After falling 85% from its all-time high, WPP (LSE: WPP) now looks like a key contender to join the FTSE 250 in the next index reshuffle. In fact, there are now no fewer than 20 stocks on the mid-cap index with larger market-caps than it has. The worst of those losses occurred in just the past 11 months.
The price is down 70% since 13 December 2024, when the shares cost 893p. Now trading at around 273p, they’re at their lowest level since October 1998 — before the dotcom crash! And the FTSE 100‘s up 104% in the same time period.
It’s hard to believe that the company was worth almost £14bn just before Covid hit.
The rapid rise of digital and artificial intelligence (AI)-driven advertising has been identified as a key contributor to WPP’s struggles. Unable to compete with technological challenges, it lost major clients such as Mars and Coca-Cola, leading to a sharp revenue decline.
Macroeconomic challenges further compounded this, leading to reduced advertising budgets, especially in key markets such as North America. Add to this costly leadership changes and you have the perfect storm to send a stock spiralling.
So that leaves the question: is WPP a lost cause or an opportunity hiding in plain sight for value investors?
Down. But not out
For those willing to play the long game, it’s fair to say that WPP could make a decent recovery. The company’s currently facing significant sector-specific headwinds but in the past, it was a titan of industry.
It couldn’t achieve that without the trappings of a well-run business. Therefore, it’s not unrealistic to imagine it could regain the success of yesteryear — if it can only navigate the challenges of the modern world.
Right now, AI’s causing significant disruption in several industries, particularly media. However, many of its uses are still being tested, and there’s little evidence to suggest it’ll fully replace services for many companies.
Rescue stations
Once the dust settles, we may find that traditional businesses still play a core role in media and other sectors. And with decades of experience, WPP’s well-positioned to take on that role.
Recently-appointed CEO Cindy Rose has taken the lead to implement operational changes amid all the financial stress. She’s already announced plans to streamline internal operations and focus on technology and enterprise solutions to revive growth.
Through a recent partnership with Google AI, the publisher plans to create a proprietary platform, WPP Open, using advanced generative AI tools. The aim is to enable faster creative content generation, from ad concepts to video narration and product images, greatly accelerating campaign production and reducing costs.
My opinion
In today’s AI-driven world, the future’s more uncertain than ever. Still, I think WPP has a good chance of bouncing back. With the price down 67% in a year, it now looks extremely undervalued. It has a forward price-to-earnings (P/E) ratio of 4.42 and a price-to-sales (P/S) ratio of 0.21.
At the same time, earnings are up 89% year on year, despite the sharp fall in revenue. So it’s still worth considering, in my view.
Naturally, any significant turnaround may take some time. But for those willing to wait, might this turn out to be the next Roll-Royce-style recovery story?
Still reeling from the discovery that Don has known about him for his entire life, Blue was ready to turn his back on firefighting for good in Episode 5 of “9-1-1: Nashville.” Unfortunately for Blue (and his beautiful car), fate had other plans.
TVLine spoke with actor Hunter McVey about what’s still to come for Blue in Season 1, but first a quick recap: After quitting his skill test mere seconds before crossing the finish line, Blue went off the grid and was only willing to respond to Ryan. The people in Blue’s life were understandably concerned, but by the end of the hour, that concern would soon grow to full-blown panic.
Blue was in the middle of getting his old job back at the strip club when he noticed a drunk patron getting into her car. She refused to call a rideshare service, so Blue tailed her in his Mustang, placing a 9-1-1 call for good measure. As the drunk woman headed straight for a group of cross-walking children, Blue went into full “Fast and the Furious” mode, successfully blocking her at the cost of his own car… which flipped over… and exploded.
The whole ordeal proved to Don that saving people is in Blue’s DNA. And in light of those heroics, the fire chief agreed to fudge the results of Blue’s skill test and allow him to continue working with the 113.
Elsewhere in the hour, Roxie felt a personal connection to a Jane Doe she rescued from an apparent suicide attempt. Having once been in a dark place herself, Roxie dropped her entire $25,000 savings on an out-of-pocket brain procedure to wake the patient from a coma. While waiting for the patient’s parents to arrive, Roxie shared a difficult story from her own upbringing, a time when she thought her conservative Christian parents would never fully accept her for who she is. She was happy to report that she was wrong — they welcomed her with open arms and are now her biggest supporters.
Read on for our full Q&A with McVey about “9-1-1: Nashville” Episode 5:
Hunter McVey Mourns Blue’s Mustang
ABC
TVLINE | There’s a lot to unpack from this episode, but can we start with a moment of silence for Blue’s Mustang? MCVEY | You’re telling me! I did not like seeing that in the script. I enjoyed all of the scenes filming that Mustang. The first scene that I ever shot for the show was actually driving up to the manor in that Mustang. I was sweating through my entire shirt, there were cameras strapped to the entire thing, and I was just focused on not crashing it. Every single time I get in there, I feel that surreal feeling, so when I saw that the Mustang is no more, I was like, “No!”
TVLINE | It was such a Blue car. I can’t imagine him driving anything else. MCVEY | I know, we’ll see what happens next. Hopefully it’s not a smart car or anything.
TVLINE | I can’t picture that. But the fact that he was willing to sacrifice his car, and potentially himself, to stop that woman and save those kids — that’s pretty revealing about who Blue is. MCVEY | That scene really solidified just how true Blue is to himself, how much he prioritizes his loved ones and the people that he cares about. It’s one of the qualities that I admire most about Blue, because it’s evident in the first few episodes as well that he may do some things that aren’t looked at as traditional, but it’s for the greater good of the people that he loves. The crash itself was just straight instinct to help others and knowing exactly what needs to be done without overthinking or considering the consequences. It shows that Blue is selfless.
