year

THE UK’s biggest one-day Christmas market is to return in just a few weeks after it was abruptly cancelled last year.

Thousands are expected to attend the event in a historic market town.

Shoppers will be able to choose from 120 stalls set up in the centre of Beverley in Yorkshire next month after council officials confirmed the event would be back in place this year.

Stalls at the Beverley Festival of Christmas will once again be brimming with seasonal gifts and local treats.

There will also be live entertainment, music and dancing – and, of course, an appearance from Santa and his reindeers – as well as birds of prey on display, and traditional brass bands.

The event had to be cancelled at the last-minute in 2024 after Storm Darragh caused chaos across the UK last year.

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Locals and visitors were left disappointed after council officials took the decision to cancel the market in the run up to the event after 34 flood warnings were issued across the country and a cold weather health alert was put in place.

At the time, a spokesperson for East Riding of Yorkshire Council said the event, which was established in 1995 by local shop owner John Bird, had involved six months of planning and the decision to cancel “had not been taken lightly”.

Announcing its return for 2025, councillor Nick Coultish, cabinet member for culture, tourism and leisure at the council, said the event is “the flagship tourism event for our region and is an important date in the calendar for businesses and traders”.

‘Hugely popular’

He added: “It is always a hugely popular event, with visitors from all over the UK coming to enjoy the festive stalls and entertainment. 

“The event will also provide a welcome boost to the local visitor economy at such a wonderful time of the year.”

The council said that Beverley’s historic centre will be “transformed into a magical Christmas shopper’s wonderland” for the event.

News of its return has prompted an outpouring of support and excitement with hundreds of locals and visitors commenting on Facebook.

One person posted: “I cannot wait to stand in this market. So excited.”

Another person wrote: “We will be there.”

A third person said: “Can’t wait. This is one of our fave Christmas markets.”

A fourth person was equally excited at the news the market is to return, posting: “Love Beverley. Nice place.”

A fifth said: “Will defo have to go!”

The festival will again be sponsored by The Beverley Arms, part of hospitality company Thwaites.

Rick Bailey, chairman at Thwaites, said: “We’re so proud that The Beverley Arms is once again part of The Beverley Festival of Christmas, it’s such a special celebration that brings the whole town together, showcases the very best of Beverley, and captures the true spirit of the season.”

This year’s event will run from 10am to 4pm on Sunday, 14 December.

Also making a return to Beverly this year is the Reindeer Rampage Christmas Trail, which is running from 1 November to December 31.

This is a popular event in the town with locals and visitors asked to find Santa‘s reindeer, which are “hiding” in shop windows in Beverley.

You can pick up a free map and reindeer mask from the Tourist Information Centre on Cross Street and find out more details here.

The market itself will take place over several areas in the town, including Saturday Market, and will also feature a parade to mark the start of the festival.

The parade will leave from Wednesday Market when the event opens at 10am and it will move down Toll Gavel to Saturday Market.

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Taking part in the parade will be feature Santa Claus, Rudolph and the rest of his reindeer, live music, comedy acts, steam punks, Bernese mountain dogs and much more.

This year’s event will take place on 14 December in Beverley

There’s a good chance that a horror movie will be nominated for the 2025 best picture Oscar.

And if Ryan Coogler’s “Sinners” or Guillermo del Toro’s “Frankenstein” make the cut, it will be the first time in the Academy Awards’ 97-year history that a fright film has been nominated in consecutive contests.

It’s long overdue. And if you believe part of Oscars’ purpose is to promote the industry and celebrate its achievements, there’s no better time for the academy to get over its traditional disdain for cinematic monstrosities.

As most other sectors of Hollywood’s film business look precarious — adult dramas, the traditional awards season ponies, are dropping like dead horses at the box office, while attendance for the once-mighty superhero supergenre continues to disappoint — horror has hit its highest annual gross of all time, $1.2 billion, with a good two months left to go.

“Sinners,” released in April, remains in fifth place on the domestic box office chart with $279 million. Its fellow Warner Bros. offerings “The Conjuring: Last Rites,” “Weapons” and “Final Destination: Bloodlines” occupied slots 12 through 14 as of mid-October.

Mia Goth as Elizabeth and Oscar Isaac in “Frankenstein.”

(Ken Woroner / Netflix)

“Horror has been, historically, the Rodney Dangerfield of genres,” notes Paul Dergarabedian, head of marketplace trends for global media measurement firm Comscore. “It can’t get no respect.

“But horror is very important to the industry on so many levels now,” he continues. “We have four horror movies in the top 15 this year, all of those generating over $100 million in domestic box office. And to make a significant scary horror movie, you don’t have to break the bank. Look at [‘Weapons’ filmmaker Zach Cregger’s 2022 breakout feature] ‘Barbarian’; half of that was shot in a basement.” Similarly, compare “Sinners’” $90 million price tag to “Black Panther’s” $200 million.

Horror’s popularity has gone in cycles since Universal’s run of classic monster movies in the early 1930s. But profitability has been a reliable bet more often than not — and Karloff’s “Frankenstein” and Lugosi’s “Dracula” still resonate through pop culture while most best picture winners of the same era are forgotten.

Still, it wasn’t until 1974 that “The Exorcist” received the first best picture nomination for a horror film, and ahead of the success of “The Substance” at the 2025 Oscar nominations the genre’s fortunes had only marginally improved. Indeed, many of the titles usually cited as a mark of horror’s growing foothold in awards season — “Jaws,” “The Sixth Sense,” “Black Swan,” 1991 winner “The Silence of the Lambs” — are arguably better characterized as something else entirely, or at best as hybrids. (To wit, the sole monster movie that’s won best picture, Del Toro’s 2017 “The Shape of Water,” is primarily considered a romantic fantasy.)

