Entertainment

How the Grinch went from a Yuletide bit player to a Christmas A-lister

Published

3 months ago

December 25, 2025

How the Grinch went from a Yuletide bit player to a Christmas A-lister

It takes a lot for sweet-tempered 28-year-old Nick Darnell to transform himself into Christmas’ most sought-after sourpuss.

There’s colored contacts and facial prosthetics, a protruding belly and at least an hour of makeup. But for the devout Christian and preternaturally cheerful young actor, the real metamorphosis is psychological.

“People today love to connect with the villain,” said the viral Grinch impersonator. “The world is just a darker world now.”

Darnell called the chartreuse baddie he portrays “the modern-day Santa.”

Dr. Seuss’ holiday parable “How the Grinch Stole Christmas!” has been a seasonal favorite since it was published in 1957, ranking among the most popular and profitable of the author’s iconic rhyming picture books.

The story’s sassy, brassy antihero has likewise adorned Christmas trees and school library shelves for generations. His hornlike fur forelocks and pathological refusal to assimilate have led some critics to call the Grinch ambiguously antisemitic, but those concerns have largely been glossed over by years of nostalgia.

Experts say 2025 heralds the Grinch’s ascent from Yuletide bit player to Christmas A-lister. He now crowds out Kris Kringle in store displays, social media feeds and holiday meet-and-greets.

Unlike Santa, who ho-ho-hos his way through the holiday season, Grinches twerk and pout and scream in kids’ faces. Compilations of their antics on YouTube and TikTok routinely rack up millions of views.

“I do the things that people think,” Darnell said of the role. “I’m not restrained.”

Despite the Grinch’s anti-consumerist zeal, the market for his visage has exploded in recent years.

Target touts its “Grinchmas,” while Walmart has “WhoKnewVille.” McDonald’s sells Grinch fries, Starbucks features a “secret menu” frappuccino. Hanna Andersson, a popular purveyor of holiday pajamas, boasts roughly a dozen different Grinch patterns, compared to three Hanukkah options and just one Santa design in two colorways.

“I’m not restrained,” Grinch impersonator Nick Darnell, 28, says of his role.

(Christina House/Los Angeles Times)

Ownership of the Grinch’s likeness is guarded as jealously as the villain protects his lair: Dr. Seuss Enterprises holds the rights to the children’s book, Warner Bros. Discovery the 1966 animated TV special, and Universal Studios the 2000 live-action Jim Carrey film, which ranks among the highest-grossing Christmas movies of all time.

But impersonators, academics and even working Santas agree: Americans’ embrace of the Grinch in 2025 goes far beyond consumerism.

“It’s definitely more popular,” said ‘Santa’ Ed Taylor, the famed Los Angeles Santa behind the Worldwide Santa Claus Network, a training camp for the art of Christmas cheer. “It’s a little yin and yang. Maybe we need a little bit of both.”

Costume companies across Los Angeles say they’ve seen a deluge of demand for the Grinch this year. At Etoile Costume & Party Center in Tarzana, nearly half of Christmas costume rentals are now furry green villains.

“It’s about equal to Santa,” one employee said. “Maybe 40% Grinch and the rest Santa.”

Ryan Ortiz, dressed in a Grinch costume, stands next to his 1969 Volkswagen Bus

Fans of the hirsute sourpuss seek him out for his in-your-face edge — the opposite of Santa’s remote joviality. Santa enforces his regime of goodness through lists and surveillance. The Grinch will get in your face and yell at you to shut up.

“[Santa]’s supposed to be mysterious and unknown,” said Darnell’s fiancee JadaPaige. “He’s supposed to just come in the night and you’re never supposed to see him.”

“I grew up obsessed with Santa Claus — I did not grow up obsessed with the Grinch,” Darnell said. “I was the kid waiting up in the middle of the night, peeking, wondering if Santa’s down there. A lot of modern day kids aren’t having that journey.”

Instead, many Gen Alpha youths look to the Grinch for his views on “corruption or poverty or the oversaturation of commercialism,” Darnell said.

“Santa is looked at more like a godly figure, while the Grinch is a more everyday man,” the actor explained. “The world is so sinister and negative. [The Grinch] tells you how it is, rather than telling you everything is going to be fine.”

TikTok turbocharged that trend, with the infamous green meanie matching or beating his red rival in holiday clout.