What Other Secrets Are Don And Dixie Keeping From Blue?
ABC
TVLINE | Blue is obviously a full-grown man, physically, but when Dixie told him about Don’s Christmas presents and his face lit up, I felt like I was seeing a child. Are those sides of Blue constantly jockeying for dominance? MCVEY | Oh, 100%. I would say that the little boy side of Blue may be taking up the majority of him. He sees things from a glass half-full perspective, and it’s the little things that matter to him.
TVLINE | Don and Dixie appear to have finally told him everything. Does he have enough information to forgive and forget, or are there more truth bombs coming? MCVEY | I think Dixie may have a few more tricks up her sleeve. That was one of the bigger ones, and it was definitely important information that Blue should know, but I don’t think they’ve told him necessarily everything that he should know at this point. And there are some interesting dynamics to the Hart family that come into play. It’s the opposite of a traditional family, but as you grow up and live, you see that most people do not have a traditional family dynamic. So to be able to touch on some of these things that normal people deal with on a daily basis is pretty cool.
Hunter McVey Thought He ‘Was Not Going To Make It Through’ His Stripping Scenes
ABC
TVLINE | Along those lines of things normal people deal with, Blue being diabetic is interesting to me. I feel like that’s not well-represented on TV. MCVEY | Yeah, and I love that. Some of the feedback that I’ve gotten from viewers with type-1 diabetes is that it makes them proud to be represented on television. I’m honored that Blue can do some justice and bring some knowledge and education to it. That makes me incredibly happy.
TVLINE | What about the stripper community? Have you heard from any of them? MCVEY | [Laughs] No, I have not heard from the stripper community, because I actually don’t think I did them the most justice. I don’t know how it played on television to the people who are actually good dancers, but man is it difficult. It was a lot different than taking shirtless Instagram pictures, I will tell you that much. That was one of the moments where I thought I was not going to make it through. So hopefully if there are any strippers out there that felt good about it, I’d love to hear from them.
TVLINE | Well, since Ryan is showing Blue the ropes at the firehouse, when is Blue going to teach him some stripper moves? Maybe it could save his marriage. MCVEY | I don’t know if that would save their dynamic, but I’m sure Blue would be completely willing if it would help.
Ryan And Blue Are More Alike Than They Realize
ABC
TVLINE | It was interesting that, even though Blue wasn’t answering anyone else’s calls, he was willing to meet with Ryan. I feel like that says a lot about how close they’ve become and how Blue views him independently of everything else going on. MCVEY | Yeah, and I think one of the reasons he thinks independently of Ryan is because, aside from Blue, Ryan was the only other person not in the know. Ryan also had this ginormous secret kept from him his entire life. I was definitely happy that Blue could share that commonality with Ryan and have some common ground there. I also loved when they ordered the same breakfast and were like, “Huh.” That was a pretty cool moment.
Love Is In The Air! Who’s Catching Blue’s Eye?
ABC
TVLINE | We’ve learned a lot about Blue, but his love life remains a question mark. Will he be getting into any romance this season? MCVEY | I think there is a very talented and beautiful woman who’s also in the 113 that Blue is becoming very fond of. He’s stepping carefully into the situation. He doesn’t want to do anything that would disrupt or hurt his new family dynamic, or hurt his chances at this newfound career that gives him so much purpose. But yes, of course, there is some interest there between Blue and another firefighter.
TVLINE | That’s so fun. We haven’t had too many firehouse relationships in this franchise. MCVEY | It’s definitely going to be interesting. We’ve filmed quite a few more scenes than the ones that have aired so far. The dynamic goes a bit deeper than than what you guys have seen, and I’m excited for the audience to see it, because it’s maybe not what you’d exactly expect.
What did you think of “9-1-1: Nashville” Episode 5? And what are your hopes for the rest of the show’s first season? Drop a comment with your thoughts below.
A CNN correspondent’s live report from the White House turned chaotic on Wednesday when a worker began blowing leaves directly behind her.
Senior White House Correspondent Kristen Holmes was midway through an update on newly announced pharmaceutical deals when the whirring of a leaf blower drowned out her voice during a segment that was first reported by DailyMail.com.
“I apologize, obviously I’m sure you can hear that since it’s deafening to me,” Holmes told anchor Erica Hill during the segment.
Senior CNN White House Correspondent Kristen Holmes was interrupted by a White House leaf blower during a live shot on Thursday.“I apologize, obviously I’m sure you can hear that since it’s deafening to me,” Holmes told anchor Erica Hill during the segment.
“Someone is doing yard work in the White House directly behind me and they chose this moment, right as I was going to talk to you. So, hopefully you’ll be able to hear me without me shouting.”
Holmes pressed on for more than two minutes over the din before the sound subsided.
The White House lawn is maintained by a year-round team of government gardeners responsible for the South Lawn, the Rose Garden and surrounding grounds.
When asked about the disruption, a White House spokesman denied it was deliberate.
“Federal operations staff, who are going without pay thanks to the Democrat shutdown, work hard to keep the People’s House safe and beautiful for the American people – not the fake news!” White House spokesman Davis Ingle told The Post.
At least one viewer noted the spectacle online.
When asked about the disruption, a White House spokesman denied it was deliberate. Getty Images
“Just so happened to stop channel surfing when I hit CNN and the White House lawn care service is loudly leaf blowing directly behind the CNN correspondent while she is trying to do a report,” one user wrote on X, adding a crying-laughing emoji.
