinning Around?
Monica said: “The hotpants still fit. I think the bums have got a tiny bit bigger. We’re a little bit curvier, but in a good way.”
The hotpants still fit. I think the bums have got a tiny bit bigger. We’re a little bit curvier, but in a good way
Part of the siblings’ appeal these days is they cock a light-hearted snook at woke cancel culture.
Gabriela said: “Society is now becoming so serious. You can’t say this, you can’t do that . . . Where’s the novelty? Where’s the fun?
“But you can’t cancel us for being cheeky or you’d have to cancel Kylie Minogue and her hotpants, too.”
At the height of their fame, the girls mingled with A-list celebs and Gabriela claimed Robbie Williams once tried to charm her when they were both single.
She said: “Robbie was my teenage crush and I was privileged to meet him at an after-party for the Ant And Dec TV show.
“He chatted me up and I chatted him up. He was single, I was single. He told me, ‘You’re beautiful’. I fancied him. But it stopped there, unfortunately. Nothing happened.”
And they revealed their biggest celebrity fan was none other than heavy-metal legend Alice Cooper.
Monica said: “When we met Alice Cooper, who is our idol and an iconic artist, he said ‘Oh my god, girls. I love you!’ We were like, ‘Alice Cooper, a fan?’ That made our year.”
We’ve still got it and we are loving every moment
Now, 23 years on from their breakthrough hit, the Romanian twins both work in Audi car showrooms by day — Gabriela in York and Monica in Boston, Lincs — and insist: “There’s always a cheeky deal to be had.”
But people still sing the lyric, “We are the Cheeky Girls” at them in the supermarket or shout, “Cheeky, cheeky!” on the street.
Senior car saleswoman Gabriela said: “By day, we are suited and booted working for Audi cars, but we perform as the Cheeky Girls in hotpants by night.
“So we have the best of both worlds. We’ve still got it and we are loving every moment.”
Gabriela says the pair had an invite to appear on Love Island, but they turned it downCredit: PA:Press AssociationTheir catchy Cheeky Song (Touch My Bum) co-written by their mum MargritCredit: Rex Features
Monica revealed that when customers come in, some do a double take, while others struggle to place how they know the pair.
She revealed: “All the time, customers say to us, ‘Do I know you from somewhere?’. We joke, ‘Do you want a cheeky deal?’.
“You see them frantically scrolling on their phones to check if it’s really us. Others say, ‘Oh, I don’t want to be cheeky, but can I have £1,000 off?’ — then you know they know!
“I’ll joke, ‘Maybe that’s a little too cheeky, but I can definitely offer you a great deal . . .’
“Both of us are petrolheads who love prestige cars, so we love our career as much as we love being pop stars.
“The only thing that could top it would be if we were invited to present Top Gear or appear on Strictly Come Dancing.”
To celebrate the release of their new song Drive, inspired by their day job, they have performed a tongue-in-cheek version of the Cheeky Song (Touch My Bum), instead singing “touch my bumper”, exclusively for Sun on Sunday readers to watch online.
The twins revealed that Love Island bosses had begged them to appear on the show — but they refused.
Gabriela said: “We did get an invitation to go to Love Island but it’s not our thing.
“We wouldn’t want to be seen having sex on camera or kissing boys. It’s tacky. If we were to go to Love Island, we’d be boring!”
We are available, 23 years on! We reckon we’d take Britain to glory again
Gabriela said: “Twenty years ago, we did magazine covers, including FHM. We’d still be up for that. But you’ll never find us on OnlyFans. If anyone claims to be a Cheeky Girl on there, it’s not us.”
One gig the girls would love to land is Eurovision.
Louis Walsh, who was a judge on the show that shot them to fame, wanted the duo to represent Britain in the contest with a version of Baccara’s 1977 hit, Yes Sir, I Can Boogie.
Gabriela revealed: “At the time, we had the dilemma: would we represent Romania or the UK? But we’d do it now for the UK.
“So Louis, call us. We are available, 23 years on! We reckon we’d take Britain to glory again.”
‘Loss of control’
As well as the highs that come with scoring hit singles, including Take Your Shoes Off and (Hooray Hooray) It’s A Cheeky Holiday, there have been crushing lows.
It all nearly came crashing down as their record label, Telstar, collapsed — reportedly owing them more than £1million. They were declared bankrupt in 2009.
Monica recalled: “We are talking huge bills. Where do you go? What do you do?”
The pressures led them to spiral into an eating disorder. At one point, they each weighed just 6.5st.
Monica added: “It started with loss of control over everything. You feel like you want to take control of something and the only thing you can control is what you put in your mouth and do with your body.”
While both have now recovered, they are open about their battle to let other sufferers know there is hope.
Monica said: “We recovered many years ago. But we speak openly about this to raise awareness because of the pressures young people feel, particularly with social media.
“It also taught us a really important lesson — to stay positive.”
Gabriela was famously engaged to former Liberal Democrat MP Lembit OpikCredit: PA:Press AssociationThe Cheeky Girls single was voted the ‘worst pop record of all time’ in a 2004 Channel 4 pollCredit: PA:Press Association
The twins both felt pressure to have boob jobs, after being sidelined for a bustier woman in their music video for Cheeky Holiday.
I’m Glenn Whipp, columnist for the Los Angeles Times, host of The Envelope newsletter and the guy wondering how many New Year’s resolutions you’ve broken so far this year.
Let’s take a look back — and a look forward — because that’s what we’re contractually obligated to do this time of year.
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Every year, some editor at The Times buzzes my inbox with a request to gather my hopes and dreams into a purely speculative list of movies I’m looking forward to seeing in the coming 12 months. That email serves as a marker that the Earth has orbited the sun once again and it’s time to buy a new planner — because I’ll be damned if I’m going to let Google Calendar know what I’m doing 24 hours a day, 365 days a year.
I was asked to contribute two movies to the list last year, and I chose “One Battle After Another” and “Materialists.” So … one masterpiece that should go on to win the Oscar for best picture and the movie that seems to be the most hated film of 2025. Seriously, people will approach me at parties and say, unprompted, “You know what movie I despised? ‘Materialists.’” And then, after unloading on how much they loathed the characters in Celine Song’s romantic drama, they’ll shift gears and go on a diatribe about late-stage capitalism.
(My New Year’s resolution: find better parties.)
You could say, then, that I got one right and one wrong, though I was partly looking forward to “Materialists” because Song had regaled me with tales of her Manhattan matchmaking days over a couple glasses of wine one night and I wanted to see how she’d weave these stories into a movie. And it turned out that was the best part of the film. So there. No more emails about “Materialists,” please.
At least Song’s film saw the light of day. Looking back on our 2025 list, there are still movies that haven’t made it to theaters. The “Untitled Trey Parker/Matt Stone Film,” once scheduled for July 4, now has a title, “Whitney Springs,” but no new release date. Neither does Terrence Malick’s biblical drama, “The Way of the Wind,” which Malick has reportedly been editing for a good six years now. That movie didn’t make our 2026 list, but, fingers crossed, it might resurface sometime in the next decade when we throw together another of these.
So what movies am I looking forward to seeing when it stops raining (talk about biblical drama) and we start turning the calendar’s pages? I raised my hand for three, and I’m confident this trio will satisfy, mostly because of their directors’ track record. To see everyone else’s picks — including a few I would have chosen myself — read the full list here.
“Disclosure Day”: I liked it better when this was simply known as “Untitled Steven Spielberg UFO movie.” What more do you need to know beyond that description and a prime summer release date? That’s enough to sell a few hundred million dollars in tickets and make me giddy with anticipation. We don’t know much at the moment, other than that Spielberg is working again with “Jurassic Park” and “War of the Worlds” screenwriter David Koepp. There’s an eye-catching billboard with an image that looks alien and kind of birdlike … unless you study it while standing on your head and then it looks … human? Who knows? ALL WILL BE DISCLOSED, the tagline promises, hence the title. So we’ll just have to wait. But from all appearances, we’re not in “E.T.” territory with this one.
“The Adventures of Cliff Booth”: Do we need a stand-alone Cliff Booth movie? Quentin Tarantino thinks so, though not enough to direct the sequel he wrote to his hit 2019 film “Once Upon a Time in … Hollywood.” That’s OK, as Brad Pitt, who won an Oscar for playing Booth, the ass-kicking stuntman, enlisted David Fincher to sub in. It’ll be their fourth collaboration, following “Se7en,” “Fight Club” and “The Curious Case of Benjamin Button,” a track record that offers some optimism that a film elevating Booth from Rick Dalton’s loyal sidekick to a leading character is an idea worth pursuing. (Leonardo DiCaprio apparently turned down an offer to reprise Dalton in a cameo.) If nothing else, the movie’s 1977 setting, eight years after the events in “Once Upon a Time,” will give us the chance to revel in another glorious L.A. time capsule.
