Harry Styles has played a new song for Liam Payne on the second anniversary of his death, a video game adaptation leads the North American box office as a documentary about Elizabeth Holmes breaks records, Isabel Allende has won Spain’s richest literary prize under a pen name, Miley Cyrus has honoured Dolly Parton, TikTok has suspended the account promoting a film about Elon Musk, and courts, broadcasters and a dance contest have made headlines.
Harry Styles performs an unreleased song for Liam Payne on the anniversary of his death
Harry Styles has paid tribute to his former One Direction bandmate Liam Payne by performing a previously unheard song at Madison Square Garden in New York on the second anniversary of Payne’s death. During a sold-out show on Friday night, part of his residency at the arena on the Together, Together tour, the singer played an acoustic track called What Is Enough, which he said he had written for his friend about two years ago. Before the song, a spotlight shone on him as he told the audience that he felt very lucky to be playing the shows in New York and that the building meant a great deal to him. He said there were many friends and colleagues without whom he could not have achieved what he had, and that he had lost one of those friends two years earlier.
Styles told the crowd that many of them had probably been through similar experiences, adding that he hoped they had not, and said that what mattered was looking after each other. He thanked the many people who had touched his life in special ways and then asked if it would be all right to play the song. The audience, hearing the track for the first time, responded with loud cheers. Its lyrics appear to reflect on loss and remembrance, referring to a friend among the stars and satellites and to a letter written only to be burned, and one line seems to allude to Payne’s funeral, describing burying friends on a Wednesday night around a fire in a garden. Fans who shared their reactions online described the song as beautiful, and footage of the performance quickly circulated among concertgoers.
Payne, who was 31, died on 16 October 2024 when he fell from the balcony of a hotel in Argentina. A coroner in England said in May that there had been no new evidence following his death, and an inquest has been delayed while investigators seek more information about the circumstances, including evidence from eyewitnesses. In his home city, fans marked the first anniversary last year by leaving flowers and cards at a bandstand in a local park. Styles, who launched his solo career in 2017 after One Direction became a global phenomenon, has since enjoyed huge success on his own; his first solo album and single both reached number one in the UK, and his 2022 record Harry’s House won both a Grammy and a Brit award.
The New York shows are part of a 30-night residency that runs until 31 October. Styles is in the middle of a record-breaking tour that opened in Amsterdam in May and has concentrated on long stays in a handful of cities, including London, where almost a million people attended his shows at Wembley Stadium. In September he announced 25 more dates for 2027, including a return to Wembley next August and his first stadium concerts in the United States as a solo artist, with stops in Phoenix, Dallas, Atlanta and Chicago. Every city on the new leg will have a different support act, with the 1980s band Tears For Fears playing at Wembley and Kylie Minogue appearing in Los Angeles, in what will be her first stadium concerts in America.
After confusion and complaints over ticket prices for the 2026 shows, the singer’s team said prices for the new dates would range from 60 to 300 dollars, or about 44 to 221 pounds. The 2027 leg will also introduce a scheme intended to make concerts more affordable for people on limited incomes, offering a small number of tickets for 20 pounds in the UK, 20 dollars in the US and 20 euros in Europe, with details on how to apply to be announced. The new leg will visit countries that missed out on the first part of the tour, including Ireland, Spain, Italy, Germany and France. Styles said in a note to fans that the reaction to the tour had gone far beyond what he had imagined and that he wanted them to be the first to hear of the extra dates.
Street Fighter leads the box office as the Elizabeth Holmes documentary breaks records
The film adaptation of the video game Street Fighter is set to top the North American box office in its opening weekend, while a documentary about the disgraced Theranos founder Elizabeth Holmes is drawing large crowds. Paramount Pictures’ release took 13 million dollars on Friday, including previews on Thursday, and is expected to open with about 31 million dollars from 3,575 cinemas, at the lower end of the studio’s projections. The studio had hoped for a debut in the mid-30 millions for the film, directed by Kitao Sakurai and adapted from the Capcom fighting game. Starring Noah Centineo, Andrew Koji and Callina Liang, the 82-million-dollar production centres on a martial arts tournament and is the first release under a distribution agreement between Paramount and the production company Legendary.