The White House grounds crew continued maintenance through the afternoon, according to on-site reporters.
Also Wednesday, the network opted not to air the president’s remarks on the economy live, drawing the White House’s ire.
“President Trump is giving a major economic speech and CNN is not covering it live,” White House Press Secretary Karoline Leavitt posted on X.
“They don’t want their audience to hear President Trump’s pro-growth, America First economic vision!”
CNN aired regular programming during the speech and posted excerpts later on its website. The network did not immediately comment on Leavitt’s post.
The rebuke marked the latest skirmish in a long-running feud between Trump and CNN, whose correspondents have often clashed with him and his aides dating back to his first term.
In November 2018, Trump’s White House barred CNN’s Jim Acosta from news conferences after a tense exchange with the president.
The administration claimed Acosta placed his hands on a staffer, a charge both he and the network denied.
Throughout his presidency, Trump repeatedly derided CNN as “fake news” and labeled it “the enemy of the people.”
He also frequently sparred with reporters including Acosta, who is no longer with the network, and Kaitlan Collins, at times refusing to take their questions.
On Tuesday, New Yorkers — by a slight majority, but a majority nonetheless — endorsed Zohran Mamdani and the proud, unrepentant form of socialism he champions as the answer to, as least as he presents it, all of their woes.
“We will prove that there is no problem too large for government to solve, and no concern too small for it to care about,” Mamdani declared during his victory speech, an inversion of Ronald Reagan’s famous truism.
At least some of the Big Apple’s lurch to the far left is attributable to the 34-year-old’s undeniable political talent.
But there are greater, or — to be blunt — more sinister forces at work.
Most insidious of all are two intertwined lies: that Americans today have it worse than their forebearers and that their wealthy peers bear the blame for their plight.
Heard mentality
Campaigning is the art of hearing people, and Mamdani heard New Yorkers better than anyone.
These are real concerns that no voter should be ashamed of expressing and every politician worth their salt ought to devote their time and energy to alleviating.
These justifiable feelings have been unjustly compounded, though, by progressives’ relentless demoralization campaign.
Want to buy a house?
Not in this economy, they say.
Need health care?
Good luck.
Are you hopeful your kids will enjoy a better life than you did?
They won’t.
Never mind whether any of that is true, these claims are meant to discourage Americans into handing more power over to the government — and it’s working.
Moreover, the treatment Mamdani and his comrades propose will make New Yorkers’ real problems worse.
Instead of telling his soon-to-be constituents that they are the masters of their own lives — and trying to cultivate the necessary conditions for them to improve their lot — the mayor-elect’s message to his followers is that they have somehow been gipped.
His celebration of his ticket to Gracie Mansion on Tuesday included denunciations of “bad landlords” and “billionaires,” as well the assertion, “For as long as we can remember, the working people of New York have been told by the wealthy and the well-connected that power does not belong in their hands.”
Blame games
It is tempting to buy into the blame game that Mamdani has turned into such a potent weapon.
To some, it comes as a great relief to believe that every errant degree they’ve pursued, every frivolous dollar they’ve spent, indeed, every mistake they’ve ever made can be chalked up to some successful person or entity pulling a fast one over them.
And to hear that it is someone else’s job to get them back on track.
But then again, this message — disguised as it is by flowery language, a remarkable faux generosity of spirit and seemingly optimistic utopianism — is actually astonishingly bleak.
What Zohran Mamdani and his fellow travelers are telling people is that they live in a dystopia in which they lack the power to better themselves.
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That they’re being dragged down by anchors from which only the government can free them.
And if they can’t do anything about their problems, why should they try?
This accountability-free approach is alluring at first glance, but a shortfall of self-responsibility always leads to a surplus of self-loathing.
Moreover, the socialist dream has been, paradoxically, kept alive by American politicians’ already pernicious spending habits.
Contrary to Mamdani’s claims, the United States has hardly been practicing trickle-up austerity.
As of this week, America owes its creditors over $38 trillion.
Is it any wonder that voters — who have yet to suffer the worst consequences of the debt crisis — wonder why they shouldn’t receive free health care, child care, transportation and more for this substantial cost?
Holding people back
The charge is even more curious in New York, where the city and state enjoy ritual increases passed as a matter of course by its homogenous, left-wing leaders, who have saddled their constituents with countless taxes, regulations and union concessions — you know, the kind of malignant nuisances that actually hold people back.
Mamdani wants to worsen the housing crisis with price controls; why not unshackle its builders instead?
Rather than stripping gifted students of opportunities to excel, why not extend the offer to more?
And if there are a dearth of well-paying jobs in the city, shouldn’t he be trying to attract, rather than antagonize, employers?
The siren song of socialism always begins so beautifully.
The extravagant promises, the dearth of trade-offs: It’s John Lennon’s “Imagine” come to life.
But Americans had best plug their ears and look past the fog to the rocky shores ahead.
Because they, not the bogeymen of Mamdani’s campaign, are at the helm.
Aimee Lou Wood has quickly become a standout talent on television, known for her scene-stealing roles in Sex Education and The White Lotus.
With her signature charm, emotional depth, and comedic timing, the English actress has built a dynamic career spanning television, film, and stage. Her growing list of credits has not only boosted her profile in the entertainment industry but also contributed significantly to her rising net worth.
Find out more about Aimee, including details about her career, net worth, and more below.
Who Is Aimee Lou Wood?
Aimee is an English actress, born on February 3, 1994, in Stockport, Greater Manchester.