“Werwulf”: Robert Eggers calls his upcoming medieval werewolf movie the “darkest thing I have ever written, by far.” Let that sink in for a moment. Eggers’ filmography includes the suffocating madness found in “The Witch” and “The Lighthouse” and the chilling terror of a malevolent, shape-shifting, lustful vampire in “Nosferatu.” These are not light movies. So what are we in store for here? Apparently a member of Eggers’ sound team said he needed a hug after reading the “Werwulf” script. I couldn’t verify this, but I want this to be true. There will be blood — and fog. One other thing we know is the setting, 13th century England, which means that the film’s dialogue will be in Middle English. How fareth thoue with that? I’m sure the cast, which includes Eggers regulars Aaron Taylor-Johnson, Lily-Rose Depp, Willem Dafoe and Ralph Ineson, had fun, verraily.
There you have it: Spielberg, Fincher, Eggers. A sci-fi thriller, a sequel I still can’t believe exists and a monster movie. All three of these might miss the mark. And, honestly, any list missing the guaranteed pleasures of “Practical Magic 2” is immediately suspect.
But that’s the folly of blindly looking ahead. You never know.
Happy New Year! And, as always, thanks for reading.
It’s the second day of a brand new year, and I’d like to take a moment to look back at some of the towering talent we lost in 2025 through the appreciations and obituaries written by the arts staff.
A caveat: The Times strives to acknowledge significant figures in arts and culture when they die, but due to the fast-paced nature of daily news, we often miss people we wish we hadn’t, so this list is far from inclusive.
A preview of the Los Angeles County Museum of Art’s Geffen Galleries, June 26, 2025.
(Allen J. Schaben / Los Angeles Times)
Singer Angelique Kidjo performs with cellist Yo-Yo Ma, Aug. 28, 2025, at the Hollywood Bowl.
(Hon Wing Chiu / For The Times)
The cast of “Jaja’s African Hair Braiding”: Bisserat Tseggai, left, Jordan Rice, Victoire Charles and Claudia Logan, Oct. 1, 2025, in Los Angeles.
(Christina House / Los Angeles Times)
Edward V. Valentine’s “Jefferson Davis,” at the “MONUMENTS” exhibit at MOCA, Oct. 10, 2025, in Los Angeles.
(Carlin Stiehl / Los Angeles Times)
Gustavo Dudamel conducts Youth Orchestra Los Angeles, Oct. 11, 2025, in Inglewood.
(Etienne Laurent / For The Times)
June Squibb, Nov. 4, 2025, in New York City.
(Evelyn Freja / For The Times)
Ben Platt, Dec. 4, 2025, in Los Angeles.
(Christina House / Los Angeles Times)
The SoCal scene
The exhibition floor at the LA Art Show in 2022.
(LA Art Show)
Art for 2026 The first big art event of the new year kicks off Wednesday when the 31st edition of the LA Art Show opens downtown. Galleries and institutions from around the world will exhibit art across the vast spaces of the Los Angeles Convention Center. This year’s program includes the debut of an invitation-only Latin American Pavilion, curated by Marisa Caichiolo, who also curates the DIVERSEartLA program. Among the other featured presentations are works by Israeli artist Yigal Ozeri and South African artist Esther Mahlangu, plus a solo exhibition of abstract paintings by Sylvester Stallone. The show continues through Jan. 11.
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Idris Elba arriving at the 2004 Primetime Emmy Awards at the Peacock Theater.
(Myung J. Chun / Los Angeles Times)
That’s Sir Idris to you
Actors Idris Elba and Cynthia Erivo were among the more than 1,100 people on King Charles III’s annual New Year Honours List released this week. The British tradition recognizes people who have “made achievements in public life” and “committed themselves to serving and helping the UK.” Elba, known for television roles in “The Wire” and “Luther” and movies including “Beasts of No Nation” and “Thor,” was knighted for services to young people. “Wicked” star Erivo, a Tony and Grammy winner and three-time Oscar nominee, received a Member of the Order of the British Empire, or MBE, for services to music and drama.
Freedom from fascism On a recent fall day, Catherine Rampell of the Bulwark was given a guided tour of the Norman Rockwell Museum in Stockbridge, Mass., by the artist’s granddaughter Daisy Rockwell. In an article published this week, “The MAGAfication of Norman Rockwell,” Daisy expressed her displeasure with the Trump administration’s misappropriation of her grandfather’s work to promote the U.S. Department of Homeland Security’s anti-immigrant operations. “Norman Rockwell was antifa,” Daisy told Rampell. “They used [the paintings] … as though his work aligned with their values, i.e., promoting this segregationist vision of America. And so of course we were upset by this, because Norman Rockwell was really very clearly anti-segregationist.” Through most of Rockwell’s career, he depicted American life largely through a white lens, but eventually came to a reckoning with some of his own views, chronicling some of the most significant moments of the civil rights movement. In November, the Rockwell family published a letter in USA Today detailing how the artist’s “efforts to eradicate prejudices both within himself and others led him to explore issues of racism, violence and segregation well into his 70s.”
Russia reopens Mariupol theater where hundreds died In March 2022, a Russian air strike killed more than 600 civilians sheltering inside a historic theater in the Ukrainian city of Mariupol. This week, the Associated Press reported that Moscow-installed authorities in the now occupied region reopened the Donetsk Academic Regional Drama Theater with a gala concert on the building’s newly rebuilt main stage. Russian state media outlets shared images of the building’s marbled pillars and staircases as dancers, wearing kokoshniks, traditional Russian headdresses, performed. Mariupol’s Ukrainian city council, which left the city when it became occupied, denounced the “restoration,” calling it “a cynical attempt to conceal the traces of a war crime” in a statement on Telegram.
— Kevin Crust
And last but not least
“Twelfth Night,” with Moses Sumney, left, Kapil Talwalkar, Junior Nyong’o and Lupita Nyong’o at the Delacorte Theater in Central Park, which was broadcast on PBS’ “Great Performances” in November and is available to stream via PBS Passport.
(Joseph Sinnott)
Times television critic Robert Lloyd wrapped his year with an essay, “6 ways public broadcasting will improve your life. And that’s a promise.” One suggestion is to make a tax-deductible $5-a-month donation to PBS. That gifts gets you “PBS Passport,” public television’s all-access streaming platform, which offers an endless bounty of quality programming. Key among the offerings of interest to readers of this newsletter are programs such as “Great Performances,” “Austin City Limits” and “Artbound,” plus a rabbit hole of regional arts programming with something for every taste. As Lloyd wrote, “If you can’t find something to watch or listen to here, you are simply an incurious person.”
WORK on the third runway of what is set to become the world’s biggest airport has started.
The major airport is set to open in 2030, and it will eventually welcome as many as 185million passengers.
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Construction has started on the third runway at King Salman International AirportBy 2030 the airport is set to see 100million passengersCredit: Foster + Partners
It will allow the airport to increase its capacity from around 65 aircraft movements per hour to 85.
Marco Mejia, Acting Chief Executive Officer of King Salman International Airport said: “Launching construction of the third runway marks a pivotal step in delivering the KSIA Master Plan.
“And reflects our commitment to developing world-class infrastructure capable of supporting future growth, enhancing operational efficiency, and expanding long-haul connectivity without constraints.”
Each will be parallel to one another, and built around the existing King Khalid International Airport.
When finished, the airport will be the same size as Manhattan in New York.
The ‘mega airport’ is set to become the largest in the world, including the current one which is also in Saudi Arabia; the King Fahd International Airport.
At 57 square kilometres, the airport will be initially be able to handle up to 100 million passengers each year.
It will also be able to handle more than two million tonnes of cargo by 2030.
Around the airport will be landscaped gardens
The airport was announced back in 2022 and is part of Crown Prince Mohammed bin Salman‘s Saudi Vision 2030.
This is set to make Riyadh into a major hub for transport, trade and tourism.
It will eventually accommodate up to 120million passengers each year, which is then expected to rise to 185million by 2050.
The airport has been designed by Foster + Partners and will have plenty of light and airy spaces, seating for travellers and 4.6sqm of shops.
A lot of features in the airport are set to be high tech, such as climate-controlled lighted.
The airport will also feature a large mosque,landscaped gardensand a Royal Terminal for use of the Saudiroyal family, government officials, and VIPs.
This major UK airport has revealed its new £1.3billion upgrade plans…
London Heathrow will undergo a series of developments next year, starting with Terminal 2 and 4.
Sina Azodi on escalating protests in Iran and how sanctions and corruption are deepening the country’s economic crisis.
Sina Azodi, a professor at George Washington University, discusses escalating protests in Iran and how sanctions and corruption are deepening the country’s economic crisis.
She must have written that story before “Song Sung Blue” came out. Because Hugh Jackman passionately describing the greatness of Neil Diamond’s “Soolaimon” and then demonstrating that song’s grandeur by performing it in the new film “Song Sung Blue” is the definition of corny, feel-good comfort.
Which leads me to my question to you this day: Have you seen “Marty Supreme”? And what feelings — good, bad, uneasy, elated — did that movie arouse in you?
