This is my second year curating gift guides — although, I’ve been the designated gift buyer among my siblings for far longer. To ensure I’m an authority on all things shopping, I’ve attended countless press days, spoken to numerous shopping experts and personally tested hundreds of products to ensure they meet my standards.
As such, you could say I’m more clued up on the best emerging brands, new releases and best-selling products are worth your money way more than your average online shopper. But you can also be reassured that only products and brands I genuinely love and would recommend to friends make it into the Glamour Gift Shop.
FYI, I review all products — this includes beauty, clothing, homeware and sex toys — against the following criteria:
From classic movies with live music to new tunes from Vampire Weekend and a Grateful Dead Celtic band, there’s a lot to see and hear this weekend in the Bay Area.
Here’s a partial rundown.
Classical picks: Hitchcock + orchestra; New Century
This week’s events light up the classical music scene with an iconic film score, a symphony at the opera, and a tribute to the seasons.
Halloween-appropriate: Scary enough? It has to be, when the San Francisco Symphony’s “Film with Live Orchestra” series presents Alfred Hitchcock’s “Vertigo,” featuring composer Bernard Herrmann’s brilliantly spooky score. With the film on the big screen, conductor Conner Gray Covington will lead the orchestra in a live performance of the spine-tingling music. Come early to see the Symphony’s latest Art Installation, “Dia de los Muertos,” for a pre-show treat.
Symphony at the Opera: Since the start of fall, San Francisco Opera has brought dazzling productions to the stage; now, with “Parsifal” up and running and “The Monkey King” still to come, the company is presenting a concert conducted by company Music Director Eun Sun Kim. This one-night-only event features mezzo-soprano Daniela Mack singing works by Manuel de Falla; Beethoven’s Fifth Symphony completes the 90-minute program.
Details: 7:30 p.m. Nov. 1; War Memorial Opera House, San Francisco; $29-$250; sfopera.com.
New Century, new “Seasons”: The New Century Chamber Orchestra starts the fall season with Vivaldi’s beloved “Four Seasons,” along with works by Dvorak and Bulgarian composer Dobrinka Tabakova; conducted by company music director Daniel Hope, four performances are on the schedule.
Details: 7:30 p.m. Oct. 30 at First Church UCC, Berkeley; 7:30 Oct. 31 at Empress Theatre, Vallejo; 7:30 p.m. Nov. 1 at Herbst Theatre, San Francisco; and 2 p.m. Nov. 2 at Osher Marin JCC, San Rafael; tickets $35-up; ncco.org.
— Georgia Rowe, Correspondent
More movies and music
Fans of classic silent films can catch two of them — “Phantom of the Opera” and “Nosferatu” — at Grace Cathedral this weekend. But the real star of the events won’t be on the screen but seated at Grace Cathedral’s famed 7,500-pipe Aeolian-Skinner organ, which has been a key facet of the church since it was installed in 1934. The organ will be played by musician Dorothy Papadakos, who started out as a jazz pianist in her native Reno and has evolved into a world-renowned organ player, thanks in part to her long stint as organist at the Cathedral of St. John the Divine in New York as well as her Grammy-winning stint with the Paul Winter Consort (their live album “Silver Solstice” remains a New Age/ambient classic).
Papadakos is, among other things, considered a talented improviser, which will come in hand in these gigs. She’ll accompany the 1925 silent version of “Phantom of the Opera” starring Lon Chaney, at 8 p.m. Oct. 30, and the 1922 version of “Nosferatu” — a film that was once ordered destroyed because it was deemed to be an unauthorized adaptation (read: ripoff) of Bram Stoker’s “Dracula” — at 8 p.m. Oct. 31. The church — which is a San Francisco landmark and always worth a visit — is at Taylor and California streets in San Francisco. Tickets are $34.50-$44.50; go to www.sfjazz.org.
— Bay City News Foundation
Cool shows, great album
In late October of last year, Vampire Weekend performed two memorable sold-out shows — an evening gig, followed the very next day by a matinee performance — at the legendary Madison Square Garden in New York City. The shows included many longtime Vampire Weekend fan favorites, of course, such as “Cape Cod Kwassa Kwassa,” “A-Punk” and “Oxford Comma.”
Yet, the NYC-born indie-pop act — led by vocalist-lyricist-guitarist Ezra Koenig — also performed a wonderful assortment of cover songs during those two shows. The list includes a number of Big Apple-appropriate tunes, such as the easily recognizable “Seinfeld Theme,” the Frank Sinatra favorite “Theme From New York, New York,” the Ramones’ blistering “Blitzkrieg Bop” and Billy Joel’s classic “Scenes From an Italian Restaurant,” the latter of which was reportedly performed with a candlelit table and waiter in a tux on the Garden stage.
Other cuts to make the Vampire Weekend setlist were The Killers’ “Mr. Brightside,” Talking Heads’ “Burning Down the House,” The Surfaris’ “Wipe Out,” Kate Bush’s “Wuthering Heights” and Thin Lizzy’s “The Boys Are Back in Town.”
Now all VW fans can experience the shows thanks to “Weekend at the Garden,” a limited edition double-LP recorded during that epic NYC stand. The offering, which includes portions of the two performances rather than the complete shows, is part of the band’s Frog on the Bass Drum vinyl series.
The Shaker Theater is showing the original 1968 “Night of the Living Dead” in a warehouse with a haunted maze in October 2025 in Oakland. (Shaker Theater)
Pop-up theater brings scares to Bay Area
This Halloween, you can see a scary movie in your local AMC theater. Or you can watch one as perhaps it was meant to be watched: In a dark warehouse full of horrific decor, where it feels like zombies could break down the door any minute.
The Shaker Theater is a new underground pop-up cinema in a residential part of northern Oakland. For its inaugural run, it’s been playing George Romero’s 1968 “Night of the Living Dead” during October, with final runs up until Halloween evening. It’s the uncensored, 96-minute original preserved on real celluloid. There will be popcorn and soda and, for more fun, before the movie the theater is playing clips from its “deep archives of rare and bizarre material.” Think Halloween safety films, forgotten trailers and classic monster-movie moments.
To get into the screening, visitors must first navigate a “Corridor of Horror” designed by local artist Rob Vertigo. Picture a classic haunted house, but turned into spooky-maze form. Did your group just lose a member? It’s probably nothing to worry about, they’re no doubt right behind you …. Wait, that’s not Chad! (Screams.)
Details: Preshow begins at 6:30 p.m. and movie starts at 8 p.m.; 950 54th St., Oakland; $18 online or $20 at the door; instagram.com/shakertheater.
— John Metcalfe, Staff
Freebie of the week
We tend to think of great film experiences as those that expose us to brilliant camerawork, incisive dialogue, or a poignant or hilarious reflection on the world at large. But let’s not forget the joys that await us at the other end of the spectrum. There is nothing quite like experiencing a truly terrible film with a room full of gleefully derisive bad-movie fans. There’s a reason why “Attack of the Killer Tomatoes” spawned three sequels and too many spoofs and homages to count, and it wasn’t John K. Culley’s nuanced cinematography. Halloween, it seems, is a favorite time to indulge in bad-movie bliss, probably because violent mutant vegetables and irritable aliens fit most comfortably in the horror genre.
And so it is that this week delivers the opportunity to view one of the most glorious and beloved bad movies of all time, “Robot Monster.” The film, in case the clever title doesn’t make it obvious, is about an alien robot sent to destroy Earth but who defies its orders when it saves an imperiled woman from certain death. The 1953 film took four days and $20,000 to make, $4,000 of which was spent on incorporating 3D technology. One of the stars was cast because he already owned a gorilla suit and therefore didn’t need to be costumed. So, yeah, this was not an extravagant production. Yet, it grossed $1 million in its first year and has gone on to be a favorite among those who revel in the wonders of wretched filmmaking. If such a buffet of bad moviemaking – in 3D!! – is your thing, “Robot Monster” will screen at 6 p.m. Oct. 30 at the Internet Archive, 300 Funston Ave., San Francisco. The screening is free but if you feel like making a donation to the Internet Archive or co-presenter the Golden Gate Stereoscopic Society — both of which are dedicated to preserving humankind’s digital history — certainly no one would hold it against you.
When you think about it, Wake the Dead would be a tremendous name for a screeching-loud punk band or maybe a Goth band. But the real Wake the Dead is neither of those things. It is a collection of very talented Bay Area musicians merging two of their musical passions – Grateful Dead classics and Irish/Celtic music. The name is certainly appropriate, as it references the Dead as well as Irish wakes, which are known to be deeply heartfelt and celebratory affairs. The moniker also mirrors the title of the Dead’s 1973 album “Wake of the Flood,” the first recording the band released acting as its own label. Adding to the plays on words, the band’s annual gig at the Freight & Salvage in Berkeley celebrates the Day of the Dead (Dia de los Muertos), the holiday widely observed in Mexico, in which family members and friends gather to honor loved ones who have passed away.
If all this is simply too much to ponder, just know that Wake the Dead will, per tradition, return to the Freight & Salvage on Nov. 1 to perform a Day of the Dead-themed show at which you are likely to hear high-energy Celtic takes on such Dead classics as “China Cat Sunflower” and “Eyes of the World.”
Details: The show begins at 8 p.m.; tickets are $26.50-$44; or you can livestream the show for $25; more information is at thefreight.org.