As a child, she struggled with severe shyness and an eating disorder—challenges she later recognized as signs of being neurodivergent. “I was almost mute, very socially anxious. I couldn’t sit down and eat a meal. My mum had to leave food around the house and I’d have to snack around,” she revealed in an interview with The Times.
Aimee went on to train at the Royal Academy of Dramatic Art (RADA), where she honed the emotional range and sharp comedic timing that would become hallmarks of her performances. “Sometimes I feel like I can experience more of a range of emotions as a character in someone else’s story than as myself,” she shared in the same interview.
Her breakout role as Aimee Gibbs in Sex Education earned her a British Academy Television Award and opened doors to a growing career in film, television, and theater. In addition to appearing in short films and acclaimed stage productions, Aimee has also stepped into writing. She created her first series, Film Club—a six-part BBC comedy about a young woman who, after developing agoraphobia, moves back in with her mother and starts a film club in her garage.
What White Lotus Character Does Aimee Lou Wood Play?
In Season 3 of The White Lotus, Aimee plays Chelsea, a spiritual, sunny, and straight-talking guest at the luxury resort in Thailand. She’s the girlfriend of Rick (Walton Goggins), a reserved and taciturn older man.
What Is Aimee Lou Wood’s Net Worth?
Aimee has an estimated net worth of $2 million, according to Celebrity Net Worth.
Her wealth comes from her role in Sex Education, as well as her stage work and film appearances. For The White Lotus, she reportedly earned around $40,000 per episode, also per Celebrity Net Worth.
Aimee Lou Wood’s Dating History
Aimee has always kept her personal life relatively low-key, but she recently confirmed that she’s in a relationship with fellow actor Adam Long. In her Harper’s Bazaar UK interview, the White Lotus star referred to him as her boyfriend, marking one of the first times she’s spoken publicly about their romance. The pair reportedly met through the industry and have since been spotted together at several London events.
Before Adam, Aimee dated her Sex Education co-star Connor Swindells, with whom she shared the screen in the early seasons of the Netflix series. The couple went public in 2019 but reportedly split in 2020. Speaking to Graziaafter their breakup, Aimee reflected on how relationships had shaped her growth, saying, “I find it hard when I’m in relationships to maintain my sense of who I am. I’m very independent, but I’m also quite impressionable… That’s why it’s really important for me to have time alone.”
According to a new global study by Ski Vertigo, the historic city has been crowned the most beautiful in the world, scoring an extraordinary 83.7% for its harmony and symmetry, narrowly beating Venice at 83.3% and Rome at 82%. The results were based on the golden ratio, a mathematical principle long linked to aesthetic perfection in art and architecture.
The findings have surprised many, but not those who know Chester’s charm first-hand.
With its cobbled streets, medieval timber facades and gently curving city walls, this riverside gem has quietly held onto its beauty for over two millennia, long before Instagram made “picturesque” a global pursuit.
Travel experts at Ski Vertigo describe Chester as one of Britain’s best-preserved historic destinations, noting how it “effortlessly combines ancient architecture with modern vibrancy.”
Travellers, too, have been quick to draw comparisons with Europe’s greats, calling Chester “prettier than Venice” and “more romantic than Barcelona.”
Founded as a Roman fortress more than 2,000 years ago, Chester remains wrapped in the most complete set of city walls in England. Walking their full circuit reveals the story of a city built for both beauty and defence, passing towers, gardens and gateways before opening into a maze of narrow lanes and half-timbered houses.
At its centre stands the Eastgate Clock, a striking Victorian landmark built in 1897 for Queen Victoria’s Diamond Jubilee. Perched proudly above the gateway, it’s said to be the most photographed clock in England after Big Ben.
Nearby, the Gothic splendour of Chester Cathedral adds to the skyline’s drama. Inside, sunlight filters through centuries-old stained glass onto peaceful cloisters and vaulted ceilings. Many visitors describe it as “moving” rather than simply beautiful.
For those seeking calm, a stroll along the River Dee offers serene views of stone bridges and autumnal trees, while the hum of rowing boats replaces the gondolas of Venice. In spring and summer, picnics on the riverbank give way to outdoor concerts and open-air theatre at the Storyhouse, Chester’s cultural hub.
For a city smaller than most European capitals, Chester’s global triumph is nothing short of remarkable. It may lack the gondolas of Venice or the Gaudí spires of Barcelona, but in the eyes of travellers, it’s every bit as beautiful, if not more so.
The iconic sitcom Friends left an indelible impression on pop culture and television history, especially for those viewers who grew up virtually alongside the show’s six main characters — Chandler, Joey, Monica, Phoebe, Rachel, and Ross — from their mid-20s to mid-30s throughout the show’s run, which began in 1994 and ended in 2004 after 10 seasons. Of course,Friends remains a potent cultural landmark, which still has the power to galvanize audiences, as evidenced by the show’s popularity within the streaming realm and the stunned widespread reaction to the untimely death of cast member Matthew Perry, who was only 25 when the pilot episode of Friends debuted on NBC on September 22, 1994.
The appeal of Friends was initially grounded in the fact that audiences felt that they knew these characters. The intense familiarity that audiences developed with the show’s characters compelled viewers to scrutinize and speculate on seemingly every aspect of their lives, including their ages and birthdays, which seemed to shift over the course of the series. Indeed, while the show’s characters made various references to their ages and birthdays throughout the series, contradictions abound to the point where even the characters seem confused about their own ages. Here is what we know about each character’s age on Friends.