Ryan Coogler’s “Sinners.”

(Warner Bros. Pictures)

Fright films’ reputation for delivering cheap thrills to undiscerning audiences was often deserved, but there were always stellar horror films that the academy overlooked. And more recently, films such as “The Substance,” “Sinners” and Jordan Peele’s 2017 nominee “Get Out” have pierced ingrained voter prejudices against the genre by adding social commentary and undeniable aesthetic quality without compromising gory fundamentals.

“The horror genre really does seem to be attracting great directors who are immersed in it, have a real auteur point-of-view and make interesting movies that have horror elements but explore other themes as well,” notes The Envelope’s awards columnist, Glenn Whipp. “‘Sinners’ is Ryan Coogler’s vampire movie, but it’s also about the Jim Crow South and American blues music. How can you resist that if you’re an academy voter?”

And with horror packing in filmgoers like no other genre, high-profile nominations could help the Academy Awards broadcast attract the bigger ratings its stakeholders have been desperately seeking at least since “The Dark Knight” failed to make the best picture cut in 2008.

Austin Abrams in “Weapons.”

(Warner Bros. Pictures)

“That was the whole reason we went to 10 potential nominees,” Dergarabedian recalls. “We wanted to have more blockbuster representation at the Oscars. This may be the perfect storm. If I were an academy voter, I would vote for ‘Sinners’ and ‘Weapons.’ I don’t think that’s an overstatement, given the films that have come out this year.”

Even beyond this “perfect storm,” though, Whipp sees a sea change afoot.

“Everything’s an Oscar movie now if it’s well made,” he says. “Studios aren’t really making traditional, grown-up dramas and the academy can only nominate what’s in front of them. Horror is being produced at a rate that is greater than it used to be, and at least two of these Warner movies really landed with audiences and critics. The genre is attracting some of our top filmmakers right now, and that’s something that will trickle down to the Oscars.”

“This is not a blip,” Dergarabedian concludes. “It’s a trend that feels like it’s happened overnight but it’s been a long time coming. Back in 2017 we had our first $1-billion-plus horror movie box office. If they stop making good horror movies it might be a blip, but I think Hollywood should take this and bloody run with it.”

Last week, HBO Max announced it raised its standard subscription by $1.50 to $18.49 a month — up 23% from when the streaming service launched five years ago amid the pandemic.

Such announcements have become almost routine in the television business as inflation hits streaming platforms that are under growing pressure to turn a profit and pay for higher programming costs.

Once seen as a cheaper alternative to cable, the cost of a streaming subscription for the top platforms continues to rise, much like higher prices for groceries, gasoline and housing.

In fact, the average price for subscriptions to the top 10 paid subscription streaming services in the U.S. increased 12% this year, following double-digit percentage increases per year since 2022, according to Victoria, British Columbia-based Convergence Research Group.

The research firm included streamers such as Netflix, Disney+, Hulu, Peacock, Apple TV and others in its data set. It factors subscriptions that are with ads or ad-free and does not take into account bundling. All of the major streaming services in the U.S. raised their prices on plans this year, except for Paramount+ and Amazon Prime Video, which boosted rates last year.

The price hikes reflect the tough economic realities of media companies that need to replace dwindling revenue from legacy pay TV channels that have seen sharp declines in viewership.

“The rest of their businesses have effectively been under attack by streaming and so they need this area to be profitable in order to compensate for the decline in their own businesses,” said Brahm Eiley, president of the Convergence Research Group. “It’s been tremendous pressure on them.”

Streaming services have been running as loss leaders for some time, said Tim Hanlon, chief executive of Vertere Group LLC, a media consulting firm.

“There’s no question that streaming is now under the gun to be its own profit center,” Hanlon said.

If rates go much higher, consumers may balk, experts said.

“The industry is playing a dangerous game by continuing to raise prices,” said Andrew Hare, senior vice president for the media research consultancy Magid. “We’re nearing a boiling point of rising churn and overwhelming choice.”

Magid has also already seen an uptick in the percentage of consumers who intend to cancel at least one streaming service in the next six months. The figure was 24% in the second quarter of 2025, up from 19% a year earlier.

“Hard as it is to imagine, the cable bundle is starting to look like a better value all the time,” Hare said.

Here is a look at which major streamers have raised prices on their ad-free streaming plans this year.

HBO Max

HBO Max raised prices across all of its plans. Its lowest-cost, ad-free streaming plan went up by $1.50 to $18.49 a month, while the annual version of that plan also increased $15 to $184.99.

HBO Max’s parent company, Warner Bros. Discovery, had 125.7 million global streaming subscribers in the second quarter, up 22% from a year earlier.

Like other streamers, HBO cited the need to help pay for quality content. The platform offers big-budget shows including drama “The Gilded Age” and “House of the Dragon,” which takes place in the “Game of Thrones” universe.

Consumers should brace themselves for more price hikes. Warner Bros. Discovery CEO David Zaslav said at a Goldman Sachs investors conference last month that he believes HBO Max is underpriced.

“We want a good deal for consumers, but I think over time there’s real opportunity, particularly for us in that quality area to raise prices,” Zaslav said.

Peacock

Big-time sports properties have been moving to streaming platforms and guess who is going to help foot the bill? Consumers, of course.