“He has aura,” Darnell said.

Nick Darnell, a longtime Grinch impersonator, is photographed at home

Today’s professional Santas are often retirees with a bit of a belly and some time on their hands. Grinches, by contrast, are more likely to be working actors like Darnell, who look reverently to Carrey’s performance as a blueprint for the character’s slapstick antics and snarky reads.

Still, experts say the Grinch’s 2025 glow-up likely owes as much to holiday exhaustion and broad consumer pessimism as it does vertical video virility.

“The Grinch is the opposite side of Christmas,” said Oscar Tellez, who owns Magic Dream Costumes and Party Rentals in East Los Angeles and says he’s seen a spike in Grinch requests even as overall holiday rentals have sagged.

“Especially with the Latino community, I don’t think they feel the enthusiasm to celebrate,” Tellez said. “They are more worried about what’s gonna happen next.”

Pop culture experts agreed.

“The economy is in big trouble, our political situation is chaotic, there’s a lot of hate — it’s no wonder that we would seek to express that through the embodiment of a monster like the Grinch,” said Michael M. Chemers, director of the Center for Monster Studies at UC Santa Cruz.

“You’ve seen these nativity displays popping up all over the country that have the Jesus figures removed and it says ‘ICE was here,’ ” he added. “I think there’s just a lot of Grinchy feeling right now in the world.”

Chemers and other scholars say the emergence of the Grinch as a foil to Santa is less a departure than a return to form: the Grinch is a “PG version” of the mythical Krampus, a shaggy, fork-tongued Germanic goat man who beats and even abducts naughty children, working as an enforcer for Father Christmas.

a person dressed as the anti-Christmas character known as the Grinch

“He’s been called the Christmas devil,” said Jeff Belanger, author of “The Fright Before Christmas,” a compendium of so-called “Yuletide monsters.”

“[Krampus] represented the consequence of bad behavior, while St. Nick rewards good behavior,” he said.

Krampus likely evolved from older, pre-Christian deities, just as Christmas absorbed solstice and midwinter customs, the author explained. The Christmas most Americans grew up with only emerged as a national holiday in the wake of the Civil War, he said, about a decade after the formal introduction of Thanksgiving in 1863. It was around this time that Christmas trees became popular in the United States.

“In 1867, Charles Dickens came over to Boston and that’s when he read his ‘Christmas Carol’ for the first time in America,” spurring President Ulysses S. Grant to declare Christmas a federal holiday, Belanger said. “It was truly on the back of that story.”

The holiday’s corpulent, white-bearded dandy arrived even later, his schmaltzy persona skimmed from bony St. Nicholas between Reconstruction and 1931, when Coca-Cola debuted its iconic, brandy-flushed Santa Claus.

“That’s when Christmas turned purely commercial, and there was no room for consequences anymore,” Belanger said.

Seuss’ Grinch sits somewhere in the middle — cuddlier than Krampus and pricklier than Santa — making him the perfect avatar for a moody, uncertain age.

Workers check the inflated toys of The Grinch

Grinch boosters point out that the villain repents and reforms at the end of the story, shedding his pathological hatred of Christmas.

“I always tell people, ‘Don’t you just love how his heart grew three sizes?’ ” Taylor, the famous Santa, said of his increasingly popular crossover events.

Others note that it’s never the repentant Grinch who marauds through schools and holiday parades or blows up on social media.

“Once he’s rehabilitated, he’s no fun anymore,” Chemers said.

That makes it hard for the holiday villain to visit sick kids in the hospital, as legions of Santas do every year, or comfort children who confide in him about bullying.

“The message is one of encouragement and positivity and acknowledgment of accomplishments and encouragement to strive harder,” Taylor said. “It’s these beautiful personal development messages that Santa gets to be the conduit for.”

The Grinch, by contrast, can affirm where you are, without ever asking you to be better.

“He can hear you and know what you’re thinking, because he has the same thoughts,” Darnell said of his beloved version of the character. “People want to know his heart and his mind, and that’s something they wouldn’t be able to ask Santa.”

Movie Reviews

Vaazha 2 first half review: Hashir anchors a lively, chaos-filled teen tale

Published

5 hours ago

April 2, 2026

Press Room

Vaazha 2 first half review: Hashir anchors a lively, chaos-filled teen tale

‘Vaazha’ found its footing in how sharply it reflected a certain kind of youth, boys dismissed as ‘vaazhas’, but carrying their own confusions and emotional weight. The second part returns to that space, again following a group of boys trying to figure themselves out.