Rachel Green Is the Youngest ‘Friends’ Character, With Monica a Close Second
Rachel Was 24 in the Pilot, While Monica’s Age Frequently Changed
Of the six main characters in Friends, Rachel Green, played by Jennifer Aniston, was often referred to as the youngest member of the group. Rachel, whose birthday was mentioned as being May 5 throughout the series, was supposedly 24 in the pilot episode. In the Season 7 episode “The One Where They All Turn Thirty” from 2001, Rachel turned 30.
Rachel’s age seems to be inextricably tied to that of Monica Geller, who was Rachel’s best friend from high school, from where they presumably graduated in the same year. Monica, played by Courteney Cox, ages the most inconsistently throughout the series, particularly in the show’s first season, in which Monica is variously revealed to be 24, 25, and 26 years old.
Ross Is Monica’s Older Brother, and Chandler Is Likely the Same Age as His Friend
Ross Is 26 in the Pilot Episode (And Chandler Could Be Too)
Monica’s older brother, Ross Geller, is clearly 26 in the pilot episode, in which Ross, played by David Schwimmer, describes himself as being 26 and a recent divorcee. In Season 3, Ross refers to himself as being 29, and in the Season 9 episode “The One Where Emma Cries” from 2002, Ross states that his birthday is October 18. Given that Chandler Bing, played by Matthew Perry, was Ross’s best friend from college, it’s reasonable to assume that Chandler, whose age and birthday are mentioned the least of all the characters on the show, is also 26 in the pilot episode.
Joey’s Age Is up for Debate, While Phoebe Has Always Been the Oldest
Joey Is 25 in Season 1, and Phoebe Is Roughly 27 or 28 in the Pilot
Joey, played by Matt LeBlanc, is revealed to be 25 in the Season 1 episode “The One with the Birth” (1995). However, Joey states that he’s28 in the Season 2episode “The One Where Joey Moves Out” from 1996. Lisa Kudrow, who was 31 when the pilot episode of Friends debuted, is the oldest member of the show’s cast, by approximately one year, compared to Courtney Cox. Kudrow’s character, Phoebe Buffay, who is believed to be 27 or 28 in the pilot, is also the show’s oldest character.
The Main Characters’ Ages in Season 1
Character
Age in Season 1
Rachel
24
Monica
24/25/26
Ross
26
Chandler
26
Joey
25
Phoebe
27/28
The ‘Friends’ Cast and Characters Had Similar Ages
NBC
Beyond Cox and Kudrow, the ages of the rest of the cast members are relatively close to those of their characters. Matthew Perry, who was the youngest cast member at 25 when the pilot debuted, was only approximately one year younger than his character, Chandler Bing. In contrast, the next youngest cast member, Jennifer Aniston, who was also 25 when the pilot debuted, was almost the same age as her character. Matt LeBlanc and David Schwimmer were both 27, just slightly older than their characters, when the pilot debuted.
Do Inconsistencies Matter in Determining the Age of the ‘Friends’?
NBC
Besides the various continuity errors that exist within Friends regarding the ages and birthdays of the show’s main characters, some of the confusion also stems from the fact that many viewers have assumed that each season of the show, for which seven of the show’s 10 seasons encompass 24 episodes, corresponds precisely to one year in the lives of the characters. Regardless of whether each season of Friends spans one year or 24 weeks in the lives of the show’s main characters, it’s evident that Friends never intended to create any consistent canon regarding the characters’ ages and birthdays.
Moreover, the various inconsistencies regarding the characters’ ages and birthdaysdidn’t hurt the series, which generated so much enjoyment precisely because the characters avoided making logical decisions and following the traditional rules of adulthood, including, apparently, keeping an accurate record of their ages and birthdays.
Friends became, and remains, a beloved sitcom because the show consistently adhered to its core titular premise: six quirky people who become intertwined in one another’s lives while navigating the challenges of adulthood in New York City over the course of a decade. Indeed, as it’s virtually impossible to pinpoint the characters’ ages and birthdays, it’s easier to think of Friends simply as a show about six 20-somethings who become 30-somethings.
Release Date
1994 – 2004
Network
NBC
Showrunner
Marta Kauffman
Directors
Kevin S. Bright, Gary Halvorson, Michael Lembeck, James Burrows, Gail Mancuso, Peter Bonerz, David Schwimmer, Robby Benson, Shelley Jensen, Terry Hughes, Dana De Vally Piazza, Alan Myerson, Pamela Fryman, Steve Zuckerman, Thomas Schlamme, Roger Christiansen, Sheldon Epps, Arlene Sanford, David Steinberg, Joe Regalbuto, Mary Kay Place, Paul Lazarus, Sam Simon, Todd Holland
Writers
Jeff Astrof, Mike Sikowitz, Brian Boyle, Patty Lin, Bill Lawrence, R. Lee Fleming Jr.
Maxton Hall – The World Between Us season 2 can, unfortunately, no longer be buoyed by the chemistry between its romantic leads. While Harriet Herbig-Matten and Damian Hardung try their best to keep the story from veering too far off the rails — they’re both very good at crying on command — anything that is good or at least decent in this season is overshadowed by its cartoonishly evil villains.
I won’t say that the first season of Maxton Hall – The World Between Us was a masterpiece of teen romance dramas. It did, however, have a certain charm, bolstered by playful scenes between Herbig-Matten’s working-class Ruby Bell and Hardung’s rich boy James Beaufort that made the clichés and inevitable tropes endurable. Watching Ruby flip James off on the lacrosse field as he looks after her longingly is what rom-com dreams are made of, after all. Season 2, though, no longer has any sense of fun.
