Let’s face it, it’s never been a steal, but we’re all feeling the pinch more than ever – traders and shoppers alike. That’s why Manchester Evening News’ Parents Editor Emma Gill was assigned to explore the markets as a party of four. She went to gauge the cost of a quick bite and a hot chocolate.
The Bratwurst are among the crowd favourites – and some of the most affordable options – but, at £8 each, four of them still set Emma back £32 from the stall at Cathedral Gardens.
Next, she ordered four hot chocolates, which, at £9.50 apiece, totalled £38. For that price, you get to keep the festive mugs they’re served in (and so you should) or you can return them after your drink for a £3.50 refund on each one.
So all in all, with the mugs returned, Emma was down by £56 and pondering what people must be shelling out if they’re ‘out for a few’, or heaven forbid, ‘out out’.
Reflecting on her experience, Emma shared: “Having cream on the hot chocolates means they need drinking pretty quick before they go cold, but even I was shocked at how fast the kids threw them down their necks.
“And that’s the thing with the markets, isn’t it. Yes, you can have a little wander and enjoy the decorations – and there is some free entertainment including the huge Christmas Day Parade which comes to the city on Sunday, December 7 – but really you need a decent amount of money to be able to enjoy it properly.
“And for a lot of people at the moment, they just don’t have that cash to spare.
“Don’t get me wrong, the sausages were decent – and we’d highly recommend the pork, honey and marmalade sausage if you’re getting one – but it’s hard to justify spending nearly £60 on something that we could eat and drink for a fraction of the price at home. And we wouldn’t even have to queue.”
Few movies spark as much debate every December as Die Hard. Released in 1988, John McTiernan’s action classic didn’t just redefine the genre, but also quite effortlessly slipped into the holiday canon. It kicked off as a high-stakes thriller about a New York cop trapped in a Los Angeles skyscraper and aged into something of a Christmas tradition. Every year, fans revisit Bruce Willis’s John McClane crawling through air ducts, trading quips with terrorists, and ultimately saving the day. It’s proof that the movie’s seasonal setting is essential to the narrative.
So, the brilliance of Die Hard lies in how it uses Christmas as a part of the story’s DNA. The Nakatomi Plaza party, the decorations, the music, even the language of miracles, all of it shapes the tone and gives the movie its unique flavor. Even Argyle’s playful banter is peppered with the kind of holiday references that remind us Die Hard is a Christmas movie with explosions woven in. The quotes, sometimes funny, biting, and ironic, are somehow tied closely to the season. That’s why we’re celebrating the lines that prove Die Hard belongs with the classics.
Here’s our list of the 8 best Christmas quotes from Die Hard, because nothing screams holiday season quite like Bruce Willis with a machine gun.
8
“Not a Creature Was Stirring, Except the Four A******* Coming in the Rear.” – Theo
20th Century Fox
Theo (Clarence Gilyard Jr.), Hans Gruber’s tech wizard, delivers this line over the radio as the LAPD SWAT team makes its move on Nakatomi Plaza. It’s one of the sharpest examples of his sardonic humor. He is riffing on ‘Twas the Night Before Christmas while narrating the cops’ doomed infiltration. The full quote reads, “’Twas the night before Christmas, and all through the house, not a creature was stirring — except the four assholes coming in the rear in standard two‑by‑two cover formation.”
By this point in the movie, Theo has already proven himself indispensable. He’s the one who picks all the locks that open the vault containing the $640 million in bearer bonds, and as soon as the infiltration begins, he’s back at work, juggling the technical side of the heist while mocking the opposition.
7
“Now I Have a Machine Gun. Ho Ho Ho.” – John McClane (In Writing)
20th Century Fox
This moment is one of Die Hard’s most famous visual gags. After John McClane (Bruce Willis) kills Tony, one of Hans Gruber’s henchmen, he sends a message to the terrorists by leaving Tony’s body in a chair, dressed in a Santa hat, with the words “Now I have a machine gun. Ho Ho Ho.” scrawled across his sweatshirt. It’s not spoken out loud but written, and it’s McClane’s way of announcing to Gruber that he’s armed and ready.
The scene happens early in the movie, right after McClane secures his first weapon, and it sets the tone for the cat‑and‑mouse battle between him and Hans. It’s also the perfect collison of holiday imagery and action-movie intrigue. McClane’s message is both funny and threatening, and the “Ho Ho Ho” turns a deadly situation into a twisted Christmas card. Fans love it because it’s cheeky, memorable, and instantly quotable.
6
“I Got Invited to the Christmas Party by Mistake. Who Knew?” – John McClane
20th Century Fox
This quote comes from Die Hard during the tense but slyly humorous encounter between John McClane (Bruce Willis) and Hans Gruber (Alan Rickman), when Hans pretends to be a hostage named “Bill Clay.” McClane, suspicious but playing along, introduces himself with a laugh, “Yeah. I got invited to the Christmas party by mistake. Who knew?” It is a deceptively casual moment in the middle of the movie, and it shows that McClane can keep things light even if he is staring down a terrorist mastermind.
It also fits neatly into the narrative because it highlights McClane’s outsider status. He is not supposed to be there, yet he’s the one who ends up saving everyone. Also, McClane is not a superhero, he’s just a cop who stumbled into a holiday party gone wrong. But the Christmas element is naturally baked in because the whole hostage crisis is happening during a corporate holiday bash.
5
“Just Once, I’d Like a Regular, Normal Christmas!” – John McClane
20th Century Fox
Die Hard 2: Die Harder features this unforgettable quote. In it, John McClane finds himself in yet another holiday nightmare, this time at Dulles International Airport. As terrorists seize control of the runways, McClane vents his frustration, “Just once, I’d like a regular, normal Christmas. Eggnog, a fuckin’ Christmas tree, a little turkey. But, no! I gotta crawl around in this motherf**kin’ tin can!”
It is delivered to Captain Lorenzo (Dennis Franz) in the middle of the chaos, and it’s pure McClane. It works narratively because it underscores the absurdity of lightning striking twice. It’s also the most relatable quote among all others mentioned here. Everyone wants a peaceful Christmas, and McClane’s complaint is both hilarious and human. Willis is at his best, too. Grumbling, self-aware, cracking jokes under pressure, but still pushing through.
