Virginia offshore wind developer sues over Trump administration order halting projects

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NORFOLK, Va. (AP) — The developers of a Virginia offshore wind project are asking a federal judge to block a Trump administration order that halted construction of their project, along with four others, over national security concerns.

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Dominion Energy Virginia said in its lawsuit filed late Tuesday that the government’s order is “arbitrary and capricious” and unconstitutional. The Richmond-based company is developing Coastal Virginia Offshore Wind, a project it says is essential to meet dramatically growing energy needs driven by dozens of new data centers.

The Interior Department did not detail the security concerns in blocking the five projects on Monday. In a letter to project developers, Interior’s Bureau of Ocean Energy Management set a 90-day period — and possibly longer — “to determine whether the national security threats posed by this project can be adequately mitigated.”

The other projects are the Vineyard Wind project under construction in Massachusetts, Revolution Wind in Rhode Island and Connecticut and two projects in New York: Sunrise Wind and Empire Wind. Democratic governors in those states have vowed to fight the order, the latest action by the Trump administration to hobble offshore wind in its push against renewable energy sources.

Dominion’s project has been under construction since early 2024 and was scheduled to come online early next year, providing enough energy to power about 660,000 homes. The company said the delay was costing it more than $5 million a day in losses solely for the ships used in round-the-clock construction, and that customers or the company would eventually bear the cost.

Dominion called this week’s order “the latest in a series of irrational agency actions attacking offshore wind and then doubling down when those actions are found unlawful.”

The Bureau of Ocean Energy Management didn’t immediately respond to an email seeking comment.

U.S. District Judge Jamar Walker set a hearing for 2 p.m. Monday on Dominion’s request for a temporary restraining order.

The Associated Press’ climate and environmental coverage receives financial support from multiple private foundations. AP is solely responsible for all content. Find AP’s standards for working with philanthropies, a list of supporters and funded coverage areas at AP.org.

It’s 43 hours from LA to Chicago. These train people like it that way

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By Christopher Reynolds, Los Angeles Times

We were well into our journey from Los Angeles to Chicago, surrounded by cornfields and grain elevators, when the train halted and a voice rang out.

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“All right, folks,” said a man on the PA system. “We’ve come to a stop in what appears to be the middle of nowhere.”

To a traveler in a hurry, this is the stuff of nightmares. To a seasoned passenger on the L.A.-Chicago train known as Amtrak’s Southwest Chief, it’s just another day.

When you board an American long-distance train in 2025, you are trading the airport routine for entry into a locomotive-driven realm where there is neither TSA nor WiFi. And AI might as well stand for aged infrastructure.

There will be delays, often because of passing freight trains. But in the bargain, you are freeing yourself from worry about aerodynamics or the chronic shortage of U.S. air traffic controllers and gaining access to ground-level scenery and idle hours.

You’re also joining a modest trend. Even before this fall’s bout of flight cancellations during the government shutdown, Amtrak had set records for passengers and revenue in fiscal 2024, then again in 2025. Ridership on the Southwest Chief rose 12.6% in the last year. Amtrak’s long-distance trains haven’t caught up with their pre-pandemic numbers yet, but we seem to like them a little more lately.

To learn why, I boarded the Southwest Chief at Los Angeles Union Station on a recent Monday afternoon. I was ready to see a few desert sunsets from the Sightseer Lounge and hear what people say when they have the time to chat with a stranger IRL.

Passengers board the Southwest Chief at Los Angeles Union Station. (Christopher Reynolds/Los Angeles Times/TNS)

Before long, I had been party to conversations about fear of flying, doctors in Tijuana, how to make beef jerky and how to sleep in a moving metal box. I’d also heard these sentences:

•”I like watching the country go by. I draw and I paint,” said passenger Nancy Roeder.

•”I’m a fourth-generation model railroader,” said William Angus.

•”I’m not going to lie to you. I took his life.”

This last comment came from a fellow traveler, ruefully disclosing an act of self-defense many years ago. No proof was offered, but I believed it. I also found the teller of the story (whom I won’t name) to be good company, thoughtful and generous.

In other words, on a two-day train, you meet people and hear things that you might not on a four-hour flight.

What Paul Theroux wrote 50 years ago in “The Great Railway Bazaar” is still true: “Anything is possible on a train: a great meal, a binge, a visit from card players, an intrigue, a good night’s sleep, and strangers’ monologues framed like Russian short stories.”