Maxton Hall Season 2 Has Lost Its Romantic Spark
Credit: Prime Video via MovieStillsDB
Given the way season 1 ended with the sudden, tragic death of James and twin sister Lydia’s (Sonja Weißer) mother, the darker tone of this season’s opening episode isn’t all that surprising. The problem is that, from there, the darkness is needlessly, ruthlessly piled on. Ruby becomes a passive spectator in her own life as it’s ripped apart, piece by piece, by two people who have more than enough money to ignore her existence.
While one enemy embodies the jealous mean girl trope to the nth degree, the other is an adult man hellbent on destroying Ruby and her entire family’s lives. It’s not just about him wanting someone else for his son because of an outdated class divide; he’s taking grotesque pleasure in what he’s doing, seemingly unaffected by his children’s grief.
In season 1, James and Lydia’s father, Mortimer Beaufort (Fedja van Huêt), is a catalyst that allows Ruby and James’ “forbidden” love to flourish, a bullying background player in their greater romance. In season 2, his power and influence are almost godlike. What chance do our star-crossed lovers stand against someone like him?
At a certain point, this kind of character in this type of show is no longer intriguing but stifling. His hatred overwhelms the entire story. Mortimer’s final act in Maxton Hall season 2 is especially egregious and made even more so because, clearly, whatever he’s done in this season’s six episodes hasn’t come from a place of real concern for his children.
Frankly, it was exhausting to watch, and I found myself longing for scenes featuring Ruby and Lydia’s genuinely lovely friendship, Ruby’s relatable relationship with her sister, Ember (Runa Greiner), or James’ much-needed healing journey. I’d even go so far as to say that James is the real MVP this season. He’s the only one who gets a genuine shred of character development, as he acknowledges his grief for his mother — a scene in which he crumbles in Ruby’s arms is hard to watch in a way that is moving — his father’s hold over him, and his desire to be a better man.
Sadly, neither of these sequences nor the much-anticipated interactions between Ruby and James (some of which work, while others feel overly indulgent, including when he takes her to a lavish countryside restaurant) are strong enough to hide the repetitive nature of Maxton Hall – The World Between Us season 2.
Ruby’s entire arc this season revolves around putting together another important on-campus event, which she does brilliantly, and ticking the boxes in her quest to attend a geographically and culturally confused version of Oxford. Ruby and James also start the season at odds and then fall back into love with one another. Perhaps Mortimer’s new role as the devil incarnate is a result of that repetition. How else can you up the stakes when the rest of the story is essentially the same as it was in the show’s first season?
I doubt Maxton Hall season 2 will draw in as surprisingly wide an audience as its English-language YA romance peer, The Summer I Turned Pretty, did. That said, however, I know from my own, long-ago experience as a teenage girl that the sheer angst and desire on display in Maxton Hall – The World Between Us season 2 is something I would have absolutely devoured when I was roughly Ruby and James’ age. I have no doubt the show’s most devout fans will enjoy this season and eagerly await season 3, so in that respect, it succeeds. Still, a bit of narrative balance would have been preferable.
Maxton Hall – The World Between Us season 2’s first three episodes premiere on Prime Video on November 7. New episodes will be released weekly on Fridays.
A cross-section of music superstars — Soundgarden, Outkast, Warren Zevon, the White Stripes, Cyndi Lauper, Chubby Checker, Joe Cocker, Salt-N-Pepa, Bad Company and industry icon Lenny Waronker — will be inducted Saturday into the Rock & Roll Hall of Fame in a ceremony to be held at L.A. Live’s Peacock Theater.
Among the music stars who will take the stage to celebrate the inductees are Olivia Rodrigo, Elton John, Janelle Monae, En Vogue, Beck, Doja Cat, Brandi Carlile, Flea, Joe Perry, Questlove, Teddy Swims, Bryan Adams, Avril Lavigne, Heart’s Nancy Wilson, Donald Glover, Jerry Cantrell, 21 Pilots and Raye. Comedy veterans David Letterman and Jim Carrey also will participate in the event.
John Sykes, chairman of the Rock Hall, said, “Being inducted into the Rock & Roll Hall of Fame has become music’s highest honor.”
“An induction into the Rock and Roll Hall of Fame is recognition that an artist has helped shape the sound of a generation. It means that their music has, in some way, defined culture,” said 21 Pilots’ Tyler Joseph.
Vicky Cornell, widow of late Soundgarden singer Chris Cornell, said: “This recognition means so much as it not only celebrates the extraordinary body of work that Chris created with his band — songs born from his soul, his imagination, and relentless dedication; it honors Soundgarden’s profound effect on music that helped create a whole new genre — grunge — with the depth of Chris’ writing and his creative vision at its core. … It reminds us that Chris’s spirit lives on — in every song, every lyric, and every soul his music continues to touch.”
The Times spoke with Sykes, who made L.A. part of the induction calendar, along with New York and Cleveland, home of the actual Rock Hall building, when he replaced Jann Wenner in 2020. Sykes gave a preview of the night, which will include many surprises.
How do you approach a ceremony in L.A., which obviously has such a distinct history versus the other places?
Well, although the primary goal of the hall is to each year induct the most deserving candidates, we do look at where we’re going. And if one of the artists is from that area geographically, we try to shine a light on them. For example, Warren Zevon has been eligible for years and almost inducted. This year, he happened to get in. So, we’ve decided to celebrate that and really shine a light on him, not just because he deserves to be, but also, he was from L.A. So, I have something very special planned for him. Also, Lenny Waronker is deserving. He would have gotten in no matter what city he was in, but because it is in Los Angeles, it’s great that Lenny will be there.
You have Outkast, Warren Zevon, White Stripes and Cyndi Lauper, among others, all being inducted together.