4
“It’s Christmas! You Could Steal City Hall!” – Random Kid
20th Century Fox
Die Hard with a Vengeancebreaks tradition by setting the action in summer New York rather than Christmas Eve, but the film still sneaks in a sly nod to the franchise’s holiday roots with this quote. It comes when McClane (Bruce Willis) stops a kid from robbing a convenience store. The boy, frustrated by the lack of police presence, blurts out, “It’s Christmas! You could steal City Hall!”.
It may seem like a throwaway moment on the surface, but it is so cleverly placed. McClane suddenly realizes that Simon Gruber (Jeremy Irons) is using his elaborate “Simon Says” riddles as a distraction and pulling the cops away from the real target. The kid’s offhand remains become the spark that helps McClane piece together the true scope of the heist, which is the Federal Reserve. Also, it is spoken by a random kid, not McClane or Gruber, which makes it feel authentic, almost like background chatter that suddenly matters.
3
“This IS Christmas Music!” – Argyle
20th Century Fox
The quote comes early in Die Hard, when Argyle, John McClane’s limo driver, is cruising him from the airport to Nakatomi Plaza. McClane asks if Argyle has any Christmas music, and Argyle fires back with a grin. He says, “This IS Christmas music!” while blasting Run‑DMC’s “Christmas in Hollis” from the stereo. It is a small exchange, but it sets the tone for the movie’s playful holiday backdrop.
Argyle has an easygoing vibe, and it’s a contrast from McClane’s tension about visiting his estranged wife, but the music choice grounds the movie firmly in its Christmas setting while also giving it an urban edge. And Argyle is right. “Christmas in Hollis” is a holiday track, even if it’s not the traditional carols McClane expected. Because Die Hard has proved that Christmas doesn’t have to be sentimental, it can be cool, ironic, and even funky.
2
“It’s Christmas, Theo, It’s the Time of Miracles, so Be of Good Cheer.” – Hans Gruber
20th Century Fox
Hans Gruber (Alan Rickman) delivers this line to Theo (Clarence Gilyard Jr.) as the tech expert works on the final lock of the Nakatomi vault. Theo warns that breaking the last barrier will take a miracle, and Hans coolly replies, “It’s Christmas, Theo. It’s the time of miracles. So be of good cheer… and call me when you hit the last lock.” The quote also comes at a pivotal moment, as it explains the stakes of the heist and Hans’s belief that everything is falling into place.
It also deserves a mention because it is one of the rare times the villain explicitly ties his scheme to Christmas. Also, Rickman’s delivery is smooth, almost charming, which makes it chilling to hear. The holiday element is ironic. Miracles here don’t mean goodwill or family, they mean cracking a vault and stealing millions.
1
“If This Is Their Idea of Christmas, I Gotta Be Here for New Year’s!” – Argyle
20th Century Fox
Die Hard closes out with this quote in the limo and the words are spoken by Argyle after the chaos at Nakatomi Plaza has finally ended. As McClane and Holly reunite and wish each other Merry Christmas, Argyle quips, “If this is their idea of Christmas, I gotta be here for New Year’s!” It is the last line of the movie, and it is delivered with Argyle’s trademark humor, and it works as a release valve after two hours of tension.
In a way, it’s the perfect send-off. Argyle’s perspective is that of an outsider who stumbled into the madness, and his joke reframes the night as just another wild holiday adventure. He is comparing the chaos of Nakatomi Plaza to a holiday celebration, and the idea of sticking around for another week, for New Year’s, makes it even funnier. It is light and playful and a reminder that Die Hard never loses its sense of humor.
One Piecehas successfully cultivated a massive worldwide following to the point of influencing everything from new series, to entire counter-cultural movements. But one of its biggest points of contention is how the anime has handled filler, its pacing, and which filler actually stays skippable. Its rivals like Naruto: Shippuden, love or hate its filler, don’t have the same problem.
While it’d be hasty to trade One Piece’s situation with the infamously frustrating Naruto filler approach, jamming in worthless interludes like a Mecha Luffy arc, it’s worth appraising both series for what they do well in addition to what they do wrong. Naruto: Shippuden was a product of Pierrot’s old era, and its bulky filler was a reasonable pacing solution.
One Piece’s Problem Blurs Lines of Filler and Pacing Issues
Luffy looking confused
Since its 1999 debut, One Piece has been running in tandem with its source material, but its pacing problems would surprisingly grow worse over time. Due to the persistent need to draw viewers to its timeslot on Fuji Television, filler would allow the manga space to stay ahead while entertaining audiences. However, eventually, One Piece took a different approach.
This may come as a shock to anybody who strictly observes One Piece’s inoffensive ~9-11% filler content compared to Naruto: Shippuden’s egregious 41%. One could even hand-wave either issue as a matter of consulting something like a Naruto filler list. But the fact of the matter is, while Naruto’s filler was massive, one could reasonably skip it without missing much.
One Piece’s filler, in some instances like the Warship Island Arc, or in “canon filler” instances like Long Ring Long Land, introduce anime additions to Oda’s vision, becoming canonical with the manga. Others, like G-8, remain simply filler but are immensely enjoyable nonetheless.
But one may notice that, beyond the period of Enies Lobby and entering the Dressrosa era, filler suddenly grows far less saturated. Dressrosa’s 102 chapters in the One Piece manga, were stretched to 118 anime episodes, with it being the most commonly-cited example of One Piece’s lowest point in terms of pacing. Dressrosa, crucially, had no explicitly filler episodes.
Here lies the problem of the nature of One Piece’s filler content versus its contemporaries. While it tried to take a different approach, this slower pacing was not sustainable for audience retention, even if its even slower delivery in Wano was rewarding due to the phenomenal animation and story. Its flashbacks, running shots, were a poor substitute for actual filler.
