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“Chainsaw Man — The Movie: Reze Arc,” the Japanese anime from Crunchyroll and Sony, claimed the top spot at the domestic box office this weekend, taking in an estimated $17.25 million, according to Comscore.

The R-rated movie, based on Tatsuki Fujimoto’s popular manga series, follows teen demon hunter Denji, who is betrayed by the yakuza and killed as he attempts to pay off the debts he inherited from his parents. His beloved chainsaw-powered dog Pochita makes a deal and sacrifices his life, fusing with Denji who is reborn with the ability to transform parts of his body into chainsaws.

“Chainsaw Man,” already a global hit, delivered a blow to Disney and 20th Century’s biopic “Springsteen: Deliver Me From Nowhere,” starring Jeremy Allen White, which came in a disappointing fourth place with an estimated $9.1 million.

Based on the 2023 Warren Zanes book of the same name, the film plumbs Springsteen’s life and career through the creative process, during the making of his 1982 acoustic album “Nebraska.”

The Times described the movie as a “thoughtful exploration of the creative process” that runs out of steam by the end, “meandering aimlessly into a depressive period of Springsteen’s, and it never quite regains its footing.”

In its second week out, the horror sequel “Black Phone 2” took the No. 2 slot, earning an estimated $13 million over the weekend, giving the Universal and Blumhouse movie a domestic total of $49.1 million.

Rounding out the third spot is Paramount’s romantic drama “Regretting You,” the latest film adaptation of novelist Colleen Hoover (“It Ends With Us”). Starring Allison Williams and Dave Franco, it opened to an estimated $12.5 million domestically.

Taylor Swift has already conquered the music world and the concert business, so it’s no surprise that this weekend she reigned supreme over the box office — again.

Swift’s latest venture into theaters came in the form of a listening session/fan party of sorts for her latest album, “The Life of a Showgirl.”

The 89-minute movie, titled “The Official Release Party of a Showgirl,” featured the premiere of the Swift-directed “The Fate of Ophelia” music video, as well as behind-the-scenes footage and commentary from Swift about the inspiration for her new songs.

As expected with anything Swift, the film quickly rocketed to the top of a weekend box office that didn’t have a lot of new big-name releases. The one-weekend-only affair hauled in $34 million in the U.S. and Canada, AMC said Monday morning. Globally, it made more than $50 million. Paul Thomas Anderson’s “One Battle After Another” was the runner-up in its second outing this weekend, grossing about $11 million domestically.

But the lack of competition doesn’t dilute the impact Swift had — and has had — on the box office. Her three-day theatrical total beats opening weekend grosses for other recent, studio films such as the Leonardo DiCaprio-led “One Battle After Another” ($22 million), 22-year sequel “Freakier Friday” reuniting Lindsay Lohan and Jamie Lee Curtis ($28.6 million) and my personal favorite, “Downton Abbey: The Grand Finale” ($18.1 million).

I may not be a Swiftie, but I know plenty who made their way to theaters this weekend, with some dressing up for the occasion. My colleague, Malia Mendez, wrote about the Taylormania that took over AMC Century City, which screened the Swift film 21 times over three screens, just on Saturday.

There’s something to be said about harnessing the power of a fan base to drive people to theaters. Look at Swift’s last theatrical appearance — 2023’s “Taylor Swift: The Eras Tour” made about $180 million domestically and brought in more than $261 million worldwide, making it the highest-grossing concert film of all time.

As she did with the “Eras Tour” film, Swift bypassed the typical Hollywood system and worked directly with AMC Theatres Distribution to release “The Official Release Party of a Showgirl.” The film played at all of AMC’s 540 locations and also showed at other theaters such as Cinemark and Regal.

The unconventional release was welcome news for theaters, which have struggled to bring in crowds as they did before the pandemic

“On behalf of AMC Theatres and the entire theatrical exhibition industry, I extend our sincerest appreciation to the iconic Taylor Swift for bringing her brilliance and magic to movie theatres this weekend,” AMC Chief Executive Adam Aron said in a statement. “Her vision to add a cinematic element to her incredible album debut was nothing less than a triumph.”

The film’s success is another reminder of the value of nontraditional, alternative content for theaters at a time when they need to employ fresh strategies to lure younger audiences to the multiplex.

As the number of movies released by studios has decreased, theaters are on the hunt for content to put on their screens. Lately, that’s ranged from episodic streaming series like “The Chosen,” which chronicles the life of Jesus, to concert films, opera performances and anniversary screenings of hits such as “The Sound of Music,” “Jaws” or “Back to the Future.”

It’s a business that really took off after the pandemic. Distributor Fathom Entertainment has specialized in this kind of nontraditional content for more than 20 years, but it is now seeing increased interest in these types of titles, particularly anniversary screenings, which now tend to make up between 20% and 40% of the company’s annual revenue.

Providing these kinds of titles is a way to mitigate the uncertainty of the film business, where there can be highs driven by hotly anticipated releases and lows when there’s little in the lineup.

“Our bread and butter is, and has continued to be, the big studio releases,” said Daniel Fastlicht, chief operating officer of the Lot, a luxury dine-in theater chain based in La Jolla with four locations. “What we want to see more than anybody is more content. But if that doesn’t happen, we still need to fill our auditoriums with people.”

All of the Lot’s theaters had at least one or two screens showing the Swift film, and the atmosphere was light, with people singing and dressing up, including a few in Travis Kelce jerseys, said Marcos Sayd, director of operations. He noted that alternative content helps their theaters fill the less-scheduled holes in their calendar. In addition to the Swift release, the Lot also programs local documentaries and films, as well as one-off events such as the Newport Beach Film Festival to draw audiences in.

And they’re not alone. Other theaters have been looking to position themselves as gathering places for communal experiences, whether that’s to celebrate T-Swift fandom, sing and dance to “KPop Demon Hunters” or collectively scream at a horror movie. Will the post-pandemic zeal for connection repopulate theaters again? Only time will tell, but the popularity of Swift’s latest film is a positive sign.

Stuff we wrote

Film shoots

Number of the week

Last week, YouTube agreed to pay $24.5 million to settle a lawsuit President Trump filed after his account was banned by the Google-owned streamer following the Jan. 6, 2021, riots at the U.S. Capitol.

San Bruno-based YouTube is the latest tech and media company to settle one of Trump’s lawsuits. Meta, Twitter (now X), Paramount Global and Walt Disney Co.-owned ABC News have all paid multimillion dollar sums in settlements. Most of the YouTube settlement dollars will go to Trump, who plans to contribute it to the Trust for the National Mall, which is “dedicated to restoring, preserving, and elevating the National Mall” and will also fund construction of the White House State Ballroom, according to court documents.

Finally …

My colleagues, Matthew Ormseth and Summer Lin, wrote about how the strange case of an illicit casino-turned-marijuana stash house/psilocybin mushroom-growing location that eventually led police to find an Arcadia mansion filled with 15 children, most of whom were born to surrogates.

It is the season for wrapping up warm and enjoying an autumnal walk, and this beautiful village in the north of England has been compared to the fictional town of Stars Hollow where Gilmore Girls is set

As the chillier days arrive, many of us are putting up our Halloween decorations, lighting candles, snuggling on the sofa with a blanket and switching on our favourite cosy, autumnal shows and films. While many choose horror films at this time of year – or programmes like Wednesday or Stranger Things on Netflix for magic and excitement – one of the most cherished cosy autumn shows is Gilmore Girls.

The programme, created in the early ’00s, is set in the fictional New England town of Stars Hollow, renowned for its autumn festivals, pumpkin patches, and coffee shop culture – and recently one Yorkshire town has been likened to it. Haworth has been dubbed the “real life Stars Hallow in England”.

The enchanting West Yorkshire location is steeped in history and perfect for those wanting to discover a picturesque, charming village this autumn. Tucked away in the Yorkshire Moors, it is best known for being the residence of the Brontë sisters, who penned some of the most revolutionary novels in history.