Directed by Savin SA, the film tracks this gang through their higher secondary years, with Hashir and Alan among the central figures. It stays with them as they move through that in-between phase, dealing with early attraction, peer pressure and the pull of new experiences, the kind that often arrive before they fully understand them. The narrative is not built around a single arc, but around the shared rhythm of the group.

The first half is mounted as a high-energy stretch, driven by humour, action and a fast pace, with a background score that keeps it buoyant. The inclusion of contemporary content creators stands out here, and the response suggests it lands well with younger viewers, especially in the way the film taps into familiar emotions.

Vijay Babu, Aju Varghese and Sudheesh appear in key supporting roles, adding presence around the central group.

Where the first Vaazha had a more subdued, easygoing take on youth, the sequel is noticeably louder and more vibrant, holding on to the same core but pushing it with greater energy.

Entertainment

Inside Ye’s first comeback show at SoFi Stadium

Published

7 hours ago

April 2, 2026

Press Room

Inside Ye’s first comeback show at SoFi Stadium

On the first night of Passover, Ye — the superstar rapper, the artist formerly known as Kanye West, the man who once threatened in a tweet to go “death con 3 On JEWISH PEOPLE” — performed for what looked like a full house at Inglewood’s SoFi Stadium.

The first of a pair of Ye concerts this week at the gigantic NFL palace, Wednesday’s show came two months after the 48-year-old musician apologized for his past antisemitic comments, attributing his behavior to injuries he sustained in a 2002 car crash.

More to the point, perhaps, the gig came on the heels of last week’s release of “Bully,” Ye’s first solo LP since 2022’s “Donda 2,” which the trade journal Hits predicts will enter the album chart at No. 2, right behind the latest from BTS.

In other words, Ye’s trying to get a comeback going — and, to judge by the very warm reception he got at SoFi, he might prove successful.

Wednesday’s concert — Ye’s first full live performance in Los Angeles since a 2021 gig at the L.A. Memorial Coliseum — lasted about two hours and featured guest appearances by Don Toliver and Ye’s 12-year-old daughter, North.

The rapper performed atop an enormous dome set up on the stadium’s floor; for much of the night, a spinning globe was projected onto the dome so that Ye looked to be — well, on top of the world is how he might’ve put it.

Early in the set, Ye asked his technical crew to “make the earth move slower,” which somebody made happen.

Accompanied by what sounded like prerecorded backing tracks, Ye opened with a handful of songs from “Bully,” which seeks a middle ground between the soulful, sample-heavy sound of his early work and the gloomier, synthed-up vibe of more recent records like “Donda” and his and Ty Dolla Sign’s “Vultures 1” and “Vultures 2.”

After an extended version of the new album’s “All the Love,” he reached back for an assortment of oldies, including all-timers like “Father, Stretch My Hands, Pt. 1,” “Mercy,” “Black Skinhead” and “Can’t Tell Me Nothing,” which he stopped and restarted after telling the crew to mute the music during the song’s line about getting his money right so that he could hear the crowd join in.

He also did his and Jay-Z’s collaborative 2011 hit — the one whose title contains the N-word — which made you think about how he and his old frenemy are both mounting comebacks at the same time, Jay-Z as a kind of retiree’s victory lap and Ye in hopes of moving past a mess of his own making.

Other classics Ye performed included “Bound 2” and “Heartless,” to name two of his most emotionally potent songs, though thick smoke in the stadium made it hard to feel a sense of connection with him as he moved back and forth atop the dome.

Ye brought out Don Toliver to perform “Moon” and Toliver’s “E85,” then cycled again through the “Bully” tracks he’d done earlier. North West came out to perform “Talking” and “Piercing on My Hand,” after which Ye did his and Ty Dolla Sign’s “Everybody,” which prominently samples the Backstreet Boys’ “Everybody (Backstreet’s Back).”

Then he finished with a sprint through some of his most beloved hits: “All Falls Down” into “Jesus Walks” into “Through the Wire” into “Good Life,” which he restarted several times because he said the lights were “corny.”

“Is this like an ‘SNL’ skit or something?” he asked when nobody made the changes he was looking for.