One Piece Is Creating the Solution Naruto Never Had
One Piece anime’s Elbaph Arc poster
While Naruto and Naruto: Shippuden received a sequel equally inundated with filler in Boruto: Naruto Next Generations, One Piece’s anime output recently has gradually done away with filler. While One Piece’s pacing in recent episodes is still slower than the average anime, running about a chapter per episode while modern series often run more briskly, it’s making key strides.
While One Piece’s pacing in recent episodes is still slower than the average anime, running about a chapter per episode while modern series often run more briskly, it’s making key strides.
One Piece is a verbose, dense series loaded with dialogue and lore, but it is taking a new approach to shed filler episodes, poorly-paced installments, and irritating recaps entirely. With the Elbaph Arc, the anime will finally adopt its take on a seasonal model, releasing 26 episodes a year. This is the solution Naruto fans hope Boruto’s return will take.
For some, this will be the end of an era. Persistent releases of One Piece episodes alongside new chapters are part of the fandom’s weekend ritual, but this will almost certainly mean greater episode-to-chapter ratios in quality installments, shoring up the pacing problems. But it may mean the only truly filler content left will be future One Piece movies.
As natural disasters in Los Angeles go, a rain delay temporarily washing out a music festival is pretty low stakes. But fans had to scramble last week after a sudden thunderstorm made Tyler, the Creator’s flagship festival at Dodger Stadium soggy and unnavigable.
Now kicked forward a week, a few acts (Sombr, Tems, Clairo) dropped off the bill, a few (Kali Uchis) joined in their stead, and travelers with nonrefundable plane tickets had to find other ways to amuse themselves in L.A. for a week. But once the Dodger Stadium gates finally opened, everything was more or less smooth sailing. Here are the highlights of the weekend’s performances.
Timothée Chalamet’s ‘Marty Supreme’ blimp makes an appearance
Last week, actor Timothée Chalamet released a parody of a marketing meeting, for his upcoming film “Marty Supreme.” The 18-minute clip consisted of the Oscar nominee pitching the team outlandish advertising ideas like painting the Statue of Liberty orange. In the Zoom meeting, he says, “We should have the blimp go above Flog Gnaw and rain ping-pong balls, Marty Supreme-branded, rain ping-pong balls on everyone.”
Low and behold, right before Tyler, the Creator’s set, a bright orange blimp reading “Marty Supreme” began circling Dodger Stadium — just as Chalamet prophesied. People all around the festival could be seen stopping and pointing out the flying spectacle.
But thankfully, no raining ping-pong balls made an appearance. (Cerys Davies)
Geese fly high
If every generation deserves its own cool/sexy/mystifying rock band, then Gen Z’s (or maybe Gen Alpha’s) seems to be Geese. Led by the deep-voiced Cameron Winter, the group from New York appeared at Flog Gnaw less than 24 hours after a hometown gig at the Brooklyn Paramount on Friday night. “We finished a tour but we couldn’t stay away from the limelight, so we got on a plane just this morning,” Winter told the crowd. Geese plays skronky yet weirdly beautiful guitar music that inspires both swaying and moshing; it’s in a clear lineage of NYC acts that stretches back through the Strokes and Television to the Velvet Underground. But here at least you could detect a distinct L.A. presence in Emily Green’s John Frusciante-coded strums and in the doomed-heartthrob proclamations that made Winter sound a little like Jim Morrison. (Mikael Wood)
Happy 10th anniversary to Mac Miller’s “GO:OD AM”
In the sea of vendor pop-ups, Mac Miller’s yawning face, the cover of his 2015 release “GO:OD AM,” stood tall. In celebration of the album’s 10th anniversary, photographer Brick Stowell put on a small exhibition to honor the late Pittsburgh rapper. While standing in line, fans were chatting, sharing anecdotes of listening to Miller’s music or memories of when they saw him perform at Camp Flog Gnaw many years ago. Inside, the exhibition is simple, consisting of a few large-scale prints of photos Stowell selected. Some of the images focus on a smiling Miller or depict him playing the guitar or with friends. The record played softly in the space and a few people sat on the couches, with their eyes closed. In the midst of the music festival’s craziness, the tent was filled with a weighted, reverent energy. (C.D.)
Kali Uchis performs during Camp Flog Gnaw on Saturday.
(Ronaldo Bolanos / Los Angeles Times)
Kali Uchis mixed red-hot seduction with ICE-cold activism
As a last-minute addition to the festival’s lineup, Kali Uchis might’ve been expected to put in a no-frills performance. Instead, the eternally vibey psychedelic-soul star sang the lovey-dovey “All I Can Say” from inside a giant teacup — “If you came with someone you like, you could kiss them,” she suggested — and did “Heaven Is a Home” on the back of a motorcycle driven by a woman in a lace bodysuit and shades. (There was also a giant bed with satiny pink sheets.) Uchis is among pop’s foremost fantasists; her music invites the listener to get lost in an expertly appointed dreamland. But here she also had the real world on her mind: She played a video in which she said that everyone in her Colombian American household worked three jobs when she was growing up and that “immigrants built this country and make it what it is today.” As she left the stage, Uchis said, “ICE is terrorizing our community” and called out “their violations against human rights.” (M.W.)
Tyler, the Creator’s heartfelt thank you
“We couldn’t let that rain stop us — no, no, no,” Tyler, the Creator said not long into his hour-long set, and indeed Flog Gnaw’s mastermind seemed just a bit more amped than usual as he presided over the festival that almost wasn’t. Dressed in a red leather suit à la Eddie Murphy in “Delirious,” Tyler came out punching with “Big Poe” and “Sugar on My Tongue,” which also open “Don’t Tap the Glass,” the high-energy hip-house album he dropped this past summer with very little warning. But he also performed stuff from last year’s “Chromakopia,” which just snagged a nomination for album of the year at February’s Grammy Awards. (“Don’t Tap the Glass,” amusingly, is up against LPs by the Cure and Wet Leg in the alternative music album category.)
Tyler’s stage was designed to resemble a New York City subway station complete with a train car that he climbed atop and herky-jerked his way across. For “Don’t You Worry Baby” he was joined by a female dancer on roller skates; for “Noid,” a couple of guys with cameras helped him act out his unhappy thoughts on paparazzi. As the set went on, Tyler started shortening each song, limiting himself to only a verse or a chorus to pack in more hits: “Earfquake,” “Wusyaname,” “See You Again.” He thanked the crowd for hanging with the festival’s postponement — “I know it wasn’t ideal,” he said — and for “rocking with us for 11 years” of Flog Gnaw. The connection he’s forged is real. (M.W.)