From delightful cafés, independent shops like Mrs Brighton’s Sweet Shop and The Cabinet of Curiosities, and excellent pub food, there is plenty to do.

READ MORE: ‘I removed huge plant from my home, but people say I made huge mistake’

You can picture Gilmore Girls’ Lorelai strolling around the cobbled streets before pausing for a coffee, and Rory relishing reading and selecting a new book in one of the shops.

In a recent video shared on her social media, @lilyjbet gushed: “Just found England’s very own Stars Hollow. Haworth, a dreamy Yorkshire village, feels like stepping straight into Gilmore Girls – filled with cosy cafés, charming bookshops, and the sweetest little independent stores. Easily reached by train to Keighley and a short bus ride, it’s the perfect autumn escape.”

Another user chimed in: “It’s a gorgeous place! It’s where the Brontë sisters grew up, their parsonage is just around the corner from those shops. Steeped in history.”

A second added: “I love it there it has the Brontë sisters house and it gives of Gilmore girls.”

Another fan enthused: “I adore it here, well worth the trip to the Brontë house/museum while you’re there.

“Oh my god, I need to move there,” one user exclaimed.

“Awww such a magical place,” another commented. Another user shared: “Haworth is so pretty, I’m desperate to go back, its been a while.

“It’s so dreamy,” echoed another.

How to get there

If you’re driving there are a number of car parks you can use. The Bronte Village car park is open from 6pm to midnight, while the Gas Street car park is open 8am until 6pm, and the museum car park is open 8am until 10pm.

Keighley is the nearest train station to Haworth. According to Trainline, from London there are typically two trains a day that run to Keighley and it will take you just short of three hours. From Birmingham to Keighley there are around 28 train per day, and there are over 160 trains per day from Manchester to Keighley, taking around 2 hours and 26 minutes to get there.

SWEET-TOOTHED fans can now get their hands on a new Penguin selection box.

McVitie’s has revealed its first ever Penguin Selection Box as part of its festive lineup of products.

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The box (RRP £3) includes six Penguin treats across a variety of flavours.

There are two original Penguin milk chocolate biscuit bars, one Penguin Mint, one Penguin Orange, in addition to two bags of mini biscuits.

The biscuit bags are in the Cocoa and Cocoa & Orange flavours.

McVitie’s says that the box “comes in bright seasonal packaging featuring the iconic Penguin jokes, along with a maze and word search on the back.”

While savvy shoppers have spotted the box on Asda shelves, it has yet to be listed online.

The new product does feature on the Tesco website, where it is currently marked as “out of stock”.

Other festive finds

McVitie’s festive range also includes the Chocolate Digestives Anniversary Tin, celebrating 100 years since the inception of these beloved biscuits.

The 340g tin contains milk, dark chocolate and white digestives.

You can find this exclusively in Sainsbury’s for £7.50.

This winter you can also try the Flipz Gingerbread Flavour Coated Pretzels Share Bag (RRP £2).

And McVitie’s are adding a seasonal spin to a much-loved favourite, giving their White Digestives a festive makeover with playful snowflakes and snowmen packaging.

McVitie’s isn’t the only brand to have revealed new festive products.

The M&S Christmas range for 2025 includes new products such as the Original Peanut Butter & Jelly Munch, as well as a Peanut Butter & Jelly Spread.

The iconic Munch tins first launched in 2021, but this year’s version has been given an American twist, with the treats now available as a peanut butter and jelly flavour.

Last year, the M&S Very Merry Munch tin was advertised as “perfect for movie nights”, with fans calling it “heaven”.

Marmite fans may also like to try the Pecan & Salted Caramel Blondies with a hint of marmite, as well as the new M&S marmite caramel sauce.

Mars have also revealed new Christmas chocolate treats, including a Milky Way Advent Calendar released for the first time and sold exclusively in Asda.

If you’re a Tesco shopper, you’ll be able to get hold of the new Galaxy Miniatures Pouch.

Shoppers were quick to spot the new pouches on the supermarket shelves, with some taking to the Snack Reviews Facebook group to comment: “This bag is perfect,” said one user.

“I need some of these,” added another.

The 260g pouches contain a mix of individually wrapped Galaxy chocolates in the original Smooth Milk and Caramel flavours.

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California’s special election is almost here, and there are many ways to cast your ballot.

You can vote by mail, drop your ballot in a box, or show up at a polling place on election day if you forgot to register to vote.

Here’s information on how and where to cast your ballot, according to the state’s secretary of state.

Leonardo DiCaprio can still draw audiences to movie theaters.

His latest film, “One Battle After Another,” landed in the top spot at the box office this weekend, hauling in $22.4 million in the U.S. and Canada. Globally, the film made $48.5 million in its opening weekend. Industry analyst estimates had pegged the film’s debut at $20 million to $25 million, though some had predicted $30 million or more. Studio sources expected the film to bring in $20 million in its domestic opening.

Written and directed by auteur filmmaker Paul Thomas Anderson, “One Battle After Another” tells the story of a one-time revolutionary, played by DiCaprio, who must band together with old friends and community members to rescue his daughter from a former enemy. The film, which is loosely based on a Thomas Pynchon novel, also stars Sean Penn, Teyana Taylor, Benicio Del Toro and Regina Hall. Its budget was $130 million.

“One Battle After Another” had strong interest from Hollywood cinephiles, but there were questions about whether it would connect with more casual moviegoers, particularly since early marketing was more ambiguous about its genre. In addition, adult dramas have not performed at the box office as they did before the pandemic, as older audiences have been slower to return to theaters. Fans of DiCaprio, who may have followed his career since his turn in 1997’s “Titanic,” fall into that group.

But the film notched a solid 98% approval rating on aggregator Rotten Tomatoes and has benefited from buzz about its awards potential.

“One Battle After Another” marks the latest win for Warner Bros. The studio has had a string of success at the theaters starting with April’s “A Minecraft Movie,” which has grossed a total of $957 million. That streak continued with Ryan Coogler’s “Sinners,” James Gunn’s “Superman,” Zach Cregger’s “Weapons,” and the latest installments of franchises like “The Conjuring” and “Final Destination.” It’s been a remarkable turnaround for the studio and its film chiefs Mike De Luca and Pam Abdy, who earlier this year were reportedly on the hot seat for under-performing films.

At that time, “One Battle After Another” was seen as an especially risky bet for De Luca and Abdy, but the success of the rest of the year’s lineup has reduced the pressure on this film, said Shawn Robbins, director of movie analytics at Fandango and founder of site Box Office Theory.

“They’re in an envious position right now because they don’t need this movie to over-perform,” he said. “‘One Battle After Another’ is a little bit of a cherry on top.”

“Gabby’s Dollhouse” came in second place at the box office this weekend, grossing $13.5 million. “Demon Slayer,” “The Conjuring: Last Rites” and “The Strangers: Chapter 2” rounded out the top five.

In an overstuffed workshop in East L.A., Chris Francis reached out a heavily tattooed arm and pulled a single shoe box from one of the floor-to-ceiling shelves lining the walls.

“Anjelica Huston,” the shoemaker and artist said. “Let’s see what’s in here.”

Removing the top of the box, he revealed two carved wooden forms known as shoe lasts that cobblers use to make their wares. Beneath those were strips of yellowing shoe patterns and a tracing of the actor’s foot with a note written in loopy cursive:

To Pasquale
My happy feet shall thank you
— Anjelica Huston

The Di Fabrizio collection includes shoe measurements for stars like Nancy Sinatra, Kim Novak, Joe Pesci and Madeline Kahn, all adorned with green, white and red striped ribbon.

(Allen J. Schaben / Los Angeles Times)

“Cool, huh?” Francis said, gazing reverently at the box’s contents. “Every time I open one it’s amazing. It’s like Christmas all the time.”