He summited the Sphere, exhorting us to “dream big.” He shot a rap music video to debunk the conspiracy theory that he is a popular British rapper. He has popped up at screenings flanked by bodyguards sporting giant orange ping-pong balls for heads.
Leading up to the Christmas Day premiere of his new movie, “Marty Supreme,” Timothée Chalamet was front and center in a promotional tour that was unhinged, delightful and, judging from the weekend’s box office, quite successful.
“Marty Supreme,” the wildly entertaining, over-caffeinated portrait of a single-minded ping-pong player, took in $27 million over the four-day Christmas weekend, the best opening in distributor A24’s history. The numbers surpassed the opening of “A Complete Unknown,” last year’s Chalamet Christmas release that featured the actor playing Bob Dylan in his formative years.
Not everyone was on board with “Marty.” Moviegoers gave the movie a B+ rating with market research company CinemaScore. That’s good, but not great. (“A Complete Unknown,” by comparison, earned an A.)
Podcaster Claira Curtis’ experience seeing the movie at the Grove feels like an accurate representation of the “Marty Supreme” adventure: “Packed ‘Marty Supreme theater had the full range of reactions. There were people walking out halfway through. There were people clapping. There was someone coming out of it saying, ‘Eh, it was fine’ & then their friend went, ‘Are you insane? It was peak!’”
The disparate responses reflect a couple of things.
One, not everyone embraces the Safdie brand of anxiety-inducing cinema. Josh Safdie directed “Marty.” His brother, Benny, made “The Smashing Machine,” released earlier this year. Together, they made “Uncut Gems” and “Good Time,” movies that, take your pick, were exhilarating or excruciating. Or both! (Exclamation point intended. These are exclamation-point films.)
And two, the title character in “Marty Supreme” is a lot — an undeniably talented, relentless self-promoter careening toward his goals of fame and fortune with little regard to the damage he is inflicting on others. He’s despicable, but also, as played by Chalamet, winningly charming. Unless you find Chalamet annoying. Then you’re probably best-served listening to Hugh Jackman sing Neil Diamond songs.
Chalamet has channeled Marty’s earnest energy in his promotional appearances for the film.
“This is a movie about sacrifice in pursuit of a dream,” he told Jimmy Fallon on “The Tonight Show.” “And it’s something I can relate to deeply. And we live in a bleak time, especially for young people, so this film is an attempted antidote to that.”
Chalamet then pivoted to the camera, the better to look into viewers’ eyes.
“And to continue to believe in yourself and to continue to dream big and to follow your dreams and not take no for an answer. That’s the spirit of ‘Marty Supreme,’ out on Christmas Day.”
Judging from the box office, Chalamet has pushed across the message. Will it work on awards voters, giving Chalamet the first Oscar of his career? As we head into the new year, the next phase of the “Marty” tour promises to be the season’s most interesting storyline. Gas up the blimp!
Israel is revoking the licenses of 37 international organisations, forcing them to stop operations in Gaza. Al Jazeera’s Hani Mahmoud explains how the new restrictions will worsen an already dire humanitarian crisis.
As an editor, the lion’s share of my job is about identifying the awards season’s most compelling stories and conveying them to our readers. But I do reserve a small sliver of time for the joys of advocacy, championing work that I love and hoping that converts readers into viewers, and perhaps even voters.
So, with no new issue this week, my New Year’s Eve newsletter felt like the perfect time to reflect on the movies and TV shows that moved me in 2025. And if you give them another look before you cast your awards ballots, all the better.
MOVIES
1. ‘A Little Prayer’ and ‘The Testament of Ann Lee’
David Strathairn and Jane Levy in “A Little Prayer.”
(Music Box Films)
I am not terribly spiritual myself, but I encountered transcendence twice at the movies this year. As quiet and beseeching as its title, Angus MacLachlan’s chamber drama “A Little Prayer,” about a family man (David Strathairn) navigating marital trouble between his son (Will Pullen) and his daughter-in-law (Jane Levy), uncovers varieties of religious experience in 19th century landscape painting and small, memorable kindnesses. As sweeping as the extraordinary life it depicts, Mona Fastvold’s biographical portrait “The Testament of Ann Lee,” which follows the Shaker leader (Amanda Seyfried) and her devotees from the textile mills of Manchester to the wilderness of colonial New York, carves sensuous art from the exalted song and dance of evangelical faith. But whether the scale is intimate or epic, both capture, to quote “A Little Prayer,” that rare thing: “a powerful sense of the sublime.”
2. ‘Sinners’
Michael B. Jordan in “Sinners.”
(Warner Bros. Pictures)
“Sinners” has rightly been praised for its novel twist on the vampire genre, its deep investment in African and African American music, its blockbuster box office in an era largely dominated by franchise IP. But perhaps the highest compliment I can give director Ryan Coogler may be that the Jim Crow Mississippi he conjures is so richly textured, so allergic to cant or cliche, that I’d have been just as riveted if the bloodsuckers had never shown up. That’s what it’s like to be in the hands of a master.
3. ‘Sorry, Baby’
Eva Victor in “Sorry, Baby.”
(Philip Keith / A24)
Eva Victor is not the first filmmaker to face trauma with a sense of humor, but few have done it with such a gentle, humane touch. As Victor’s Agnes moves through life in the aftermath of a sexual assault on her college campus, the writer-director-star focuses squarely on the slow, ungainly, ultimately profound work of healing — and includes some of the best gags about academia this reformed graduate student has ever seen. No apology needed: “Sorry, Baby” marks the arrival of a major talent.
4. ‘One Battle After Another’
Leonardo DiCaprio in “One Battle After Another.”
(Warner Bros. Pictures)
With elements of action, satire, political thriller and family melodrama, Paul Thomas Anderson’s wild yarn about the members of a revolutionary group — and the fallout that comes when the past catches up with them — is well-nigh indescribable. But it’s also unforgettable. Combining high-wire filmmaking with electric performances, it never relinquishes its grip on the viewer and invites multiple viewings. Which is just as well, considering that this one is going to be on the tip of our tongues all the way through the Oscars.
5. ‘Nouvelle Vague’
Zoey Deutch as Jean Seberg and Guillaume Marbeck as Jean-Luc Godard in “Nouvelle Vague.”
(Jean-Louis Fernandez)
The purest delight of the season is Richard Linklater’s mash note for the French New Wave, a zippy comedy of errors about the making of one of the most influential films of all time. As Jean-Luc Godard (the rakishly charming Guillaume Marbeck) tries to put “Breathless” together with spit, glue and attitude on the streets of Paris, “Nouvelle Vague” becomes as confident a caper as the original, with Jean-Paul Belmondo (Aubry Dullin) and Jean Seberg (a beguiling Zoey Deutch) as the French director’s oft-befuddled collaborators — and sometimes foils. To overlook a film with this much cinematic joie de vivre would be a crime.
6. ‘Sirât’
The rave sequence that opens “Sirât.”
(Neon)
The less said the better about Spain’s acclaimed Oscar submission, which takes such twists and turns as it wends its way through the Moroccan desert that it left me frozen, after my first screening, in a sort of defensive crouch. I simply suggest that you go on the journey with filmmaker Oliver Laxe as he follows a father (Sergi López) and son (Bruno Núñez Arjona) on their search for a missing loved one, beginning with a rave so lifelike it almost had me dancing in the aisles.
7. ‘Hedda’
Tessa Thompson, center, in “Hedda.”
(Matt Towers / Prime Video)
I must admit I went warily into “Hedda.” An awards-season Ibsen adaptation had, I feared, all the makings of a fusty, dour costume drama. Mea culpa, Nia DaCosta. Mea culpa. The filmmaker’s sharp, fresh take on “Hedda Gabler,” featuring mesmerizing performances from Tessa Thompson as the devious title character and Nina Hoss as her (gender-swapped) former lover, renders the play as provocatively, and vividly, for today’s viewer as it must have been for attendees at the Munich premiere in 1891 — and in the process reminds us why the original is an enduring classic.
8. ‘Sentimental Value’
Stellan Skarsgård and Elle Fanning in “Sentimental Value.”
(Kasper Tuxen)
No film this year has left me more eager for a rewatch than Joachim Trier’s delicate family drama, and I was rewarded with the sense that “Sentimental Value” is really two films, woven together so deftly that they can’t quite be unraveled. One is the story of two sisters (Renate Reinsve and Inga Ibsdotter Lilleaas) bonded by generational trauma. The other is about a filmmaker, their father (Stellan Skarsgård), recruiting a sympathetic outsider (Elle Fanning) to tell the story of his own. By the time these strands reach their conclusion, on a soundstage built to resemble the family manse, Trier’s thoughtful architecture pays off in the understanding that you really can go home again, because home is a state of mind.
9. ‘The Alabama Solution’
A still from “The Alabama Solution.”