Ahead of becoming a major provider of NBA games this season, Peacock increased prices on its plans, including the premium plus ad-free streaming service, by $3 to $16.99 a month. That was the third price hike since Peacock launched in 2020, where its ad-free plan started at $9.99 a month.

The Comcast-owned streamer, which has 41 million paid subscribers, has weekly games on Mondays and Tuesdays and will have a Peacock exclusive NFL game on Dec. 27. Peacock next year will air the Milan Cortina Winter Olympics and continue to stream major sporting events such as NFL games.

In a July earnings call, Comcast Corp. President Mike Cavanagh touted how Peacock will have the most hours of live sports of any streamer next year.

Netflix

Netflix has also gotten into the sports business, with the addition of two NFL games on Christmas Day.

The streamer, which remains the industry juggernaut, is also expected to add Major League Baseball’s Home Run Derby and an opening night game when MLB finalizes a new media rights deal this year.

The company cited its entry into high-priced sports when it raised its prices on most of its plans, including on its cheapest ad-free monthly plan by $2.50 to $17.99 in the U.S. earlier this year.

“As we continue to invest in programming and deliver more value for our members, we will occasionally ask our members to pay a little more so that we can re-invest to further improve Netflix,” Netflix said in a letter to shareholders in January.

The slice of sports is coming at the expense of fans who need multiple subscriptions — if they want to keep up with every NFL game.

“A certain type of fan is starting to recognize they are being fleeced,” Hanlon said.

Higher prices on ad-free plans can help drive traffic to a streamer’s lowest-priced plans with ads. Netflix launched its subscription plan with ads in 2022 at $6.99 a month and it has only increased by a $1 to $7.99 a month since then in January 2025.

While many major streamers offer cheaper plans with ads, others offer free streaming services with ads such as the Roku Channel or Tubi.

A recent research study by Magid found that three-quarters of consumers are fine with watching commercials, if it saves them money.

Four in 10 said they’re “overwhelmed” by the number of services they use. The average number of streaming subscriptions per household in the third quarter is 4.6, up from 4.1 the previous year.

“Together, these trends point to a more value-driven streaming consumer seeking affordability and simplicity,” the study said.

Apple TV

Apple TV was once one of the lowest-priced subscription service plans, launching at $4.99 a month. Since then, prices for Apple’s video streaming service have increased to $12.99 a month, with its latest price jump of $3 in August.

The Cupertino-based company has been trying to make its streaming business more financially sound, but faces a formidable task as it has been a big spender in attracting name talent to its programs and movies.

When Apple TV first launched, it had just nine programs, but since then has expanded its library to include critically acclaimed shows and films including comedy “Ted Lasso,” drama “Severance” and “The Studio.”

Apple said in a statement that while it did raise its prices on its standard monthly ad-free plan, the cost of its annual subscription remains at $99 and Apple One bundled packages did not change.

Disney+

Last month, Disney+ announced it would increase the cost of its ad-free streaming plan by $3 to $18.99 a month. Hulu did not increase its price on its ad-free monthly streaming plan.

It was the fourth consecutive year the Burbank entertainment giant has boosted its streaming prices since launching Disney+ six years ago, when the service cost just $6.99 a month.

Despite the recent price hikes from Disney and others, Eiley from Convergence Research Group thinks there’s still room for customer growth.

At the end of last year, just 36% of U.S. households had a traditional TV subscription, compared with more than half of U.S. households in mid-2022, according to Convergence Research Group data. By the end of 2028, the research firm forecasts just 21% of households will have traditional TV subscriptions.

“There’s still a massive amount of cord cutting going on,” Eiley said.

TORONTO — Beneath his feet, confetti decorated the turf. Behind him, the video boards congratulated his team on its latest championship.

The Dodgers owner who lives and breathes championships smiled broadly. Magic Johnson always does, of course. This time, he had an impish twinkle in his eye.

“They said we ruined baseball,” Johnson said. “Well, I guess we didn’t.”

If you are not in Los Angeles, you might be screaming in frustration. The team with all the gold makes the rules, and the new rule is that the Dodgers win every year, and now their most famous owner is mocking you?

He is not.

He is, however, issuing a subtle warning to all of baseball’s owners: Don’t let your desperation for a salary cap destroy a sport on the rise — in no small part thanks to the Dodgers.

The NBA was not much more than a minor league 45 years ago. This is crazy to imagine now, but the NBA Finals aired on tape delay, on late-night television, most often at 11:30 p.m. The NBA audience was so small that advertisers would not pay prime-time rates for those commercials, so the games were not broadcast in prime time.

Johnson helped change that. The rivalry between his Lakers and Larry Bird’s Celtics revived the NBA, and then Michael Jordan and the Chicago Bulls became global sporting icons.

From 1980-88, either the Lakers or the Celtics won the NBA title in every year but one. From 1991-98, the Bulls won six titles.

The Celtics and Lakers and Bulls did not ruin the NBA.

“What the Celtics and Lakers were able to do, and Michael Jordan’s Bulls, was to bring in new fans — fans that were, ‘Oh, I don’t know about the NBA,’” Johnson said, “but the play was so good, and the Celtics and Lakers and Bulls were so dominant, people said, ‘Oh man, I want to watch them.’

“It’s the same thing happening here.”

The NBA leadership could not believe its good fortune. Baseball’s leadership appears intent on lighting its good fortune on fire.

“My phone was blowing up with people who hadn’t watched baseball for a long time,” Johnson said. “They were watching this series.

“This was good for baseball around the world.”

The World Baseball Classic is four months away. The World Series most valuable player, the Dodgers’ Yoshinobu Yamamoto, is from Japan.