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For the last three years, Francis has been surrounded by a sprawling archive of famous feet originally amassed by Pasquale Di Fabrizio, the late shoemaker to the stars. From the early ‘60s to the early 2000s, Di Fabrizio created custom footwear for the rich, famous and notorious out of his humble shoe shop on 3rd Street.

The shoes went to his customers, but his voluminous collection includes shoe lasts, patterns, drawings, correspondences, leather samples and handwritten notes from thousands of clients, all stored in cardboard shoe boxes that the Italian immigrant trimmed with green, white and red striped ribbon.

The names, written in bold Magic Marker on the front of each box are a who’s who of entertainers from the ‘60s, ‘70s, ‘80s and beyond: Liza Minnelli, Tom Jones, Richard Pryor, Robert De Niro, Sarah Jessica Parker, Bea Arthur, Arsenio Hall, Nancy Sinatra, Ace Frehley. The list goes on and on.

Francis found foot measurements, wooden shoe lasts and a shoe in progress that Pasquale Di Fabrizio made for Ginger Rogers in a box marked with her name.

(Allen J. Schaben / Los Angeles Times)

“Shoe Machine” is one of Chris Francis’ art pieces that he has shown at museums.

(Allen J. Schaben / Los Angeles Times)

“So many great people stood on these pieces of paper,” Francis said, looking at the stacks of boxes around him. “Roy Orbison. Eva Gabor. Stella Stevens. Lauren Bacall. I could pull these down all day.”

Francis never met Di Fabrizio, who died in 2008, but in 2022 he traded two pairs of his sculptural shoe-art pieces to Di Fabrizio’s friend and fellow shoemaker Gary Kazanchyan for the entirety of the Italian shoemaker’s archive. Three years later, Francis is still making his way through it all.

The amount of material is overwhelming, but he is committed to preserving Di Fabrizio’s legacy. Ultimately, he wants to find a space where he can share it with others.

“I never want to be without it, but I’m realistic that it deserves to be appreciated by more than just myself,” he said. “If my life’s work ended up in somebody’s hands, I don’t think I’d want them to just keep it for themselves forever.”

A shoemaker’s journey

Francis isn’t just cataloging L.A.’s shoemaking history, he’s helping to keep it alive.

Over the last decade and a half he’s made a name for himself as a custom shoemaker, creating handmade bespoke footwear for rockers like former Runaways guitarist Lita Ford and Steve Jones of the Sex Pistols, as well as sculptural art shoes that are displayed in museums like the Craft Contemporary, the Palm Springs Art Museum and SCAD FASH in Atlanta.

Wooden shoe lasts hang from the ceiling as Chris Francis works on a shoe for the singer Lita Ford in his garage.

(Christina House / Los Angeles Times)

In his East L.A. workshop, he eschews modern technology, focusing instead on traditional methods of shoemaking, often with hand tools.

“The handmade shoe is alive and well in this shop,” he said, dressed in pressed black slacks and tinted sunglasses, chunky gold rings gleaming on his fingers. “There’s no computer here, and even the records half the time are vinyls or 78s.”

Making shoes by hand is time-consuming and expensive work — Francis doesn’t sell a pair of shoes for less than $1,800 — but for his mostly musician clientele, a sturdy, custom-made, comfortable shoe that also boasts over-the-top style is well worth the price.

“At my price point, my customers are buying something that’s really a tool,” he said. “It’s part of their look, but it also has to hit 27 guitar pedals, keep all of its crystal, be beautiful, last multiple tours and they have to be able to stand in it all night.”

Francis, who has a certain aging-rocker swagger himself, never expected to become a shoemaker.

After going to art school and hopping freight trains for several years, he moved to Los Angeles in 2002 originally to join the Merchant Marines. Instead he found work hanging multi-story graphics and billboards on the side of hotels and high-rises on the Sunset Strip and at casinos in Las Vegas. “That gave me the same thrill of riding a freight train,” he said. “Being on a high-rise building and rappelling down.”

Francis found fabric samples and designs for shoes that Pasquale Di Fabrizio made for a Broadway production of the musical “Marilyn: An American Fable.”

(Allen J. Schaben / Los Angeles Times)

Shoemaker and artist Chris Francis makes shoes the traditional way in his workshop in East Los Angeles.

(Allen J. Schaben / Los Angeles Times)

He discovered he had a knack for pattern making in 2008 when he began creating hand-stitched leather jackets to wear to the Hollywood parties he had started attending with his now-fiancee. One day a stranger approached him and said she knew someone who would appreciate a jacket like the ones he was making. She was a stylist for Arnel Pineda, the lead singer of Journey. Commissions from Mötley Crüe and other rock bands followed.

A few years later he became interested in making shoes, but although he knocked on the door of several shoe shops in town, he couldn’t find a mentor.

“They didn’t have time, or they’d say, ‘You belong in a rock and roll band, you’re not one of us,’” he said. “But I would say, ‘Just teach me one thing, one trick.’ And everyone had time to teach one trick.”

It was an education in much more than shoemaking.

“Almost every shoemaker I met had immigrated to the country,” he said. “So I learned how to make shoes from the Italians, from guys from Armenia, Iran, Iraq, Russia, Syria, from everybody. And while doing so, I learned about all these different cultures.”

‘He was the king’

As Francis dove deeper into the history of shoemaking in Los Angeles, one name kept coming up again and again: Pasquale Di Fabrizio.

The late Pasquale Di Fabrizio, a cobbler to the Hollywood elite, photographed in front of his collection of shoe lasts, circa 1982.

(Bret Lundberg / Images Press / Getty Images)

“I started asking other makers about him, and they were like, ‘Oh yeah, we remember him,’” Francis said. “He was the king.”

For more than 50 years Di Fabrizio was the most sought after shoemaker in Los Angeles. He made Liberace’s rhinestone-encrusted footwear and shod Mickey Mouse, Goofy and Donald Duck for touring productions of Disney on Parade. He was the go-to shoemaker for country western stars, Vegas showgirls, Hollywood movie stars, gospel singers and casino owners. The Rat Pack helped put him on the map.

“My best customer is Dean Martin,” Di Fabrizio told The Times in 1972. “He buys 40 pairs a year.”

Sporting a thick, bristled mustache and oversize glasses, Di Fabrizio had a tough reputation. He once kicked a movie star out of his shop because the star brought back a pair of patent leather shoes that he claimed were defective. Di Fabrizio accused him of missing the urinal and peeing on them at the Oscars.

“Never come back here again,” he said in his thick Italian accent.

The shoemaker occasionally made house calls, but his customers mostly came to him. In his workshop on 3rd Street near Crescent Heights, he would trace their bare feet on a piece of paper and measure the circumference of each of their feet at the ball, around the arch, the heel and the ankle. Then he would customize a pre-carved wooden last from Italy, adding thin pieces of leather 1 millimeter at a time to more perfectly mimic the unique shape of the client’s foot.

The size and shapes of the lasts varied wildly. He once told a reporter that it took “half a cow” to make shoes for Wilt Chamberlain, who wore a size 15. In his archives, Francis found a petite high heel shoe last roughly the length of his hand.

Francis holds a foot tracing and shoe lasts made for Robert De Niro by Pasquale Di Fabrizio.

(Allen J. Schaben / Los Angeles Times)

“Di Fabrizio did lots of shoes for little people,” Francis said. “He really offered an important service for that community. They could have formal footwear rather than having only the option of wearing kids shoes.”

The same lasts could be used over and over again to make several pairs of shoes, as long as the heel height was the same. Each last went in its own box decorated with a ribbon in the colors of the Italian flag.

“It’s so simple, but he claims his territory with that ribbon,” Francis said. “He cared enough to take one extra step. It’s what really made that collection iconic.”

A legacy preserved

Francis first encountered Di Fabrizio’s archives in 2010 when Kazanchyan offered him a job at Andre #1 Custom Made Shoes on Sunset Boulevard. Kazanchyan inherited the shop from his uncle, Andre Kazanchyan, who once worked with Di Fabrizio and became his good friend.