Street Fighter received a B-minus grade from audiences polled by CinemaScore and has struggled with critics, with an approval rating of 42 per cent among reviewers on Rotten Tomatoes and an audience score of 82. One critic described it as a jumbled mess of tones that was only sporadically entertaining. The documentary You Can See Everything, released by A24 and directed by Nathan Fielder and Lance Oppenheim, took 5.5 million dollars on Friday from 855 cinemas and is heading for an opening of about 12 million dollars. The distributor reported around 750 sold-out screenings over the weekend and queues in many cinemas, putting the film on course for one of the best starts ever for a documentary that is not about music. It follows Holmes’s life in the period leading up to her prison sentence.
The documentary is set to beat the seven-million-dollar opening of Melania earlier this year, which had been the biggest launch for a film in its category for more than a decade. It is proving particularly popular with younger viewers, with three quarters of ticket buyers in New York and Los Angeles under the age of 35. The film has a 99 per cent approval rating on Rotten Tomatoes from both critics and audiences and has become the highest-rated title ever on the film site Letterboxd, with a score of 4.8. Made on a budget of about five million dollars, it took 1.7 million dollars from its previews on Thursday night alone, an unusually strong figure for a documentary, before its full opening day on Friday.
Universal Pictures’ horror film Other Mommy, which opened at number one last weekend, is likely to finish third with about 7.8 million dollars, a fall of roughly 72 per cent after audiences gave it a D-plus CinemaScore. Jessica Chastain plays a sinister spirit appearing in a girl’s closet in the film directed by Rob Savage, which is heading for a domestic total of around 44.3 million dollars. Getting off to a quiet start is Whalefall from 20th Century Studios, expected to take about seven million dollars from 3,065 cinemas, below the 11 million the studio had forecast. Directed by Brian Duffield and with Austin Abrams playing a diver who is swallowed by a sperm whale, the 60-million-dollar survival thriller is adapted from a 2023 novel by Daniel Kraus and received a B grade.
Focus Features’ new adaptation of Jane Austen’s Sense and Sensibility took 3.2 million dollars on Friday, including previews, for an estimated opening of 6.7 million dollars from 2,545 cinemas. Directed by Georgia Oakley and starring Daisy Edgar-Jones and Esmé Creed-Miles as the Dashwood sisters coping with life after their father’s death, it earned an A-minus CinemaScore and has an approval rating of 75 per cent from critics, though one reviewer said it rarely escaped the shadow of Ang Lee’s 1995 version. Netflix is releasing its Oscar contender La Bola Negra in four cinemas, and for the first time the streaming company will publicly report box office takings. Films arriving next weekend include Clayface and Wildwood, as the autumn release schedule continues to fill up.
Isabel Allende wins Spain’s one-million-euro Planeta prize under a pseudonym
The Chilean-American author Isabel Allende has won Spain’s Premio Planeta, worth one million euros and one of the most lucrative literary awards in the world, with a sequel to her celebrated first novel, The House of the Spirits, which she submitted under a pen name. Allende, 84, took the 75th edition of the award on Thursday for La hora antes del alba, a book that revisits the characters of her 1982 novel, a family saga spanning several generations and set against political upheaval in a country modelled on Chile. Its central figure is Alba, granddaughter of Esteban Trueba and Clara del Valle, who struggles to recover from imprisonment and torture under the dictatorship of Augusto Pinochet. Allende said the novel would close the world of The House of the Spirits.