Passengers relax in the Sightseer Lounge on Amtrak’s Southwest Chief. (Christopher Reynolds/Los Angeles Times/TNS)

Flagstaff by dawn

There’s one Southwest Chief departure from Los Angeles every day (and one from Chicago). If everything goes right, the 2,265-mile, 32-stop trip takes about 43 hours.

But only a rookie would count on that. About 60% of the time, the Southwest Chief arrives at least 15 minutes late.

Back in 1936, when the Atchison, Topeka & Santa Fe Railway introduced Southwest Super Chief service between Los Angeles and Chicago, this was a roughly 40-hour journey. The passenger list included plenty of show-biz people and the first stop was in Pasadena.

Nowadays, the Southwest Chief is run by Amtrak (which gets government funding but operates independently enough to be unaffected by recent government shutdowns). There are not so many show-biz people now, not as many frills. Instead of Pasadena, its first stop after Los Angeles is Fullerton, followed by a bend to the northeast. By the time I arrived in the dining car for my first dinner aboard, we were nearing Barstow.

“This way, young man,” lied the server winningly as he steered me to a table. (I am 65. In the dining car, every traveler, no matter how aged, gets greeted as a young man or young lady.)

Since booths hold four people, dining car stewards like Chuck Jones manage the delicate task of putting travelers together. Through PA announcements and whispers in the aisles, he encouraged us to introduce ourselves and keep phones off tables.

He also suggested we steer clear of politics — a tall order when traveling through a government shutdown from a city the president had just called “lawless” to one he had just called “the worst and most dangerous city in the world.”

Surprise: Almost everyone complied.

Over the course of six dining car meals as a solo traveler, I heard no political disagreements and met travelers from their 20s to their 80s.

A meal is served in the dining car of Amtrak’s Southwest Chief train from Los Angeles to Chicago. (Christopher Reynolds/Los Angeles Times/TNS)

Claudette Toth, a senior from Massachusetts, estimated that she’d only flown three or four times in her life. William Angus, a 24-year-old returning to Chicago from a pilgrimage to the San Diego Model Railroad Museum told of how much he loved running a 1/87 scale model of the Bakersfield-Mojave rail system, re-enacting operations from February 1953.

As Angus spoke, Ernie Haecker, a longtime train lover, nodded in understanding, grinning beneath a handlebar mustache. Haecker, 77, an audiologist, told us he takes the train every six weeks, splitting time between Santa Fe and New York. After so many trips, he knows the crew, knows where the train will pause long enough for him to shave, knows he can count on chatting with “a whole panoply of folks every time.” He even knew the spot in Illinois where the train would switch from one old company’s tracks to another’s.

“We just left the old Santa Fe,” he would say when the moment came. “Now we’re on Burlington.”

My dinner on the first night was another happy surprise — a fairly tender and flavorful flat iron steak. There was a vase holding flowers at every table, along with white tablecloth.

Still, nobody should expect a Michelin-star meal in an Amtrak dining car. It’s common for servers to bring out dessert before the main dish (to avoid running behind later) and at one meal, someone forgot my order and I had to start over half an hour later.

By the time we crossed into Arizona that first night, I was back in my roomette nodding off, lulled like a baby atop a washing machine.

We were near Flagstaff when I blinked awake, glad to catch sight of the sunrise and grateful to have a sleeping area of my own.

Arizona sprawl and the Amtrak class system

Of the three ways you can travel long-distance on Amtrak, the fanciest option is a private room that’s about 50 square feet (including private bath). The cost — about $3,200 for a couple, one way, when I booked — includes meals in the dining cars. (Family rooms, which hold four people but share bathrooms, cost about the same. All rates fluctuate by season and demand.)

That was too pricey for me and my expense account, so I booked a roomette. The roomettes are about half the size of a private room, with dining-car access and upper and lower berths that allow two travelers to lie flat (or one to spread out). These share toilets and showers. This cost me $809. (For a couple, the tab would have been $1,112.)

Roomettes measure about 23 square feet in Amtrak’s Southwest Chief train from Los Angeles to Chicago. (Christopher Reynolds/Los Angeles Times/TNS)

The third option was coach class, which means sleeping in your seat. It’s a sensible choice if you’re traveling only a portion of the route, and it’s what I did when traveling this route as a college student 45 years ago.