So is the Dodgers’ Shohei Ohtani, the closest baseball has ever had to its own Jordan. The Dodgers rescued him from purgatory in Anaheim and surrounded him with a star-studded roster, and now he makes more money from pitching products than pitching baseballs. To the Dodgers, he doubles as an All-Star and cash machine.

The league — and all the owners complaining about the Dodgers and their spending — happily profited from this traveling road show. The Dodgers get the same share of international merchandise and broadcast revenue every other team does.

The Dodgers led the major leagues in road attendance, again. The league sent the Dodgers to Seoul last spring and Tokyo this spring, meaning that, for two years running, they were one of the first two teams to report to spring training and one of the last two playing at season’s end. The league’s television partners rushed to book the Dodgers, even for games at times inconvenient to the team.

“MLB put us in every hard situation you can think about,” infielder Miguel Rojas said. “We never complained. We were trying to come through for the fans, for baseball, and everybody should be recognizing what we are doing.”

With the Blue Jays in the World Series, Canadian ratings for the World Series increased tenfold. The Dodgers did not destroy the Jays. They survived them, and barely at that.

The Dodgers have not ruined competition, despite the spotlight.

“They have a great team,” Toronto infielder Ernie Clement said. “There’s no denying it. They’re one of the best teams probably ever put together, and we’ve taken ‘em to seven games, so that’s got to say something about us.”

Toronto manager John Schneider said his team, which won more games than the Dodgers this season, had chances to sweep the World Series.

“People were calling it David versus Goliath,” Schneider said, shaking his head from side to side. “It’s not even… close.”

The Dodgers make a lot of money, pour the money back into the team, and win. They give the people what they want.

“People want the best,” co-owner Todd Boehly said.

Granted, not every team can spend like the Dodgers. Most cannot, and baseball should be able to find ways to share the wealth without risking its tenuous but growing popularity by locking out players in pursuit of a salary cap.

After all, isn’t a compelling product with stars from home and abroad good for baseball?

“You bet,” controlling owner Mark Walter said. “I think they think so, too.”

It was time to go. The parade was 36 hours away, and Johnson had to rest his throat.

“I’m hoarse,” he said. “I’ve never been hoarse.”

So we’ll leave you with one bit of sports trivia, in response to the mistaken notion that a salary cap assures competitive balance: In the Magic, Bird and Jordan years, the ones that lifted the NBA into popular culture, did the NBA have a salary cap?

It did then. It does now. Onto the quest for a three-peat.

Highlights from the Dodgers’ 5-4 win in 11 innings over the Blue Jays in Game 7 of the World Series.

Elliot Zwiebach was 62 years old when he sang in front of a live audience for the first time.

The retired reporter had always loved show tunes, but he’d never considered singing in public before.

“I sang for my own amusement, and I wasn’t very amused,” he said recently.

But one night, after attending a few open mic nights at the Gardenia Supper Club in West Hollywood as a spectator, he got up the nerve to step onto the stage and perform a tune backed by a live band.

For his first song, he picked the humorous “Honey Bun” from the Rodgers and Hammerstein musical “South Pacific.” It was frightening and he didn’t sing well. And yet, the following week he came back and did it again.

Newbie Ian Douglas, left, and longtime singer Elliot Zwiebach look over a sign-up sheet at the Gardenia’s long-running open mic night.

Sixteen years later, Zwiebach, now 78, is a core member of what the event’s longtime host Keri Kelsey calls “the family,” a group of roughly 25 regulars who sing jazz standards, show tunes and other numbers from the Great American Songbook at the longest-running open mic night in L.A.

“It’s very much like a community,” Zwiebach said on a recent evening as he prepared to sing “This Nearly Was Mine,” another song from “South Pacific.” “Everyone knows everyone.”

For 25 years, the small, L-shaped Gardenia room on Santa Monica Boulevard has served as a musical home for a diverse group of would-be jazz and cabaret singers. Each Tuesday night, elementary school teachers, acting coaches, retired psychoanalysts, arts publicists and the occasional celebrity pay an $8 cover to perform in front of an audience that knows firsthand just how terrifying it can be to stand before even a small crowd with nothing more than a microphone in your hand.

“You are so vulnerable up there with everyone staring at you,” said Kelsey, who has hosted the open mic night for 24 years and once watched Molly Ringwald nervously take the stage. “But it’s also the most joyous experience in the world.”

Director and acting coach Kenshaka Ali sings “Goodbye Pork Pie Hat” by Rahsaan Roland Kirk.

The singers are backed by a live, three-piece band led by guitarist Dori Amarilio. The rotating group of musicians — a few of them Grammy winners — arrive not knowing what they will be playing that night. Some singers bring sheet music, others chord charts. And there are those who just hum a few bars and allow the musicians to intuit the key and melody enough to follow along. Poet Judy Barrat, a regular attendee, usually hands the evening’s piano player a copy of the poem she’ll be reading and asks him to improv along with her.

“It’s totally freeform,” said Andy Langham, a jazz pianist who toured with Natalie Cole and Christopher Cross and often plays the Gardenia. “I read the stanzas and try to paint pictures with the notes.”

Keri Kelsey, singing “Mack the Knife,” has hosted the Gardenia’s open mic night for 24 years.