Speaking at the prize-giving in Barcelona, in the presence of King Felipe VI and Queen Letizia, Allende said winning felt like winning the Nobel. She explained that she had never entered a competition before because she wanted to avoid the embarrassment of finishing last, adding that at her age there was very little to lose. She said readers had been asking her for decades what had happened to Alba, which prompted her to write the sequel. The prize accepts unpublished manuscripts and allows authors to enter under a pseudonym, and Allende submitted the book as Luz Ventura, with the provisional title Los que faltan. One British academic specialising in Spanish studies said he would be very surprised if the judges had not recognised her style, and described the prize as generous but not the most prestigious.
Allende also drew parallels between the politics of the novel and the rise of extremism today. Seeing so many democracies threatened by authoritarianism, extreme nationalism and even fascism, she said, had brought back the fear that led her to leave her country. She was forced into exile after the 1973 military coup led by Pinochet, which overthrew President Salvador Allende, a cousin of her father and the first democratically elected Marxist leader in Latin America. Under the military regime, around 40,000 people are thought to have been tortured and over 3,000 killed. In an earlier interview about her reading life, the novelist recalled that she discovered the great writers of the Latin American literary boom while living in exile in Venezuela at the end of the 1970s, and that they made her want to tell her own story.
Allende is one of the best-known writers in the Spanish-speaking world, and her books have sold more than 80 million copies and been translated into more than 40 languages. The House of the Spirits is often read with Daughter of Fortune and Portrait in Sepia as a loose trilogy of linked family sagas. The award is organised by Planeta, among the biggest publishers in the Spanish-speaking world, which requires that the winning book appear under its imprint. Allende has been published since her debut by Plaza & Janés, an imprint of Penguin Random House, so the award represents a significant coup for Planeta. She has said in the past that she has been displaced for most of her life, and has recalled reading the Arabian Nights as a girl in Beirut in the 1950s, hidden inside her stepfather’s locked wardrobe.
The Planeta prize has at times drawn criticism over its choice of winners. In 2021 it went to La bestia, a thriller published under the name Carmen Mola, presented to the public as a woman writer; at the ceremony it emerged that Mola was in fact three men, Jorge Díaz, Agustín Martínez and Antonio Mercero. Despite the option of anonymous submission, the award has a history of favouring established writers and television personalities. Allende’s victory nonetheless brings one of the most widely read living novelists in the Spanish language to a prize that has long sought to combine commercial appeal with literary recognition, and the sequel to her best-known book is expected to attract considerable attention from readers when it is published by the group. It will be the first of her novels to appear under the Planeta label.
Miley Cyrus pays an emotional tribute to Dolly Parton at the Hollywood Bowl
Miley Cyrus broke down in tears during her concert at the Hollywood Bowl in Los Angeles on Friday night as she paid tribute to her godmother, the country music star Dolly Parton, who died in August. The performance was her first major show in several years. Cyrus projected a photograph of Parton as the opening notes of Jolene, one of Parton’s best-known songs, began to play, and told the crowd that she had been partly inspired to perform at the venue by the memory of the only time she had been able to sit and enjoy one of Parton’s shows there. She said she had asked her Aunt Dolly, as she called her, for a night when she could simply experience her as a member of the audience, like the rest of the world, rather than stand beside her on stage in a matching costume.
Cyrus said her godmother had agreed, but joked that Parton saying yes rarely meant yes. Instead, Parton opened the show with The Best of Both Worlds, the theme song from Hannah Montana, the Disney series that made Cyrus famous, and then told the audience like a proud aunt that her goddaughter was there that night, sitting in her seat because she did not want to be bothered. Cyrus said that this had defeated the whole purpose of their conversation, because nobody had known she was at the concert until Parton drew a great deal of attention to it. Like many things Parton did, she said, she had not understood it at the time, but she now felt her godmother all around her, more than she could when she was alive, and the memory had become precious to her.
Fighting back tears, Cyrus told the audience that she and Parton were eternal, that nothing in life could ever separate them and that she would see her again, adding that she could not wait because she missed her. She said that some of the greatest music in existence had been written, produced and performed by her godmother, before launching into her version of Jolene, which Parton first released in 1974 and which remains one of the best-known songs in country music. Cyrus shared her memories of her godmother with the audience before the song, explaining that the venue held a special place for her because it was where she had watched Parton perform. Her emotional words were widely shared by fans who attended the show and by others who later watched clips of the tribute.