(HBO Documentary Films)
In an especially strong year for documentaries, particularly those that appreciate, emulate or chronicle the work of investigative journalism, it seems a shame to single out just one. But from the moment of its Sundance Film Festival premiere, the movie by Andrew Jarecki and Charlotte Kaufman registered as a prime example of nonfiction storytelling’s unmatched ability to “comfort the afflicted and afflict the comfortable,” starting with its unflinching use of Alabama state prison inmates’ contraband cellphone footage of the shocking conditions they’re forced to endure. As advocacy, as exposé, as portrait of the fight for justice, no documentary has stuck with me this year quite like “The Alabama Solution.”
10. ‘All That’s Left of You’ and ‘The Voice of Hind Rajab’
Scenes from “All That’s Left of You,” left, and “The Voice of Hind Rajab.”
(Watermelon Pictures; Venice Film Festival)
One expands its tale of the Palestinian experience across continents and decades, the other condenses its saga to just 90 minutes, balanced on a knife’s edge between documentary and drama. But for all their stark stylistic differences, both “All That’s Left of You” and “The Voice of Hind Rajab” — along with films such as “Palestine 36” and “Put Your Soul on Your Hand and Walk” — urgently communicate, in specific human terms, the life-and-death consequences of a struggle for self-determination too often abstracted in the West to its “complicated” or “thorny” geopolitics. Whether the setting is Jaffa or Gaza, the subject a multigenerational family pushed to its breaking point or the fate of a single little girl, both will leave you shaken. As they should.
TV SHOWS
1. ‘Andor’
Diego Luna and Genevieve O’Reilly in “Andor.”
(Lucasfilm Ltd. / Disney)
Turning its portrait of reluctant rebel Cassian Andor (Diego Luna) into a kaleidoscopic thriller about a simmering revolution reaching the boil — and the authoritarian forces set on stopping them — “Andor’s” second season emerged, by degrees, as the year’s most astounding political allegory — on any size of screen. Aided by an ingenious structure, which divided its four-year arc into four, three-episode miniseries, it ensnared even avowed “Star Wars” skeptics, and featured both the best action set piece and the best monologue of the year.
2. ‘The Rehearsal’
Nathan Fielder in “The Rehearsal.”
(John P. Johnson / HBO)
Another sophomore step up, this iteration of “The Rehearsal” — which bordered on cavalier about its civilian subjects in Season 1 — finds impresario Nathan Fielder with more skin in the game, and so becomes a revelatory meta-comedy that lives up to its immense ambition. Come for the elaborate re-creation of American airports, stay for a surprisingly vulnerable Fielder investigating the possibility that he’s on the autism spectrum, and be wowed by the series’ real-world implications for pilot communication. Whatever aspect of “The Rehearsal” grabs you first, it’s the inimitable, inexpressible whole that makes it essential viewing.
3. ‘Adolescence’
Stephen Graham, left, and Owen Cooper in “Adolescence.”
(Netflix)
It would be easy to be jaded about “Adolescence,” which seems likely to follow in the footsteps of “Baby Reindeer” and win just about every award it’s eligible for. (It’s already notched eight Emmys.) But from the moment I first laid eyes on its extraordinary one-shots, I was persuaded that the series’ technical wizardry was no gimmick. As written by Jack Thorne and Stephen Graham and directed by Philip Barantini, in style and substance “Adolescence” captures polite society’s hold on young men spiraling out of control — and invests its central figure, Owen Cooper’s 13-year-old Jamie, with both the childishness and the menace to match.
4. ‘Elsbeth’
Carrie Preston in “Elsbeth.”
(Michael Parmelee / CBS)
I was glad to hear that CBS plans to campaign “Elsbeth” as a comedy at the Emmys in 2026, in part because it may improve Carrie Preston’s chances at a nod for her turn as irrepressible investigator Elsbeth Tascioni, and in part because the designation highlights what has always shined most in the legal universe of Robert and Michelle King. Here, it’s broader and brighter than the acerbic satire of “The Good Wife” and “The Good Fight,” and embedded in a “Columbo”-esque case-of-the-week structure, but the pair’s sense of humor — always keyed to punching up — continually works wonders, especially in a world where so much crime media is unrelentingly grim.
5. ‘The Pitt’
Noah Wyle in “The Pitt.”
(Warrick Page / HBO Max)
Given that “ER” was the first show my mom let me stay up late to watch, I wasn’t surprised to like “The Pitt.” But even with my high expectations, I was dazzled by the series’ ability to introduce such a wide array of characters in the pilot episode, and then to develop them all in a seemingly infinite variety of directions while solving one medical crisis after another. Indeed, forced by its “real-time” structure to keep the focus tight even as the stakes ratchet skyward, “The Pitt” registers as even richer, subtler and more relevant than its predecessor. May its heyday last just as long.
6. ‘Dying for Sex’
Jenny Slate, left, Sissy Spacek and Michelle Williams in “Dying for Sex.”
(Sarah Shatz / FX)
Since first seeing it in the spring, I haven’t been able to get out of my head the most hilarious moment in “Dying for Sex.” When Molly (Michelle Williams), early in a journey of sexual self-discovery prompted by a recurrence of cancer, falls victim to an online ransomware scam, she drops to the floor to escape the sight of her laptop camera — soon to be joined by her loyal but scattered bestie, Nikki (Jenny Slate), who is not much help but is great company. It had me doubled over with laughter, like so much of Liz Meriwether and Kim Rosenstock’s adaptation of the real-life story. The miniseries never pulls a comic punch despite the heavy subject matter, and is peppered with idiosyncratic choices and memorable performances that make it sing. Special shout out to Rob Delaney for turning a total slob named Neighbor Guy into one of the romantic heroes of the year.
7. ‘Forever’
Michael Cooper Jr. and Lovie Simone in “Forever.”
(Elizabeth Morris / Netflix)
The Emmy success of “The Studio” and the buzz around “I Love L.A.” may have somewhat overshadowed “Forever,” but they have given me consistent opportunities in 2025 to recommend my favorite L.A.-set show of the year. Mara Brock Akil’s warmhearted, meticulously wrought teen romance, channeling Judy Blume’s condescension-free interest in young people, paints a portrait of places in the city where those other series rarely go, and does so with uncommon sensitivity. I could watch “Forever,” well, forever. Plus, it features one of the year’s finest dramatic performances: Like the series as a whole, Karen Pittman’s protective mother transforms an archetype that could easily ring with cliches into a lived-in, multilayered portrait. Give me more, Netflix!
8. ‘The Gilded Age’
Audra McDonald, left, and Denée Benton in “The Gilded Age.”
(Karolina Wojtasik / HBO)
After two enjoyably low-stakes seasons, HBO’s New York-set spin on the upstairs/downstairs drama, created by “Downton Abbey’s” Julian Fellowes, breaks out of the (opera) box in Season 3. With ruined women, roguish men and more geegaws than you can shake a stick at — not to mention a character known to the internet as Clock Twink (Ben Ahlers) — the series remains a deliciously campy prime-time soap, but it now features moments of genuine romance, or regret, to accompany the social climbing. With Peggy (Denée Benton) finding love, Ada (Cynthia Nixon) finding fortune and conniver in chief Bertha Russell (Carrie Coon) finding herself on the outs with her wealthy husband (Morgan Spector), “The Gilded Age” has reached glorious maturity by developing a subplot for just about every taste, even one as lofty as the Van Rhijns’.
9. ‘The Paper’
Domhnall Gleeson in “The Paper.”
(Aaron Epstein / Peacock)
Call me a homer if you like for putting a show about the survival of local newspapers on this list. And when it comes to the indignities of 21st century journalism, “The Office” spin-off, from Greg Daniels and Michael Koman, certainly passes my fact-check. But more importantly, and sustainably, Peacock’s mockumentary treats the Toledo Truth Teller as the setting for a rock-solid workplace comedy, replete with a winsome editor in chief (Domhnall Gleeson), an ace reporter (Chelsea Frei) and a perfect foil, in the form of managing editor/aspiring influencer Esmeralda Grand (Sabrina Impacciatore, in perhaps the year’s funniest performance). Sure, I’m liable to root for any film of TV show that qualifies as a “love letter” to my chosen profession, but you can’t fake credibility. “The Paper” has the goods.
10. ‘Pluribus’ and ‘Paradise’
Sterling K. Brown in “Paradise,” and Rhea Seehorn in “Pluribus.”
(Disney; Apple TV)
One is full of jaw-dropping plot twists, the other meditative, often silent. One imagines the end of the world as we know it in terms of natural disaster, the other in the form of an extraterrestrial’s utopia. What Dan Fogelman’s “Paradise” and Vince Gilligan’s “Pluribus” share, though, is far more important than what sets them apart: a commitment to postapocalyptic storytelling rooted in flawed, compelling characters, not the minutia of megavolcanoes and mRNA. Indeed, as “Paradise’s” hero, Xavier Collins (Sterling K. Brown), squares off against the power-mad Sinatra (Julianne Nicholson) in an underground bunker, or “Pluribus’” Carol Sturka (Rhea Seehorn) clashes with stubborn ally Manousos Oviedo (Carlos Manuel Vesga) on an Earth overtaken by happy lemmings, what becomes clear about both series — and I mean this as a high compliment — is how ordinary they are. If you want to know how you might handle doomsday, you could do worse than starting here.