— Bay City News Foundation
Celebrating Día de los Muertos
The skeletons are dangling from the windows and looming merrily overhead the staircase in the festive lobby of Davies Hall, as the San Francisco Symphony gears up at 3 p.m. Nov. 1 to mount its 18th annual celebration of the Day of the Dead, the joyous Mexican tradition held to pay love and respect to ancestors who have passed on. The centerpiece of the festivities is a symphony concert, but multiple preconcert family-friendly activities are planned in the lobby and upper floors, including marigold flower making, offering-altar installations, a mariachi instrument petting zoo, sugar skull decorating and costumed dancers from Casa Círculo Cultural. The Symphony, conducted by Lina González-Granados, will perform traditional and contemporary Latin American music associated with the holiday, including Gabriela Ortiz’s “Kauyumari,” selections from Arturo Márquez’s “Espejos en la Arena,” the Intermezzo from Ricardo Castro’s “Atzimba” opera, Paul Desenne’s “Hipnosis Mariposa,” Jimmy Lopez’s “Loud,” Márquez’s popular Danzón No. 2 and Gabriela Lena Frank’s “The Mestizo Waltz.”
Details: Tickets, which are 50 percent off for those under 18, range from $27.50-$175; go to www.sfsymphony.org.
— Bay City News Foundation
An orchestral showcase
The San Francisco Opera takes a breather from its usual regimen of presenting full-fledged and lavish operatic productions to let Music Director Eun Sun Kim shine a solo spotlight on her instrumentalists in a single night concert of music by Ludwig van Beethoven and Manuel de Falla at 7:30 p.m. Nov. 1 in War Memorial Opera House. The program opens with “Siete Canciones Populares Españolas,” a set of songs inspired by de Falla’s home country of Spain, sung by mezzo-soprano Daniela Mack, and continues with the second orchestral suite from the same composer’s ballet “El Sombrero de Tres Picos” (“The Three-Cornered Hat”). Following the intermission, the concert will conclude with Beethoven’s mighty Fifth Symphony. Tickets, $29-$250, can be purchased through www.sfopera.com.
There will be no cliff divers entertaining guests at Casa Bonita on Halloween as the restaurant’s cast of performers initiates a three-day strike.
On Wednesday, the Actors’ Equity Association announced that Casa Bonita’s divers, magicians, roving actors and other unionized performers would picket outside the pink palace, at 6715 W. Colfax Ave. in Lakewood, following unsuccessful efforts to bargain their first contract. The strike is scheduled to take place on Oct. 30 through Nov. 1 from 11 a.m. to 9 p.m.
Casa Bonita serves thousands of diners each week and actors previously told The Denver Post there have been numerous incidents involving guests that had staff concerned for their safety.
The bargaining unit of 57 people has been engaged in negotiations since April, according to the Actors’ Equity Association, and last month, it filed an unfair labor practices charge after performers’ hours were cut to accommodate a Halloween pop-up event.
Now, the union says management failed to deliver responses to key proposals that would move toward a contract. A representative of Casa Bonita could not immediately be reached for comment.
“Casa management came to the table today offering an additional 11 cents over their last unfair wage offer, and very little for future layoff protections,” said lead negotiator Andrea Hoeschen, assistant executive director and general counsel for Actors’ Equity Association, in a statement. “Despite that insult, the negotiating team responded with major compromises to try to get a deal. And then Casa Bonita walked away from the table without responding.”
The Trump administration has been signaling that it may have finally reached a deal with China to keep TikTok running in the U.S., with the two countries finalizing it as soon as Thursday.
Treasury Secretary Scott Bessent told CBS’s “Face the Nation” Sunday that the two leaders will “consummate that transaction on Thursday in Korea.”
If it happens, the deal would mark the end of months of uncertainty about the fate of the popular video-sharing platform in the United States. After wide bipartisan majorities in Congress passed — and President Joe Biden signed — a law that would ban TikTok in the U.S. if it did not find a new owner in the place of China’s ByteDance, the platform was set to go dark on the law’s January deadline. For a several hours, it did. But on his first day in office, Trump signed an executive order to keep it running while his administration tries to reach an agreement for the sale of the company.
Three more executive orders followed, as Trump, without a clear legal basis, continued to extend the deadline for a TikTok deal. The second was in April, when White House officials believed they were nearing a deal to spin off TikTok into a new company with U.S. ownership that fell apart after China backed out following Trump’s tariff announcement. The third came in June, then another in September, which Trump said would allow TikTok to continue operating in the United States in a way that meets national security concerns.
Trump’s order was meant to enable an American-led group of investors to buy the app from China’s ByteDance, though the deal also requires China’s approval.
However, TikTok deal is “not really a big thing for Xi Jinping,” said Bonnie Glaser, managing director of the German Marshall Fund’s Indo-Pacific program, during a media briefing Tuesday. “(China is) happy to let (Trump) declare that they have finally kept a deal. Whether or not that deal will protect the data of Americans is a big question going forward.”
“A big question mark for the United States, of course, is whether this is consistent with U.S. law since there was a law passed by Congress,” Glaser said.
About 43% of U.S. adults under the age of 30 say they regularly get news from TikTok, higher than any other social media app, including YouTube, Facebook and Instagram, according to a Pew Research Center report published in September.
Americans are also more closely divided on what to do about TikTok than they were two years ago.
A recent Pew Research Center survey found that about one-third of Americans said they supported a TikTok ban, down from 50% in March 2023. Roughly one-third said they would oppose a ban, and a similar percentage said they weren’t sure.
Among those who said they supported banning the social media platform, about 8 in 10 cited concerns over users’ data security being at risk as a major factor in their decision, according to the report.
The TikTok recommendation algorithm — which has steered millions of users into an endless stream of video shorts — has been central in the security debate over the platform. China previously stated the algorithm must remain under Chinese control by law. But a U.S. regulation that Congress passed with bipartisan support said any divestment of TikTok must mean the platform cut ties with ByteDance.
American officials have warned the algorithm — a complex system of rules and calculations that platforms use to deliver personalized content to your feed — is vulnerable to manipulation by Chinese authorities, but no evidence has been presented by U.S. officials proving that China has attempted to do so.
—
Associated Press Writer Fu Ting contributed to this story from Washington.
Chelsea is one of the few Manhattan neighborhoods that feels deliberately built for the long game. Its borders are technical (Sixth Avenue to the Hudson, 14th to 34th), but its cultural footprint sprawls far beyond the map. What began as a Lenape village became a shipping stronghold, then a haven for immigrant labor, then a no-rules frontier for artists priced out of SoHo. Today, Chelsea folds all of it in: dockside grit, industrial bones, progressive politics and a post-gallery globalism that somehow still feels local.
The neighborhood’s transformation wasn’t just about rising rent. It was infrastructure-led. The High Line reengineered the city’s relationship to public space. Piers became parks. Warehouses became megawatt galleries. Rail yards became real estate—some of the most ambitious on the continent. The Hudson Yards development may grab headlines, but Chelsea’s character lives in the contrast between a Dia installation and a 24-hour diner, a sidewalk flower stand and a Jean Nouvel façade.
Chelsea didn’t get interesting by chasing what its other neighborhoods had to offer. It drew energy from what already existed, whether that was freight tunnels, factory space, counterculture or queerness, and built around it. The result is a neighborhood that knows how to absorb change without losing plot. It’s where Zaha Hadid landed her only New York project. Where a community board can still kill a billionaire’s plans. Where you can see work by the next big artist, and then see them at the bodega. Chelsea knows its value isn’t hype. It’s infrastructure, intent and staying power. You don’t need to understand art to get Chelsea. But give it 10 blocks, and you might start pretending you do.
Elon Musk has launched Grokipedia, a crowdsourced online encyclopedia that the billionaire seeks to position as a rival to Wikipedia.
Writing on social media, Musk said that Grokipedia.com is “now live” and its goal is the “truth, the whole truth and nothing but the truth.”
Musk has previously criticized Wikipedia for being filled with “propaganda” and called for people to stop donating to the site, which is run by a nonprofit. In September he announced that his artificial intelligence company xAI was working on Grokipedia.
The Grokipedia site has a minimalist appearance with little beyond a search bar where users can type in queries. It states that it has 885,279 articles. Wikipedia, meanwhile, says it has more than 7 million articles in English.
Like Wikipedia, users can search for articles on various topics such as Taylor Swift, the baseball World Series, or Buckingham Palace.
While Wikipedia is written and edited by volunteers, it’s unclear how exactly Grokipedia articles are put together. Reports suggest the site is powered by the same xAI model that underpins Musk’s Grok chatbot, but some articles are seemingly adapted from Wikipedia.
The San Francisco-based Wikimedia Foundation said in a statement Tuesday that it is “still in the process of understanding how Grokipedia works.”
As a huge trove of well-constructed sentences with little restriction on how it’s used, Wikipedia has been a key source used to train AI chatbots, including Grok’s rivals ChatGPT and Google’s Gemini.
“This human-created knowledge is what AI companies rely on to generate content; even Grokipedia needs Wikipedia to exist,” said the Wikimedia Foundation.
Wikipedia for months has been a target of the political right. Republican lawmakers in the U.S. Congress launched an investigation in August of alleged “manipulation efforts” in Wikipedia’s editing process that they said could inject bias and undermine neutral points of view on its platform and the AI systems that rely on it.
Wikipedia encourages its volunteer editors to cite nearly every sentence or paragraph with a primary source, and sentences not verified can be challenged and removed. Some of Grokipedia’s entries are thinly sourced, such as an entry on the Chola Dynasty of southern India that has three linked sources, compared to Wikipedia’s that has 113 linked sources plus dozens of referenced books.
Grokipedia’s entry on Wikipedia accuses the site of having “systemic ideological biases — particularly a left-leaning slant in coverage of political figures and topics.”