Parton died peacefully on 25 August in Nashville at the age of 80 after what her representatives described as a brief battle with cancer. In a statement, her team said she had spent her life and career bringing joy, laughter, hope and integrity to everything she touched, and pointed to the hundreds of millions of books donated through her Imagination Library literacy programme and to research she funded that helped to create a vaccine used around the world. She died at a cancer centre in Nashville surrounded by loved ones. The type of cancer was not disclosed. Parton had been taken to hospital a few days earlier with kidney and autoimmune problems, and less than two weeks before her death she appeared by video link rather than in person at the opening of a new ride at her Dollywood theme park in Tennessee.
Parton’s family described her in an official obituary as having lived a rhinestone life bright enough for everyone to see, and said she would remain an inspiration through her music and songwriting as well as her wit, warmth and kindness. Over a career spanning seven decades she influenced several generations of artists. Since her death, tributes have continued across the entertainment world: the singer Reba McEntire has spoken of missing a telephone call from Parton shortly before she died, and the 1980 comedy 9 to 5, in which Parton starred, is returning to cinemas to raise money for her foundation. For Cyrus, who first became famous as a child star in Hannah Montana, the performance at the Hollywood Bowl was a chance to share a private family memory with thousands of fans, and to pay homage to the woman she calls her aunt with one of her most famous songs.
TikTok suspends the advertising account of the documentary about Elon Musk
TikTok has permanently suspended the advertising account for Musk, Alex Gibney’s documentary about Elon Musk, just as the film expanded into hundreds of cinemas across North America. The film’s distributor, Bleecker Street, was told on Friday afternoon that a permanent suspension was coming for any advertisements it tried to buy, and shortly afterwards it was unable to purchase them. The platform cited a repeated pattern of political content that breached its policies. The film’s ordinary, unpaid TikTok account remains active, but the distributor cannot pay to promote its posts, as many companies routinely do. A spokesperson for Bleecker Street confirmed the suspension, expressed disappointment at the timing and said the company was appealing, although even a reversal could prove costly if it did not come during the weekend, when many people are likely to see the film.
Correspondence between the platform and the distributor shows a cycle of rejections and appeals over various paid posts, including the trailer, which a TikTok official said would continue to be removed because of its political content. Another advertisement, showing a quotation from a magazine review that urged Americans to watch the film as if their lives depended on it, was also blocked because it was a static image. TikTok did not respond to requests for comment. The decision has raised concerns about suppression by large technology companies, the very issue the documentary sets out to examine. It also carries a certain irony, as one of TikTok’s part owners, Larry Ellison, appears in the film through a text message in which he offered to help Musk fund his purchase of Twitter.
Last month several platforms, including YouTube, Meta, X and TikTok, faced criticism for rejecting advertisements for the film. YouTube and Google quickly reversed their decisions, describing them as an error, but TikTok and X maintained their positions and have not allowed paid advertisements for the documentary on either of their platforms since then, according to reports. The suspension of the film’s advertising account marks a significant escalation. The documentary, which runs to three hours and 45 minutes, sets out to make sense of the world’s richest man and his outsized influence, examining his turn towards supporting the MAGA movement, controversies surrounding his plans for Mars and Tesla’s self-driving cars, and his difficult relationships with several of the mothers of his 14 children. Gibney spent more than three years investigating his subject.
Musk began a limited run in New York and Los Angeles on 9 October, taking about 70,000 dollars from four cinemas in its first weekend, an average of more than 17,000 dollars per screen, before expanding to 472 cinemas on Friday. It made about 120,000 dollars on Friday and is expected to reach around 385,000 dollars by Sunday, according to estimates from rival studios. A large part of the second half of the film focuses on Musk’s political activities, including his role in the government cost-cutting effort known as DOGE. The documentary has been hailed by some reviewers as one of several notable new films about technology released this month, alongside the documentary about Elizabeth Holmes, which is enjoying a record-breaking opening weekend in cinemas across North America.