I was intrigued to see that coach fares start at $198 — only a bit more than the starting price for a flight. But no, not intrigued enough.

As a coach passenger, you don’t get access to the dining car (unless there’s room and you’re willing to pay $20-$45 for a meal). Instead, you bring food, buy snacks in the cafe car below the Sightseer Lounge or, if truly desperate, try to arrange a restaurant delivery to an upcoming fresh-air stop.

Fortunately, all classes get access to the Sightseer Lounge, where armchairs and couches face big windows. I’ve heard of lounges getting pretty crowded and ripe on heavily booked trips, but our trained seemed less than half-full. A few coach passengers dozed in the lounge overnight (which is officially forbidden) and nobody seemed bothered.

That first morning, with coffee in hand, I tiptoed into the lounge, sank into an armchair and watched the desert sprawl while wispy clouds clung to the horizon under a brightening sky.

For much of Amtrak’s Southwest Chief train’s route through Arizona, the route is flanked by old Route 66 and other lonely desert roads. (Christopher Reynolds/Los Angeles Times/TNS)

This postcard (or rather Instagram) moment came somewhere between Winslow and Holbrook. I’m told the scenery is more dramatic on the Coast Starlight (from Los Angeles to Seattle) and the California Zephyr (from Emeryville through the Rockies to Chicago). But this comes down to taste. If you like deserts, the Chief is hard to beat. (Though no matter the route, if you like photography, the train is a challenge: no open windows, so you’re always shooting exteriors through glass.)

As Arizona yielded to New Mexico, the dirt seemed to get redder and the ridges rose to form buttes. Along rivers and creeks, bright yellow cottonwood trees congregated in bursts of yellow. Occasionally we’d glimpse small towns and timeworn roadside attractions — a reminder that Old Route 66 basically follows Southwest Chief’s path between the West Coast and Albuquerque, New Mexico.

Amish in transit, elk at sunset

“Living in L.A., you forget all this space,” said Kim Rinauro, a nurse from Los Feliz. “When you come out and see how vast this is, it really gives you a different perspective.”

“America is so ginormous,” said Jeanine Bass, a softball coach from Costa Mesa who was on her way to see family in upstate New York.

Meanwhile, one end of the observation car had been filled by several women in white bonnets, joined by men with straw hats, footlong beards and no mustaches. Occasionally I’d hear a sort of clapping sound. Amish families. Playing dominoes.

Amish travelers have been using this route for decades, one of the men told me, on their way to and from doctors in Tijuana. Seeking medical treatment that’s more affordable and easier to schedule than in the U.S., they take trains to Southern California, then continue overland across the border.

Just before we made a 45-minute stop at the station, which is surrounded by a grim neighborhood, an Amtrak staffer took the microphone to sternly address the coach-class travelers.

“Coaches: No alcohol,” she said. “If you bring alcohol, you can stay and spend all night here with the transients.” For those in rooms and roomettes, she continued, booze in private rooms is OK, but not in public spaces.

Farther into New Mexico, we passed the other Southwest Chief train, carrying passengers west.

Between Raton, New Mexico, and Trinidad, Colorado, amid a gaudy sunset, we crept past a herd of elk, then plunged into a tunnel. Emerging, we caught a last bit of sunset, some of the most gorgeous miles of the trip.

Yet this, I learned later, is the part of the trip that Amtrak’s chief executive tried to replace with bus service in 2018. The effort failed and that executive is no longer in the job. But the battles in Washington over Amtrak funding and mission never end, which is why so many cars, like the Superliners on the Southwest Chief, were built between 1979 and 1996. Amtrak leaders have set a goal of replacing their older long-distance cars by 2032.

Speaking of hardware: Eventually I tried the shower. It didn’t go well. First, I saw that someone had stolen the shampoo dispenser. Then I couldn’t find a way to cool the scalding-hot water. I stood as far back as I could in the snug compartment and grimaced my way through it.

Missouri, Iowa and Illinois: The final miles

On arrival day, I woke just as we reached the station in Kansas City, another gritty neighborhood along the tracks. Our news feeds were filled with fresh reports of nationwide flight delays because of the government shutdown.

Soon we were crossing the Missouri River, roaring through forest and skirting naked farmland where this year’s corn crop had just been cut. Then came Fort Madison, Iowa; the Mississippi River and the beginnings of Illinois. Water towers and grain elevators.