The Wikimedia Foundation said in its statement Tuesday: “Unlike newer projects, Wikipedia’s strengths are clear: it has transparent policies, rigorous volunteer oversight, and a strong culture of continuous improvement. Wikipedia is an encyclopedia, written to inform billions of readers without promoting a particular point of view.”
The Bullfrog Road overpass was struck by an over-height semi on Tuesday night, Oct. 21. Contractor crews hired by the Washington State Department of Transportation (WSDOT) worked for 22 hours straight to remove the damaged portion of the overpass and reopen westbound I-90.
When will I-90 near Cle Elum close for Bullfrog Road overpass repairs?
According to Gov. Bob Ferguson’s office, the westbound lanes will remain open until WSDOT replaces the overpass, which will require full closures on a limited basis. Officials said most of the work is expected to happen overnight, with daytime closures possible if necessary.
What they’re saying:
“Thank you to the WSDOT crews and contractors who moved quickly to reopen westbound I-90,” Governor Ferguson said. “Our work to repair the damage is just beginning. The loss of this overpass severely impacts the Cle Elum, Roslyn and Suncadia areas. We will work as quickly as possible to replace this vital connection for the community.”
How long will Bullfrog Road overpass repairs take?
Timeline:
An updated timeline for the repair is expected by December, according to Ferguson’s office. WSDOT engineers are designing the new section of the overpass and developing a plan to allow rapid construction.
About 17,000 vehicles travel this section of I-90 each day, and about 1,500 cross the overpass daily. Travelers will learn more about potential impacts once design plans are finalized in December.
What to expect during I-90 overpass construction near Cle Elum?
When construction begins, drivers can expect full closures on westbound I-90, with traffic detoured over the on- and off-ramps.
How is WA paying for I-90 overpass repairs?
Ferguson’s emergency proclamation allows the state to seek federal reimbursement for repair costs. The Federal Highway Administration is expected to continue supporting the project despite the ongoing federal government shutdown.
WSDOT also plans to seek reimbursement from the truck operator or other responsible parties. The Washington State Patrol stopped the driver, and its Commercial Vehicle Services Division is investigating.
The Source: Information in this story comes from a press release by Governor Bob Ferguson’s Office.
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With an equity-sharing workforce and medical-grade hygiene, MiniLuxe aims to set new standards for the beauty industry. Photo by Josh Campbell, Courtesy MiniLuxe
This Q&A is part of Observer’s Expert Insights series, where industry leaders, innovators and strategists distill years of experience into direct, practical takeaways and deliver clarity on the issues shaping their industries. In an industry long associated with toxic fumes, exploitative labor and narrow definitions of beauty, MiniLuxe is reimagining what luxury means: clean, ethical and empowering from the inside out. Founded more than 15 years ago with the goal of professionalizing nail care, MiniLuxe has become a case study in how design, technology and purpose can elevate even the most everyday rituals into meaningful acts of self-care.
As CEO Tony Tjan explains, MiniLuxe was built on the belief that true luxury isn’t about exclusivity but intentionality, an accessible “everyday luxury” that celebrates both client well-being and employee dignity. By investing deeply in its workforce through training, equity participation and career mobility, the company has achieved over 85 percent annual retention among hourly workers—an anomaly in beauty and personal care. MiniLuxe’s model has proven that ethics and economics can reinforce one another. From its proprietary clean lab and non-toxic product line to its use of A.I.-enabled pricing and predictive scheduling, the company’s innovations extend beyond aesthetics. Tjan sees the future of self-care as a balance between technology and humanity—where personalization, community and creative expression remain core.
At a time when conscious consumers are reshaping the definition of luxury, MiniLuxe offers a blueprint for how modern brands can scale integrity as effectively as growth. The company’s success suggests that the next generation of prestige is defined by purpose, transparency and the people behind the polish.
The nail care industry has long been fragmented and informal. What business strategies allowed MiniLuxe to professionalize the space while still remaining accessible to clients?
We founded MiniLuxe to radically transform the nail care industry, beginning with clean and ethical work practices and the empowerment of our team members— through a better and healthier work environment, practical training, economic mobility and creative self-expression. We have been able to do this with the belief that clients want a brand that stands for quality and consistency, and are willing to pay a slight premium for cleaner and better-for-you services and the ethical and empowering treatment we provide to our workers. By investing in our team members, we get long-term loyalty with over 50 percent of our hourly team members having five years or more of service (and with that are granted equity options) and an annual hourly worker retention of over 85 percent.
Luxury is often defined by exclusivity. How do you reconcile that with MiniLuxe’s positioning as an “affordable luxury”?
When we started this business 15+ years ago, my co-founders and I wanted to find something that was “Starbuck-able”—a small ritualistic personal luxury that made people feel good but was accessible to a broad base.
The price point of a coffee, lipstick or manicure makes these goods and services more recession-proof and “everyday” luxuries. Luxury is a term that goes well beyond “exclusivity,” which is a somewhat dated and narrow notion of what luxury truly means. Modern luxury is more intentional and increasingly about experiences, self-care and emotional well-being.
We were also, I believe, the first to recognize that the nail care industry was bifurcated between a very large number of mass, lower cost, traditional “corner nail salons” (think the nail salon equivalent of independently-owned quick service restaurants) and very high end and expensive day spas where you might have to spend hours wearing a robe to get your nails done (think fine dining for nails). Our belief was that there was latent consumer demand for an affordable prestige experience in the form of a new “fast casual” experience that we ended up calling MiniLuxe.
Employee retention in the beauty industry is notoriously difficult. What lessons can other service-based industries learn from MiniLuxe’s approach to talent development and equity participation?
Purpose and people are everything. You need to have clarity of your purpose or “why,” and you need to inspire your people with a job and a north star that gives intrinsic meaning. It’s key for your team members to be maniacally aligned around that north star. The lesson that I have learned over the years is that people ultimately stay or leave a company more because of the intrinsic meaning that they feel for their job. That said, we complement our efforts to deliver on our purpose with a belief that our economic success—our extrinsic rewards—needs to be shared throughout all levels of our team. When you combine a strong purpose with a commitment to share these rewards, there is strong alignment. There’s nothing magic about it, but not enough businesses do it: marrying significance with success.
One of the most fun ways that we get to celebrate our employees is when they hit certain milestones in their careers. We are proud to acknowledge our team members with equity rewards at each five-year anniversary and complement those equity option grants with other recognitions, such as having a custom nail polish color named after team members who have been with us 10 years or more. It’s great learning about the stories of why 10-year anniversary members pick the color they pick and the name for that color. One designer named a color Yun Tree, and another one Ruth. They were named after a tree in the person’s home country, and in the other case, Ruth was a lifelong client who had passed away, and the color was her favorite.
The number of hourly-working nail designers who have been with us for 10+ years is around 10 percent of our team and those who have been with us for five-years plus represents about 50 percent of our team.
As consumers become more conscious of the ethical footprint of the products and services they use, how does MiniLuxe turn “ethical and clean” into a business advantage rather than just a marketing claim?
Clean and ethical nail care was the founding principle and strategy of differentiation for MiniLuxe. When we started the business, we pioneered elements like a proprietary Clean Lab with surgical grade sterilization, we utilized our founders’ backgrounds in science from Harvard to help develop better-for-you products; built the pedi stations with no whirlpools (to avoid bacteria risk), created immaculate waxing rooms with strict clean protocols, and we committed to the ethical and fair treatment of our workers. Since founding MiniLuxe, we have paid out nearly $150 million in fair and ethical wages to our nail designers, and we also decided from the outset not to offer acrylic nail services (which were and are a popular segment of nail services, but are simply not good for you and our workers’ health). Other large company investments included when we decided to pull all OPI and Essie and develop our own line of MiniLuxe 8-free polishes and nail treatments, including our Environmental Working Group (EWG)-certified and best-selling cuticle oil, all made in the USA to ensure full oversight and transparency at every step.
What is most rewarding are the memories and stories that we have heard from our clients and team members about what our clean and ethical standards have meant for them. One of the most common comments from first-time clients is, “Oh my God, there is no smell!”
One memory that still moves me was the first time a client told us confidentially that she was going through cancer treatment and that this was the only place that she and her doctor felt safe for her to go for a mani-pedi, which meant that much more to her during a challenging period. We have since heard similar testimonies from various at-risk patients. The disclaimer here is, of course, that patients should check with their doctors what is safe or not safe for them to do while undergoing treatments, but to be seen as the better-for-you and safer choice for many is meaningful.
Another surprise call once came from the head of one of the most prestigious hospitals in the Boston area. One of our nail designers had recently joined their team as a newly minted phlebotomist. The director wanted to personally call me to share how amazed she was that we had nail designers with such depth of knowledge of key hygiene protocols and how personable this particular worker was with her infectious hospitality. We’ve also had our designers tell us that they feel very safe while pregnant, versus how miscarriages are a common risk in several salons that don’t follow hygiene protocols.
Technology is at the core of your model, from A.I.-enabled pricing to digital-first booking. How do you see technology shaping the future of luxury personal care services?
A.I. has many applications in personal care and candidly will likely have its largest impact in more staid and archaic industries. Within the world of personal care, we see A.I. having a role in predictive yield management, dynamic pricing, training and the overall client experience, especially in the area of personalized recommendations.
At MiniLuxe, we are big believers in using technology to give our nail designers greater autonomy and more time to focus on what they do best, honing their craft. Technology also eases the stress of scheduling and coordination, allowing our designers to work more efficiently.
MiniLuxe operates at the intersection of wellness, beauty and luxury. How do you differentiate in a crowded beauty market that increasingly blurs these categories?
Our biggest differentiator is the clarity of our purpose—to empower our communities through self-care and self-expression, with an anchored purpose that allows us to create differentiation across our brand, culture, technology and overall platform systems.