The Gardenia, which opened in 1981, is one of the few venues in L.A. specifically designed for the intimacy of cabaret. The small, spare room has table service seating for just over 60 patrons and a stage area beautifully lit by an abundance of canned lights. Doors open at 7 p.m. on Tuesday nights, but those in the know line up outside the building’s nondescript exterior as early as 6 p.m. to ensure a reasonable spot on the night’s roster of singers. (Even though there is a one-song-per-person limit, the night has been known to stretch past 12 a.m.) Nichole Rice, who manages the Gardenia, takes dinner and drink orders until the show starts at 8:30 p.m. Then the room falls into respectful silence.

Pianist Andy Langham and guitarist Dori Amarilio perform live music accompaniment for each open mic participant at the Gardenia.

“This is a listening room,” said singer-songwriter Steve Brock, who has been attending the open mic night for more than a decade. “I’ve been to other rooms where I’m competing with tequila or the Rams. Here, when anyone goes up in front of that microphone, everyone stops.”

On a recent Tuesday night, the show began as it always does with an instrumental song by the band (a piano, guitar and upright bass) before an opening number by Kelsey. Dressed in a black leather dress and knee-high boots, she had this time prepared “Mack the Knife.” “This may be one of the loungiest lounge songs ever,” she said. “Maybe that’s why I really like it.”

People begin to line up outside the Gardenia at 6 p.m. to get a spot for the Tuesday open mic night.

The first singer to take the stage was Trip Kennedy, a bearded masseur who performed “The Rainbow Connection” in a sweet tenor. When he finished, Kelsey shared that she was cast as an extra in “The Muppets Take Manhattan.”

“It was the most ridiculous thing,” she said, filling time as the next singer consulted quietly with the band. “I was a college student who dressed up as a college student for the audition.”

Dolores Scozzesi, who sang at the Hollywood Improv in the ’80s between comedy sets, performed a moody arrangement of “What Now My Love.” “This is a [chord] chart from 2011,” she told the audience before she began. “I want to try it because these guys are the best.”

Monica Doby Davis, an elementary school teacher, sings the jazz standard “You Go to My Head” at the Gardenia.

Zwiebach performed a medley of two Broadway hits, “I’ve Grown Accustomed to Her Face” (which he altered to “his face”) and “This Nearly Was Mine,” easily hitting all the notes. After, his young friend Ian Douglas, a relative newbie who started attending the open mic night in the spring, sang the jazz standard “You Go to My Head.” Zwiebach praised the performance.

“I know that song very well and you did a great job,” he said.

Monica Doby Davis, who once sang with the ’90s R&B girl group Brownstone and now works as an elementary school teacher, also performed “You Go to My Head.” Although she had left the entertainment business decades ago, she said finding the Gardenia open mic night 13 years ago “brought music back to my life.”

Tom Nobles, left, sings alongside bassist Adam Cohen, center, and pianist Andy Langham at the Gardenia.

There were many beautiful, intimate moments that night, but perhaps the best was when Tom Nobles, an actor and retired psychoanalyst in a purple knit cap and thick plastic glasses, forgot the words to “Lost in the Masquerade” by George Benson.

He stumbled for a moment, a bit perplexed, before turning to his friends for help.

“Whoever knows the words, sing it with me,” Nobles said to the crowd.

Quietly at first and then louder and stronger, the whole room broke out into song.

We’re lost in a masquerade. Woohoo, the masquerade.

When Dwayne Finley graduated from Van Nuys High in 1984, he had ideas of becoming a high school sports official.

For 35 years, he has been working as a football, basketball and baseball official for both the City Section and Southern Section.

He became such a good umpire that he has worked college baseball for 30 years.

Finley has always been known for keeping his cool and keeping games under control.

Coaches appreciate his ability to speak with them to clarify questions. And he’s nowhere near ready to retire.

This is a daily look at the positive happenings in high school sports. To submit any news, please email [email protected].

SOME places in the UK are especially memorable thanks to television series that have been filmed there, particularly in the south of England.

The pretty village of Looe is famous for being the backdrop of Beyond Paradis and Port Isaac was used for years in Martin Clunes‘ series Doc Martin – now the Lizard peninsula is set to be big thanks to the HBO Harry Potter series.

Earlier in autumn, the coastal peninsula of Lizard became a magical backdrop as actor John Lithgow who plays Albus Dumbledore, was spotted filming there.

Thanks to its location, the area is expected to soar in popularity next year, following in the footsteps of many other television series.

The Lizard peninsula is the southernmost point of the British mainland and is mostly recognisable thanks to its incredible coastline.

One of the spots where Harry Potter has been filming is in Cadgwith Cove, a small fishing village.

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The beach on the cove is split in two, one part is where you’ll find the fishing boats, and the other is where visitors and locals will go swimming, snorkelling and rock pooling.

Further around Cadgwith Cove is a 200-foot blowhole called the ‘Devil’s Frying Pan’.

The village itself is full of chocolate-box looking cottages, and anyone wanting to stay in Cadgwith Cove can do so at the local inn.

Harry Potter is also expected to film in Kynance Cove, a tidal beach famous for its white sand, turquoise sea and rock stacks.

Anyone can visit Kynance Cove, but there is a small fee for parking – unless you’re a National Trust member.

It’s worth the trip though with some visitors even describing it as “the best beach, give you Portugal vibes”.

Others describe it as a “Cornish gem”, however, there are warnings of strong waves and fast-rising tides.

Kynance Cove was even voted as being one of the World’s 50 Best Beaches in 2024.

While there aren’t many facilities, there is a cafe on the beach that serves sandwiches, salads, jacket potatoes, pasties and hot drinks.

For more budget-friendly holiday stay option on the peninsula, Brits can head to Lizard Point Holiday Park run by Parkdean Resorts.

The site is closed for the winter season, but reopens in March next year.