Gary Kazanchyan and Di Fabrizio were close as well. When Di Fabrizio retired in the early 2000s, Kazanchyan hired all of the guys who worked at his shop. Di Fabrizio was at Kazanchyan’s wedding and when the older shoemaker was in a nursing home at the end of his life, Kazanchyan visited him every day.

For years Kazanchyan stored as many of the ribbon-trimmed boxes as he could fit in his Hollywood shop, but just before COVID he moved his shop to his garage in Burbank and transferred Di Fabrizio’s archives to his backyard. “At one point, my whole backyard was this mountain of shoe lasts,” he said.

Chris Francis, left, and Gary Kazanchyan at Palermo’s Italian Restaurant in Los Feliz.

(Deborah Netburn / Los Angeles Times)

Kazanchyan started a renovation on his house in 2022 and could no longer store Di Fabrizio’s archive in his backyard. He’d sold some of the most famous shoe lasts at auction — a bundle of Di Fabrizio’s shoe lasts for Frank Sinatra, Dean Martin and Sammy Davis Jr. went for $4,375 in 2013 — but he still had several tons of material stacked on pallets and covered in tarps. He remembered that Francis loved the collection, so he called him and asked if he wanted it. Francis did.

Francis didn’t have the money to purchase the collection in cash, but he offered Kazanchyan two art pieces that he’d exhibited and Kazanchyan accepted. The first carload of boxes Francis took to his studio included lasts for Wayne Newton, Paula Abdul, Ginger Rogers, Burt Reynolds and Sylvester Stallone.

“My excitement was on fire,” he said.

Francis spent a few weeks sorting through the archive and discarding lasts and shoe boxes that were too covered in mold or deteriorated to be worth keeping. Just before a rainstorm threatened the rest of the collection, he brought thousands of shoe lasts to his studio but even now regrets that he was unable to save it all.

“I tried to grab the big names, but there was so much I couldn’t keep,” he said. “It was heartbreaking.”

The boxes hold stories — and life lessons

Living and working among the Di Fabrizio collection has taught Francis a lot more than just the art of making shoes.

“I’m constantly seeing the obituary of a celebrity who has passed and I go to the workshop and there’s their box,” he said. “It really lets you know that life is for the living. It’s up to you to be responsible and live your life when you’re alive. Be yourself, teach others, leave something behind.”

Hanging onto the collection has not been easy — but Francis believes he was chosen from beyond to care for Di Fabrizio’s archive and to share it with others responsibly.

He’s still not sure what that will look like, but he’s determined to try.

And in the meantime, he is also determined to keep the traditional art of shoemaking alive in Los Angeles.

If you look around his workshop, you’ll spot several boxes adorned with red, white and blue striped ribbon.

Francis is making those boxes his own.

Working with hand tools, Chris Francis makes a custom pair of shoes for musician Lita Ford.

(Christina House / Los Angeles Times)

Ahead of a 50th anniversary screening of “Jaws” this month at the AMC Theatres in Century City, even the trailers were nostalgic.

Moviegoers saw previews of Marty McFly taking flight in a DeLorean in 1985’s “Back to the Future,” the Von Trapp family sharing a musical picnic in the Austrian hills in 1965’s “The Sound of Music” and Tom Hanks launching into space in 1995’s “Apollo 13.”

And those are just a few of the movies that are returning to theaters this year to celebrate landmark anniversaries.

The box office shows there’s a demand to be met, as many classic titles outearn various new releases during opening weekends.

Over Labor Day weekend, “Jaws” came in as the second-highest-grossing movie with a domestic opening of $8.2 million, behind Zach Cregger’s horror hit “Weapons.” Steven Spielberg’s breakout blockbuster was shown in 3,200 theaters and made around $15 million worldwide. Earlier this year, the 20th anniversary screening of “Star Wars: Episode III — Revenge of the Sith” also ranked second with $25 million for its opening weekend, under Ryan Coogler’s “Sinners.” It raked in about $55 million worldwide, bringing the title’s total gross box office to more than $900 million.

It’s almost as if movie studios, filmgoers and theater owners alike are pining for a time when the movie business, now struggling more than five years after the COVID-19 pandemic, was the center of popular culture in the U.S. Before social media and Netflix dominated people’s attention.

David Berger, who owns the Ojai Playhouse, a 111-year-old theater with one screen and 200 seats, finds that when studios come to him with a digitally restored classic, he’ll probably see strong attendance. On Sept. 10, he played a 40th anniversary screening of “The Breakfast Club” and sold 125 tickets.

“It’s about getting away from streaming and taking a break from your phone and the world — really just letting the magic of movies do its thing,” Berger said. “So, we book a lot of nostalgic repertory anniversary films, and they do really well. Sales overall are really up.”

Studio executives and moviegoers offer competing theories about why older titles are getting traction on the big screen. Some see it as an anniversary year coincidence. Others look at it as a way to cushion theaters’ thin movie slates, which have not recovered from the pandemic. Some think it’s a way to keep movie theaters in business, as these screenings tend to happen in the middle of the week and help maintain steady crowds.

By the end of 2025, there will have been roughly 100 anniversary and re-release showings brought to screens around the country, according to Comscore. In 2019, Comscore shows that there were a little over 60 re-release and anniversary screenings.

Before the pandemic, most such screenings were for one or two days and were hosted by specialized distributors, such as Fathom Entertainment. Re-releases and anniversaries weren’t often screened as traditional releases from major studios. That’s been changing ever since.

Paul Dergarabedian, a senior media analyst at Comscore, says audiences should expect an uptick of re-releases whenever a year ends with a 0 or a 5.

Titles with loyal fanbases, like 2005’s “Pride & Prejudice” ($6 million), 1990’s “Teenage Mutant Ninja Turtles” ($4 million) and 1975’s “Monty Python and the Holy Grail” ($1.1 million) have capitalized on this market. These films didn’t have a chance to celebrate in 2020, when theaters were closed because of COVID-19.

The rising interest has boosted the business of Fathom, which for more than 20 years has specialized in bringing oldies back to theaters, as well as various documentaries, performing arts shows and faith-based content. Chief Executive Ray Nutt has also noted an increased interest in the area. Anniversary showings of these “classics” tend to make up between 20% and 40% of Fathom’s annual revenue, equating to $20 million or more.

“I’m proud to say that over the last two years, we’ve increased our revenue by 45% and 48% respectively,” said Nutt. “We’ve had record-breaking years, and classics have been a really important part of that.”

Fathom and Lionsgate are gearing up for the return of the “Twilight” saga to theaters for its 20th anniversary. All five films, along with roundtable footage with author Stephenie Meyer, will be screening around the country from Oct. 29 to Nov. 2. Kevin Grayson, Lionsgate’s head of distribution, said the series is slated to screen in about 1,000 theaters. But with strong presales, he said the footprint will probably expand to 1,500 to 2,000 locations.

“‘Twilight’ has been out for a long time,” Grayson said. “But after seeing the significant ticket sales it has already brought in, you can tell people want that communal experience.”

Executives say these showing are good for business and come with little downside.

Studios can dust off a movie they already own and create hype through marketing. The screenings may appeal to fans who may have never seen the movie on the big screen before. While they’re not as profitable as a massive new blockbuster, the additional revenue makes them worth the effort.

“We make a real business out of [these screenings] every single year,” said Jim Orr, Universal Pictures’ president of domestic theatrical distribution. “Everyone understands that the best way to experience a movie is truly on the big screen.”

Even with re-releases, franchises come out on top.

Disney had a 30th anniversary screening of “Toy Story” over the weekend, ahead of the new “Toy Story 5” hitting theaters next year. The studio is also presenting a re-release of “Avatar: The Way of Water,” a few months before the newest installment, “Avatar: Fire and Ash,” arrives in December.