Overall, the types of businesses and business transformations that have intrigued me are where capital and entrepreneurship can be used as a force for good and where you can apply design and technology to archaic industries. The nail industry is only beginning the birth of its innovative phase.
On a personal level, I have a deep appreciation for Japanese- and Scandinavian-inspired design with pops of whimsy. We have tried to have the MiniLuxe brand echo some of that aesthetic, and it has been equally important to have a view of simplicity for the technology that we are bringing into the business, from our app, to our booking systems, to digital payment and inspiration mood boards for nail designs.
A people-first model and clean innovation are the first steps toward transforming the $10 billion nail care industry. Photo by John Horner, Courtesy MiniLuxe
In a time when some consumers are cutting back on salon visits, what makes the nail care category resilient, and what does that say about the evolving definition of discretionary spending in the luxury market?
As long as modern nail care has been part of the American landscape (since the early to mid-1970s), nails have shown incredibly resilient and steady growth outside of “black swan” events like Covid-19, which temporarily shut down the industry. Nail care is the most democratized entry point of beauty and self-care services, making it an affordable luxury like a movie ticket or lipstick (e.g., the lipstick index) in good times and bad. And in some cases, it can even have the contrarian impact of increasing sales during a recession as consumers shift spending from more expensive self-care and beauty services to more affordable experiences such as nail care.
MiniLuxe has developed proprietary clean products alongside its salon business. What role does vertical integration play in building a defensible and scalable brand?
Vertical integration is an important part of any defensible and scalable brand, but it usually comes at a later stage of development for companies. We are being selective where we vertically integrate and are most focused at this time on delivering 10x betterment of our client experience.
Today, we integrate proprietary MiniLuxe products seamlessly into the overall brand experience, prioritizing better-for-you, clean formulations in-house. We maintain control over quality, innovation and consistency. For example, we have been early in the identification of ingredients that we don’t believe should be in nail care products. None of MiniLuxe’s branded products has, for example, TPO, which has been a hot topic in the news. Any time we evaluate a third-party product, we make sure that it meets our internal standards of safety by being toxic-free or only trace (i.e., non-harmful levels) of anything we have on our ingredient watch list.
The clean beauty market can be murky, with many products claiming to be “clean.” By pursuing EWG certification, one of the most rigorous standards, we ensure that our clean beauty claims are backed by real, verifiable standards in products such as our Cuticle Oil. We scale thoughtfully, ensuring new products, like our recently launched hand cream, are naturally incorporated into our nail care rituals, enhancing the client experience at every touchpoint.
How has digital and social media marketing changed how luxury beauty brands like MiniLuxe connect with customers compared to a decade ago?
No different than any other brands. End-users have shifted to their phones and other screens for the “social proofing” of their choices. With that said, nail care is a fairly intimate experience where the provider is touching and holding your hands (and waxing even that much more) so there is as much influence in the moment with what a trusted provider might recommend for healthier nails, color selection, nail art design or post-waxing care.
At MiniLuxe, we embrace digital shifts by using social media and online video to highlight our artistry and tell stories that are authentic and in a personal voice. From showcasing our designers across different markets to sharing nail art and wellness routines, we create content that both inspires and educates, while reflecting the trust clients experience in the salon. We focus on original ideas, not just pushing products, making the social media experience feel more personal. This approach brings the intimate, in-person experience online, letting us connect with audiences in real time and show visually what we do best.
Scaling ethical values—whether wages, benefits or hygiene standards—can be difficult when expanding. How do you ensure consistency across regions as MiniLuxe grows?
One of our board members once said, “Show me a good studio/store and I’ll show you a good studio/store leader.” It again comes down first and foremost to having as many A-leaders in our studios. We don’t always get it right but we are intentional, patient and very greedy about who we hire, promote and develop as our studio leader, operating or franchise partners.
In addition to getting great people who can lead in the studio, we do everything possible to build a strong culture and systems. Our systems span the range from how to properly shape and color a nail to monitoring key performance indicators of the business to how best to position and execute on a new product or service for launch. When you pair a strong leader with strong systems, you don’t guarantee success, but you sure increase the probability of it. Furthermore, none of these systems is static, and there is an interdependency between developing great systems and great people. What do I mean by that? Our team of operating partners, studio leaders and nail designers acts as a neural learning network to improve our systems. It’s like a living and breathing Slack learning channel that shares ideas, provides feedback, hacks and ways to improve on any system or aspect of our business.
Do you see your employee equity and ownership model as a template that could transform other low-wage, high-turnover industries?
I see broad employee ownership as an economic tool that goes well beyond retention and the potential, if used more broadly, to narrow the income inequality gap that we have in this country. There are two great financial innovation tools for the broader base of Americans to generate wealth.
One, the home mortgage, which allows one to have a leveraged way to build long-term equity value that outstrips the cost of the borrowed capital. And two, equity ownership that complements a W2 check. The latter has long been used as a tool for executives and higher-ranking employees, but in my vie,w should be used more broadly across businesses that have liquid stock appreciation potential.
Imagine if just a fraction of the successful big-box retailers and large retail chains that employ hundreds of thousands of hourly workers shared just a little of their equity gains with those floor workers. Even if a very small portion of that equity pool was reserved for special or emergency needs of the core base of hourly workers (at MiniLuxe, we have a small but important emergency resiliency fund), that would be a positive advancement of overall workforce engagement and security.
What consumer trends—whether in wellness, sustainability or design—are most likely to reshape the beauty and nail care industry over the next five years?
Increasing integration of A.I., technology and design into more human-centric elements of wellness that cannot be digitized will shape the future experiences of self-care. While there are exciting developments in robotics and other technology, which will take some share from the marketplace (no difference from home-based massage chairs), there will, for the foreseeable future, be a market for human-to-human connectivity and real-world experiences. In fact, as technology and A.I. become more pervasive, the luxury of self-care may be that which is done IRL by real humans in an intentionally well-designed space.
Tjan is on a mission to build a scalable business model rooted in equity, not exploitation. Courtesy MiniLuxe
Many luxury sectors are exploring personalization powered by A.I. and data. Do you see a role for hyper-personalization in nail care, or is consistency and standardization more valuable?
The two are not mutually exclusive. There is no one use case for getting your nails done. For example, if there is a special event, one might want to have highly customized nail art or an expression of nail design that reflects their fandomship for a team, character or other affiliation, but day-to-day, that same person might value super consistent standardization of their go-to simple classic nude or neutral nail look.
Again, as stated above, hyper-personalization is reshaping luxury beauty, and Paintbox’s custom press-ons are a direct response to the growing demand for bespoke experiences. Each set is handcrafted by a designer, using techniques like freehand drawing, 3D elements, gradients, intricate patterns and gem work, turning nails into wearable, reusable works of art. As elaborate press-on nail looks make waves on red carpets, Paintbox brings that same level of luxury and personalized creativity to everyday clients.
Looking ahead, what does the “future luxury salon” look like, and how might MiniLuxe be shaping that vision?
The future luxury salon will consider nail care across its multiple dimensions of consumer value: self-care, self-expression and community connection. I see nails as the “new face” with endless possibilities and spaces that elevate nails from what may be viewed by some as trivial beauty to a new category of accessory, identity and expression—a safe space (that 1×1 cm canvas of a nail plate) to make a statement about your individuality.
In addition to individual expression, the future nail studio will equally embrace the role that nail care has played over the decades as a mini-moment of joy and self-care. What will change is the form factor in which we deliver both expression and care, whether that be reimagined chairs, cocooned nooks or areas that use A.I. to digitally inspire one’s creativity. We will also be more expansive in our view of nail trends, bringing more east-to-west trends and catering to a modern global citizen and more conscious and intentional consumer. Exciting times ahead!
SEATTLE, Wash. – Families across Washington are facing a tough reality this week as SNAP benefits are set to end this Friday. Experts warn the pause won’t just hurt those who rely on food stamps—it could ripple through the economy as a whole.
The clock is ticking for families who rely on food assistance. According to federal data, 930,000 Washingtonians were enrolled in the program as of September.
With the government shutdown and USDA funding cuts, food banks say they’re bracing for a wave of need.
What they’re saying:
Aaron Cyzyewski, Director of Advocacy and Public Policy at Food Lifeline, said, “We’re in a really tough situation and I don’t want to sugarcoat it.”
Food Lifeline works with more than 300 agencies across western Washington and served 2.4 million people last year.
File: Grocery store (Credit: Photo by Matthew Horwood/Getty Images)
Pastor Jan Bolerjack of Riverton Park United Methodist Church in Tukwila, who has a food pantry available for families to stop by, says she’s already seeing the strain.
“Prior to a year ago, we were probably giving 50 pounds of food to every family that came through and families could come 2 to 3 times a week to the food pantry,” Bolerjack said. “Now families can only come once a week, and they can only get 15 pounds of food.”
During a meeting discussing HR-1, known as the Big Beautiful Bill, she said she looked inside a bag provided to families which came with canned chili, an onion and coffee creamer. “What kind of meal do you make with that,” Bolerjack said.
The toll is already evident as one community member wrote on Nextdoor: “I’m scared, ashamed and desperate. With the shutdown my SNAP is frozen, and the food banks rations are getting smaller – I haven’t had a meal in a few days.”
Even those who don’t receive benefits could feel the impacts. According to the Food Research and Action Center, every dollar spent on SNAP adds about $1.50 to $1.80 to the economy. USDA data shows SNAP not only helps people buy food but supported 13,500 jobs in 2016.
Local perspective:
The United Food and Commercial Workers Union, representing more than a million grocery, meatpacking, and food processing workers, sent a letter to USDA Secretary Brooke Rollins urging emergency funding to maintain SNAP benefits.