Ca7riel & Paco Amoroso’s roller coaster of a set
Fresh off 5 wins at the Latin Grammys earlier this month, Ca7riel and Paco Amoroso left the CFA crowd delightfully perplexed. The audience started off on the smaller side, as Tyler, the Creator was wrapping up his set. But as the Argentine rappers, decked out in Versace, plowed through their catchiest hits like “Dumbai” and “Sheesh,” a dancing stampede made its way over.
Less than a year after their viral NPR Tiny Desk, the notoriously kooky duo flexed their ability to slip between genres. One moment, a pulsating EDM beat, beaming lasers and intense fog machines took over the stage — emulating a rave. The next moment, Ca7riel is angrily screaming “F— you!” at the top of his lungs over an aggressive punky guitar solo. Finally, they act like their microphones have become dumbbells, and start to sing about their “#Tetas,” on their satirical, body positivity anthem. Ca7riel and Paco Amoroso will never let you know their next move. (C.D.)
Fans raise their phones as Kali Uchis performs during Camp Flog Gnaw.
(Ronaldo Bolanos / Los Angeles Times)
Clipse turn in a triumphant set
The Clipse have had a hell of a year. After releasing their first album together in 16 years, “Let God Sort Em Out,” the formidable Virginia rap duo of Pusha T and Malice embarked on a victory lap, which included a successful reunion tour and a flurry of hilariously entertaining interviews. In the midst of that, they also stopped by NPR’s Tiny Desk — a performance that had more than 3.5 million views as of November— and racked up four Grammy nominations including best rap album and album of the year. So it was only right that they were invited to perform at Camp Flog Gnaw once again. (They also performed at the festival in 2023.)
Fittingly, the Clipse opened their set with the menacing “Chains and Whips,” which is jam packed with lethal, high-level bars about why contemporary rappers simply can’t sit with them. Not wasting any time during their set, the veteran emcees went bar for bar, diving into more tracks from their latest album including “Birds Don’t Sing” (a dedication to their late parents) and “P.O.V.,” which Tyler, the Creator joined them for just in time following his own high-energy set.
Satisfying their day one fans, the Clipse also performed a handful of their classic records like “Mr. Me Too” and “What Happened to That Boy.” As they rapped the lyrics to one of their most recognizable tracks, “Grindin,” a montage of Black people doing step routines, dancing and recreating the Neptunes beat on lunch tables played on the massive stage screens.
Much like “Let God Sort Em Out,” the Clipse’s performance further solidified why they’ve been in the game for more than 20 years and why they aren’t going anywhere anytime soon. — (Kailyn Brown)
Childish Gambino’s set was a race against time. Prior to his set, the 42-year-old singer/rapper/actor (also known as Donald Glover) allowed fans to vote for his setlist. Playing anything from his biggest hits like “Redbone” and a very short snippet of “This is America” to his cover of Outkast’s “Prototype” and the 2011 release “Les,” Gambino made it clear he only had an hour and wanted to get to as many songs as possible. He often played the first verse of a track, allowing it to peak in the chorus and quickly brush past it — making the set feel like an invigorating sprint.
Halfway through the performance, Gambino, sparkling his glittery wifebeater, took a moment to get vulnerable with the crowd. This was his first performance since he had to abruptly cancel his world tour last year. He explained that he had a stroke unknowingly, on stage in Louisiana, and later found out that he had a hole in his heart and needed surgery. As he narrated his story, the sky lit up with a drone light show, depicting images of a heart and other dynamic patterns.
He said, during all of these health problems, the only things he could think of were “how many people I’m letting down” and “here I am still copying Jamie Foxx,” which got a laugh out of the crowd. Throughout the remainder of the show, he continued to exude a grateful energy, saying repeatedly, “I didn’t think I’d be able to [be here].” As he played the chosen songs, it was as if his only goal was to make the crowd as happy as possible.
The rapper left with a final message, “You have one life, so live your life as you want.” (C.D.)
Blood Orange puts CFG in a trance
Following Geezer’s (Kevin Abstract and Dominic Fike) endearing display of friendship, Blood Orange kept the cameraderie going on the fest’s main stage. Though the multi-piece band behind Dev Hynes’ musical moniker may sound melancholic, their energy was jolting. During tracks about grief and loneliness, like the cathartic “Charcoal Baby,” only Hynes could get the entire crowd to head bang.
After releasing his most recent album, “Essex Honey,” Blood Orange made his impromptu return to the fest — calling last year’s set “one of his favorite shows.” The British singer and his band trade instruments with a sense of ease — splitting their time among a cello, keyboards, synthesizers, a drum machine, electric and acoustic guitars. In this intricate display of instrumentalism, dark electronica and high-pitched vocals blend into feelgood jazz and ’80s synth pop without notice. With dense fog and transculent pink lights, the whole set started to fuse into a unifying dreamy moment. (C.D.)
Helicopters, a megaphone and pink hair curlers: ASAP Rocky keeps Flog Gnaw classic
Right before ASAP Rocky was meant to close out the festival, a helicopter started to circle the area, shining its light down on the crowd. A mock news livestream took over the stage’s screens in search of the Sunday headliner, accusing him of “never dropping the album.” On stage, the Harlem rapper descended on a floating helicopter of his own, megaphone in hand and pink curlers in his hair.
He made it clear he was there “to start a riot” (and he did consistently check in on the densely packed crowd too). The 37-year-old rapper was soon joined by a few dozen hooded figures, carrying upside-down American flags, who began to mosh while he continued to spit his ever-steady flow. Switching between his older stuff, like “L$D” and “Potato Salad” (which he was joined for by Tyler, the Creator) and more recent beloved singles like “Praise the Lord (Da Shine)” and “Sundress,” Rocky stuck to what he knows best — looking pretty and skillful rhymes. (C.D.)