A five-night stay in May on a Trelan Caravan with a flatscreen TV, comfy sofas and sleeps up to six starts from £219, which is £7.30pppn.

The Compass Bungalow is the same price but sleeps up to four people; however, it is more spacious and has a brand new kitchen and bathroom.

Facilities include indoor and outdoor pools, kart and bike hire, children’s shows from PAW Patrol to Milkshake Mornings.

Kids can also check out the soft play, amusement arcade, bungee trampoline, adventure golf, high ropes, table tennis, football as well as art and craft sessions.

There are on-site bars and restaurants, an ice cream parlour, drinks van and Street Eats for takeaways.

Port Isaac further north became so well-known after being used as the filming location for the BBC Doc Martin series that ran for 18 years.

It became the fictional village of Portwenn, showing off its clusters of stone cottages and narrow streets.

Beyond Paradise, starring Kris Marshall and Sally Bretton, is filmed in the beautiful town of Looe, also in Cornwall.

The spin-off to Death in Paradise started in 2023 and is set in the fictional town of Shipton Abbott. The beaches of Looe and Fore Street are popular locations and the Guildhall is what they use for the Shipton Abbott Police Station.

Martha’s restaurant, The Ten Miles Kitchen, is filmed in The Stables, Port Eliot House & Gardens a cafe 20 minutes inland from Looe in the parish of St Germans.

It’s a great place to pop in for a coffee or brunch and a look over the garden estate.

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Here are five locations from popular TV shows that are free to visit…

Gavin and Stacey

Gavin and Stacey came to an end with the finale episode over Christmas, but you can still keep the show’s spirit alive with a trip to Barry, Wales.

Trinity Street in Barry is home to the homes of Gwen, Uncle Bryn, and Doris – now belonging to Gavin and Stacey.

On Barry Island itself, there’s the famous Marco’s Cafe and the Arcade where Nessa worked the slots.

Just up the road is The Colcot Arms aka Smithy’s local Essex hangout and of course the Tadross Hotel which doubles as The Dolphin – where pints cost £4, according to reviews left by guests.

Midsomer Murders

In rural Oxfordshire there is one of the deadliest villages around, Midsomer. ITV’s Midsomer Murders is filmed mostly in the quaint and historic town of Wallingford.

Wallingford isn’t the only location used. Just 30 minutes up the road is the village of Thame which also doubles as Causton village.

In Thame, the Spread Eagle, a red-brick hotel that serves up four roast mains on a Sunday, has been used for filming. They’ve also used The Black Horse, which has monthly offers from Happy Hour to deals on main courses.

Rumsey’s Chocolaterie has also appeared on-screen, and it’s worth a trip there just for the hot chocolates alone. They also offer workshops where you can make truffles and chocolate figurines.

At the Thame Museum, they offer a free Midsomer Walking Tour leaflet and there’s an opportunity to have a photo taken next to the ‘Causton Town Hall’ sign.

All Creatures Great & Small

The Yorkshire Dales is the home to beloved series All Creatures Great and Small.

Grassington becomes the fictional market town of Darrowby and there are lots of familiar sights, as most of the village is used for filming.

The production team dress up shop fronts, with The Stripey Badger Bookshop becoming G F Engleby Grocers and The Devonshire transforming into the Drovers Arms.

The traditional family pub is very highly rated and offers everything from hearty breakfasts to Sunday lunch. It even offers ‘Dining for Dogs’ with ‘Diced Chuck Steak Doggy Dinner’ or ‘Sausage Stew’ on the menu.

For the chance to spot some filming, plan a trip in late Spring, early Summer as the cast begin with the Christmas special around that time.

Call the Midwife

Call the Midwife has returned for series fourteen and there are plenty of locations from over the years to visit for free.

In the latest series, the ladies of Nonnatus house took a trip to the seaside which was filmed on West Wittering beach, in Sussex.

The cast were unlucky though, and filmed during Storm Agnes which resulted in Cliff Parisi developing hypothermia.

Another recognisable location is the lighthouse from the 2019 Christmas Special, where Nurse Val and Nurse Lucille go to Scotland.

It’s actually the Eilean Glas Lighthouse on the east coast of the island of Scalpay. To get there, park in the village of Kennavay and take the 30-minute trail. The building also operates as a small museum and serves tea and coffee during open hours.

Shetland

Talking of Scotland, Shetland is the filming location for Shetland, obviously. The TV series starring Ashley Jensen is filmed in the main town and port, Lerwick.

The most recognisable spot of Lodberries House, which was the home of former lead DI Jimmy Perez (Douglas Henshall).

Another popular location for the show is Commercial Street, which has featured in almost every single series of Shetland ever.

There are also lots of other iconic locations in Lerwick, including Lerwick Town Hall, Bain’s Beach and Lerwick Harbour.

You can get to Shetland by flying to a Scottish terminal, Aberdeen, Edinburgh, Glasgow, Inverness and Kirkwall all have direct flights to Lerwick.

For more on Harry Potter, here’s the quaint suburb 30 minutes from central London that’s Harry Potter’s new childhood home.

Plus, the tiny pretty village in ‘trending’ English county that has its own castle and beach and is a great stop for Potterheads.

TORONTO — It was a game that started on Saturday and ended on Sunday, a World Series contest so packed with the rare, the historic and the dramatic that it couldn’t possibly be confined to one day.

At 11 innings, it was the longest Game 7 this century, and it equaled the longest in more than a century. It was the first Game 7 that had a ninth-inning home run to tie the score and the first to feature two video reviews that prevented the go-ahead run from scoring.