UFCW International President Milton Jones wrote, “Any lapse in funding in SNAP will have devastating impacts for program beneficiaries and reduce hours and wages for food workers in every state and congressional district in the country.”
Videos on social media include one by TikToker @win_the_job who said “But you don’t receive SNAP benefits, you don’t work for a grocery store, you don’t drive a truck, you don’t give a [expletive]. But when all of those things happen, the only way to combat that is to drastically increase the price of groceries.”
Experts tell FOX 13, this is a reality. “Without SNAP benefits, we lose that economic stability.”
“It’s very frustrating because the government cannot work fast enough in situations like this,” Cyzyewski said. “The difference now is that we don’t have the federal government there to help – Republicans in Congress and the Trump administration passed HR1, which effectuated the cuts to SNAP. The point is the federal government is not coming to help — in fact they’re going away and taking billions if not trillions of dollars out of the social safety net.”
For now, food banks are urging people to donate or volunteer, saying it’s the fastest way to help families facing hunger as November approaches.
“I would consider it to be a state of emergency,” Cyzyewski said.
If you’ve been anywhere near the internet or a member of Generation Alpha in the past few weeks then you’ll be all too familiar with the phrase, but what does 6-7 mean and why is it a thing?
If you, like us, have been protecting your peace though now find yourself needing these answers as a matter of urgency so you can seem tuned in among the younger members of your family then look no further. Stay with us as we attempt to explain what 6-7 means.
Ah, 2025.
What does 6-7 mean?
The phrase six seven (6-7) is a now viral internet meme and term that has been doing the rounds after having gained insane levels of popularity amongst Generation Alpha.
But what does 6-7 mean, really? And where did it even come from?
Well, essentially, the term ‘6-7’ originated from rapper Skrilla’s song ‘Doot Doot (6 7)’ where he repeatedly says ‘6 7’ in his lyrics.
Sections of the song with this sound bite quickly gained traction on TikTok after users began sharing edits of basketball player LaMelo Ball who (would you believe it), is 6’7″ in height.
However, the original context of the song is a reference to 67th Street in Philadelphia and a nod to police codes, with 10-67 being a report of death.
Since then, though, it’s fair to say that the 6 7 meme has taken on a life of its own, now being littered across the internet and having even been referenced on a South Park episode.
In general, there’s no ‘real’ 6 7 meaning, with it instead being used as a bit of a nothing term like ‘skibidi’ might be.
And in case you were wondering, yes it would certainly seem that we have in fact reached peak brain rot.
Now very much an inside joke, though it doesn’t technically mean anything, it can be used in any and every context that you so wish. So with that we say go forth and 6 7.
Who started 6-7?
As above, six seven as a phrase started picking up with the release of Skrilla’s track and several TikToks that were made with the song after.
However, what really put 6-7 on the map, if you will, was this video of the ‘6-7 kid’ who was seen screeching the term at a basketball game. Please see below.
Since then, this kid has gone on to make 6-7 his entire brand and honestly, we can’t blame him.
6-7 meme bans
Yes, we’re actually at the point where ‘6-7’ as a phrase has had to be banned in certain classrooms because it’s proven so disruptive.
Tbh, this is mostly due to the fact that kids are shouting this out randomly whilst gesturing with an accompanying ‘juggling’ hand gesture rather than it being particularly problematic as a phrase itself, though we can definitely appreciate how this would get annoying very quickly.
And while you wouldn’t necessarily think it would come up that often in class, we ask that you spare a moment’s thought for maths teachers or any form tutor taking registration head count. Truly, 6-7 is all around us if you look hard enough for it.
Speaking to Today.com, exasperated teacher Adria Laplander said “I’ve been teaching for 20 years and I’ve dealt with all sorts of slang – nothing has driven me crazier than this one.”
In fact, she’s so over it that she even made her own TikTok video to explain her form of punishment for any student who makes the reference during class.
“We are not saying the words, ‘67’ anymore. If you do, you have to write a 67-word essay about what the word ‘67’ means,” Laplander said. “If you do it again, another 67-word essay. After five times, if you’re still saying, ‘67’ in this classroom, your essay is going to bop up to 670 words.”
More than fair enough.
So there you have it, the 6-7 meme in all its glory. That’s enough internet for today.
TOKYO (AP) — Japanese sushi legend Jiro Ono won three Michelin stars for more than a decade, the world’s oldest head chef to do so. He has served the world’s dignitaries and his art of sushi was featured in an award-winning film.
After all these achievements and at the age of 100, he is not ready to fully retire.
“I plan to keep going for about five more years,” Ono said last month as he marked Japan’s “Respect for the Aged Day” with a gift and a certificate ahead of his birthday.
What’s the secret of his health? “To work,” Ono replied to the question by Tokyo Gov. Yuriko Koike, who congratulated him.
“I can no longer come to the restaurant every day … but even at 100, I try to work if possible. I believe the best medicine is to work.”
Ono, the founder of Sukiyabashi Jiro, a tiny, 10-seat sushi bar in the basement of a building in Tokyo’s posh Ginza district, turned 100 Monday.
Born in the central Japanese city of Hamamatsu in 1925, Ono began his apprenticeship at age 7 at the Japanese restaurant of a local inn. He moved to Tokyo and became a sushi chef at 25 and opened his own restaurant — Sukiyabashi Jiro — 15 years later in 1965.
He has devoted his life seeking perfection in making sushi.
“I haven’t reached perfection yet,” Ono, then 85, said in “Jiro Dreams of Sushi,” a film released in 2012. “I’ll continue to climb trying to reach the top but nobody knows where the top is.”
Director David Gelb said his impression of Ono was “of a teacher and a fatherly figure to all who were in his restaurant.”
At the beginning, Gelb felt intimidated by the “gravitas” of the legend but was soon disarmed by Ono’s sense of humor and kindness, he told the Associated Press in an interview from New Orleans. “He’s very funny and very sweet.”
“I was filming an octopus being massaged for an hour, and he was worried about me,” Gelb recalled. Ono told him he was afraid the director was making the most boring film ever and that he could leave if he wanted to.
“He was so generous and kind of humble of him to do that,” Gelb said. “Of course I was determined, and I was like, no way … Massaging the octopus to me is fascinating.”
Regulars come first
Ono is devoted to what he serves to his regular clients, even turning down the Japanese government when it called to make a reservation for then-U.S. President Barack Obama and former Prime Minister Shinzo Abe in 2014.
“I said no as the restaurant was fully booked, then they agreed to come later in the evening,” Ono recalled. “But (Obama) was enjoying sushi and I was happy.”
Ono’s son Yoshikazu, who has worked with his father and now serves as head chef at the Ginza restaurant, said Obama smiled and winked at them when he tried medium fatty tuna sushi.
His restaurant earned three Michelin stars in 2007, as he became the first sushi chef to do so, and has kept the status until 2019, when he was recognized by the Guinness World Records as the oldest head chef of a three-Michelin-star restaurant, at age 93 years and 128 days.
In 2020, Sukiyabashi Jiro was dropped from the guide because it started taking reservations only from regulars or through top hotels.
In recent years Ono serves sushi only to his special guests, “as my hands don’t work so well.”
But he hasn’t given up. His son says Ono, watching television news about the death of Japan’s oldest male at 113, said 13 more years seems doable.
“I will aim for 114,” Ono said.
“I cherish my life so I get to work for a long time,” Ono says. He doesn’t drink alcohol, takes a walk regularly and eats well.
Asked about his favorite sushi, Ono instantly replied: “Maguro, kohada and anago (tuna, gizzard shad and saltwater eel).”
“It’s an incredible thing that this tradition continues and that he’s still going strong 100 years in … It’s an inspiration to everyone,” Gelb said, wishing Ono happy birthday in Japanese.
LOS ANGELES (AP) — The stakes. The famous faces. The posh private rooms. The clever cheating schemes.
The federal indictment of a big-money poker ring involving NBA figures on Thursday, in which unsuspecting rich players were allegedly enticed to join then cheated of their money, echoed decades of movies and television, and not just because of the alleged Mafia involvement.
Fictional and actual poker have long been in sort of a pop-cultural feedback loop. When authorities described the supposed circumstances of the games, they might’ve evoked a run of screen moments from recent decades.
Poker in ‘Ocean’s Eleven,’ ‘Molly’s Game’ and ‘The Sopranos’
A 2004 episode of “ The Sopranos ” showed a very similar mix of celebrities and mobsters in a New York game whose players included Van Halen singer David Lee Roth and football Hall-of-Famer Lawrence Taylor, both playing themselves.
In 2001’s “Ocean’s Eleven,” George Clooney finds his old heist buddy Brad Pitt running a poker game for “Teen Beat” cover boys including Topher Grace and Joshua Jackson, also playing themselves. Clooney spontaneously teams with Pitt to con them. And the plot of the 2007 sequel “Ocean’s Thirteen” centers on the high-tech rigging of casino games.
Asked about the relevance of the films to the NBA scandal, which came soon after a story out of Paris that could’ve come straight out of “Ocean’s Twelve,” Clooney told The Associated Press with a laugh that “we get blamed for everything now.”
“‘Cause we also got compared to the Louvre heist. Which, I think, you gotta CGI me into that basket coming out of the Louvre,” Clooney said Thursday night at the Los Angeles premiere of his new film, “Jay Kelly.” He was referring to thieves using a basket lift to steal priceless Napoleonic jewels from the museum.
2017’s “Molly’s Game,” and the real-life memoir from Molly Bloom that it was based on, could almost serve as manuals for how to build a poker game’s allure for desirable “fish” in the same ways and with the same terminology that the organizers indicted Thursday allegedly used.