A swing carousel at Camp Flog Gnaw.
(Ronaldo Bolanos / Los Angeles Times)
T-Pain knows your knees hurt
“I am old as f—,” T-Pain said as the R&B-rap crooner took a pause from his hit-studded set on Sunday night. “I was running out of time to do this. I saw the dimensions of the stage and my knees gave out.”
At 41, he is decently seasoned by Flog Gnaw standards (though still a surprisingly deft dancer). But his set was arguably one of the best-attended of the weekend, for good reasons.
Recent reappraisals from a mega-viral Tiny Desk concert and a boisterous Coachella set proved what close listeners have known all along: Pain is an absolute savant of melody and ear-tickling chord changes, with a gorgeous R&B voice whose famous digital treatments were artistically prescient rather than any sort of fix.
Yet to Flog Gnaw’s young crowds, blissfully free from the AutoTune wars of the 2000s, Pain now represents an idyll and purity of party music in hip-hop, rising from the mire of the Great Recession and the aspirations of President Obama with witty, self-aware hit after hit that showed a musician in total command of his craft, writing songs that transcend today’s cynical bleakness.
This redemption arc is well earned — how can you not listen to “Bartender” and long for the easy, sweet camaraderie of sidling up to your favorite server (though today that cocktail will more likely be N/A)? Dispatches from a saner time of millennial life like “Up Down” and “Can’t Believe It” landed like an envelope of Instax photos from a half-remembered house party. For Gen Z, it was Unc Culture embodied in the best ways.
Other than a brief villain segment (where Pain sung his verses from collabs with Chris Brown, Kanye West and R. Kelly; more an indictment of the men of R&B, really), his set delivered hit after hit and re-framed them within R&B history. He did what the genre is best at — stirring up the old glow of past happiness, even if that was spilling tequila down your pinstriped business-casual wear at a Hollywood bottle club in 2008. (A.B.)
Tyler, the Creator performs during Camp Flog Gnaw.
(Ronaldo Bolanos / Los Angeles Times)
Doechii, the classroom disciplinarian of your dreams
Doechii framed her raucous Sunday night set as a stern classroom lecture on the craft of rapping. But in that case, she’s the kind of teacher that you bump into at the grocery store with a cart full of booze and a you-didn’t-see-this wink.
The Grammy favorite and new TDE superstar is so mercilessly good at rapping, so fully possessed of her gifts onstage, that her set made me wonder how all the backing-track reliant MC’s still get away with it. From the vicious opening lines of “Stanka Pooh” — “Let’s start the story backwards / I’m dead, she’s dead, just another Black Lives Matter” — to the joint-snapping house-music workout of “Alter Ego” and the horror-comedy sex romp of “Spooky Coochie,” she never settled for less than the full scope of her talents, deeply honed.
A gleefully bawdy and physically gifted dancer, with of sneaky comic timing and a low-key powerhouse singing voice, by the time she got to the deep cut “Boom Bap” and fan favorite “Catfish,” Doechii made an impeccable claim to being one of the best rappers working today.
She didn’t play the Grammy contender “Anxiety” — one sees how that song wouldn’t make sense in this relentlessly hard hitting context. But whatever worries keep on trying her, after Sunday night, she can definitively leave them behind. (A.B.)
Zack Fox brings us to the (f)unction with globetrotting set
Just 15 minutes into Zack Fox’s hour and a half DJ set on Sunday afternoon, which was dubbed Zack’s Big Nasty & Booty Shake, many audience members were already sweating and shedding the layers they wore in preparation for the evening cold.
Garbed in leather uncle sandals with white socks, an Atlanta Falcons apron and a grill for a DJ stand (because he was cooking, duh), the rapper, comedian and actor brought the crowd to the (f)unction. Fox, who’s become known for his high-energy performances, delivered a globetrotting set filled with genres including Brazil’s Baile funk, Chicago house, Baltimore club, Nola bounce, soul, gospel Detroit techno and of course Atlanta rap, which is where he’s from. “Dance music is Black music,” Fox told the crowd in between his gyrating and turning up. “Y’all gonna learn something today.” (He also had the crowd repeat back “Free Palestine” and “F— ICE.”)
But what’s a cookout without good company? Fox also brought along a crew of talented dancers, which included a church hat wearing grandmother (who unexpectedly broke out into a backflip) and popular ballroom dancer Pack Rat. As Fox masterfully weaved between tracks like Khia’s “Steer,” KW Griff’s “Bring in the Katz” and Frankie Beverly and Maze’s “Before I Let Go,” the dancers vogued, shuffled, line danced and twerked. Even his “Abbott Elementary” castmate Janelle James (a.k.a Principal Coleman) grooved alongside Fox during his set.
He closed out with a Black church anthem, Kurt Carr’s “We Lift Our Hands in the Sanctuary.” Each time the track seemed like it was about to end, he comically brought it back a few more times with the lyrics “Yes! Yes, Lord, for the rest of our days.” (K.B.)
Ying and yang rappers, Larry June and 2Chainz, show us the finer things in life
On paper, Larry June — the laid-back Bay Area rapper known for his straightforward rhymes about organic living and financial literacy — and 2Chainz — Atlanta’s trap elder known for witty tracks like “Birthday Song” — may seem like an unlikely match. But as the pair performed their collaborative album “Life is Beautiful,” they were in perfect stride. The large crowd was a testament to how rare the moment was as it was one of the few times that the pair has performed the opulent lifestyle rap album since it dropped in February.
Much like the vibe of “Life is Beautiful,” which feels like a luxurious vacation backed with jazz-infused serene beats by the Alchemist, swaying ocean waves and yachts served as the backdrop while they delivered tracks like “Colossal,” “Generation,” “I Been” and “Bad Choices.” (Unfortunately, the Alchemist is on tour with DJ Premier, and was not in attendance.)
The backgrounds changed to imagery that matched the rappers’ hometowns as they dove into their personal discography. In a casual windbreaking sweatsuit, Larry June performed smooth tracks like “Smoothies in 1991” and “Watering My Plants,” while 2Chainz, who was rocking a leather two-piece set, got the crowd hyped with songs like “I’m Different” and “Watch Out.”