The Trump administration made work requirements for low-income people receiving government assistance a priority in 2025.
The departments of Health and Human Services, Agriculture and Housing and Urban Development have worked to usher in stricter employment conditions to receive healthcare, food aid and rental assistance benefits funded by the federal government.
The idea is that public assistance discourages optimal participation in the labor market and that imposing work requirements not only leads to self-sufficiency, but also benefits the broader economy.
“It strengthens families and communities as it gives new life to start-ups and growing businesses,” the Cabinet secretaries wrote in a New York Times essay in May about work requirements.
Yet many economists say there is no clear evidence such mandates have that effect. There’s concern these new policies that make benefits contingent on work could ultimately come at a cost in other ways, from hindering existing employment to heavy administrative burdens or simply proving unpopular politically.
Here is a look at how work requirements could affect the millions of people who rely on the Supplemental Nutrition Assistance Program (SNAP), Medicaid and HUD-subsidized housing:
SNAP
What President Trumprefers to as his “Big Beautiful Bill” in July expanded the USDA’s work requirements policy for SNAP recipients who are able-bodied adults without dependents.
Previously, adults older than 54, as well as parents with children under age 18, at home were exempted from SNAP’s 80-hours monthly work requirement. Now, adults up to age 64 and parents of children between the age of 14 and 17 have to prove they’re working, volunteering or job training if they are on SNAP for more than three months.
The new law also cuts exemptions for people who are homeless, veterans and young people who have aged out of foster care. There are also significant restrictions on waivers for states and regions based on how high the local unemployment rates are.
The Pew Research Center, citing the most recent census survey data from 2023, notes 61% of adult SNAP recipients had not been employed that year, and that the national average benefit as of May was $188.45 per person or $350.89 per household.
Ismael Cid Martinez, an economist at the Economic Policy Institute, said the people who qualify for SNAP are likely working low-wage jobs that tend to be less stable because they are more tied to the nation’s macroeconomics. That means when the economy weakens, it’s the low-wage workers whose hours are cut and jobs are eliminated, which in turn heightens their need for government support. Restricting such benefits could threaten their ability to get back to work altogether, Martinez said.
“These are some of the matters that tie in together to explain the economy and [how] the labor market is connected to these benefits,” Martinez said. “None of us really show up into an economy on our own.”
Angela Rachidi, a researcher at the conservative think tank American Enterprise Institute, said she expects the poverty rate to decline as a result of the work requirements but even that wouldn’t ultimately affect the labor force.
“[E]ven if every nonworking SNAP adult subject to a work requirement started working, it would not impact the labor market much,” Rachidi said by email.
Medicaid
Trump’s big bill over the summer also created new requirements, starting in 2027, for low-income 19- to 64-year-olds enrolled in Medicaid through the Affordable Care Act’s Medicaid expansion or through a waiver program to complete 80 hours of work, job training, education or volunteering per month. There are several exemptions, including for those who are caregivers, have disabilities, have recently left prison or jail or are pregnant or postpartum.
The nonpartisan Congressional Budget Office has predicted that millions of people will lose healthcare because of the requirements.
Nationally, most people on Medicaid already work. The majority of experts on a Cornell Health Policy Center panel said that new national requirements won’t lead to large increases in employment rates among working adults on Medicaid, and that many working people would lose healthcare because of administrative difficulties proving they work.
Georgia is currently the only state with a Medicaid program that imposes work requirements, which Gov. Brian Kemp created instead of expanding Medicaid. The program, called Georgia Pathways, has come under fire for enrolling far fewer people than expected and creating large administrative costs.
Critics say many working people struggle to enroll and log their hours online, with some getting kicked out of coverage at times because of administrative errors.
And research released recently from the United Kingdom-based research group BMJ comparing Georgia with other states that did not expand Medicaid found Georgia Pathways did not increase employment during the first 15 months, nor did it improve access to Medicaid.
Kemp’s office blames high administrative costs and startup challenges on delays because of legal battles with former President Biden’s administration. A spokesperson said 19,383 Georgians have received coverage since the program began.
HUD
HUD in July also proposed a rule change that would allow public housing authorities across the country to institute work requirements, as well as time limits.
In a leaked draft of that rule change, HUD spells out how housing authorities can choose to opt in and voluntarily implement work requirements of up to 40 hours a week for people getting rental assistance, including adult tenants in public housing and Section 8 voucher-holders.
HUD also identified two states — Arkansas and Wisconsin — where it could trigger implementation based on existing state laws if and when the HUD rule change is approved. The proposal remains in regulatory review and would be subject to a public comment period.
HUD spokesman Matthew Maley declined to comment on the leaked documents, which broadly define the age of work-eligible people being up to age 61, with exemptions for people with disabilities and those who are in school or are pregnant. Primary caregivers of disabled people and children under 6 years old are also exempted.
HUD’s proposed rule change also notes that it is only defining the upper limits of the policy, allowing flexibility for local agencies to further define their individual programs with additional exemptions.
In a review of how housing authorities have tested work requirements over time, researchers at New York University found few successful examples, noting only one case where there were modest increases in employment — in Charlotte, N.C. — as compared to seven other regions where work requirements were changed or discontinued “because they were deemed punitive or hard to administer.”
There was no shortage of engrossing art with which to engage in Southern California museums during the past year, although the considerable majority of it had been made only within the past 50 years or so. Art’s global history before the Second World War continues to play a decided second fiddle to contemporary art in special exhibitions.
Our picks for this year’s best in arts and entertainment.
The chief exception: the Getty, where its Brentwood anchor and Pacific Palisades outpost accounted for three of the 10 most engrossing museum exhibitions in 2025, all 10 presented here in order of their opening dates. (Four are still on view.)
Art museums across the country continue to struggle in attendance and fundraising after the double-whammy of the lengthy COVID-19 pandemic shut-down followed by culture war attacks from the Trump administration. That may help explain the unusually lengthy, seven- to 14-month duration of half of these shows.
Gustave Caillebotte, “Floor Scrapers,” 1875, oil on canvas.
(Musée d’Orsay )
Gustave Caillebotte: Painting Men. Getty Center
An emphasis on men’s daily lives is very unusual in French Impressionist art. Women are more prominent as subject matter in scores of paintings by marquee names like Monet, Cassatt and Degas. But homosocial life in late-19th century Paris was the fascinating focus of this show, the first Los Angeles museum survey of Gustave Caillebotte’s paintings in 30 years.
A view into a dance gallery is framed by Guadalupe Rosales’ “Concourse/C3” installation.
(Christopher Knight / Los Angeles Times)
Guadalupe Rosales – Tzahualli: Mi Memoria en Tu Reflejo. Palm Springs Art Museum
Vibrant Chicano youth subcultures of 1990s Los Angeles, during the fraught era of Rodney King and the AIDS epidemic, are embedded in the art of one of its enthusiastic participants. Guadalupe Rosales layers her archival work onto pleasure and freedom today, as was seen in this vibrant exhibition, offering a welcome balm during another period of outsized social distress.
Don Bachardy, “Christopher Isherwood,” June 20, 1979; acrylic on paper.
(Don Bachardy Paper / Huntington Library)
Don Bachardy: A Life in Portraits. The Huntington
The nearly 70-year retrospective of portrait drawings in pencil and paint by Los Angeles artist Don Bachardy revealed the works to be like performances: Both artist and sitter participated in putting on a pictorial show. The extended visual encounter between two people, its intimacy inescapable, culminates in the two “actors” autographing their performed picture.
“Probably Shakyamuni, the Historical Buddha,” China, Tang Dynasty, circa 700-800; marble.
(Christopher Knight / Los Angeles Times)
Realms of the Dharma: Buddhist Art Across Asia. LACMA. Through July 12
“Realms of the Dharma” isn’t exactly an exhibition. Instead, it’s a temporary, 14-month installation of Buddhist sculptures, paintings and drawings from the museum’s impressive permanent collection, plus a few additions. It’s worth noting here, though, because almost all of its marvelous pieces were in storage (or traveling) for more than seven years, during the lengthy tear-down of a prior LACMA building and construction of a new one, and much of it will disappear again when the installation closes next summer.
Noah Davis, “40 Acres and a Unicorn,” 2007, acrylic and gouache on canvas.
(Anna Arca)
Noah Davis. UCLA Hammer Museum
A tight survey of 50 works, all made by Noah Davis in the brief span between 2007 and the L.A.-based artist’s untimely death in 2015 at just 32, told a poignant story of rapid artistic growth brutally interrupted. Davis was a painter’s painter, a deeply thoughtful and idiosyncratic Black voice heard by other artists and aficionados, even while still in invigorating development.