The draw of Bloom’s games at hip Los Angeles club The Viper Room were not NBA players, but Hollywood players like Leonardo DiCaprio, Tobey Maguire and “The Hangover” director Todd Phillips. (None of them were accused of any wrongdoing.)
In the movie written and directed by Aaron Sorkin, Bloom, played by Jessica Chastain, describes the way a famous actor acts as an attractor for other players, the same way officials said Thursday that NBA “face cards” did for the newly indicted organizers.
The unnamed actor, played by Michael Cera, was at least partly based on the “Spider-Man” star Maguire.
“People wanted to say they played with him,” Chastain says. “The same way they wanted to say they rode on Air Force One. My job security was gonna depend on bringing him his fish.”
In her book, Bloom described the allure for the players she drew.
“The formula of keeping pros out, inviting in celebrities and other interesting and important people, and even the mystique of playing in the private room of the Viper Room added up to one of the most coveted invitations in town,” she writes, later adding that “I just needed to continue feeding it new, rich blood; and to be strategic about how to fill those ten precious seats.”
Bloom would get caught up in a broad 2013 nationwide crackdown on high-stakes private poker games, probably the highest profile poker bust in years before this week. She got a year’s probation, a $1,000 fine, and community service.
There were no accusations of rigging at her game, but that didn’t make it legal.
The legality of private-space poker games has been disputed for decades and widely varies among U.S. states. But in general, they tend to bring attention and prosecution when the host is profiting the way that a casino would.
A brief history of movies making poker cool
Poker — and cheating at it — has run through movies, especially Westerns, from their silent beginnings.
Prominent poker scenes feature in 1944’s “Tall in the Saddle” with John Wayne and 1950’s “The Gunfighter” with Gregory Peck.
“The Cincinnati Kid” in 1965 was dedicated entirely to poker — with Steve McQueen bringing his unmatched cool to the title character.
A pair of movies co-starring Robert Redford and Paul Newman really raised the game’s profile, though.
In the opening scene of 1969’s “Butch Cassidy and the Sundance Kid,’ a hyper-cool Redford is playing poker and refuses to leave until another player takes back a cheating accusation.
In 1973’s Best Picture Oscar winner “The Sting,” 1930s con-men Newman and Redford seek revenge against a big fish and run a series of increasingly bold gambling scams that could’ve come from Thursday’s indictments. Newman out-cheats the man at poker to set him up for the big con, a phony radio horse race.
The 1980s saw a dip in screen poker, with the subject largely relegated to the TV “Gambler” movies, starring Kenny Rogers, based on his hit song.
But the end of the decade brought a poker boomlet from the increased legalization of commercial games.
Then, at possibly the perfect moment, came “Rounders.” The 1998 Matt Damon film did for Texas Hold ’em what “Sideways” did for pinot noir and “Pitch Perfect” did for a cappella: it took an old and popular phenomenon and made them widespread crazes.
Soon after came explosive growth in online poker, whose players often sought out big face-to-face games. And the development of cameras that showed players’ cards — very similar to the tech allegedly used to cheat players, according to the new indictments — made poker a TV spectator sport.
The “Ocean’s” films and the general mystique they brought piled on too.
Clooney, talking about the broader set of busts Thursday that included alleged gambling on basketball itself, pointed out that his Cincinnati Reds were the beneficiaries of sport’s most infamous gambling scandal, the 1919 “Black Sox” and the fixing of the World Series, “so I have great guilt for that.”
“But you know there — we’ve never had a moment in our history that we didn’t have some dumb scandal or something crazy,” he said. “I feel very bad for the gambling scandal ’cause this was on the night that, you know, we had some amazing basketball happen.”
—-
Associated Press writer Leslie Ambriz contributed to this report.
Trick-or-treaters may find more fruity candy than chocolate among their Halloween handouts this year. That should be fine with younger consumers, who have been gravitating for years toward non-chocolate candies like gummies, freeze-dried treats and other sweets that come in a variety of shapes, colors and flavors.
Last year, 52% of the total volume of Halloween candy sold in the U.S. was made of chocolate, according to Dan Sadler, a principal for client insights at the market research company Circana. But in the 12 weeks ending Oct. 5, chocolate accounted for 44% of the Halloween candy sold in the U.S.
Prices may be part of it. Global cocoa prices more than quadrupled between January 2023 and January 2025 due to poor harvests in West Africa, where 70% of cocoa is produced. Chocolate candy is lot more expensive as a result.
Chocolate Halloween candy in the U.S. cost an average of $8.02 per pound in the 12 weeks ahead of Oct. 5, while non-chocolate candy cost an average of $5.77 per pound, Sadler said.
Here’s a look at Halloween candy by the numbers:
$7.4 billion
The amount Americans spent on Halloween candy in 2024, according to the National Confectioners Association. That was 18% of all candy sales last year.
30 million
The number of M&M’s that Mars Inc. makes each day at the facility in Topeka, Kansas, that produces its Halloween candy.
$10,710
The price for a metric ton of cocoa in January, which was an all-time high. Cocoa prices have fallen since then, but Sadler said it will take months for consumers to see the impact of those lower prices.
1,254
Miles between Topeka and New York. If you stretched out all the Snickers bars that Mars makes annually in Topeka, you could make that trip seven times.
61%
Percentage of U.S. consumers who bought candy for trick-or-treaters last year, according to Hershey. Hershey said 45% of consumers reported buying Halloween candy for themselves.
40.8%
Market share for Hershey in Halloween candy last year, making it the top performer. Hershey said its Halloween assortment — which includes Reese’s, Kit Kat and Almond Joy — was the top seller last Halloween.
July 5
Date which Mars started rolling Halloween candy out to U.S. stores this year. Mars makes Snickers, M&Ms, Skittles, Starburst and other candies.
4.9%
Growth in dollar sales of non-chocolate candy in the U.S. in 2024, according to the National Confectioners Association. Chocolate candy sales, in comparison, grew 0.4%.
3.6
Average number of weeks ahead of Halloween that Americans buy Halloween candy, according to Mars. Generation Z buys it sooner, around 4.5 weeks in advance.
2 years
Amount of time Mars takes to plan for a Halloween season.
PARIS (AP) — The robbery at the Louvre has done what no marketing campaign ever could: It has catapulted France’s dusty crown jewels — long admired at home, little known abroad — to global fame.
One week on, the country is still wounded by the breach to its national heritage even as authorities Sunday announced arrests tied to the haul.
Yet the crime is also a paradox. Some say it will make celebrities of the very jewels it sought to erase — much as the Mona Lisa’s turn-of-the-20th-century theft transformed the then little-known Renaissance portrait into the world’s most famous artwork.
In 1911, a museum handyman lifted the Leonardo da Vinci masterpiece off its hook. The loss went unnoticed for more than a day; newspapers turned it into a global mystery, and crowds came to stare at the empty space. When the painting resurfaced two years later, its fame eclipsed everything else in the museum, and that remains so today.
That’s the uneasy question shadowing Sunday’s robbery: whether a crime that cut deep will glorify what’s left behind.
“Because of the drama, the scandal, the heist, the Apollo Gallery itself and the jewels that remain will likely receive a new spotlight and become celebrities, just like the Mona Lisa after 1911,” said Anya Firestone, a Paris art historian and Culture Ministry licensed heritage expert. She toured the gallery the day before the robbery and did not think it looked sufficiently guarded.
Bringing celebrity through theft
The heist has electrified global media. Nightly newscasts from the U.S. to Europe and across Latin America and Asia have beamed the Louvre, its Apollo Gallery and the missing jewels to hundreds of millions — a surge of attention some say rivals, or even surpasses, the frenzy after Beyoncé and Jay-Z’s 2018 “Apeshit” video filmed inside the museum. The Louvre is once again a global set.
For generations, the British monarchy’s regalia has captured the popular imagination through centuries of coronations and drawing millions every year to their display in the Tower of London. Meanwhile, France’s jewels lived in the shadow. This week’s heist tilts the balance.
One early emblem of that celebrity effect could be the survivor piece itself — Empress Eugénie’s emerald-set crown, dropped in the getaway and studded with more than 1,300 diamonds — which may now become the gallery’s most talked-about relic.
“I’d never even heard of Eugénie’s crown until this,” said Mateo Ruiz, a 27-year-old visitor from Seville. “Now it’s the first thing I want to see when the gallery reopens.”
Among the treasures that escaped the thieves’ grasp are storied gems still gleaming under glass — the Regent Diamond, the Sancy and the Hortensia. Authorities say one other stolen bejeweled piece, besides Empress Eugénie’s damaged crown, has since been quietly recovered, though they have declined to identify it.
The heist has not dented the Louvre’s pull. The palace-museum reopened to maximum crowds Wednesday, even as the jewels remain missing. Long before the robbery, the museum was straining under mass tourism — roughly 33,000 visitors a day — and staff warn it cannot easily absorb another surge, especially with the Apollo Gallery sealed and security resources stretched.
Jewels represent French history itself
For France, the loss is more than precious stones and metal totaling over $100 million; it is pages torn from the national record. The Apollo Gallery reads as a timeline in gold and light, carrying the country from Bourbon ceremony to Napoleon’s self-fashioned empire and into modern France.
Firestone puts it this way: The jewels are “the Louvre’s final word in the language of monarchy — a glittering echo of kings and queens as France crossed into a new era.” They are not ornaments, she argues, but chapters of French history, marking the end of the royal order and the beginning of the country France is today.