I zipped my bags shut, tipped the roomette attendant and dining car team. Soon I’d be stretching my legs at the Art Institute of Chicago, walking Millennium Park and along the Chicago River, checking out the skyline from Navy Pier.

We pulled into Union Station within an hour of our target time.

Was it a perfect trip? No. But it was full of humanity, scenery and comforting clangs and rumbles. I even liked the lurching way you had to walk down the corridors, adjusting balance as the train shifts. And then, to step off the train after two days into a brisk Chicago afternoon, 2,265 miles from home, having never left the ground? That’s almost magic.

Travelers head toward seats at Chicago Union Station. (Christopher Reynolds/Los Angeles Times/TNS)

©2025 Los Angeles Times. Visit at latimes.com. Distributed by Tribune Content Agency, LLC.

Nigerian villagers are rattled by US airstrikes that made their homes shake and the sky glow red

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By OPE ADETAYO and TUNDE OMOLEHIN, Associated Press

JABO, Sokoto (AP) — Sanusi Madabo, a 40-year-old farmer in the Nigerian village of Jabo, was preparing for bed Thursday night when he heard a loud noise that sounded like a plane crashing. He rushed outside his mud house with his wife to see the sky glowing a bright red.

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Trump says US struck Islamic State targets in Nigeria after group targeted Christians

The light burned bright for hours, Madabo said: “It was almost like daytime.”

He did not learn until later that he had witnessed a U.S attack on an alleged Islamic State camp.

U.S. President Donald Trump announced late Thursday that the U.S had launched a “powerful and deadly strike” against “ISIS Terrorist Scum in north-west Nigeria.” The Nigerian government has since confirmed the strike was a joint collaboration with the U.S government.

Residents of Jabo, a village in the northwestern Nigerian state of Sokoto, told The Associated Press in interviews Friday that they were seized with panic and confusion at the airstrikes.

They also said the village had never experienced a terror attack, even though attacks regularly occur in neighboring villages.

“As it approached our area, the heat became intense,” recalled Abubakar Sani, who lives just a few houses from the scene of the explosion.

“Our rooms began to shake, and then fire broke out,” he told the AP. “The Nigerian government should take appropriate measures to protect us as citizens. We have never experienced anything like this before.”

The Nigerian military did not respond to an AP request asking how many locations were targeted.

It’s a ‘new phase of an old conflict’

The strikes are the outcome of a months-long tense diplomatic clash between the West African nation and the U.S. that has evolved to result in a new form of cooperation.

The Trump administration has been claiming that Nigeria is witnessing a Christian genocide, a claim the Nigerian government has rejected, and which caused initial tensions.

But now Nigeria’s Ministry of Foreign Affairs said the strikes resulted from intelligence sharing and strategic coordination between the two governments.

Yusuf Tuggar, Nigeria’s foreign minister, called the airstrikes a “new phase of an old conflict” and said he expected more strikes to follow.

“For us, it is something that has been ongoing,” Tuggar added, referring to attacks that have targeted Christians and Muslims in Nigeria for years.

Bulama Burkati, a security analyst on sub-Saharan Africa at the Tony Blair Institute, said the fear of residents is compounded by a lack of information.

Residents say there were no casualties, and security operatives have cordoned off the area.

But the Nigerian government has yet to release information about the militants who were targeted and the post-strike assessment of casualties.

“What can help in dousing the tension is for the American and Nigerian governments to declare who was targeted, what was attacked, and what has happened so far,” Burkati said. Such information is “still missing, and the more opaque the governments are, the more panic there would be on the ground, and that is what will escalate tension.”

Foreign fighters operated in Nigeria

Analysts say the strikes might have been intended for the Lakurawa group, a relatively new entrant to Nigeria’s complex security crisis.

The group’s first attack was recorded around 2018 in the northwestern region before the Nigerian government officially announced its presence last year. The composition of the group has been documented by security researchers as primarily consisting of foreigners from the Sahel region of Africa.

However, experts say ties between the Lakurawa group and the Islamic State are unproven. The Islamic State West African Province, a branch of ISIS in Nigeria, has its strongholds in the northeastern part of the country, where it is currently involved in a power struggle with its parent organisation, Boko Haram.

“What might have happened is that, working with the American government, Nigeria identified Lakurawa as a threat and identified camps that belong to the group,” Burkati said.

