Four-time nominee Timothée Chalamet bagged his first Golden Globe Award for his critically acclaimed performance in Josh Safdie’s “Marty Supreme,” which follows a plucky young New Yorker as he claws (and swindles) his way to table tennis superstardom.
Chalamet thanked Safdie, the cast, his parents and his partner, Kylie Jenner, although he didn’t name her, as he accepted his award Sunday evening.
“This category is stacked. I look up to all of you,” Chalamet addressed his competitors onstage.
“If you would have told me when I was 19 years old that I’d be thanking Mr. Wonderful from ‘Shark Tank’ — all right, you’re laughing, so I got away with that, thank you Kevin,” the winner quipped about Kevin O’Leary. “I would have been stunned, but I’m very grateful.”
Chalamet beat out competitors Leonardo DiCaprio (“One Battle After Another”), George Clooney, (“Jay Kelly”), Ethan Hawke, (“Blue Moon”), Lee Byung-hun (“No Other Choice”) and Jesse Plemons (“Bugonia”) in the stacked male actor in a motion picture — musical or comedy category.
The New York-born actor’s Golden Globe win comes after four prior nominations, including for roles in Luca Guadagnino’s “Call Me by Your Name” (2018) and James Mangold’s “A Complete Unknown” (2025). After his breakout performance in Guadagnino’s queer coming-of-age film, Chalamet embarked on a meteoric rise that has secured him a major movie nearly every year since.
This awards cycle, Chalamet has also notched a Critics Choice Award and an Actor Award nomination for his performance in “Marty Supreme.”
Boosted by a splashy promotional tour that included an underground table tennis tournament and a stunt at the Sphere in Las Vegas, “Marty Supreme” opened to $27 million at the box office, the biggest in indie studio A24’s history. (The film reportedly had a $60 million-$70 million budget.)
At the center of the publicity storm was Chalamet himself, who told IndieWire last month that his efforts were “in the spirit of Marty.”
“I feel like this is ultimately an original film at a time when original movies aren’t really put out. It’s a movie about the pursuit of a dream. I’m leaving it on the field,” Chalamet said.
“Whether it’s the merch or the Zoom or the media appearances, I’m trying to get this out in the biggest way possible,” he said.
Safdie said Chalamet’s commitment was evident on the set of “Marty Supreme.”
“Timmy was very generous. He sometimes did 26 takes,” the director told GQ last month, dubbing the young actor “Timmy Supreme.”
“Marty Supreme” is Safdie’s first feature film in six years — “Uncut Gems,” which he co-directed with his brother Benny, was released in 2019 — and the first he’s solo-directed since 2008.
In addition to Chalamet, the film stars Gwyneth Paltrow, Odessa A ‘Zion, Kevin O’Leary, Tyler, the Creator and others.
A superb, in-depth look at the legendary prog classic
Fifty years after Pink Floyd created rock’s most profound meditation on absence and exploitation, ‘Wish You Were Here’ returns in a range of editions that proves some masterpieces don’t just endure—they evolve. James Guthrie’s new stereo mix, particularly his decision to present ‘Shine On You Crazy Diamond’ for the first time ever, as one continuous 25-minute epic rather than splitting it across album sides, feels less like revisionism and more like finally hearing the band’s original vision realized.
The album emerged from creative exhaustion. Following ‘Dark Side of the Moon’s unprecedented success, Pink Floyd found themselves physically and emotionally drained, struggling to devise new material while touring relentlessly. That depletion became the album’s subject—a savage critique of the music industry’s machinery that chews up artists and spits them out. The burning figure on Hipgnosis’s iconic cover [a stuntman actually set on fire, years before digital trickery could fake such images] wasn’t just striking imagery but brutal metaphor. “Getting burned” was industry shorthand for artists denied their royalties, and Waters channeled that rage into some of his most satirical writing.
Yet ‘Wish You Were Here’s emotional core remains to honour Syd Barrett, Pink Floyd’s lost genius and childhood friend. ‘Shine On You Crazy Diamond’ functions as both eulogy and guilt-laden love letter, with lyrics like “Remember when you were young, you shone like the sun / you reached for the secret too soon, you cried for the moon” capturing Barrett’s brief, brilliant flame-out with devastating economy. The song’s creation yielded rock folklore’s most poignant episode: Barrett arriving unannounced at Abbey Road during final mixing in 1975, so physically transformed that none of his former bandmates initially recognized him. That ghost in the machine haunts every note.
Storm Thorgerson’s packaging concept—originally shrouded in opaque black cellophane, rendering the artwork “absent”—understood the album as exploring “unfulfilled presence” beyond just Barrett’s loss. Whether the deluxe box set includes that black polythene bag or not, the new, visual presentation stuns, featuring unseen photographs, a hardcover book, Simon Armitage’s specially commissioned poem Dear Pink Floyd, comic book tour programme, and Knebworth poster alongside exclusive clear vinyl pressings.