Suitably, the duo closed out with tranquil, flute-based “Life is Beautiful,” reminding the audience to embrace the beauty of the grind and the small wins in life, and simply enjoy their time on this Earth. (K.B.)
Ariana Grande is rethinking what touring looks like as she heads into a new chapter of her career.
In a newly published conversation with Nicole Kidman for Interview magazine on Nov. 24, the singer and actress opened up about her upcoming Eternal Sunshine world tour, revealing that the run will be intentionally smaller than the massive global treks she’s mounted in the past.
“We’re doing a small amount compared to what I used to do back in the day. I think it’s 45 shows,” Grande said. “It’s not that small, but it’s at least half of what I used to do.”
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The 2026 tour follows her Billboard No. 1 album Eternal Sunshine, released earlier this year, and marks her return to full-scale live performance after stepping away from music to film the two-part Wicked movie franchise. That period, Grande said, played a transformative role in reshaping her relationship with fame, creativity and the pressures that accompany commercial success.
“I’ve just been healing my relationship to music and touring over the past couple of years,” she told Kidman, explaining that acting helped her reconnect with the joy of creating without the intensity that once accompanied her pop stardom. She described Eternal Sunshine as an album that allowed her to rebuild her process: “I think the time away from it helped me reclaim certain pieces of it and put certain feelings that maybe belonged to my relationship to fame… in a box somewhere else.”
Grande said her time playing Glinda in Wicked and Wicked: For Good helped her “take baby steps toward healing,” particularly around the anxiety she felt early in her pop breakout. “I think it just held some traumas for me before, and I feel those dissipating,” she said. “That is such an extraordinarily beautiful thing.”
She also reflected on how she has learned to detach from public commentary and criticism, saying that she now relies on meditation rather than internalizing negative reactions. “Should that dance have to be a part of being an artist,” she wondered, “or should that just be put in a box far away from me?”
Grande’s Eternal Sunshine tour will launch in June 2026 in Oakland, Cali., before heading through North America and Europe, concluding in London in late August.
In the latest episode of Brilliant Minds, Eric Dane guest stars as Matthew, a firefighter with ALS, in a powerful story focused on accepting help from others.
The episode draws on Dane’s real-life experience with the disease, and showrunner Michael Grassi shares the conversations he had with Dane about the episode as well as behind-the-scenes details of the actor filming.
Grassi also discusses the parallels found in the episode’s other storylines as well as what’s to come, including for Wolf and Josh’s relationship and in the midseason finale.
[Warning: The below contains MAJOR spoilers for Brilliant Minds Season 2 Episode 9 “Fire Fighter.”]
Eric Daneguest stars on Brilliant Minds in one of the show’s most powerful and best episodes, one all about accepting help from others.
Dane plays Matthew, a firefighter with the same disease he has, ALS, and Wolf (Zachary Quinto) and Carol (Tamberla Perry) are by his side as he struggles to tell his family, his ex-wife (Mädchen Amick), and daughter (Chloe Avakian). With Wolf joining his family for Thanksgiving, Matthew does agree to move back in with his ex as his family, fellow firefighters, and those he’s saved over the years come together to show they’ll be there for him. The episode then ends with him agreeing to voice banking, which uses his voice to create a synthesized one.
Elsewhere in the episode, Muriel (Donna Murphy) is determined to spend Thanksgiving with her son and sees just how little time Wolf has been spending in his house since his dad left, and Ericka’s (Ashleigh LaThrop) patient, Sam (Nabil Rajo), needs a liver, but that’s much easier said than done in his situation.
Below, showrunner Michael Grassi discusses bringing in Eric Dane and telling this story, teases what’s to come, including with Wolf and Josh (Teddy Sears), and more.
Talk about bringing on Eric Dane, what you wanted to do with him onscreen, and the conversations you had with him about the character and how much of his own life you would pull.
Michael Grassi: Eric reached out to us. He was a fan of the show, wanted to do the show, and I’m a huge Eric Dane fan, and I was so excited to bring him onto Brilliant Minds and into our world. And we had a number of Zooms before he came to shoot, and we had many conversations about this storyline and what it could be and what it meant. And funny enough, when I had my first Zoom with Eric, I had flown home for a family emergency and a difficult diagnosis, and I think very quickly in our conversations, the story became, “How does a family navigate a difficult diagnosis? How do you take some news that is very hard to process, and how do you share it with people, and how do you process it yourself, and how do you do the hardest thing of all, which is accept help?” Especially when we talked about his character being a firefighter, somebody who’s dedicated his entire life to helping other people and that kind of service, having to accept help sometimes as the hardest thing you can do. So we were really excited to tell a really grounded family story about what it’s like to move forward after you learn about a diagnosis.
Pief Weyman/NBC
Was there anything specific that he suggested that you included?
Well, I think we wanted to make sure that Matthew’s world felt full and fleshed out and that it wasn’t sort of a simple story. So I think in our conversations we sort of found complexity and nuance to Matthew, and just getting to know each other a little bit sort of helped develop and cook the story. And from minute one of talking to Eric, I just felt his generosity of spirit and his collaboration, and that continued from the second he arrived on set to his last day on set. He was incredible to work with. He really, really was.
Because you’re also telling a story that we know has a heartbreaking ending — it’s said in the episode that nobody survives this — and this is also Eric’s life. So what was the careful approach to telling that part of it?
It was really challenging, and Eric and I had a lot of conversations about it, and he opened up to me and said that being in the scenes was difficult at times. And I said, “Eric, I’m sorry.” And he’s like, “No, it’s good. It’s good to be having these conversations, even in a fictional setting, because they’re real conversations that families have to have and families are having on a daily basis.” I think it was difficult, but I think it was all in the spirit of sharing something and sharing a story and sharing an experience and letting other people out there know that they’re not alone and that, while it’s difficult to deal with this, it’s better to do it knowing that you have support and that other people are going through it as well.
I have to say two of the moments I was especially moved by were Matthew outside, as everyone was there to support him, and Matthew letting his ex-wife help with his shirt. And by the way, Mädchen as his ex-wife, great casting.