What I love about this class of inductees is that they really reflect the diversity of rock ‘n’ roll. They really reflect the sounds that really were influenced by the original creatives of rock ‘n’ roll from rhythm, blues, gospel, and country in the ‘50s, which has lived on through rock ‘n’ roll, through hip-hop, through various genres that have evolved, but they all have their roots that go back to rock ‘n’ roll.
Then you get someone like Chubby Chucker, who was there at the beginning of rock ‘n’ roll.
I was actually surprised that he, as a performer, hadn’t been inducted. One of our nominating committee members, Cliff Bernstein, really convinced the room that, although we celebrated the song in the past, “The Twist,” Chubby didn’t get his moment in the spotlight. And he did very well in the voting. Sometimes an artist can get in the first ballot. For others, it takes years.
How did you choose L.A. as a regular market for the induction ceremony?
When I took over the hall in 2020, I made a commitment that we would have more induction ceremonies in Los Angeles because so much of what we’ve seen in the history of rock ‘n’ roll music and its growth came from Los Angeles. It just seemed that for years, the Hall of Fame was a New York-based foundation with the museum in Cleveland when half, if not more, of the artists came from Los Angeles. So, it’s really why now every third year we’re in New York, Cleveland or Los Angeles. Los Angeles now is one of the cornerstones of the Rock and Roll Hall of Fame Foundation. I’m very proud of that.
Similarly to the Grammys, which is largely seen by the general public as one huge night but works year-round, how do you raise the profile of the hall nationally year-round?
We’ve celebrated some important documentaries, like “San Francisco Sound,” as part of our Rock & Roll Hall of Fame screening series, and more recently, Bruce Springsteen’s “Road Diaries” that came out last year on Hulu that we also celebrated in Los Angeles. So, we’re widening the aperture of the Hall of Fame from being just an induction ceremony once a year and really looking at how fans can connect with the hall and its inductees 365 days a year.
Inductees Richie Faulkner, left, and Rob Halford of Judas Priest perform during the Rock & Roll Hall of Fame induction ceremony on Nov. 5, 2022.
(Chris Pizzello / Invision)
Would there ever be plans to do traveling exhibits in L.A. or New York or other cities like Detroit?
I think if you look at the country — Detroit, Chicago, Memphis, even the East and Lower East sides of New York and clearly San Francisco and Los Angeles — there are many touch points, many important cities in this country that have really contributed to the growth and the evolution of rock ‘n’ roll. And while we’ve looked at traveling museums, what really interests us most is looking at a virtual hall where fans anywhere in the country, or the world, can connect with the inductees, the performances and the legacy of rock ‘n’ roll music. That’s exactly what we’re doing now tied in with a platform. We’re building a virtual platform and obviously really stepping up our presence on social media to share these incredible artists and stories of rock ‘n’ roll.
What’s the timeline for that?
We’re in process of developing it all right now, and I think soon you’ll see, or in the coming years, you’ll see a Rock & Roll Hall of Fame documentary series. I think you’ll see a real stepped-up social presence, as I mentioned, and a virtual presence that will allow fans anywhere to connect with the hall. Part of our goal is to drive more people to Cleveland, to this beautiful museum. But if they can never make it there … they can celebrate what’s in that museum and what we have in our archives anywhere in the world.
What are your favorite items in the archives?
What I’m very excited about currently in the Rock & Roll Hall of Fame is an incredible exhibit that we partnered with “Saturday Night Live” on celebrating the 50 years of music on “SNL.” Lorne Michaels came out to see the exhibit, Fred Armisen actually got up and played on the stage at the museum. It really celebrates between 1,500 and 2,000 performances on that show. It’s the only place right now where you can see every single musical performance ever on “SNL” on demand. It’s not available on television, on streaming anywhere. It’s only available at the Hall of Fame. We recently had an exhibit on “Get Back” with Peter Jackson for the Beatles, which was incredible. What I love, though, are some of the hidden gems we have in the archives. We basically have an interview series, oral sessions, with some of the greatest artists in rock ‘n’ roll telling the story of their lives. There are warehouses filled with incredible pieces that we can share with fans. It’s going to be part of them. Some of them now will be able to be seen live in this new expansion we have that will open in 2027 to our IMPA designed museum in Cleveland.
Sly Stone, with Freddie Stone and Larry Graham in the background, performing on television on Oct. 15, 1969.
(CBS via Getty Images)
This year we lost Brian Wilson, Ozzy Osbourneand Sly Stone, among others. Talk about the importance of the hall and sharing these artists and their legacy.
Yeah, baseball has Cooperstown; football has Canton, Ohio. The NBA has Springfield, Mass., and for the last 40 years, music has had Cleveland. We have that museum, which is run by Greg Harris, our president. He takes very seriously how we celebrate these incredible artists and their contributions to not only music, but to politics and culture. There’s no one I’ve ever met who hasn’t come out of that museum completely blown away by the depth of content and music that we celebrate. I think that’s what you’ll see in this year’s induction ceremony, where we’re paying tribute to those great artists, like Sly [a.k.a. ] Sylvester Stewart, like Brian Wilson and others that we’ve lost, and Warren Zevon. You’ll see some incredible moments we’ve got ready to go. There are surprises, and you really won’t want to miss them. And some of the biggest names in music will be there, including Elton John. We’re going to have Chappell Roan, Doja Cat, some incredible young artists celebrating their heroes. … So, you’ve seen Olivia Rodrigo singing “You’re So Vain,” Harry Styles getting up with Stevie Nicks singing “Gold Dust Woman.” When you look at a Rock & Roll Hall of Fame stage every year, there’s nothing like it. You see literally the biggest artists in the world today celebrating the heroes from 25 years ago or more.