Either way, the local people feel vulnerable.

Aliyu Garba, a traditional leader in the village, told the AP that debris left by the strikes was scattered around and residents rushed to the scene before the arrival of security operatives. People picked up metal pieces hoping for valuable metal which they could trade, and he fears they could get hurt.

The strikes also rattled 17-year-old Balira Sa’idu as she prepared to get married.

“I am supposed to be thinking about my wedding, but right now I am panicking,” she said. “The strike has changed everything. My family is afraid, and I don’t even know if it is safe to continue with the wedding plan in Jabo.”

Adetayo reported from Lagos, Nigeria.

The 12 best needle drops of 2025

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By August Brown, Amy Nicholson, Mark Olsen, Joshua Rothkopf, Josh Rottenberg, Glenn Whipp and Mikael Wood, Los Angeles Times

LOS ANGELES — Tunes — well-chosen ones — turn normal movie scenes into electric ones. Needle drops, they’re called in the film world. (And don’t laugh: Several of the filmmakers below are, indeed, dropping turntable needles onto vinyl records.)

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What makes for a good needle drop? Sometimes it’s comic irony. Elsewhere, it’s trapping the sincerity of a moment in the amber glow of a perfect pop song, one you’ll never think of in the same way again.

We went through the entire year and grabbed a dozen of our favorites, listed below in no particular order — feel free to resequence them into your own personal playlist.

The Spice Girls, ‘2 Become 1,’ as heard in ‘Together’

Dave Franco and Alison Brie are married in real life, but in the body horror romance “Together,” they play an engaged couple named Tim and Millie who might be happier breaking up. He’s a frustrated, flunked-out rock star; she’s a schoolteacher who loves the Spice Girls. Writer-director Michael Shanks plays their discordant musical taste like a minor joke among all the major reasons why their codependent relationship has hit the skids. As a Hail Mary, Tim and Millie move from the city to the countryside for some miserable quality time — and there, deep in the woods, an eerie cave infects Tim’s skin cells with the urge to merge with Millie permanently. It all climaxes in a slow dance to the 1996 grrrl-pop ballad that’s never felt more sticky-sweet. — Amy Nicholson

Jack O’Connell, Lola Kirke and Peter Dreimanis, ‘Pick Poor Robin Clean,’ as heard in ‘Sinners’

This image released by Warner Bros Pictures shows Michael B. Jordan, foreground from left, Michael B. Jordan and Omar Benson Miller in a scene from “Sinners.” (Warner Bros. Pictures via AP)

So much of Ryan Coogler’s supercharged vampire movie is saturated with blues music, both in its original score by Ludwig Göransson (itself an impressive piece of scholarship) and its careful selection of authentic period songs that both articulate and subvert the legend of going down to the crossroads to make a deal with the devil. So why is it this one I’m fixated on? It’s the tune most loaded with subtext. A trio of white musicians shows up at the door of the juke joint. They play this traditional number in the hopes of getting through the door. But in their smiling, cleaned-up, sprightly version of it, you can hear the whole of white cultural appropriation to come. The music is ominous. What exactly is getting picked clean? The song has become an evil spell. And the fact that it doesn’t work — they’re turned away — is another credit to Coogler’s instincts. It’s music criticism smuggled into a Hollywood smash. — Joshua Rothkopf

Steely Dan, ‘Dirty Work,’ as heard in ‘One Battle After Another’

This image released by Warner Bros. Pictures shows Leonardo DiCaprio in a scene from “One Battle After Another.” (Warner Bros. Pictures via AP)

Paul Thomas Anderson has been deploying needle drops with precision since “Boogie Nights” and “Magnolia,” and 10 movies deep into his career, his ear remains sharp. In “One Battle After Another,” his darkly comic action-thriller, Leonardo DiCaprio plays Bob Ferguson, a former revolutionary who has spent years in hiding, raising his teenage daughter and trying to keep his past at bay. But the movie’s frenetic opening stretch loosens into something shaggier when Steely Dan’s 1972 world-weary track “Dirty Work” comes in. We see Bob parked outside his daughter’s school, getting high before a parent-teacher conference, ducking the eyes of other parents and swinging the door to air out the smoke. When the chorus arrives — “I’m a fool to do your dirty work” — it lands as recognition, not commentary. Bob knows he’s a sucker. We all are sometimes. The song just says it out loud. — Josh Rottenberg