Ye ended the show with “All of the Lights,” which got a huge pryo display, and “Runaway,” his epic 2010 warning to anyone foolish enough to consider falling in love with him.

“Run away fast as you can,” he sang, and the crowd roared right along.

Movie Reviews

‘Are We Having Fun Yet?’

Published

18 hours ago

April 1, 2026

Press Room

Photo: Universal/Everett Collection

Like being asphyxiated in a ball pit filled with candy, the experience of watching The Super Mario Galaxy Movie is at once kaleidoscopic and nerve-wracking. It pantomimes the hallmarks of a good time, with a fast, forced cheeriness; the flashing lights, bright colors, sparkly design, and subplot-happy narrative are there to hold our attention and charm us, but they accomplish the opposite, instead making us worry about what we’re missing. At one point there’s a throwaway bit involving a roller coaster that dives into a pit of lava, eventually emerging with all its passengers transformed into happy skeletons; maybe we are supposed to be those happy skeletons, drained of life and loving it. The good news (or is it the bad news?) is that this is a kids’ movie and nobody cares what “we” think. Its predecessor, 2023’s Super Mario Bros. Movie, made more than $1.3 billion worldwide, and no one should be surprised if this one does something similar.

That first movie wasn’t particularly accomplished either, but it had a slick simplicity that one could sort of lose oneself in and some clever bits involving our heroes, Brooklyn plumber brothers Mario (Chris Pratt) and Luigi (Charlie Day), as well as a lively turn by Jack Black as the bloviating turtle-demon Bowser. The sequel, by contrast, is turbo-loaded with character, incident, themes, never pausing to let us appreciate anything. Though directors Aaron Horvath and Michael Jelenic do apparently want us to care: The Super Mario Galaxy Movie centers around families destroyed and reclaimed, a sentence I can’t believe I just typed. The film’s chief villain, the spasmodic Bowser Jr. (voiced by Benny Safdie), seeks to save his father, the now-docile Bowser, from neutered captivity. As part of his devious plan (I think?), Junior kidnaps Princess Rosalina (Brie Larson) from her space-faring observatory dominion, where she plays mother to a race of puffy, colorful star children known as Lumas. Rosalina loves to read her kids heroic stories about Princess Peach (Anya Taylor-Joy), her long-lost sister, ruler of the Mushroom Kingdom and Mario’s main object of desire. Such attempts to infuse depth into the film’s carnivalesque cacophony could have been something, but corporate flatness consumes all. The ideas about family aren’t explored or developed, merely repeated.

But like I said, it’s a kids’ film, and younger children will be distracted by the aforementioned cute little star-baby things, by the cute little mushroom-head guys, by the frantic speed at which everything comes at us, and by the film’s vision of the universe as a series of amusement parks, with each world in this galaxy seemingly its own funfair. If only all this chaos didn’t feel so strained, so polished and programmed, so, so … unchaotic. The movie is also filled with Easter eggs from many decades’ worth of Mario video games, which will surely reassure devoted fans of those games that all is right with the world and someone loves them. (Full disclosure: I haven’t played any of them. Back when I was a kid and had to cold turkey myself from video games entirely, I’m pretty sure Donkey Kong was as far as I got in the incipient Mario universe.) The best of these aforementioned callouts is the appearance of the Han Solo–like Star Fox (voiced by Glen Powell), a character from a different set of Nintendo games, who arrives accompanied by his own hand-animated, hyper credit sequence. More of that, please.

Of the rest of the star-laden voice cast, Safdie and Black are the only others who make an impression. As before, Bowser has been realized with an eye (and an ear) for Black’s own grandiose, mock-operatic mannerisms, and Safdie seems to have appropriated them for the character’s offspring. Black, of course, was also the star of last year’s entertaining hit A Minecraft Movie, which got a ton of mileage out of the actor’s unique mix of irony and roaring sincerity, using him to hold together its ramshackle, faux-DIY vibe. That film was a good example of this type of material handled with something resembling charm. We could also point to something older like The LEGO Movie as a model of a brand-management enterprise that managed to be irreverent and thoughtful (and, indeed, brilliant) at the same time. All The Super Mario Galaxy Movie has, unfortunately, is the messianic fervor with which it throws everything at us. Well, that, and the mountains of money it will surely make. Me, I’ll take my travel stipend and go home.