Isn’t she amazing? Well, I worked with Mädchen on Riverdale for many, many years, and I’m a huge fan of hers. And she also directed Episode 7.
So talk about including those two moments and ending the episode with that voice recording because a really big, powerful moment to end on.
The moment where everyone shows up to support him was so important because, like I said earlier, this is a man who dedicated his life to helping others. And I think Wolf has this idea of, “I want to show him how much he’s helped others and how all of those people want to help him back.” And I think that’s what that moment is. And also, I know it’s a big thing in the firefighter community to have sort of retirement processions. So it was that sort of thing is celebrating him and celebrating his work. And the scene with Mädchen is also one of my favorite scenes, Meredith, and it’s so beautiful because the simplicity of letting someone help you do a task that you were able to do on your own, your whole life that you can no longer do on your own, something as simple as buttoning a shirt and allowing someone in to help you do that, it feels like just a simple moment of grace and makes me emotional just thinking about it. That’s such a beautiful scene.
And the VO in Act 6, we were really excited to give Eric that moment to, for the first time ever, we have, it’s not Wolf guiding us through the end of Act 6. It’s Eric. And when we shot that scene, it was obviously really emotional for many reasons, but Eric was incredible, and he delivered a vulnerability, and he really felt like he was telling the story of Matthew in such a beautiful way, but also pulling from his own life and experience. And after we finished shooting that scene, at the end of the day, the cast and crew stood and clapped Eric out for 10 minutes. And I’ve never experienced that on a set, and it was a beautiful moment I’ll never forget. And we were just so moved by Eric’s performance and his work ethic the entire time he was there in his collaborative spirit.
Pief Weyman/NBC
And the last little tidbit I’ll give you is every time we called cut on shooting a scene, he was joking around and laughing and connecting with the cast, and he was just so much fun to have on our show, so one of the best experiences I’ve ever had in my career working with Eric. I’m so glad he came to do Brilliant Minds and told the story.
His character is also one I really want an update on. Is it possible that we could hear about Matthew in the future?
Oh, I hope so. I hope so. We haven’t gotten that far yet, but I would love that.
I also have to admit that when Matthew first brought up a facility, my first thought was of Hudson Oaks…
Trust me, Meredith, that crossed my mind. He’s like, “I found a place, it’s called Hudson Oaks.” [Laughs.]
So how much does what Wolf just saw with Matthew factor into his reaction to seeing his mom in his kitchen at the end because he’s angry at first and then he takes over the carving?
You’re so dialed into the parallels of the story and all of the stories in the episode, even Sam’s story. We’re telling a story of, for these people, you need to let someone in order to survive. And I think that’s a big thing for Wolf as well, and he’s been starting to isolate himself a little bit more. Muriel’s like, “Let’s spend Thanksgiving together,” and Wolf is avoiding her, so Wolf won’t let Muriel in, so she literally has to let herself into his house and cook dinner and force him. And I think it brings up a lot of feelings for Wolf in that moment, especially as she’s sort of struggling with the fact that her son is struggling and she’s trying to stay optimistic, and she’s holding on, and she’s just talking about Dad. And I think it’s like Wolf’s like, “Stop. He’s not here to carve the turkey. I’m going to do it.”
I think it’s showing that Wolf is potentially in a place right now where he’s not his best. I think Muriel sees that and that sort of — because I think a lot of people when they’re struggling are functioning in their lives and they’re going to work and they do their day-to-day, but sometimes physical stuff in their lives starts to take a toll. And we show that with the fact that his ferns are dead and the fact that he hasn’t cleaned up the mugs that were left by his dad after his dad left. So those are very clear signs that maybe Wolf isn’t doing as well as we thought he was.
Would Wolf have lashed out more at his mom when he found her there if he hadn’t been through what he just was with Matthew?
Yeah, that’s a really good question. I think having just spent the entire episode trying to convince Matthew to let his family in, I think Wolf couldn’t have walked in that day and said, “Get out.” Because he’s been preaching that for the entire episode. But it was still really hard for him. It wasn’t easy.
Pief Weyman/NBC
I love seeing Muriel just be Wolf’s mom. We saw in this episode, they both clearly still have a way to go together. So are we going to continue to see that mother-son relationship? That’s the only relationship right now since she’s no longer at the hospital.
Yeah, we’ll see her very, very soon. I think I can tease that we see her in Episode 210, our midseason finale as well. And she is amazing in it, and I don’t want to spoil anything, but there’s some really good Muriel stuff coming up.
You gave Josh a new love interest. Why?
Well, Wolf, I think, broke Josh’s heart, and I think Josh was wanting to be let back in. And I think a big part of what we’re telling in this story is that Wolf struggles to let people in when he’s struggling, just like Matthew. And I think Josh tried, and I think he maybe saw that this isn’t a viable relationship for me. And he got put together with somebody that he had been in a relationship prior to Wolf, who we’re going to continue to explore what that means for him. But I think Josh is trying to navigate this the best he can because I think Josh is somebody who wants to lock it down and wants to maybe get married and wants some of those things. He loves structure, and I think Wolf wasn’t able to provide any of that structure for him, so he looked for it elsewhere. But the story is developing. So stay tuned, please.
I was going to say it doesn’t seem like Wolf is in that position yet either, and it seems like it’s going to take quite a bit because I mean, based on where he is in the flashforwards, it’s not happening anytime soon.
Yes, the story is unfolding in real time, but we’ve got lots of surprises coming in developments. But also, the thing I’ll say is that what’s clear is that both of these feelings, both Josh and Wolf, they care about each other a lot. And that is clear in our storytelling and clear in their scenes together. And they have lots of good stuff coming up.
Speaking of romance, Carol and Thorne (John Clarence Stewart) and their sparks, which I am loving, but it feels like both have pasts that could make them hesitant to really jump into something. So is that going to be coming into play?
Yes. Stay tuned for more on these two. I love Tamala and John’s chemistry, and I love these two characters, and I love how they intersect in the hospital, and I love that they have a history, and I love that they’re sort of safe landing places for each other in the hospital a little bit. So that story is also developing and more soon there.