George Harrison, ‘Beware of Darkness,’ as heard in ‘Weapons’

Zach Cregger’s viral horror hit winds its way methodically to a climax of such hilarious savagery that you’ll scare yourself with how hard you’re laughing. Yet the movie opens with an almost unbearably poignant blend of picture and sound: a bunch of third-graders in their PJs running over dark, rain-slicked suburban streets — why? how? to what end? — against the aching psychedelic folk-rock of George Harrison’s “Beware of Darkness.” The song, from Harrison’s first solo album after the Beatles’ breakup, urges the listener not to be swallowed by “the hopelessness around you in the dead of night.” In “Weapons,” its eerie harmonic movement portends an innocence soon to be lost. — Mikael Wood

Led Zeppelin, ‘Whole Lotta Love,’ as heard in ‘F1’

Too on the nose? Sure. That’s why it’s such a thing of beauty. First with “Top Gun: Maverick” and now this year with “F1,” director Joseph Kosinski has perfected Dad Cinema, creating movies centered on old(ish) guys who most definitely know best. There’s no better soundtrack to this microgenre than classic rock music. And there’s no better classic rock band than Led Zeppelin, a group famously resistant to licensing their songs until recently when the levee has apparently broken. Kosinski employs “Whole Lotta Love” when Brad Pitt’s Sonny arrives at the track for his shift at the 24 Hours of Daytona. His team is languishing until Sonny gets behind the wheel and Robert Plant starts wailing and John Bonham begins bashing. Jimmy Page’s guitar riff seemingly propels Sonny’s car forward to the lead. Ramble on, baby. — Glenn Whipp

John Prine and Iris DeMent, ‘In Spite of Ourselves,’ as heard in ‘Die My Love’

Jennifer Lawrence and Robert Pattinson in “Die My Love.” (Kimberly French/Mubi/TNS)

Lynne Ramsay’s film is an elliptical, claustrophobic portrait of postpartum delirium. Jennifer Lawrence and Robert Pattinson evoke the small-bore unraveling of new parenthood in the boonies, with Lawrence in particular throwing her whole body into a creeping alienation from one’s spouse and oneself. But there is humor and tenderness shot throughout, moments where the lines of connection between them still hum. The pair singing along to Prine and DeMent’s “In Spite of Ourselves,” with its wincingly funny lovers trading jabs and devotions, is one moment of levity and self-awareness breaking through the desperation. The tune also memorably appeared in Celine Song’s “Materialists,” but here, it’s arguably the heart of the movie. — August Brown

Gil Scott-Heron, ‘The Revolution Will Not Be Televised,’ as heard in ‘Dead Man’s Wire,’ ‘One Battle After Another’ and ‘The Running Man’

If the same piece of music is used at the end of three different movies, it becomes song of the year by default, right? Gil Scott-Heron’s 1971 “The Revolution Will Not Be Televised” unexpectedly captured the mood of the moment, one of absurdity and anger with a clear-eyed view on the world. Edgar Wright’s “The Running Man” used the song’s looping, funky backing track underneath a bit of conspiracy-minded explainer video, adding an escalating urgency to the conclusion of the movie’s action-packed satire of corporate media culture. Gus Van Sant’s “Dead Man’s Wire” (in theaters Jan. 9) placed it in the end credits to sharpen focus on the film’s growing sense that those stuck outside the system must make their own sense of justice. Paul Thomas Anderson’s “One Battle After Another” also deploys the song as part of the end credits, revealing that lines of his script’s dialogue — repeated numerous times as a passcode among compatriot revolutionaries — come from the lyrics. To see three movies using this one song in particular is thrilling, giving expression to the confusion and discontent felt by so many. Moviemaking can often feel disconnected from the moment. To get three films so vibrant and relevant, in tune with the times and each other, is electrifying. — Mark Olsen

Peter Gabriel, ‘I Have the Touch,’ as heard in ‘Marty Supreme’

Timothée Chalamet in the movie “Marty Supreme.” (A24/TNS)