As much as you want the biggest names, they have to be a match, I assume. When you start to think about who can sing like Joe Cocker, that’s a limitedlist.
Teddy Swims will be there singing for Joe Cocker. And he’s going to be backed up by the Tedeschi Trucks Band. They do Joe Cocker live on their shows. Because some of the artists have passed, you’ll see a young artist paying tribute to them. But even a Cyndi Lauper will have some very famous names sharing the stage with her. Jack White will be in the room. Whether he’ll be onstage, you’re going to have to find out. … But I promise you, there are going to be some amazing artists celebrating the music of the White Stripes on that stage.
Soundgarden members Kim Thayil, from left, Matt Cameron, Chris Cornell and Ben Shepherd in 2014.
(Jack Plunkett / Invision)
For a band like Soundgarden, for example, do you make suggestions with them or do they totally pick who’s going to sing with them?
We work hand in hand with the artists. Rick Krim, who also runs our nominating committee at the Hall of Fame, works very closely with the artists who help curate the show. So, it always starts out as a conversation. And the artists themselves have ideas. At the end of the day, it’s whoever they feel comfortable with celebrating their success, and we support that.
I imagine as well it’s a heavy thing for the artists and families inducting people they have lost.
It’s huge. And these artists and their families take it very seriously, as do we. We do everything possible to make it the greatest evening of their life. And it’s important, too, to recognize them as not only having an incredible career, but also what they’ve done to contribute to the growth and evolution of rock ‘n’ roll and its continued impact on culture, 70 years after it was basically invented in the ‘50s through the collision of rhythm, blues, gospel and country, which you can trace all the music today back to those very early days.
Do you see a common thread between all these artists?
The beauty of rock ‘n’ roll is that these artists don’t look alike. They don’t sound alike, but they have one thing in common — attitude. They’ve got attitude and they’ve moved generations. That’s the beauty of the induction ceremony. On one hand, you’re celebrating Cyndi Lauper from an album she put out in the ‘80s, and on the other you look at Outkast that changed the game for music in the late ‘90s. But they all exist together in a musical ecosystem that is rock ‘n’ roll.
Then when you’re curating it, it becomes the biggest festival in the world.
It is a lot of work, but at the end of the day, one of the greatest opportunities to be able to work with all these artists, some of the most important ones of our time, to bring them on one stage, on one night to celebrate their music and those around them. Our job really is to curate, help them plan, and then get out of the way.
Taylor Swift’s The Life Of A Showgirl (via Republic/Universal) continues to twirl on the ARIA Charts, as it enters a fifth consecutive week at No. 1 on the national albums survey, while “The Fate Of Ophelia” retains top spot on the singles tally.
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“The Fate Of Ophelia” is Swift’s 13th chart leader in Australia and, with five weeks in the penthouse, it’s her second longest leader after 2022’s “Anti-Hero,” which logged six weeks at No. 1.
The top debut on the latest ARIA Albums Chart, published Friday, Nov. 7, belongs to Florence + The Machine, as the British alternative pop outfit’s sixth album, Everybody Scream (Polydor/Universal) opens its account at No. 4. All of Florence’s albums have cracked the ARIA top 10, including No. 1s for Ceremonials (in 2011), and How Big, How Blue, How Beautiful (2015).
Powderfinger frontman Bernard Fanning returns to the top 10 thanks to the 20th anniversary edition of Tea & Sympathy (Dew Process/Universal), his debut solo album. Tea & Sympathy re-enters at No. 7 on the ARIA Albums Chart, and leads the Australian Albums Chart, the Vinyl Chart and the On Replay Albums Chart.
The veteran Brisbane singer collected the most entries in triple j’s Hottest 100 of Australian music countdown in July, with four total songs, including three with Powderfinger and his solo number “Wish You Well” (at No. 57), lifted from Tea & Sympathy, a chart-topper following its release in late 2005.
Also new to the chart is Vitriol (GYRO), the debut from Western Australia rock outfit Cloning. It’s new at No. 12, arriving ahead of a national tour that gets underway later this month.
Radiohead is back in the headlines, as they prepare for another U.K. tour later in the year. The Rock Hall-inducted British alternative rock act is back in the charts, too, as Hail To The Chief Live Recordings 2003-2009 (via XL) appears at No. 15. The studio version of Hail To The Chief was released in 2023, hitting No. 2.
Paramore singer Hayley Williams impacts the chart with her independently-released solo album, Ego Death at a Bachelorette Party, new at No. 24. The project is an unusual one, which collects and repackages the songs Williams dropped earlier this year across her artist pages and on streaming services.
Close behind is Frankston, Victoria indie rock band the Belair Lip Bombs, which cracks the chart for the first time with Again (Third Man Records/RK), their sophomore set. It’s new at No. 25, and is one of eight homegrown recordings on the ARIA top 50. The Belair Lip Bombs are the first Australian band to sign with Jack White’s Nashville-based Third Man Records.
Further down the list, Brisbane nu-metal band Headwreck just misses out on a top 40 berth with Attitude Adjustment (Ditto). The debut collection drops in at No. 43, for Headwreck’s first appearance on the ARIA Charts.
Over on the ARIA Singles Chart, just one Australian track makes the cut, Tame Impala’s “Dracula” (Columbia/Sony), which lifts 50-37, a new peak position. And just one new single makes its mark for the first time, Lily Allen’s “Pussy Palace” (BMG), at No. 50.