Interior Minister Laurent Nuñez called the theft an “immeasurable” heritage loss, and the museum says the pieces carry “inestimable” historic weight — a reminder that what vanished is not just monetary.
Many also see a stunning security lapse.
“It’s staggering that a handful of people couldn’t be stopped in broad daylight,” said Nadia Benyamina, 52, a Paris shopkeeper who visits the gallery monthly. “There were failures — avoidable ones. That’s the wound.”
Investigators say the thieves rode a basket lift up the building’s Seine-facing façade, forced open a window, smashed two display cases and fled on motorbikes — all in minutes. Alarms sounded, drawing security to the gallery and forcing the intruders to bolt, officials say. The haul spanned royal and imperial suites in sapphire, emerald and diamond — including pieces tied to Marie-Amélie, Hortense, Marie-Louise and Empress Eugénie.
In Senate testimony, Louvre director Laurence des Cars acknowledged “a terrible failure,” citing gaps in exterior camera coverage and proposing vehicle barriers and a police post inside the museum. She offered to resign; the culture minister refused. The heist followed months of warnings about chronic understaffing and crowd pressure points.
Drawing crowds to see what isn’t there
Outside the blocked doors, visitors now come to see what cannot be seen.
“I came to see where it happened,” said Tobias Klein, 24, an architecture student. “That barricade is chilling. People are looking with shock and curiosity.”
Others feel a flicker of hope. “They’re ghosts now — but there’s still hope they’ll be found,” said Rose Nguyen, 33, an artist from Reims. “It’s the same strange magnetism the Mona Lisa had after 1911. The story becomes part of the object.”
Curators warn that recutting or melting the jewels would be a second violence. In museums, authenticity lives in the original: the mount, the design, the work of the goldsmith’s hand — and the unbroken story of who made, wore, treasured, exhibited and, yes, stole the object.
Whether loss now brings legend is the Louvre’s uneasy future.
“In the strange economy of fame, even bad news becomes attention — and attention makes icons,” Firestone said.
Even M. Night Shyamalan — known for making darker movies like “The Sixth Sense” and “Signs” — goes looking for the light sometimes.
“I just finished three really dark movies, ‘Old,’ ‘Knock at the Cabin’ and ‘Trap,’ which are really edgy movies where the characters are super, super dark and complicated, and I wanted to do something different,” said the director.
He found an interesting opportunity to collaborate on a new supernatural romance novel called “Remain” with Nicholas Sparks. Yes, that Nicholas Sparks — king of romantic dramas like “The Notebook” and “A Walk to Remember.”
Co-authored books are a hot trend right now in the publishing world. Reese Witherspoon and Harlan Coben have a new novel out. James Patterson has teamed up with Bill Clinton and Dolly Parton on books. This collab, however, is different in that Shyamalan had written the screenplay and Sparks agreed to write a novel based on that story. A “Remain” film — starring Jake Gyllenhaal and Phoebe Dynevor — already wrapped production and will be released next year.
“I don’t think anybody has ever done what we just did, which was take the same story and simultaneously go do our separate things,” said Sparks. “It isn’t in linear fashion. It’s two people doing two different art forms from the same story. I trusted him 100% to make the best film version of that story possible and he trusted me.”
The two crossed paths years ago when Shyamalan was asked if he would want to adapt Sparks’ novel “The Notebook” into a feature film. The job ended up going to Nick Cassavetes, but Shyamalan said Sparks’ work “always represented something magical to me.” It meant something to him that he would be entrusted with a story so beloved.
In an interview with The Associated Press, Sparks and Shyamalan talk about teaming up, scary movies and chicken salad. Answers have been edited for clarity and brevity.
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AP: At first thought, you two working together seems like an unlikely duo. but the supernatural and romance genres have a lot in common.
SPARKS: We’re not the first to dabble in this. The biggest movie of 1990 was “Ghost.” Shakespeare used to put ghosts into his plays.
SHYAMALAN: I think love is a supernatural conceit. It’s a mythology we all buy into, but it is still a mythology, a supernatural mythology that there’s a “one.” The “destined one” that you meet in the coffee shop and that you know it was meant to be, and then all the things that happened because you met.
AP: Night, you say you approached Gyllenhaal at the beginning of the year about this role. When you did that, did you tell him it would also be a novel written by Sparks?
SHYAMALAN: I must have. But it was such an unusual moment because I had finished writing the screenplay, pressed save, rushed to get in the car to go to New York for my daughter’s birthday. In the car the phone rings, and it’s Jake. And I’m like, “What’s up, man?” We hadn’t talked in five years, something more. And he’s like, “I’d love to be in one of your movies.” And I went, “That is so weird. Where are you?” And he’s like, “I’m in New York.” I said, “Well, I’m going to New York. Want to have tea?” I had a gut feeling that the universe was doing something. So, I called my assistant. I said, “Print the script.” So, we’re just having tea and catching up. And he’s telling me how in love he is and how he’s just so happy and in love. And I said, “You know what? Here.” He was in shock. He called me two days later and said, “I’m in. I love it.” It was a weird kind of beautiful thing.
AP: Does the book follow the screenplay to the letter or vice versa?
SPARKS: Like any adaptation, no. The first thing I said when I read his script was, “Hey, this is great. Of course, it’s gonna be nothing like my novel. It’s entirely different.” Night said basically the same thing.
SHYAMALAN: I think for audiences, it’ll be really interesting. They can point out the differences and ask, “Why did Nicholas do that with the character and the backstory? Why did Night do this?” Our dialogue isn’t the same.
AP: Night, we’re in spooky season with Halloween coming up. Are there any films — besides your own — that you recommend watching?
SHYAMALAN: “The Exorcist,” of course, it’s always there. There’s “The Innocents.” “The Haunting” 1963 film by Robert Wise. And the Japanese movie “Cure.”
AP: Nicholas, have you made Night your famous chicken salad with Splenda?
SPARKS: No, I haven’t. I did an interview with the New York Times where I offered the reporter some of my homemade chicken salad and it had Splenda. And whatever reason this blew up on social media. People thought it must be the most disgusting chicken salad ever. So, I said, “No, it’s delicious.” We started making it on my book tour last year, handing it out to people. And in fact, Splenda put the recipe on its boxes. You can get them. I was invited to the Indianapolis 500 to see the Splenda car.
SHYAMALAN: To get to the core of your question. No, he has not made it. Nor has he mentioned it. Didn’t even offer it.
LONDON (AP) — If you listen carefully, you can hear the noise of chocolate frogs flying through the air on the Hogwarts Express.
Hermione Granger gasps with delight as Ron Weasley catches the sweet treat thrown his way by Harry Potter, as all three travel home after an eventful first year at the wizarding school.
This isn’t the now-vintage, Daniel Radcliffe-era movies, it’s not the “Cursed Child” play and neither is it the forthcoming HBO TV series. What you’re hearing is a brand-new cast in a new Audible recording of J.K. Rowling’s seven books.
The legacy of Harry Potter might have been clouded by headlines surrounding Rowling’s comments on gender and opposition to trans rights, but it hasn’t stopped production on new projects set in the wizarding universe. The Associated Press visited the London recording studio for a “Harry Potter and the Sorcerer’s Stone” session in the summer, as young actors Frankie Treadaway, Max Lester and Arabella Stanton lay down walla — background noise that’s used to bring the stories to life. The young trio voice Harry, Ron and Hermione in the first three audiobook adaptations, before an older cast takes over.
Instead of listening to someone like Jim Dale or Stephen Fry telling the whole story alone, this new audio production — the first book releases Nov. 4 — has a full, high-wattage cast. While Cush Jumbo narrates, Hugh Laurie is Albus Dumbledore, Riz Ahmed portrays Professor Snape and Michelle Gomez brings Professor McGonagall’s Scottish lilt to life. Matthew Macfadyen voices Voldemort, and Keira Knightley appears later in the series as Dolores Umbridge.
But it’s Stanton who is pulling double duty in the Potterverse: The 11-year-old is also starring as the studious and brave Hermione Granger in the HBO show.
“I can’t say much, because they’ve cast a Mimblewimble tongue-tying spell on me,” Stanton apologizes. “But I’ve just started filming, and it’s great at the moment.”
AP sat down with Treadaway, 14, Lester, 13, and Stanton to find out the snacks required to keep them going, their introductions to the wizarding world and how they feel about acting. The conversation has been edited for clarity and brevity.
AP: What were the auditions like?
TREADAWAY (Harry): You really got like, a taste of what it was going to be like, also in the studio and even the scenes.
AP: Had you done anything like this before?
LESTER (Ron): I did some audio before, yeah, but I mean nothing as professional as this is.
AP: How does this compare to your stage work?
STANTON (Hermione): It’s just very, very different, but I suppose the similar thing is that, because you want to make your voice come alive, I think you … sort of act as you’re saying the lines to give the words some color.
AP: How’s the recording going so far?
LESTER: Lovely people, great food and great experience.
AP: What’s your favorite food when you’re working?
TREADAWAY: The snack cupboard and the chocolate fridge.
LESTER: The chocolate fridge is dedicated to chocolate.
STANTON: It’s filled with snacks.
TREADAWAY: They have to restock every time I go.
AP: Can you remember the first time you ever heard about Harry Potter?
TREADAWAY: I think it might have been when my sister was watching the movies chronologically and then for some reason I only decided to tag along for the last one.
AP: Did you go back to the beginning?
TREADAWAY: I don’t think I did, because I was like, “Oh, I can’t watch this, this is a 12 (rating),” so I had to wait till I was 12 to watch them.
STANTON: My friends had started all reading all the books and everything and they were like, “Oh have you heard Harry Potter this, Harry Potter that?” And so I was like, right I’m going to start reading the books. So I think when I was 8 I started reading the first one. Sort of just worked my way through them and yeah it was great, I’ve loved Harry Potter. I love it.