“It’s one of the greatest games I’ve ever been a part of,” Dodgers manager Dave Roberts said after his team outlasted the Toronto Blue Jays 5-4 to win its second straight World Series and end the longest season in franchise history, one that began in Japan and ended in Canada.

The victory made the Dodgers the first team to win back-to-back titles in 25 years and with that championship, Roberts’ third, he passed Hall of Famer Tommy Lasorda to become the second-most-decorated Dodger manager ever. He now trails only Walter Alston, another Hall of Famer, who won four World Series with the team.

Roberts, however, won his three titles over six seasons, something no Dodger skipper has ever done.

“It’s hard to reconcile that one,” said Roberts, whose jersey from Saturday’s game is on its way to Cooperstown, joining the cap the Hall of Fame requested after last year’s World Series win.

“I’m just really elated and really proud of our team, our guys, the way we fought. We’ve done something that hasn’t been done in decades. There was so many pressure points and how that game could have flipped, and we just kept fighting, and guys stepped up big.”

So did the manager.

Every move Roberts made worked, every button he pushed was the right one. Miguel Rojas, starting for the second time in nearly a month, saved the season with a game-tying home run in the top of the ninth while Andy Pages, inserted for defensive purposes during the bottom of the inning, ran down Ernie Clements’ drive at the wall with the bases loaded to end the threat.

In the 11^th he had Yoshinobu Yamamoto pitch around Addison Barger, putting the winning run on base. But that set up the game-ending double play three pitches later.

“Credit to him, man. Every single move he did this postseason was incredible,” said Tyler Glasnow, one of four starting pitchers Roberts used in relief Saturday. And he had a fifth, Clayton Kershaw, warming up when the game ended.

Added Dodgers co-owner Magic Johnson: “He did some coaching tonight. This was a great manager’s game from him. He’s proven how great a manager he is. He’s a Hall of Famer.”

Roberts asked Yamamoto, who pitched six innings Friday to win Game 6, to throw another 2 2/3 innings in Game 7. It worked; Yamamoto won that game too.

“What Yoshi did tonight is unprecedented in modern-day baseball,” said Roberts, who came into the postgame interview room wearing ski goggles and dripping of champagne. “It just goes down to just trusting your players. It’s nice when you can look down the roster and have 26 guys that you believe in and know that at some point in time their number’s going to be called.”

And Roberts needed all 26 guys. Although the Dodgers players wore t-shirts with the slogan “We Rule October” when they mounted a makeshift stage in the center of the Rogers Centre field to celebrate their victory early Sunday, October was only part of it. Their year started in Tokyo in March and ended in Toronto in November, making it the first major league season to begin and end outside the U.S.

“We really extended the season,” Max Muncy, whose eighth-inning homer started the Dodgers’ comeback, said with a grin after the team’s 179^th game in 226 days.

“Look back at the miles that we’ve logged this year,” Roberts said. “We never wavered. It’s a long season and we persevered, and we’re the last team standing.”

That, too, is a credit to Roberts, who has made the playoffs in each of his 10 seasons and went to the World Series five times, trailing only Alston among Dodger managers. His .621 regular-season winning percentage is best in franchise history among managers who worked more than three seasons. And he figures to keep padding those records.

“We’ve put together something pretty special,” said Roberts, who celebrated with his family on the field afterward. “I’m proud of the players for the fans, scouting, player development, all the stuff. To do what we’ve done in this span of time is pretty remarkable.

“I guess I’ll let the pundits and all the fans talk about if it’s a dynasty or not. But I’m pretty happy with where we’re at.”

On Sunday morning Glasnow, who missed the playoffs last season with an elbow injury, was pretty happy with where he was at as well.

“To be a part of the World Series is crazy,” he said, standing just off the infield as blue and gold confetti rained down. “You dream about it as a kid. To live it out, I feel so lucky. This group of guys, I’m so close to everyone. So many good people on this team. It’s just the perfect group of guys.”

The perfect manager, too.

The wait for the first Dodgers parade of the century: 36 years.

The wait for the second: One year and two days.

On Monday, in celebration of the Dodgers becoming baseball’s first back-to-back champion in 25 years, Los Angeles will throw another party for the Dodgers.

The Dodgers’ 2025 championship parade starts Monday at 11 a.m. and runs through downtown, followed by a rally at Dodger Stadium. The rally requires a ticket, which can be obtained starting at noon Sunday at dodgers.com/postseason.

For fans with rally tickets, parking lot gates will open at 8:30 a.m. and stadium gates at 9 a.m. The event is expected to start at about 12:15 p.m.

The parade and rally will be aired live on Channels 2, 4, 5, 7, 9 and 11 as well as SportsNet LA and AM 570, the team said.

In last year’s rally, Dodgers manager Dave Roberts and Ice Cube performed next to one another, with Roberts dancing and Ice Cube singing.

At one point, future Hall of Famer Clayton Kershaw took his turn at the microphone and hollered, “Dodger for life!”

In September, Kershaw announced he would retire at the end of the season. In his only World Series appearance, he got a critical out in the Dodgers’ 18-inning victory in Game 3.

He’ll make his final Dodger Stadium appearance as a player as part of a second consecutive championship rally. He’ll be back: The Dodgers will retire his No. 22 — they retire the number of all their Hall of Famers — and he’d certainly be in line to throw ceremonial first pitches in the Dodgers’ future postseason runs.

For now, though: Three-time champion Dodger for life.