“It’s expensive to market a movie on a global basis,” said Andrew Cripps, Disney’s theatrical distribution head. “When you’ve got an established franchise and you’re building on something that’s had an audience in the past, it’s a lot easier to build your campaign on top of that, rather than starting from scratch.”

Last year, there were indicators that demonstrated the audience’s growing demand to see older movies on the big screen. “Interstellar” earned $15.2 million for its Imax re-entry, and “Coraline” achieved $34 million to commemorate its 15th anniversary.

Many moviegoers attending an evening screening of “Jaws” said they wanted to see the movie “the way it was intended,” embracing the communal experience of fear and laughter in the theater.

“I haven’t seen ‘Jaws’ in years, and seeing it on the big screen felt ceremonial in a way,” said Culver City-based Ella Paseua, a recent subscriber to AMC’s Stubs A-List subcription program. “I could watch it at home. But these anniversary screenings are meant for the community. People were applauding when the shark was caught. You don’t get that at home.”

An anime film slayed its Hollywood competition at the box office this weekend.

“Demon Slayer: Kimetsu no Yaiba Infinity Castle,” already a big hit in Japan, was the highest-grossing movie domestically, beating new films “Downton Abbey: The Grand Finale,” “The Long Walk” and “Spinal Tap II: The End Continues.”

The film distributed by Sony Pictures and Crunchyroll opened with a better-than-expected $70 million in ticket sales from the U.S. and Canada, according to studio estimates, making it the biggest anime opening ever. It’s also the highest-grossing domestic debut of the year so far for an animated film.

Its global weekend for Sony, which owns the Crunchyroll anime brand and streaming service, totaled $132.1 million, which includes 49 international markets.

Globally, “Demon Slayer” had already made more than $272 million in box office revenue, with $213 million in Japan alone, according to data from Box Office Mojo.

The success of “Demon Slayer” is a relief to theater owners at a time when other genres are struggling, including superheroes, comedies and original animation. It’s the latest evidence of anime’s growing global clout.

The new “Demon Slayer: Infinity Castle” is part of a larger popular anime franchise.

It’s the first installment of a planned trilogy that will span the final showdown between the Demon Slayer Corps and the monstrous creatures the secret organization was created to defeat. A previous theatrical film, “Demon Slayer: Kimetsu no Yaiba — The Movie: Mugen Train,” was a box office hit in 2020.

The new “Downton Abbey” film from Focus Features launched with $18.1 million in ticket sales in the U.S. and Canada, which was good enough for third place behind the second weekend of New Line’s “The Conjuring: Last Rites.” Lionsgate’s “The Long Walk,” based on a Stephen King novel, opened in fourth with $11.5 million domestically.

“Spinal Tap II,” a sequel to the 1984 mockumentary comedy classic, opened with a weak $1.7 million.

“The Conjuring: Last Rites” gave movie theaters a needed jolt over the weekend with a much better than expected domestic opening of $84 million and a global take of $194 million, a franchise best and the latest success for Warner Bros. and its New Line Cinema banner.

But it will take more than supernatural scares to ease Hollywood’s jitters after a weak summer movie season that exposed more challenges facing the traditional film industry.

Ticket sales fell slightly from last year’s summer season, which for the movie business spans from the first weekend of May through Labor Day. Movies grossed $3.67 billion in the U.S. and Canada this summer, down 0.2% from the same period in 2024, according to data from Comscore. More importantly, it’s still down from the pre-pandemic norm of about $4 billion, a disappointing result given that summer typically accounts for about 40% of annual grosses.

If you account for inflation, it’s even worse. Adjusting for today’s dollars, summer revenue was down 34% from 2019, meaning theater attendance was weaker than the topline revenue stats suggest. With actual attendance still impaired compared with the days before COVID-19, there’s a growing sense that the industry’s fears have come true: Audience habits have changed, and they’re not going back.

The problem wasn’t a lack of movies compared with last year. The effects of the 2023 writers’ and actors’ strikes have dissipated by now.

Rather, the issue was a shortage of big studio movies that audiences really wanted to see. The biggest release was Disney’s “Lilo & Stitch” remake, which collected $424 million domestically. There was nothing like last summer’s “Inside Out 2” or “Deadpool & Wolverine,” which both generated more than $600 million in North America.

The problem of the shrinking overall audience could be due to multiple factors.

In particular, theater owners blame the shrinking of the theatrical window — the period of time a new movie is held back from home video after its big screen debut — to roughly 45 days from the previously standard 90 days. Audiences know they don’t have to wait long before a new movie becomes available in their living room. That encourages them to save their money for only the biggest, Imax-worthy spectacles. The growing influence of Imax and premium large format screening may exacerbate that trend, as audiences choose between paying extra for a better “experience,” or just waiting to see “F1 The Movie” on their couch.

There were plenty of sequels and reboots, but those often performed worse than prior installments, indicating that audiences were less enthusiastic about seeing another Marvel movie or rampaging dino feature. “Jurassic World: Rebirth” made $861 million globally, which was big, but still the series’ smallest outing since 2001’s “Jurassic Park III.” Warner Bros.’ “Superman” collected a healthy $614 million, but that was still less than 2013’s “Man of Steel” ($670 million).

Superheroes didn’t come flying to the rescue. Marvel’s “Thunderbolts” put up a modest $382 million while “The Fantastic Four: First Steps” opened strong but collapsed in subsequent weeks for a total of $511 million worldwide, a middling outcome for the Disney-owned comic book universe. No wonder studios are increasingly looking at video games as a source of intellectual property for movie adaptations, as my colleague Sam Masunaga recently wrote. After all, Generation Alpha’s list of favorite franchises is dominated by video game-related titles, according to a recent National Research Group report.

Another threat emerged as international audiences appeared to sour on some U.S. blockbusters. “Superman” and “Fantastic Four” grossed less abroad than they did at home, which is an unusual result for big-budget action flicks.

It’s not clear why, but some explanations have been floated. China is no longer the reliable source of revenue that it once was, as audiences increasingly favor local-language productions. Some speculate that America’s diminished standing abroad has contributed to audience fatigue. The quintessential Americanness of the Superman brand is also widely believed to be a factor in that film’s underperformance outside the U.S.

Original animation struggled, as Pixar fielded its worst opening weekend ever with “Elio.” To add insult to injury, Sony Pictures Animation’s “KPop Demon Hunters” became a cultural phenomenon, but only after first launching on Netflix.

The rest of the year has some major releases, but they’re not expected to bring the business back to full strength. September is usually a slow month for moviegoing, “Last Rites” notwithstanding. Disney’s “Zootopia 2,” Universal’s “Wicked: For Good” and James Cameron’s “Avatar: Fire and Ash” will probably do huge business. But while individual films can do well, the overall picture isn’t so rosy.

Stuff we wrote

Number of the week

Artificial intelligence company Anthropic agreed to pay $1.5 billion to authors and publishers to settle a lawsuit that accused the company of illegally using written work to train its chatbot Claude.

The topline figure is the largest known settlement for a copyright case, equating to $3,000 per work for an estimated 500,000 books, The Times’ Queenie Wong reported.

But the case was not an outright win for authors worried about AI being trained on their published material. Far from it.

U.S. District Judge William Alsup of San Francisco ruled in June that Anthropic’s use of the books to train the AI models constituted “fair use,” meaning it wasn’t illegal. Fair use is a doctrine that allows for the limited use of copyrighted materials without permission in certain cases, such as teaching, criticism and news reporting. It’s an essential part of AI companies’ defense against copyright infringement claims.

The real problem for Anthropic was that the startup had illegally downloaded millions of books through online libraries. So the piracy was the true sin in this case, not the training of AI on books without permission.

Anthropic pirated at least 7 million books from Books3, Library Genesis and Pirate Library Mirror, online libraries containing unauthorized copies of copyrighted books, to train its software, according to the judge. However, it also bought millions of print copies in bulk and scanned them into digital and machine-readable forms, which Alsup found to be in the bounds of fair use.