Let the era of Peter Gabriel’s gentle movie contributions — “In Your Eyes,” and “Solsbury Hill” most sweetly — come to an end. So much of his spikier music deserves attention. Take this cut off 1982’s “Security,” which director Josh Safdie puts to vibrant use in “Marty Supreme” (in theaters Dec. 25). How good is Timothée Chalamet’s Marty at table tennis? He’s a machine. Aggressive ’80s drums and processed electric guitars set the tone. Even as his opponents step up, there’s no question about the outcome. “I have the touch,” Gabriel states, an alpha competitor in his element. Originally, the song was about establishing dominance while meeting strangers (ah, art rock). Safdie turns it into a referee’s instructions: “Shake hands!” the lyrics continue, as we train in on a match. Then, a few seconds later, we hear Gabriel’s voice isolated in scary clarity: Shake hands. — J. Rothkopf

Donna Summer, ‘Love to Love You Baby,’ as heard in ‘The Secret Agent’

Wagner Moura in “The Secret Agent.” (Victor Juca/Neon/TNS)

Between “Sirāt” and “The Secret Agent,” 2025 was a good movie year for scenes featuring late-night drives along treacherous rural roads. “The Secret Agent” finds a ruthless stepfather and stepson hit man team winding their way around São Paulo in the dead of night, skirting the Sérgio Motta Dam, their headlights barely illuminating the path ahead. The darkness is essential to the task at hand: dumping a corpse into the dam’s reservoir. It’s 1977 and the radio’s on, so naturally the soundtrack to their drive is Donna Summer’s disco anthem. It’s a 17-minute song, punctuated by 23 orgasmic moans (per a BBC count). The hypnotic groove gives the sequence an eerie, otherworldly feel, giving it a place among cinema’s great late-night body disposal scenes. — G.W.

Katy Perry, ‘Firework,’ as heard in ‘Eddington’

Joaquin Phoenix, left, and Pedro Pascal in “Eddington.” (A24/TNS)

Katy Perry’s “Firework” insists on optimism whether you’re in the mood or not. Midway through “Eddington,” Ari Aster’s polarizing pandemic-era Western, the glossy pop song becomes a pivot point as tensions rise between Joaquin Phoenix’s sheriff and Pedro Pascal’s mayor. At a COVID-masked backyard fundraiser, the sheriff shows up on a noise complaint and tries to turn the music down. The mayor turns it up. The sheriff cuts it again. The mayor cranks it louder still. When Pascal finally slaps Phoenix across the face, the joke is gone and what’s left is a petty, pathetic standoff, scored to Perry’s incongruously perky anthem. Aster has shown a taste for this kind of pop perversity before, most memorably using Mariah Carey’s “Always Be My Baby” in an Oedipal sex scene in “Beau Is Afraid.” For some filmmakers, a needle drop doesn’t just score a moment. It pierces it. — J. Rottenberg

The Veronicas, ‘Untouched,’ as heard in ‘Bring Her Back’

In any other movie, the pop-punk confection of the Veronicas’ “Untouched” would be a perfect cue to establish its setting in middle-class suburban Australia, as light and lucky a place as ever was. In this foster care cult-horror nightmare, though, the song is the comic foil to one of the movie’s most grotesque and intense moments, and you’re left to watch the scene cackling through clenched hands as all the gore gets barely papered over by a frothy mid-aughts hit. It’s played less for irony and more as context for the relatable world that the directing Philippou brothers built for Sally Hawkins’ desperate pain. A completely sinister, bleakly hilarious bit of soundtrack work that the Veronicas must have found absolutely delicious. — A.B.

Metallica, ‘For Whom the Bell Tolls,’ as heard in ‘Freaky Tales’

“Freaky Tales” is a kooky love song to the Oakland of the 1980s by the filmmaking duo Anna Boden and Ryan Fleck (“Half Nelson,” “Captain Marvel”). Fittingly, it’s packed with fantastic tunes by local artists like Too Short, who narrates these retro misadventures and lets a younger version of himself lose a rap battle to a pair of ferocious female teenagers. Their lyrical spat is my favorite scene but the film’s show-stopping sequence is Golden State Warriors point guard Sleepy Floyd (Jay Ellis) avenging himself upon a Nazi gang who murdered his girlfriend during a playoff game. (Here’s where I should say “Freaky Tales” is very fictional.) At the first peals of Metallica’s thrash classic, Floyd stuffs his pockets with knives, grabs a samurai sword and gets to slashing, offing so many goons that the movie eventually has to cue up another Bay Area banger, E-40’s “Choices (Yup).” — A.N.

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