Weegee (Arthur Fellig), “The Gay Deceiver, 1939/1950, gelatin silver print. Getty Museum
(Getty Museum)
Queer Lens: A History of Photography. Getty Center
Assembling some 270 photographs from the 19th and 20th centuries, “Queer Lens” looked at work produced after the 1869 invention of the binaries of “heterosexual and homosexual,” just a short generation after the 1839 invention of the camera. Transformations in the expression of gender and sexuality by scores of artists as well-known as Berenice Abbott, Anthony Friedkin, Robert Mapplethorpe, Man Ray and Edmund Teske were tracked along with more than a dozen unknowns.
“Sealstone With a Battle Scene (The Pylos Combat Agate),” Minoan, 1630-1440 BC; banded agate, gold and bronze.
(Jeff Vanderpool)
The Kingdom of Pylos: Warrior-Princes of Ancient Greece. Getty Villa. Through Jan. 12
The star of this look into the ancient, not widely known Mycenaean kingdom of Pylos was a tiny agate, barely 1.3 inches wide, making its public debut outside Europe. The exquisitely carved stone, unearthed by archaeologists in 2017, shows two lean but muscled warriors going at it over the sprawled body of a dead comrade. Perhaps made in Crete, the idealized naturalism of a battle scene rendered in shallow three-dimensional space threw a stylistic monkey-wrench into our established understanding of Greek culture 3,500 years ago.
Ken Gonzales-Day digitally erased Illinois Black lynching victim Charlie Mitchell from an 1897 postcard to focus instead on the perpetrators.
(USC Fisher Museum of Art)
Ken Gonzales-Day: History’s “Nevermade.” USC Fisher Museum of Art. Through March 14
The ways in which identities of race, gender and class are erased in a society dominated by straight white patriarchy animates the first mid-career survey of Los Angeles–based artist Ken Gonzales-Day. The riveting centerpiece is his extensive meditation on the American mass-hysteria embodied by the horrific practice of lynching, in which Gonzales-Day employed digital techniques to erase the brutalized victims (and the ropes) in grisly photographs of the murders. Focus shifts the viewer’s gaze toward the perpetrators — an urgent and timely transference, given the shredding of civil society underway today.
Kara Walker deconstructed a monument to Confederate Gen. Stonewall Jackson for “Unmanned Drone,” as seen at the Brick gallery as part of “Monuments.”
(Etienne Laurent / For The Times)
Monuments. The Geffen Contemporary at MOCA and the Brick. Through May 3
The nearly two-year delay in opening “Monuments,” an exhibition of toppled Confederate and Jim Crow statues that pairs cautionary art history with thoughtful and poetic retorts by a variety of artists, turned out to give the much anticipated undertaking an especially potent punch. As the Trump Administration restores a white supremacist sheen to “Lost Cause” mythology by renaming military installations after Civil War traitors and returning sculptures and paintings of them to prior perches, from which they had been removed, this sober and incisive analysis of what’s at stake is nothing less than crucial.
Peak moment: As a metaphor of white supremacy, Kara Walker’s transformation of the ancient “man on a horse” motif into a monstrous headless horseman — a Euro-American corpse that tortures the living and refuses to die — resonates loudly.
Installation view of sculptures and a painting by Robert Therrien at the Broad.
(Joshua White / Broad museum)
Robert Therrien: This Is a Story. The Broad. Through April 5
The late Los Angeles-based artist Robert Therrien (1947-2019) had a distinctive, even quirky capacity for teasing out a conceptual space between ordinary domestic objects and their mysterious personal meanings. In 120 paintings, drawings, photographs and especially sculptures, this Therrien exhibition offers objects hovering somewhere between immediately recognizable and perplexingly alien, wryly funny and spiritually profound.
The user, who posts on the video sharing platform under the username Khoslaa, admitted she was worried about getting caught, and eventually altered her plan after a suprising complaint
Most airports still have strict liquid rules(Image: Getty Images/iStockphoto)
Booking a holiday can be exciting. You wait months for the day to arrive when you have to travel to the airport and something about that whole experience is exhilarating. Now one woman who was travelling via Heathrow airport couldn’t believe what happened when she attempted to take 2 litres of liquids onto the plane.
Now posting on TikTok, the traveller tried her luck despite for years the limit being just one twentieth of that amount. That’s because at several UK airports the rule has actually been removed, meaning passengers can now take water bottles, toiletries and other liquids on board without worrying about having them confiscated.
The user, who posts on the video sharing platform under the username Khoslaa, admitted she was worried about the test, noticing there was a heightened security presence that day, as well as more travellers than she was used to.
Incredibly, the influencer failed at the first hurdle, deciding to ditch her 2L bottle and instead try the experiment with a 125ml bottle of hairspray, claiming she was finding the extra volume “too heavy”.
Despite not seeing any signs saying the rule had been changed, Khoslaa bravely decided to plough on though she felt “nervous”, even going as far as ignoring a ‘no camera’ sign in order to record her experiment.
At the moment of truth, Kholslaa watched on as her bag rolled through the X-ray scanners, in footage that can only be described as totally gripping.
And the result? Success! both Kholslaa and her hairspray made it through unscathed, although whether this was due to the new rule being followed, or British Transport Police taking their eye off the ball, it’s hard to know.
The reactions to the video were mixed, with many confused as to how she managed to slip through airport security despite apparently breaking the rules. One questioned: “Flying in terminal 4 still 100ml?” While another pointed out that although Heathrow’s X-Ray machines don’t require you to take the liquid out of your bag, they still need to be under 100ml.
A third user joked that returning to the UK with the potential contraband may be tricky, writing “Good luck coming back with it tho.”
The Heathrow 100ml liquid rule requires all liquids, gels, creams, pastes, and aerosols in hand luggage to be in containers of 100ml (3.4oz) or less, fitting into one clear, resealable plastic bag (approx. 20cm x 20cm) for security screening.
While some airports have upgraded scanners allowing larger quantities to stay in bags, Heathrow (at time of writing) still enforces the traditional 100ml rule for most passengers, requiring the bag to be removed from hand luggage for X-ray.
As it stands, flights from Birmingham and Edinburgh are the only ones upon which passengers can bring the increased amount.
ATLANTA — Lloyd Bentsen, a tall Texan with a mission to protect the Democratic Party’s right flank, was nominated for vice president Thursday night, and he had a message for America: It is time to wake up and go to work.
“My friends, America has just passed through the ultimate epoch of illusion: An eight-year coma in which slogans were confused with solutions and rhetoric passed for reality, a time when America tried to borrow its way to prosperity,” the 67-year-old U.S. senator told the Democratic convention delegates.
‘Epoch of Illusion’ Ending
In a speech that depicted the Democrats as a new party of competence and frugality, Bentsen said: “At long last the epoch of illusion is drawing to a close. America is ready for the honest, proven, hands-on leadership of Michael Dukakis backed up by the power of a united, committed Democratic Party.”
A Texas-Size Night
It wasn’t just a big night, it was a Texas-size night for Bentsen, a dapper politician who until now has seen more of the inner sanctums of the Senate than the national spotlight. Suddenly he is in the spotlight and on the ticket with the presidential nominee, Michael S. Dukakis, in what many believe is the most united Democratic Party in 24 years.
But Bentsen was ready, striding into the gaze of a curious public with the looks, the soothing voice and the self-assurance of a senator who might have been created by Hollywood. In the audience was his 94-year-old father, “Big Lloyd,” who reared his son to shoot straight and ride fast in the Rio Grande Valley.
Also in the audience were some delegates whose concern about Bentsen reflected what an odd couple he and Dukakis make. The senator disagrees with the governor on a number of major issues, including the MX missile and aid for the Nicaraguan Contras, both of which Bentsen supports and Dukakis opposes.
“I will support Bentsen on the ticket,” said Vernice Garrison, a California delegate who held up a “No on Contra Aid” sign. “But I want him to know how I feel about Contra aid.”
Lack of Enthusiasm Noted
There was a noticeable lack of enthusiasm for Bentsen among some supporters of the Rev. Jesse Jackson, who believed that their man should have been picked as vice president because he got 7 million votes, and won more than 1,200 delegates in the primaries and caucuses.
Some Jackson supporters in the New Jersey delegation wanted to stage a protest over Bentsen’s position on the Contras, but Jackson’s floor leaders were instructed to prevent that, according to Newark Mayor Sharpe James.
It was also clear that Bentsen’s plain speaking style will not upstage Dukakis in this campaign. Some delegates chatted through the entire address.
Dukakis picked the more conservative Bentsen in part to offset his more liberal Northeastern image. He also wants him to take the battle to Texas, the adopted home state of the expected GOP nominee, Vice President George Bush, where 29 electoral votes are at stake.
But Bentsen has never been known as an attacker and that was evident in his speech. He criticized the Reagan-Bush Administration without ridiculing it, zeroing in on what he believes are its flaws without dwelling too long on the downside.