Film shoots

Finally …

Listen: Zach Top’s “Ain’t in It for My Health,” for throwback country goodness.

Read: Amy Nicholson’s review of “The Wizard of Oz” at Sphere in Las Vegas.

It’s the year for horror and “The Conjuring: Last Rites” was no exception. Its opening weekend tipped the genre over $1 billion in earnings for this year’s domestic box office.

The horror sequel raked in $83 million domestically in 3,802 theaters, making it the third-highest domestic opening for a horror movie, behind “It” and “It: Chapter Two.” It’s now the largest horror opening internationally, with $104 million in earnings outside of North American theaters.

The film also broke records for the “Conjuring” universe, securing the biggest opening weekend in the franchise. The movie’s performance is a testament to the franchise’s success in producing classic horror movies since the first film released in 2013, said Paul Dergarabedian, senior media analyst for the data firm Comscore.

“Audiences know when they go in to see ‘The Conjuring,’ the minute this scary, ominous music comes up with the Warner’s logo, you know you’re in for a wild ride,” Dergarabedian said.

The film has received mixed reviews from critics, carrying a 55% on Rotten Tomatoes and a “B” CinemaScore.

Patrick Wilson and Vera Farmiga return to the big screen in the ninth installment of “The Conjuring” as the paranormal investigators Ed and Lorraine Warren, who attempt to vanquish a demon from a family’s home.

“Last Rites” also handed Warner Bros. Pictures yet another opening weekend box office win, becoming the distributor’s eighth No. 1 debut win this year and the studio’s seventh film in a row to debut with more than $40 million domestically.

The movie’s opening weekend numbers are nearly double that of other successful horror movies this year, including Zach Cregger’s August sleeper hit “Weapons,” “Final Destination: Bloodlines” and “Sinners” — all of which are Warner Bros. releases.

“It just shows how arguably more than any other genre, horror has stood the test of time,” Dergarabedian said. “That’s because there’s nothing quite like seeing a horror movie in a darkened room full of strangers.”

The horror genre last crossed the $1-billion mark in 2023. Meeting that threshold this early in the year is unprecedented, Dergarabedian said, “because usually you need a full year of horror movie box office to bank that much cash.”

Upcoming horror films like “Black Phone 2” and “Five Nights at Freddy’s 2” are likely to boost that number, Dergarabedian said.

“Last Rites” blew past other titles at the box office this weekend. Disney’s filmed version of “Hamilton” landed in second place with $10 million domestically. The film was “perfect counterprogramming” to “Last Rights,” Dergarabedian said.

The rest of the top spots were taken by several holdover titles. “Weapons” secured third place during its fifth weekend, bringing in $5.4 million in earnings in North American theaters. The movie’s debut partner, “Freakier Friday,” took fourth place with $3.8 million.

The crime caper “Caught Stealing,” which debuted last weekend, rounded out the top five with $3.2 million in domestic earnings.

Luna writes for the Associated Press.

THIS is the shocking moment a brazen thief appears to nick a Poppy Appeal charity box from a shop counter.

Footage shows the “scumbag” being served at the till before he seemingly swipes the collection pot in a split-second theft.

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In CCTV taken inside the Kent shop, the man is first shown re-positioning the charity box.

His eyes remain fixated on the money pot as he appears to detach it from its chains.

Seconds later, he lifts up the poppy-shaped box and looks to stuff it under his Nike jacket before calmly picking up a magazine.

Reacting to the outrageous footage online, some blasted the alleged crook’s actions as “vile”.

One fumed: “Scumbag. No matter how tough things are, never steal from those who need it more than you.

Another blasted: “It’s disgusting that charity boxes now need chains just to keep them safe.”

A third continued: “Absolute vile creature – hope karma bites.”

Kent Police confirmed a probe had been launched following the alleged theft.

In a statement, the force urged anyone with information or who recognised the suspect to come forward.

Locals residents suggested that the yob might be known in the community.

The Poppy Appeal provides funds for more than 90,000 veterans from all conflicts and their families.

Figures released by the Royal British Legion show the 2023 appeal raised £49.2million — up from the £42million in 2022.

Speaking on the huge figure raised, Poppy Appeal director Lucy Inskip hailed the “generosity of the general public”.

She said: “We are delighted to have raised £49.2million for the Armed Forces community.

“This achievement would not have been possible without our dedicated Poppy Appeal organisers, volunteers, partner organisations, and the generosity of the general public.

“The money raised will go towards the RBL’s vital work ensuring those who have served and sacrificed in the British Armed Forces get the support they need, whenever they need it.”

It comes after a thief was filmed casually walking away with a £150,000 violin after stealing it from a musician in a pub.

The Met Police said the instrument was stolen from a pub in Islington, North London.

Cops have asked for any witnesses to come forward and help trace the suspect, releasing CCTV images of a man who was in the pub.

The 30-year-old owner of the violin is a member of London’s Philharmonia Orchestra.

It was taken from The Marquess Tavern on February 18.

In a statement, police said: “It is incredibly precious, and for the victim, it’s priceless.”

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A wave of purple and hot pink hair and cartoon K-pop bops is taking over multiplexes.

With summer blockbusters in the rearview mirror and only a few new films out, movie theaters expected a bit of a lull at the box office this weekend.

Then Netflix dropped a bombshell. The streamer would release its hit animated film “KPop Demon Hunters” — already a viral phenomenon on streaming — in theaters Saturday and Sunday for sing-along screenings.

The movie will be shown on more than 1,750 screens in the U.S. and Canada, with 1,150 shows sold out as of Thursday, according to industry sources. It’s an unusually high-profile move by Netflix into cinemas, which is using the big screen experience to capitalize on and promote one of its biggest wins.

Packed houses include the theaters of Dallas-based Look Dine-In Cinemas, which has locations in Glendale, Redlands, Downey and Monrovia.

“This will be the dominant force for the weekend,” said Look Chief Executive Brian Schultz. “We could put it on every screen in our auditorium.”

But is this theatrical release really gonna be golden, to paraphrase one of the musical’s most infectious earworms? We won’t know for sure. Or at least how golden.

Los Gatos-based Netflix will not release box office figures, sticking with the company’s long-standing policy that has long frustrated industry pros. All the same, based on presale numbers, the movie could haul in $16 million to $22 million, according to estimates from analysis site Box Office Theory. That total, if Netflix reported it, would unseat the expected official No. 1 domestic movie, “Weapons.”

The release is a welcome surprise for theater owners — particularly in the doldrums of summer, when even late breakout hits like Warner Bros.’ horror film “Weapons” have been out for weeks. But it also underscores the tricky relationship between exhibitors and Netflix, which has famously eschewed traditional theatrical film releases.

The streamer has briefly put films in theaters for Oscar consideration, as it did with “Roma” and “The Irishman,” and did give director Rian Johnson’s 2022 comedy “Glass Onion: A Knives Out Mystery” a short window in cinemas. (It will also have a three-week exclusive theatrical run for Guillermo del Toro’s “Frankenstein” in October.)

But the streamer has long been adamant that its focus is on growing its subscriber base — not on developing a theatrical business. Earlier this year, Netflix co-CEO Ted Sarandos said the theatrical movie experience was “outdated” for most people. When the company does theatrical releases, it views them as marketing efforts.

That has led to long-standing complaints from theater owners, who argue that streaming has lessened their business and trained audiences to wait until films are available at home.

“Netflix and a sizable share of theatrical exhibition have spent so many years toeing the line as frenemies, if not outright adversaries,” Shawn Robbins, director of movie analytics at ticket seller Fandango and founder of Box Office Theory, said in an email. “This is a weekend that again highlights how they could, and perhaps should, start working together more often to the benefit of both sides.”

The film, produced by Culver City-based Sony Pictures Animation, is the most-watched original animated movie in Netflix’s history, according to the streamer.