The real revelation comes from Steven Wilson’s meticulous restoration of Mike Millard’s legendary April 26, 1975 Los Angeles Sports Arena bootleg. The renowned taper captured Pink Floyd at a fascinating transitional moment—performing the material months before the album’s release, yet notably omitting the title track and ‘Welcome to the Machine’, which wouldn’t debut live until 1977’s In the Flesh tour. The audio, previously circulated in murky, generational copies, now sounds extraordinary, revealing the band’s improvisational power and Gilmour’s guitar work in crystalline detail. Thankfully, they haven’t tried to drown out the devoted crowd in any slick over-production of it.
Nine studio rarities provide insight into the album’s difficult gestation, documenting a band whose interpersonal cracks were beginning to show. These tensions would eventually destroy Pink Floyd, but here they generated creative friction that sharpened the album’s themes of disconnection and cynicism.
Guthrie’s Dolby Atmos mix offers the most immersive experience yet, Wright’s keyboards and Gilmour’s guitar occupying distinct spatial positions while Waters’ bass anchors everything. The format suits material already conceived cinematically, each arrangement vast and deliberate.
‘Wish You Were Here’ became Pink Floyd’s first transatlantic chart-topper and fastest-selling album, yet its commercial triumph felt almost perverse given its subject matter—a record about the music industry’s soul-destroying machinery that immediately fed that same machine. That irony hasn’t diminished; if anything, fifty years of streaming economics and playlist culture make the album’s critique feel prescient.
This anniversary edition doesn’t just celebrate a classic—it recontextualizes one, proving that even familiar masterpieces can reveal new dimensions when treated with appropriate care and ambition. The flames still burn.
“What makes our Album of the Year so special is that their vision is entirely their own. In the seven years since we first got behind them, they’ve never wavered from that authentic path… For that, our Rough Trade community has thanked them again and again. In 2025, it earns them the crown.”
Our Albums of the Year list of 100 titlescaptures months of listening, of favourite moments, of music that now belongs to the Rough Trade story as much as it belongs to yours.
As 2025 draws to a close, we hold onto what music has given us this year: grounding when things feel unsteady, energy when we’ve been tired, joy when we’ve needed reminding. Music endures, even in challenging times. In 2026, Rough Trade turns 50. A milestone that invites reflection, but also a chance to celebrate the record store, what it means today, and how it will continue to evolve as a vital force in our culture.
Pulp – More
Pulp’s More has endured as one of 2025’s defining records, a solid reminder of just how excellent this band always was and a triumphant step into a new era. Tracks are warm, anthemic and can we take a moment to applaud those gorgeous string arrangements? After 25 years, it honours their long-time devotees while opening the door to a brand new audience. The comeback album of the year? Their Worthy Farm set back in June which was congregational, emotional and adored from field to sofa, pretty much said it all.
Olivia Dean – The Art Of Loving
The Art of Loving received acclaim from music critics, many of whom described it as an evolution for Dean and praised her performance. Commercially, the album had an international success, debuting at number one in Australia, Ireland, the Netherlands, New Zealand, and Scotland, within the top five in Austria, Belgium, Canada, Denmark, Portugal, Sweden, and Switzerland, and within the top ten in Germany, Iceland, Norway, and Poland. Additionally, it was certified platinum in New Zealand and gold in Australia, Canada, and the United Kingdom.
Kids across the U.S. have grown accustomed to following Santa’s journey by tracking his flight path online or by making an old-fashioned phone call to NORAD to find out where his next stop is. They’re also able to play games and watch videos of his progress through the mobile “NORAD Tracks Santa” app.
All of this is possible, of course, thanks to hard-working personnel at NORAD. They start the task of tracking Santa each November, when NORADSanta.org starts getting inquiries from families. About 50 national and local contributors help set up the website, apps and phone lines, while about 1,000 uniformed personnel, War Department civilians, their families and supporters volunteer their time on Christmas Eve to answer questions on St. Nick’s whereabouts.
Liam Gallagher has confirmed Oasis will not tour in 2026.
The band returned earlier this year, kick-starting a record-breaking reunion tour with an emotional evening in Cardiff. Oasis has caused global headlines, taking the tour to North America, before finishing up with a memorable night in Sao Paolo
Speculation is rife over the Manchester band’s next step, but it seems a break is in order.
Asked on social media if Oasis would tour next year, Liam Gallagher shot back: “We’re not doing anything in 2026 sorry.”
Fan rumour held that Oasis would cap the reunion next summer with a run at Knebworth, echoing their seminal 90s shows. The frontman dismissed this, saying: “Nothing going on next year except the WC (World Cup).”
When another Oasis fan group posted that the band are “odds-on at 1/2 with William Hill to play at Knebworth next year,” Liam snapped back: “ITS NOT HAPPENING.”
However the singer did give a hint that 2027 could be a productive year
Hey everyone! John Pork here. Welcome to the red.nilobset website were there is a lot of great posts for you to enjoy. More to come soon… (hopefully tim cheese stays away)