And, although Bentsen has made fun of Bush on occasion and says he looks forward to challenging him on their home turf in the oil-producing states, his speech indicated that he does not intend to be overly harsh.
“Lloyd Bentsen is not going to be the hatchet man of this campaign,” said Texas political consultant George Christian, who helped Bentsen draft his speech.
‘They’re Good Friends’
“I was involved in Lloyd’s 1970 Senate race with Bush and to my knowledge he never did really attack Bush,” Christian said. “They’re good friends. But there is going to be good honest criticism of the Administration in this campaign, and it has to be done sharply.”
“Democrats agree that the American worker who has struggled for 20 years to support his or her family has earned 60 days’ notice if management plans to shut down that plant. But the Reagan-Bush Administration insists that a pink slip in the mail is notice enough,” Bentsen said in a reference to a plant-closing bill that the Reagan Administration recently opposed.
Bentsen and Dukakis believe the differences between the two political parties on that legislation could be crucial in luring back many working-class Democrats who supported Ronald Reagan in 1980 and 1984 and are expressing doubts about Bush in opinion polls.
Bentsen and Dukakis are aware, however, that they may have trouble convincing some middle class voters that these are difficult times, given the sustained economic growth and low unemployment under Reagan.
Targeting Specific Group
So, as Bentsen’s speech showed, they are aiming for that portion of the middle class that is struggling or is at least apprehensive about the future.
“I see the charts and numbers that suggest prosperity,” Bentsen said. “But I also talk with people and I hear what they have to say.
“I know that if you are a teacher or a factory worker, or if you are just starting a family, it’s almost impossible to buy a house–no matter how hard you work or how carefully you plan. A college education is slipping beyond the reach of millions of hard-working Americans.”
Then, in a sales job for Dukakis and his record as governor, Bentsen said: “Michael Dukakis . . . turned around the economy of Massachusetts, not by writing hot checks but by careful management of the taxpayers’ dollar and a healthy respect for the entrepreneurial system.”
Bentsen was nominated for vice president by longtime Bentsen ally Rep. Dan Rostenkowski of Illinois, chairman of the House Ways and Means Committee.
The nomination was seconded by former Texas Rep. Barbara Jordan, a widely admired black leader whom Bentsen aides described as one of the senator’s home state heroes, and by Sen. Tom Daschle of South Dakota, one of a group of young senators elected recently by the Democrats. Daschle’s home state is where Bentsen’s Danish forebears settled in the 19th Century. His father, Lloyd Sr., moved from South Dakota to Texas in the 1920s and built a ranching and real estate empire from scratch.
Introduced by Glenn
Bentsen was introduced by Ohio Sen. John Glenn, the No. 1 “bridesmaid” among those other Democrats Dukakis was considering for vice president. “I just knew I’d be making a speech tonight about the vice presidency,” Glenn joked, and then went on to praise his Senate colleague as “a real Texan” who is “superbly qualified for the job.”
Ironically, Glenn’s short, tough speech, which cheered Bentsen and ridiculed Bush, appeared to be one of the best he has ever given, the kind that, delivered sooner, could have put to rest the doubts of Dukakis’ aides about Glenn’s campaigning ability.
Glenn received a very enthusiastic reception, better than Bentsen’s. The delegates also cheered Jordan, who described Bentsen as a man with “an instinct for doing what is right,” an allusion to his civil rights record, which is much better than that of many Southern white leaders of his generation.
With the senator’s father in the convention hall were Bentsen’s wife, Beryl Ann, their sons, Lloyd III and Lan, and their daughter, Tina Bentsen Smith.
Bentsen wrote his speech with the help of his former Senate aide Stephen Ward. Christian, former press secretary to President Lyndon B. Johnson, helped hone the address. According to Christian and Jack DeVore, Bentsen Senate press secretary, the Dukakis campaign offered little in the way of suggestions.
Defers to Senator
“Dukakis trusts Lloyd,” Christian said. Reporters following the two men in the last week have found that, despite their differences on some key issues, they seem comfortable, if not gregarious, together. Dukakis has been seen deferring to the senator in several situations involving members of the House and Senate who are attending the convention.
At the end of his speech, Bentsen, a multimillionaire, thanks to real estate and other businesses, told his audience that his forebears had started out in a sod hut in South Dakota.
“They made their way in America,” Bentsen said. “That’s the American dream we have nourished for 200 years, the dream of freedom and opportunity, the chance for a step up in life. I want to help Michael Dukakis protect that dream for the next generation.”
Staff writers John Balzar, Bob Drogin, Patt Morrison, David Lauter and Henry Weinstein contributed to this story.
Christmas is behind us, and the New Year is bearing down on us with alarming speed. It’s hard to believe that it has been almost a full year since the devastating fires erupted in Altadena and the Pacific Palisades, sending many of us, our neighbors and friends fleeing to far corners of the state to escape the flames and smoke.
That tragic week marked the beginning of 2025 and the dawn of the second Trump term, ushering in a year that would challenge us in more ways than could have been imagined at the end of 2024.
As I look back on all the stories that The Times’ arts team covered over the last 12 months, it’s notable that the fires and Trump’s effect on the arts dominated the top of the most-read list. But there were also joyful stories about the people, shows and trends that shaped the cultural narrative of the endlessly surprising mid-2020s.
Without further ado, here are the top 10 most-read arts stories of 2025.
I’m arts and culture writer Jessica Gelt wishing you a happy, safe and healthy new year. Here’s your arts news for the week.
Our critics
Art critic Christopher Knight’s recent retirement reminded us how fortunate we are to have the finest critics covering the arts in Southern California. Here are a few of our most read pieces of criticism from 2025.
The new David Geffen Galleries, opening in 2026, are composed entirely of Brutalist concrete.
Countdown NYE The giant intergalactic rave, promising alien contact, four stages and all-night debauchery, moves to the L.A. Convention Center for its 11th edition with headliners including John Summit, Above & Beyond, Pryda, Madeon, Slander, Sub Focus, Crankdat and Wuki. 7 p.m.-5 a.m. Los Angeles Convention Center, 1201 S. Figueroa St., downtown L.A.. countdownnye.com
A preview of last year’s New Year’s Eve LA Midnight Countdown at Gloria Molina Grand Park.
(Jason Armond / Los Angeles Times)
Countdown to 2026 Gloria Molina Grand Park’s free, all-ages New Year’s Eve celebration, reportedly the largest on the West Coast, rings in the holiday with live music and performances on the Get Down Stage (hosted by Shaun Ross, featuring Ashley Younniä, Clax10 and DJ Wayne Williams) and the Countdown Stage, hosted by DJ Gingee featuring Ceci Bastida, Bardo and Ruby Ibarra. 8 a.m.-1 p.m. Wednesday. 200 N. Grand Ave., downtown L.A. grandparkla.org
New Year’s Eve with El DeBarge The R&B crooner of such hits “All This Love,” “I Like it,” “Stay With Me” and “Rhythm of the Night” helps the new live jazz venue inaugurate a new tradition. 8 and 11 p.m. Wednesday. Blue Note LA, 6372 W. Sunset Blvd. bluenotejazz.com
The Roots ring in the New Year at Walt Disney Concert Hall.
(Los Angeles Philharmonic Assn.)
New Year’s Eve with the Roots Philly’s finest take a break from “Tonight Show” duties to bring their eclectic blend of hip-hop to L.A. for two shows to close out the year. 7 and 10:30 p.m. Wednesday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Queen Mary New Year’s Eve Party in timeless elegance aboard the iconic ocean liner (safely moored in Long Beach to ensure there’s a morning after) with its Masquerade Soirée, live music, performances, casino games and fireworks. 8 p.m. Wednesday. 1126 Queens Highway, Long Beach. queenmary.com
Culture news and the SoCal scene
Eugène Grasset, “Vitrioleuse (The acid thrower)” (detail), 1894, from the periodical L’Estampe Originale, album 6, April–June 1894. Printed by Auguste Delâtre. Lithograph, hand stenciled in five colors. 22 7/8 x 18 in.
(UCLA Grunwald Center for the Graphic Arts, Hammer Museum. Bequest of Elisabeth Dean.)
A great gift The UCLA Grunwald Center for the Graphic Arts marks its 70th anniversary in 2026 and the Hammer Museum is presenting a two-part exhibition drawn from the center’s more than 45,000 prints, drawings, photographs, and artist’s books. Part one of “Five Centuries of Works on Paper: The Grunwald Center at 70” features nearly 100 works ranging from the Renaissance to contemporary art and includes pieces by Albrecht Dürer, Rembrandt van Rijn, Vassily Kandinsky, Käthe Kollwitz, Ansel Adams, Elizabeth Catlett, Corita Kent, Bridget Riley, Ed Ruscha and Vija Celmins. The exhibit opened Dec. 20 and runs through May 17. Part two is scheduled from June 7-Oct. 25.