It’s also now the second-most-watched film ever on Netflix behind the 2021 action-comedy “Red Notice” starring Dwayne Johnson, Ryan Reynolds and Gal Gadot. The movie’s soundtrack has also been a hit, with the song “Golden” peaking at No. 1 on the Billboard Hot 100 charts and continuing to hold onto a high ranking.

“KPop Demon Hunters” focuses on a popular girl group called Huntr/x that uses its music and dance moves to battle evil, including a demon boy band. The movie has spawned a number of memes, including close-ups of the characters’ expressive faces.

The music, as well as the film’s strong female characters, were a draw for Heather Hollingsworth and her 10-year-old daughter, Kayleigh, who have now watched “KPop Demon Hunters” multiple times and are planning to see a screening this weekend with Kayleigh’s best friend and her mom. “Golden” is Hollingsworth’s favorite song from the film, and the one that gets stuck in her head most.

“The songs are really catchy,” said Hollingsworth, 41, a speech language pathologist who lives in Littleton, Colo. “Also the characters’ vulnerability being their strength — that strong friendship — it’s a very powerful message.”

Though they could continue watching “KPop Demon Hunters” at home on Netflix, Hollingsworth said the appeal of the theatrical screening was the social experience.

“There’s something about having it in a movie theater that is way more fun for the kids, especially,” she said.

The sing-along screenings follow similar showings for “Wicked,” as well as concert films such as Taylor Swift’s “Eras Tour” and Beyonce’s “Renaissance World Tour.” Unlike “KPop Demon Hunters,” those films were exclusively in theaters first, resulting, in the case of “Wicked” and Swift, in hundreds of millions of dollars in ticket sales.

For Look Cinemas, sing-alongs have long been big business and often result in a demand for party bookings, Schultz said. Indeed, tickets for “KPop Demon Hunters” have been selling in large groups.

“It’s going to make for a very fun weekend,” he said.

Times staff writer Kaitlyn Huamani contributed to this report.

With the terrible year they’ve had in MLS, expectations weren’t exactly high for Galaxy ahead of their Leagues Cup quarterfinal match against Pachuca.

The Galaxy suffered embarrassing defeats during their past two MLS games, falling at home to the Seattle Sounders and on the road against Inter Miami.

However, Galaxy coach Greg Vanney’s players put the losses behind them and continued to perform well in Leagues Cup play, surprisingly eliminating Pachuca 2-1 on Wednesday night at Dignity Health Sports Park.

Liga MX leading Pachuca entered the match as the favorite despite losing to Xolos de Tijuana at home last Saturday.

The Galaxy opened the scoring in the 27th minute thanks to an own goal by Pachuca defender Daniel Aceves, who seemed to be struggling with ball control and spacing.

Diego Fagundez took a short corner kick for Marco Reus, who sent in a low cross and Aceves, unfortunately for his team, pushed the ball into his own net to give the Galaxy a 1-0 lead.

The Galaxy kept pushing forward and their efforts soon paid off when Joseph Paintsil launched a swift attack down the left wing to Matheus Nascimento inside the box, who backheeled the ball to Reus to make it 2-0 in the 37th minute.

In the sixth minute of second half stoppage time, Pachuca found space to score a consolation goal. The goal came from a half-volley inside the box by Brazilian Alemao to make the score 2-1. The match ended a minute later, sending the Galaxy to the Leagues Cup semifinals.

All Mexican teams were eliminated from the tournament Wednesday night.

The Galaxy will play the Seattle Sounders and Inter Miami will play Orlando City for spots in the Leagues Cup final.

This article first appeared in Spanish via L.A. Times en Español.

Hundreds of humanoid robots showed of their skills at the first World Humanoid Games in Beijing. The spectacle drew laughs from the crowd, but participants say the technology behind it could shape fields from self-driving cars to healthcare.

Situated on an inlet of Chichester harbour, this picturesque village is considered one of the most beautiful and historically significant ‘chocolate box villages’ in the country

England’s ‘chocolate box villages‘ are some of the country’s most distinct and charming elements. Though each village is slightly different, they are all typically defined by thatched cottages, cobblestone streets, quaint pubs and a tranquil atmosphere.

The term ‘chocolate box village’ refers to the picturesque cottages that used to front the classic Cadbury boxes. While there are plenty of these beautiful villages across the country, a new round-up has named a seaside town in West Sussex amongst the best.

Bosham is a small coastal village on one of the small inlets of Chichester harbour. It was inhabited by the Romans and so perfectly combines historical significance with natural beauty. This after news that an abandoned UK Butlin’s site is now seaside town’s ‘hell hole’ hotel.

READ MORE: ‘Most beautiful’ UK village ‘frozen in time’ where tourists pay £9.90 to enterREAD MORE: UK’s staycation ‘hotspot’ is crowned as British trend soars – it’s not Cornwall

Chichester harbour is renowned for its photogenic nature as a sanctuary for migrating wildfowl, shellduck, and many more and so Bosham is an ideal location to explore the area. From Bosham you are also within convenient distance to West Wittering and East Wittering beaches, as well as Selsey.

Adding to the natural wonder of the area, Bosham is home to historic architectural gems and a peaceful atmosphere that has seen it named one of the country’s most beautiful chocolate box villages.

In a ranking of these honorary villages by Independent Cottages, Bosham in West Sussex came in sixth place. The ranking was based on several key factors, including the number of historic buildings in each village, the oldest recorded age of the village (a measure of the depth of its history), its status as an Area of Outstanding Natural Beauty (AONB), and its prevalence in internet searches and TikTok.

Bosham was recorded as having 73 listed buildings and its suggested age according to the publication is 731AD. The village is also a designated AONB and received modest internet interest because of the Bosham Inn.

The Bosham Inn is a former vicarage that has been painstakingly restored. Not only is this country pub set against a beautiful natural landscape, but it offers a range of delightful cask ales, wines and seasonal dishes for visitors to enjoy.

Another important fixture that reflects Bosham’s impressive history is the Holy Trinity Church: a Grade I listed church and the oldest place of known worship in West Sussex . It is located at the foot of the South Downs National Park.

In addition to being known as a chocolate box village, Bosham is a prime sailing hub. Visitors are likely to see many boats and yachts moored at the harbour and the dinghy sailing taking place.

At Bosham Quay you can take in the people, the boats, and the natural wildlife at leisure. The only catch? When the tide comes in, it usually floods the road immediately next to the harbour so take care with where you park.

LIDL is selling a range of budget-friendly camping gadgets as Brits soak up the sunny weather.

The discount supermarket chain is stocking kids’ sleeping bags and chairs, cool boxes and even an air mattress.

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The new range will be perfect for camping during the end of summer and autumn and getting outdoors to make the last of the year’s light.

There are 30 items Crivit Camping range that range from air mattresses to cool boxes.

And some even have a discount attached to them.

For example, the camping cutlery set selling for £9.99 now has 20 per cent with Lidl Plus and is selling for £7.99.

The Crivit Aluminium Camping Table normally sells for £24.99, but with the Lidl Plus card is currently selling for £19.99.

The air mattress in a double size is selling for £14.99, while sleeping bags are selling for £12.99.

A range of four cool bags are selling for £3.99 while backpacks are selling for £14.99.

It comes after Crivit released a number of tents and festival gear for summer at Lidl several months ago.

The incredible Crivit camping range has everything festival-goers need to set themselves up in the Wilderness, including the 4-Person Blackout Tent – popping up in stores for just £99.00 with Lidl Plus.

Crivit was even selling stand up paddleboards at supermarkets.

The Crivit All-Round Inflatable SUP is priced at just £99.99, and was available at Lidl stores from Thursday May 29.

This bargain bed comes after Lidl have begun selling ice cool gel pillows that are easy to use and would be perfect for keeping cool on those hot car trips.

For just £7.99 on the Lidl plus app, shoppers can get their hands on the Silentnight Cooling Gel Pillow Pad.