So last season’s recurring patient had a tragic ending. You kind of seem like you’re sending up Sam for the same thing. Is history going to repeat itself? Does it feel like to the doctors perhaps that they’re kind of on a similar path that they’ve been on with other patients they’ve treated for an extended period of time?
Let me say that the Sam story is a really important storyline for us because it’s what happens in real hospitals, and Sam needs a new liver, and it’s very difficult to get on the donor list when you’re struggling with a mental illness. It’s just the truth. You get put much lower on the list, even if you make the list at all. So his story, a lot like Matthew’s story, a lot like Wolf’s story, and many people’s story, is Sam can’t survive without a support system. He can’t do this alone. For Sam, alone means death. So Erica finds his family in [Episode] 9, as you saw, but the system doesn’t see it that way, and it’s still not enough considering his mental health history. And I think one of our big themes this season and on our show in general is, who deserves care? So we are continuing to tell that story, and that’s a story that will continue, and it’s high stakes for Sam. It’s a nuanced story about what it’s like to live with this condition. And what I love about it is that it’s not sensationalized, there aren’t any sort of magical solves to what Sam has. We’re playing it really real, so more soon on that.
What can you tease about the next time we see the flashforward timeline?
It’s coming in the midseason finale. We’ll get a little bit more on that story — and some other big surprises.
All this can sound high-minded and vague, so he provides details on where Microsoft will focus its first HSI work. The company has already begun on what he calls Medical Superintelligence. Next, he says, will be work on designing plentiful, clean, inexpensive energy.
Suleyman claims HSI will be safe from the get-go, in contrast to AGI’s potential dangers. He calls HSI “a subordinate, controllable AI, one that won’t, that can’t open a Pandora’s Box. Contained, value aligned, safe — these are basics, but not enough. HSI keeps humanity in the driving seat, always.”
Is HSI for real or just more hype?
All that sounds impressive. But words are cheap. Is HSI just an elevated example of tech hype?
The EcoFlow Black Friday sale is in full swing, knocking thousands of dollars off portable power stations and their accessories. One of the best discounts at the moment is on the Delta Pro 3, which is 43 percent off and down to $2,099. That’s the lowest we’ve seen it and, considering it typically costs $3,699, it’s a great deal. Amazon’s matching the sale price as well.
The Delta Pro 3 topped Yahoo’s list of the best portable power stations, and for very good reason. This thing is a beast. It boasts a 4,096Wh capacity, so it can power an average 500-watt refrigerator for over 24 hours. That’s with continuous use. It can be stretched out to two or three days by only running the appliance during daylight hours. There’s even a discounted bundle that includes an extra battery for $3,279.
EcoFlow
It includes four standard 120V AC outlets and a single 240V outlet. It could potentially be a temporary hub of a whole-home battery backup. There are numerous charging options here, including a standard AC outlet, solar panels and, interestingly, a cigarette lighter.
The only potential downside here is the Delta Pro 3 really pushes the boundaries of what can be considered portable. It weighs 113 pounds, though it does have wheels and a telescoping handle.
The Delta Pro 3 is just one of the products on sale right now. Another Yahoo top pick, the Delta 2 Max, is $1,000 off and down to $899.
The Department of Defense, which is the legal name of the department, announced via a statement that they were investigating Sen. Mark Kelly for misconduct related to his participation in a video where he and other veterans in Congress urged members of the military not to follow illegal orders.
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The Pentagon announced in a statement:
The Department of War has received serious allegations of misconduct against Captain Mark Kelly, USN (Ret.). In accordance with the Uniform Code of Military Justice, 10 U.S.C. § 688, and other applicable regulations, a thorough review of these allegations has been initiated to determine further actions, which may include recall to active duty for court-martial proceedings or administrative measures.
This matter will be handled in compliance with military law, ensuring due process and impartiality. Further official comments will be limited, to preserve the integrity of the proceedings. The Department of War reminds all individuals that military retirees remain subject to the UCMJ for applicable offenses, and federal laws such as 18 U.S.C. § 2387 prohibit actions intended to interfere with the loyalty, morale, or good order and discipline of the armed forces.
Any violations will be addressed through appropriate legal channels. All servicemembers are reminded that they have a legal obligation under the UCMJ to obey lawful orders and that orders are presumed to be lawful. A servicemember’s personal philosophy does not justify or excuse the disobedience of an otherwise lawful order.
Sen. Kelly responded with a statement saying that he will not be intimidated:
When I was 22 years old, I commissioned as an Ensign in the United States Navy and swore an oath to the Constitution. I upheld that oath through flight school, multiple deployments on the USS Midway, 39 combat missions in Operation Desert Storm, test pilot school, four space shuttle flights at NASA, and every day since I retired – which I did after my wife Gabby was shot in the head while serving her constituents.
In combat, I had a missile blow up next to my jet and flew through anti-aircraft fire to drop bombs on enemy targets. At NASA, I launched on a rocket, commanded the space shuttle, and was part of the recovery mission that brought home the bodies of my astronaut classmates who died on Columbia. I did all of this in service to this country that I love and has given me so much.
Secretary Hegseth’s tweet is the first I heard of this. I also saw the President’s posts saying I should be arrested, hanged, and put to death. If this is meant to intimidate me and other members of Congress from doing our jobs and holding this administration accountable, it won’t work. I’ve given too much to this country to be silenced by bullies who care more about their own power than protecting the Constitution.
Kelly’s fellow Arizona US Senator, Reuben Gallego, unloaded on Sec. Hegseth on CNN.
If you have an extensive movie collection, you may want to share it with other devices on your home network instead of paying for loads of streaming services. Here’s how you can use Plex to create your own mini Netflix.
Plex
Streaming services have become popular over the years, providing heaps of content to view whenever you want, all streamed over the Internet. While many people bought DVDs and Blu-rays, streaming services like Netflix, Amazon’s Prime Instant Video, and even Apple TV offers content without needing to buy the physical media in the first place.
However, while streaming services can have extensive content catalogs, they are not limitless. Even if you signed up for many different streaming apps to get as much variety of content as possible, there might still be gaps in what they offer.