Japanese horse racing has been on the precipice of breaking through on the U.S. scene. It seemed like it was almost there in 2021 when it won three Breeders’ Cup races. But after that it leveled off.

Through 10 races at this year’s Breeders’ Cup, horses from Japan underperformed. But in the 11th, the most important race in the two-day event, the breakthrough became official when Forever Young held off Sierra Leone, last year’s winner, to win the $7-million Breeders’ Cup Classic by a half-length.

The last time we saw Forever Young in this country was a year ago when the 4-year-old colt finished third in the Classic. Before that, he was third in the Kentucky Derby by a whisker while being on the receiving end of some bumping down the stretch by Sierra Leone. Without that he might have been victorious in a race that was won by Mystik Dan.

The commonality between the 2021 and 2025 Breeders’ Cup days was that both were run at Del Mar.

Forever Young was almost the victim of some legal chicanery on Saturday as trainer Chad Brown entered a horse — called a rabbit — with little chance to win so that he could set a fast pace. Sierra Leone, also trained by Brown, needs a fast pace to weaken the other horses, which would benefit Sierra Leone’s late running style.

But this time, Forever Young overcame all the obstacles thrown at him. He ran a very tactical race being placed close to the lead and never farther back than third.

Forever Young paid $9.00 to win. He was followed in order by Sierra Leone, Fierceness, Journalism, Mindframe, Baeza, Nevada Beach, Antiquarian and Contrary Thinking, who was the rabbit in the 1 1/4- mile race.

It was the third Breeders’ Cup win for trainer Yoshito Yahagi. When asked if this was his most satisfying win, Yahagi said, through a translator: “I will never, ever get satisfied until I get retired as a trainer.”

Forever Young was the third foreign horse to win the Classic, joining Argentine-bred Invasor in 2006 and Irish-bred Black Tie Affair in 1991.

“So last time here, the horse was 75% conditioned,” Yahagi said. “And this time we create 100% condition. Forever Young is an amazing horse.”

The winning jockey was Ryusei Sakai.

“We got the No. 1 in America,” Yahagi said to NBC.

The Classic lost a lot of luster when the favorite, Sovereignty, the winner of the Kentucky Derby and Belmont Stakes, was scratched earlier in the week when he spiked a fever. Sovereignty was the top-rated horse in the country and a possible horse-of-the-year winner. Many were hoping for a rematch with Journalism, who finished second in both those races and won the Preakness, which Sovereignty did not run in.

Trainer Bill Mott only brought two horses to the Breeders’ Cup, Sovereignty and Scylla. While Sovereignty didn’t make the starting gate on Saturday, Scylla ($17.20 to win) sure did, winning the biggest race of the year for female horses, the $2-million Distaff.

“It’s certainly difficult to see what happened to Sovereignty,” Mott said. “I think everybody that’s connected [with this sport] has been through it and we knew when it happened, he wouldn’t be able to compete and not at the level that he would need to. And it seems as though he’s recovering well but he’s really not the story here.

“I mean this one is about Scylla and about Junior [Alvarado, his jockey] and the Juddmonte connections.”

Alvarado took her to the front and never looked back, winning the 1 1/8-mile race by 5 1/2 lengths. Nitrogen was second and Regaled finished third. Favorite Seismic Beauty contended early but then faded to 12th in the 13-horse field.

The second richest race on the card, the $5-million Turf, was supposed be a matchup of two-time winner Rebel’s Romance and Minnie Hauk, who had five wins and two seconds in seven starts. They ran together for most of the 1 1/2-mile race but long shot Ethical Diamond started rolling in the top of the stretch and cruised to a 1 1/4-length win. Rebel’s Romance was second.

The Irish-bred Ethical Diamond, trained by William Mullins and ridden by Dylan Browne McMonagle, paid $57.40 to win.

The first Breeders’ Cup race of the day, the $1-million Filly & Mare Sprint, became less interesting when two of the favorites, Sweet Azteca (2-1 morning line) and Tamara (7-2), were scratched by the veterinarian. There was a third scratch that took the field down to seven.

Bob Baffert had three of the horses in the race, including Splendora, who won in dominating fashion by 4 3/4 lengths and paid $7.80. He was midpack until the far turn of the seven-furlong race before jockey Flavien Prat let him loose in the stretch.

It was Baffert’s 20th Breeders’ Cup win, tying him for second with the late Wayne Lukas. Aidan O’Brien won his 21st Breeders’ Cup race on Friday.

“[Lukas] changed every industry for the better,” Baffert said. “He brought elegance to the game. … To be part of it and then to tie him, it’s an honor for me. … I still miss him. I loved having conversations with him. It’s an honor to tie him.”

Shisospicy ($12.60) broke on top and held the lead to the finish to win the $1-million Turf Sprint, which was ran at five furlongs. The 3-year-old filly is trained by Jose Francisco D’Angelo and was ridden by Irad Ortiz, Jr., who picked up his 22nd Cup victory.

She’s Quality was eased shortly out of the gate in the Turf Sprint by jockey Colin Keane and walked onto the equine ambulance. She was transported to an equine hospital and is back in her barn being monitored.

Ortiz picked up his 23rd win in the next race when he won the $2-million Sprint aboard Bentornato. It was also the second straight victory for D’Angelo. Bentornato broke on top and was never headed in the six-furlong race. It was only his second race of the year for the 4-year-old ridgling. Bentornato finished second in last year’s Sprint, losing to Straight No Chaser, who finished seventh on Saturday.

There were three additional Breeders’ Cup races after the Classic, the turf Mile, Dirt Mile and Filly & Mare Turf.