That’s more than £12 cheaper than a similar product on Argos, with the low price available until June 7.

Described as perfect for restless sleepers and over heaters, the pillow give you instant cooling comfort, so you don’t need to flip your pillow during the night.

At 60x40cm it covers your entire pillow and simply needs to be slid inside your pillowcase on top of your normal pillow.

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Alanna Kennedy scored a late equalizer and Angel City tied the San Diego Wave 1-1 on Saturday night in their Southern California rivalry.

Just as the Wave looked to be securing a first home win over Angel City since 2022, Sveindís Jane Jónsdóttir sent in a cross and Kennedy scored on a header to make it 1-1 in the second minute of stoppage time. The goal was Kennedy’s first for Angel City.

San Diego opened the scoring in the 85th minute, when Makenzy Robbe curled in a shot across the goal from the right side of the box. It was Robbe’s first goal of the season, but her 10th career goal for the Wave.

In the first half, after being struck in the head by the ball, Angel City defender Sarah Gorden left the game with a concussion.

The fourth-place Wave (7-4-4) are undefeated in their last four matches, although the last three have been ties.

Angel City (4-7-4) remains 11th in the standings and is winless in its last seven games. The team is winless since coach Alex Straus came aboard in June.

It was clobberin’ time this weekend, as Marvel’s “The Fantastic Four: First Steps” nabbed the top spot at the box office with a performance that returned the Walt Disney Co.-owned superhero franchise to form.

The movie hauled in $118 million in the U.S. and Canada and grossed $218 million globally in its opening weekend. The film, which stars Pedro Pascal, Vanessa Kirby, Ebon Moss-Bachrach and Joseph Quinn, is just the latest remake of the comic book property, though the first under Walt Disney Co.’s ownership.

Formerly owned by 21st Century Fox, “The Fantastic Four” is one of several key intellectual properties now under the umbrella of the House of Mouse after its $71.3-billion acquisition of that studio’s entertainment assets in 2019.

Disney has already capitalized on its ownership of the “Deadpool” and “X-Men” properties — its 2024 film, “Deadpool & Wolverine,” garnered more than $1 billion in global box office revenue.

Fox produced and released three “Fantastic Four” movies, none of which were well-received by audiences or critics. A 2015 reboot was particularly reviled.

Quality was not an issue this time. The movie notched a 88% approval rating on aggregator Rotten Tomatoes and an “A-” grade from audience polling firm CinemaScore.

The movie exceeded pre-release estimates. “First Steps” was expected to gross $100 million to $110 million in its debut weekend, on a reported budget of about $200 million.

The theatrical reception for “The Fantastic Four” is a relief for Disney and Marvel, which has struggled in recent years to reap the box office earnings it once did with its superhero films.

The Anthony Mackie-led “Captain America: Brave New World” received middling reviews from critics and brought in about $415 million in global box office revenue. Ensemble movie “Thunderbolts*” received strong reviews, but made only $382 million worldwide.

Disney Chief Executive Bob Iger said earlier this year that the company “lost a little focus” in its zeal to produce more shows and movies for the Disney+ streaming platform, acknowledging that “quantity does not necessarily beget quality.”

“By consolidating a bit and having Marvel focus much more on their films, we believe it will result in better quality,” he said during an earnings call with analysts in May.

Anticipation was high for “The Fantastic Four,” and Disney went all out with the marketing. The company hired a skywriter to craft encircled 4’s in the sky near downtown Los Angeles on the day of the premiere and featured a drone show outside the Dorothy Chandler Pavilion after the showing.

“While Marvel films have settled into a fairly predictable core audience after multiple under-cooked films and streaming series in the post-’Avengers: Endgame’ era, the brand remains sturdy when the right film comes along,” Shawn Robbins, director of movie analytics at Fandango and founder of site Box Office Theory, wrote in a weekend theatrical forecast published Wednesday.

Warner Bros.’ DC Studios’ “Superman” came in second at the box office this weekend with a domestic total of $24.9 million for a worldwide gross so far of $503 million.

James Gunn’s “Superman” soared to the top of the box office this weekend, giving Warner Bros.’s DC Studios much-needed momentum in the superhero genre after a string of underperforming movies.

“Superman,” which stars David Corenswet as the Man of Steel, hauled in a robust $122 million in the U.S. and Canada. Globally, “Superman” brought in a total of $217 million.

The movie was a big swing for Burbank-based Warner Bros. and DC, costing an estimated $225 million to produce, not including substantial spending on a global marketing campaign.

“Superman” benefited from mostly positive critics reviews — the movie notched a 82% approval rating on aggregator Rotten Tomatoes. Moviegoers liked it too, indicated by an “A-” grade from polling firm CinemaScore and a 93% positive audience rating from Rotten Tomatoes.

The performance for “Superman” fell short of expectations from some analysts, who had projected an opening weekend of $130 million. Industry observers attributed that to heavy competition from other blockbusters, including Universal’s “Jurassic World Rebirth” and Apple and Warner Bros.’ “F1 The Movie.”

Shortly before its release, “Superman” came under fire from right-wing commentators, who criticized comments Gunn made to the Times of London about how Superman (created by a Jewish writer-artist team in the late 1930s) is an immigrant and that he is “the story of America.”

“If there’s any softness here, it’s overseas,” said industry analyst and consultant David A. Gross in his FranchiseRe newsletter, after describing the domestic opening as “outstanding” for a longrunning superhero franchise.

The movie generated $95 million outside the U.S. and Canada.

Analysts had raised questions about whether Superman’s reputation for earnestly promoting truth, justice and the American way would still appeal to a global audience, particularly as other countries have bristled at the U.S. tariff and trade policies enacted by President Trump.

“Superman has always been identified as a quintessentially American character and story, and in some parts of the world, America is currently not enjoying its greatest popularity,” Gross said.

The movie’s overall success is key to a planned reboot and refresh of the DC universe. Gunn and producer Peter Safran were named co-chairmen and co-chief executives of DC Studios in 2022 to help turn around the Warner Bros.-owned superhero brand after a years-long rough patch.

While 2013’s “Man of Steel,” directed by Zack Snyder, and 2016’s “Batman v Superman: Dawn of Justice” each achieved substantial box office hauls, they did not receive overwhelmingly positive reviews. 2017’s “Justice League,” which was intended to be DC’s version of Marvel Studios’ “Avengers,” was a critical and commercial disaster for the studio.

More recently, films focused on other DC characters such as 2023’s “Shazam! Fury of the Gods,” “The Flash” and last year’s “Joker: Folie à Deux” struggled at the box office.

With Gunn and Safran at the helm, the pair are now tasked with creating a cohesive vision and framework for its superhero universe, not unlike its rival Marvel, which has long consolidated control under president Kevin Feige (though its films and shows are handled by different directors).

Starting the new DC epoch with Superman also presented its own unique challenges. Though he is one of the most recognizable superheroes in the world, Superman’s film track record has been a roller coaster. Alternatively sincere, campy or gritty, the Man of Steel has been difficult for filmmakers and producers to strike the right tone.

Gunn’s version of “Superman” — still mostly sincere but a touch of the filmmaker’s signature goofy humor — worked for critics and audiences. It was a tall order, considering some fans still hold Richard Donner’s 1978 “Superman,” starring Christopher Reeve, as the gold standard.

“Pinning down ‘Superman’ has been a challenge,” said Paul Dergarabedian, senior media analyst at Comscore. “It’s been like Kryptonite for years for many filmmakers and producers to get it right.”

“Superman” bumped “Jurassic World Rebirth” to second place, where it collected $38.8 million domestically over the weekend for a total of $231 million so far. “F1,” Universal’s “How to Train Your Dragon” and Disney-Pixar’s “Elio” rounded out the top five at the box office this weekend.

Later this month, another major superhero movie will enter the summer blockbuster marketplace: “The Fantastic Four: First Steps,” from Walt Disney Co.-owned Marvel Studios.