LESTER: I saw this book in Waterstones and everyone said that it was quite popular. It was like one of the bestsellers. So my mum bought it for me and I read the book and it was just great.
AP: So what do your friends and family think about you voicing these characters? Have you been able to tell them?
LESTER: I haven’t really told many of them, not really.
TREADAWAY: I think those who know will never truly know actually what it’s about until they listen to it.
STANTON: I think I’ve told quite close family, sort of keeping it in a bubble. But they’ll never really understand because so much effort — I mean, the teams, all the amazing people behind it, they put in so much effort to make the audio series incredible.
AP: Have you got a favorite part of the stories?
TREADAWAY: I can’t wait to hear how the battle scenes work because of all the SFX and all the sounds and all of the grunts and oohs and ahs and all that because I think that will sound really cinematic. … It was very weird because I would stand there for a minute just grunting and I would feel so stupid.
STANTON: I can’t wait to hear all the spells because I think Hermione generally just says so many spells and I can’t wait to hear the sounds of people casting them, I just love spells.
LESTER: My favorite part that I’m looking forward to is just literally just to hear it all come together and for everyone to talk to each other because I feel like that’s going to be amazing.
AP: Are you like your characters in any way?
TREADAWAY: That’s how I found it quite easy to just step into the character because I think I relate to them and I’m sure you guys do as well. … I’m not like the biggest ego ever. … Sometimes you’re the smaller person in the room and you just sometimes just mingle. I feel like I relate to Harry in that way.
AP: How about you and Hermione?
STANTON: I love books. I love writing, I love reading, I love doing all that kind of stuff. I mean, I like school, but I don’t love school. And I think … books is the main connection between Hermione and I.
AP: How are you like Ron?
LESTER: I think we both relate to each other because we’re quite cheeky and we love food. We love food! … In moments, we’re both serious and we’re also not afraid to stand up for the people that we love or stand up for our friends because we always do the thing that’s right, and that’s kind of what I relate to, because I go into the deeper side of Ron, and not just the eating food and being cheeky.
AP: What’s your favorite kind of magical element?
LESTER: My favorite kind of magical element is the spells. I think they’re just really cool. Like “stupefy” (the stunning spell) — I think that’s very, very cool.
STANTON: One of the main props that Hermione uses is the Time Turner. I love all the magical objects like the Invisibility Cloak, the Time Turner, all those things because … (they’re) things you wouldn’t be able to use in real life, but in the magic world, it transports you into a completely different world.
TREADAWAY: The Polyjuice Potion, because when you record that, it’s like, you have to really hone in on the actual sound of turning into someone else, and that was one of my favorite magic parts of it.
AP: Are you aware of how much love there is for Harry Potter?
TREADAWAY: I guess that’s sort of why you have a bit of pride in yourself knowing that such a big name and characters, you get to associate yourself with them. If you know what I mean, it gives you a little feeling inside your heart.
AP: What does it mean for you to be representing Ron?
LESTER: It makes me proud, honestly, to be representing such a great and funny character, but then also, I don’t know, it just makes me … feel a part of this community.
AP: And how about you, representing Hermione?
STANTON: I’ve dreamt of that since a really young age, and I’ve always looked up to all of the people who played Hermione, like Emma Watson and all those people.
AP: Are you aware how huge it is around the world?
TREADAWAY: I don’t think we’ll really feel that until it comes out, I guess, because that just makes it more unreal.
LESTER: It’s so popular around the world, which makes it more unreal that so many people are going to be interested in this and we don’t even realize it, yeah, we can’t even process this.
AP: So is acting the way forward for you now? Would you like to continue doing this?
TREADAWAY: Yeah, definitely — I mean on this, it never really felt like pushing yourself to do something, it wasn’t work, it felt like an enjoyable experience and you’ve got something to see at the end of it.
STANTON: I’d love to act, yeah, definitely. And I think, like Frankie said, I mean, just being part of the audio series is incredible. And yeah, can’t wait to do more.
LESTER: I think it is for me because I always say it’s not work if you do something that you love and, honestly, I love acting so much. It makes me feel happy and it makes me feel like my true self and … I think it is the way forward just to keep going and do a lot of jobs, hopefully.
Zoo officials described the roughly 1.5-year-old bear as “very polite” during its brief visit. The curious newcomer, likely a recently independent cub, climbed a tree near the perimeter fence — a favorite activity for adventurous young bears — and wandered in from the neighboring 67-acre Sequoia Park forest.
The curious newcomer was likely a newly independent cub.(Sequoia Park Zoo)
Bears are common in the surrounding redwood forest, zoo staff explained to Fox News Digital. “But this is the first to visit our bear family.”
When staff opened a gate to offer a safe exit, the young bear simply returned to the forest on its own.
Black bears are generally not aggressive and avoid contact with humans.(iStock)
The Sequoia Park Zoo emphasized that the event did not highlight conflict between the wild bears and those in captivity, but rather a peaceful coexistence.
The zoo’s resident bears, who can often be seen climbing 200-foot redwoods or swimming in their naturalistic habitat, were placed there by the California Department of Fish and Wildlife after being deemed unsuitable for wild release.
“Our message is all about keeping wild bears wild,” the zoo noted. “Encounters like this remind us we share space with incredible wildlife — and that respectful distance helps keep them safe.”
Zoo officials noted that black bears are “generally not aggressive” and in fact often avoid contact with people.
Khloe Quill is a lifestyle production assistant with Fox News Digital. She and the lifestyle team cover a range of story topics including food and drink, travel, and health.
Online furniture stores have completely changed how we shop for our homes – battling with tape measures under fluorescent showroom lighting has been replaced by hours of scrolling and daydreaming from the sofa. Whether you’re after a mid-century dining table, a sculptural accent chair, or a chic storage solution for all that stuff you swore you’d declutter, the digital world is full of design-led options that make creating your dream space surprisingly effortless.
The beauty of shopping online is the access it gives you – to boutique makers you might never stumble across on the high street, to custom pieces that feel really personal, and to interiors inspiration by the bucketload (hello, Pinterest and Insta). There’s confidence in buying furniture online now, too. Many companies have stepped up their game with generous return policies (think brands like Simba and Emma battling it out to offer the longest sleep trials) and free fabric swatches that make it easy to picture how things will work in your home (think big sofa brands like Swyft or Darlings of Chelsea). Plus, with sustainability and craftsmanship becoming bigger priorities, many of the best online furniture stores are as focused on quality and responsible production as they are on aesthetics.
So, whether you’re refreshing one room or starting from scratch in the new pad you’ve just picked up the keys for, these are the names worth bookmarking. From affordable but design-savvy retailers to high-end collections that feel straight out of an interiors mag, the best online furniture stores prove that good design is more accessible than ever. All that’s left to do? Pop the kettle on, open your laptop, and prepare to fall down one very stylish rabbit hole.
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What are the best online furniture stores in the UK?
Soho Home reigns supreme as one of the most high-end furniture stores in this edit. Stocking design-led pieces inspired by the furnishings inside their iconic properties (think: Soho Farmhouse, Babington or Shoreditch House), everything from the brand’s floor lamps to its chaises are dripping in opulence. The best online furniture store if you have a little more to spend, for sure.
Is it better to buy furniture online?
When it comes to shopping for furniture, you have the option to either visit physical stores or browse online, each with its own advantages and drawbacks. Shopping in person allows you to actually see the furniture you’re shopping for, allowing you to gain a better understanding of its quality, materials, and comfort level. However, this method can be time-consuming, and transporting large items home can be challenging. On the other hand, online shopping offers convenience and a wider selection, allowing you to compare prices and styles easily.
When is the best time of year to buy furniture?
In short, it’s worth waiting for Black Friday or Amazon Prime Day to drop. The January sales are another great time to pick up furniture deals, and outside of those, brands like Wayfair and Dunelm run mid-season sales to help you save on big purchases.
What should you consider when shopping for furniture?
When you’re on the hunt for furniture, it’s important to think about a few key things to make sure you end up with pieces that fit your home and lifestyle perfectly. First off, consider how you’ll use the furniture and where it’ll go in your space. Make sure it’s the right size and style to match your existing decor, and take a close look at the materials and construction to ensure durability. Of course, budget matters too, so make sure you check out a range of retailers to find items that strike the right balance between quality and price that works for you.
The best furniture stores at a glance…
How we chose the best online furniture stores
Whether you’re looking for a luxe mattress, an anxiety-reducing weighted blanket, or a stylish wardrobe, our team of editors and contributors at Glamour HQ have attended exclusive press events and rigorously tested products to stay in-the-know of the hottest items in the interior design sphere. We chose the best online furniture stores by looking for standout design features, sustainability credentials, and vast price ranges to suit every budget. We’ve only listed furniture stores that we can personally vouch for, having tested items from the brands in person, spoken to their representatives, and thoroughly evaluated their customer reviews to get an solid idea of what customer’s are saying about each brands homeware offerings.
Why you can trust us
Glamour’s in-house shopping team is committed to helping readers discover the best products across every category we cover, as explained in detail on our how we test page. To ensure our recommendations are accurate and insightful, the team regularly consults with specialists across various interiors categories, gaining a deeper understanding of the products we review and the key features that matter most.
Best for: Modern, handcrafted pieces that blend perfectly with your own personal style and which are made to mirror the look of the numerous Soho Houses around the world.
Pros: Excellent craftsmanship.
Cons: You won’t be able to cash in on the Soho House discount unless you’re a member.
Customers are saying: Great online team and first-class furniture.