Fred Grunwald, a shirt factory owner, began collecting art in Germany in the 1920s with a focus on German Expressionism. After the Nazis seized most of the original collection, he and his family immigrated to the U.S. in 1939. Grunwald started a new shirt factory and resumed his collecting in Los Angeles, expanding his interests to include prints from 19th and 20th century Europe, 19th century Japan and contemporary America. In 1956, Grunwald donated his extensive collection to UCLA so it would be accessible to students. His wife and children continued making gifts to the Grunwald Center after his death in 1964.
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“There is very strong evidence that all three pieces came out of Cambodia, out of a context of war and violence and the dissolution of order,” said Chase F. Robinson, the NMAA’s director. “All three can be connected with problematic dealers, and no evidence emerged that gave us any confidence that the pieces came out in anything other than those circumstances. So after a lot of internal research and several visits to Cambodia, we worked closely with both the Ministry of Culture and Fine Arts as well its legal representative Edenbridge, shared the information we had, and came to the conclusion that all three pieces should be returned.”
The three returned artifacts are a 10th century sandstone head whose ornate carved designs match others at the temple of Pre Rup; a four-foot-tall sandstone sculpture of the goddess Uma, also from the 10th century, whose detailing ties it to the temple of Phnom Bakheng; and a bronze statue of Prajnaparamita, the goddess of transcendental wisdom, from around 1200.
— Kevin Crust
And last but not least
Once you’ve slept off the New Year’s Eve festivities and had your fill of football, settle in Thursday at 8 p.m. for PBS SoCal’s broadcast of the Vienna Philharmonic’s annual concert from the city’s historic Musikverein. The ensemble will be conducted for the first time by Yannick Nézet-Séguin and feature performances by the Vienna State Ballet and location segments hosted by “Downton Abbey’s” Hugh Bonneville.
Has there been a year this decade when we’ve been sad to see it go?
I thought about that while reading our “25 ways to banish this no good, very bad year” list, which contains some terrific ideas, and I’d be very happy to watch you jump into the Pacific on New Year’s Day, if you feel so inclined. But they’re all predicated on the idea that this year has given off a stench that needs to be smothered, the same way you’d cleanse your dog in tomato juice after an encounter with a skunk.
And this is true. Even Game 7 of the World Series can’t erase the heartache that 2025 has inflicted upon us, though props to Kiké Hernández for doing his best to distract from the headlines.
I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter, wishing you and yours a better new year. It’s a low bar. I’m optimistic we can jump it.
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Did anyone really want to see a third “Avatar” movie?
Sure, someone must have. It sold $89 million in tickets last weekend, though that number fell short of analysts’ forecast for James Cameron’s three-hour movie. For comparison, 2022’s “Avatar: The Way of Water” brought in $134 million in its opening weekend. That movie, like the series’ 2009 first film, built its $2-billion-plus box office over time.
“Avatar: Fire and Ash” may well do the same.
Still, doesn’t it feel like there should be more excitement to go see a movie that might gross $2 billion worldwide? Maybe you were among the first in line to see it last Friday. No judgment. I’ve seen every Cameron movie in a theater, a streak I suspect will continue as long as he’s making films.
The thing is, Cameron himself is giving the distinct impression that he’s ready to move on from “Avatar,” even though he has already written scripts for the fourth and fifth entries in the franchise. He has other projects in the works, adapting “Ghosts of Hiroshima,” which revolves around the true story of the only survivor of both atomic bombs dropped on Japan. And he has teased a “Terminator” reboot.
Cameron is 71, a kid compared to Ridley Scott (88) and Martin Scorsese (83), but still … the clock is ticking.
Do you want him devote another three years (or more) to the lush, gorgeous world of Pandora?
Maybe if “Avatar: Fire and Ash” had spent less time repeating the same themes — and, sometimes, the same scenes — almost beat for beat from the “The Way of Water,” I’d feel differently. The new movie is, of course, a visual feast, though with just three years between the second and third films, the technological advances don’t feel as awe-inspiring this time around. Cameron remains adept at world-building and creating tense action set pieces. He’s also unrivaled at serving up lumpy dialogue, and the new film has serious pacing issues. “Fire and Ash” feels every bit like a 197-minute movie.
When I did my last set of Oscar best picture power rankings on Nov. 3, I put “Fire and Ash” at No. 10, sight unseen. This was in part because Cameron is Cameron and deserves respect and also because would-be contenders like “A House of Dynamite,” “Springsteen: Deliver Me From Nowhere,” “The Smashing Machine” and “After the Hunt” weren’t connecting with voters.
But the franchise fatigue with “Avatar” feels real. It’ll still probably win the visual effects Oscar and pick up a nomination for sound. But I suspect it’s going to fall just outside the 10 movies nominated for best picture.
If that happens, will anyone cry “snub”? Likely not. “Avatar: Fire and Ash” can still inspire wonder, but for the first time in his career, Cameron is spinning his wheels. It feels like he’s ready to return to Earth.
Dec. 25 (Asia Today) — North Korea released images of Kim Jong-un inspecting what it called a nuclear-powered submarine construction project, a move analysts said was aimed at casting South Korea’s debate over nuclear-powered submarines as a security threat while justifying Pyongyang’s own push to strengthen its strategic nuclear forces.
The Korean Central News Agency reported Thursday that Kim described South Korea’s pursuit of nuclear-powered submarines as a threat that must be countered and offered remarks defending North Korea’s development of nuclear-powered submarines. Analysts said the message used Seoul’s discussion as a pretext to portray North Korea’s strategic weapons buildup as inevitable.
North Korea has previously unveiled undersea capabilities, including what it called a Sinpo C-class ballistic missile submarine, the “Kim Gun Ok Hero Submarine,” which it claimed was its first “tactical nuclear attack submarine” when it was introduced in September 2024, according to state media.
South Korean maritime defense experts, including Hanyang University professor Moon Geun-sik, said the latest disclosure appears intended to showcase parallel development of what North Korea described as an 8,700-ton nuclear-powered strategic guided missile submarine – believed by analysts to be a ballistic missile submarine – along with an underwater unmanned system, believed to be an underwater drone.
KCNA said Kim called for a “qualitative leap” in maritime nuclear forces and described nuclear-powered submarines as a core pillar of North Korea’s nuclear deterrent.
Experts said North Korea’s claims about a “threat” from South Korea diverge from how Seoul has described its own debate. Moon and Jeong Seong-jang, deputy director at the Sejong Institute, said South Korea’s discussion has not been framed around nuclear armament or preemptive strikes. They said it has been presented as a defensive option to support longer submerged operations and covert tracking to counter North Korea’s nuclear and submarine-launched ballistic missile threats.
North Korea experts also say Pyongyang has pursued sea-based missile capabilities in recent years, including efforts they describe as adapting the KN-23 short-range ballistic missile into a sea-based short-range submarine-launched ballistic missile and conducting an underwater test launch from a new 3,000-ton diesel-electric submarine.
Analysts said Kim’s remarks amount to political framing meant to discredit South Korea’s nuclear submarine discussion while rationalizing North Korea’s strategic weapons development. They said North Korea has steadily unveiled intercontinental ballistic missiles, submarine-launched ballistic missiles and tactical nuclear weapons and is now presenting nuclear-powered submarines as a further step in that progression, with an eye toward both internal cohesion and external pressure.
Attention has also focused on the suspected construction site. Experts reviewing the newly released video and images alongside past satellite analysis pointed to shipyard facilities in the Sinpo area of South Hamgyong Province as the most likely location.
Sinpo is widely viewed by analysts as North Korea’s primary hub for submarine and submarine-launched ballistic missile activity, with infrastructure and specialized personnel linked to construction and testing, including launch test facilities and underwater launch barges.
Some experts urged caution about North Korea’s technical capacity to field and operate an 8,700-ton nuclear-powered submarine, noting it would require reliable reactor miniaturization and shielding, radiation safety and a fuel cycle and maintenance system that can support long-term operations. Jeong and other analysts said it remains unclear whether North Korea has achieved those capabilities on a stable basis.
Still, analysts said the strategic impact can be felt regardless of the project’s maturity. Once North Korea publicly declares a nuclear-powered submarine program, they said, it reduces ambiguity and can heighten instability in the maritime environment around the Korean Peninsula.
Experts said Seoul should avoid being drawn into North Korea’s rhetorical framing while recognizing that sea-based nuclear and missile threats are becoming more entrenched. They said South Korea’s nuclear-powered submarine discussion should be refined as a defensive option within international norms and alliance cooperation and paired with broader maritime deterrence steps, including underwater surveillance, anti-submarine warfare and unmanned systems.
KCNA also reported Thursday that Kim reviewed the progress of what it described as newly developed underwater weapons and outlined plans tied to naval force reorganization and the creation of new units.
Analysts said that while Kim’s statement about South Korea’s nuclear submarine push was directed at Seoul, the broader objective was to justify North Korea’s own strategic weapons advancement. They said South Korea should separate principle from reality in its response and focus on capability building and international legitimacy rather than mirror rhetoric.