The film has faced controversy even before this week. Gibney confirmed in an interview that Universal Pictures had hesitated over plans for the film’s release outside the United States, and when asked why, he suggested that the studio might have been concerned that a film about the world’s richest man was problematic in the current political climate, but said that question should be put to the studio. Legal threats from Musk had initially raised concerns about an international release. Ahead of the premiere, Musk called the documentary a hit piece and insulted both the film and its director, saying that Gibney had no integrity. Earlier this month, Musk received the National Medal of Science from the US president at an innovation summit held in Washington.
Judge dismisses child sexual abuse charges against actor Timothy Busfield
A New Mexico judge has dismissed charges of criminal sexual contact with a child against the Emmy-winning actor and director Timothy Busfield, saying prosecutors had failed to act in a fair and impartial manner during the grand jury process. Judge Joseph Montano of the Second Judicial District Court in Albuquerque granted a defence motion to dismiss the indictment on Friday, citing mistakes that he said undermined the proceedings. He found that prosecutors had not called some witnesses whom the grand jurors had asked to hear and had failed to instruct jurors properly on procedures, in breach of statutes intended to protect the integrity of the grand jury system. The ruling does not prevent prosecutors from bringing charges again, and Busfield could still face further legal action.
The district attorney’s office in Bernalillo County said it had received the order and was evaluating its options to decide how to proceed, and a newspaper reported that prosecutors were undecided on Friday afternoon about whether to refile the case. Busfield, 69, known for the television series Thirtysomething and The West Wing and the film Field of Dreams, faced a February indictment on four counts of criminal sexual contact of a child. He has denied all the allegations. The charges related to accusations made by twin boys who appeared as child actors in the Fox series The Cleaning Lady, episodes of which Busfield directed and produced between 2022 and 2024. When he was indicted, the district attorney said Busfield was presumed innocent unless proven guilty in court and that the case was expected to go to trial.
The allegations first came to light after a doctor at the University of New Mexico who examined the boys contacted police in Albuquerque. Busfield surrendered to the authorities in January when a warrant was issued for his arrest, and a judge later ordered his release pending trial. At first he had been held on two counts of sexual contact with a minor and a single count of child abuse. The indictment alleged that between October 2022 and September 2023 he touched one of the boys inappropriately when the child was under 13. In a warrant for his arrest, prosecutors said the parents alleged that he had groomed and abused the children while working on the series, and both boys told investigators that they had been touched inappropriately over a period of years.
Busfield’s lawyers have said the accusations amounted to revenge by the children’s parents after the boys were recast in the fourth season of the series when they outgrew their roles. They told the court that an investigation by Warner Bros found no evidence to support the claims and that the actor had passed a polygraph test about the allegations. His defence team also submitted more than 70 letters from people vouching for his character. Busfield has been married since 2013 to the actor Melissa Gilbert, who has said publicly that she believes her husband will be cleared. Since the accusations became public, he has been dropped by his talent agency. Over his career, he has also faced accusations from women of misconduct on set, which ended in various ways, including settlements and dismissed charges.
The case has drawn wide attention in the entertainment industry, where it has fuelled a broader debate about the protection of child performers on film and television sets. Gilbert and the actor Anna Paquin have called for stronger safeguards for child actors in recent months. Busfield went on to a prolific career as a television director after his years as an actor, working on a large number of series. The judge’s decision on Friday was based on how the prosecution had presented the case to the grand jury rather than on the substance of the allegations, and the question of whether the case returns to court now rests with the district attorney’s office, which has not said when it will announce its decision on how to proceed with the case.
Judi Dench joins more than 100 Archers cast and crew urging the BBC to keep the show in Birmingham
Over 100 people who work or have worked on The Archers, in front of or behind the microphone, including Dame Judi Dench, have written to the director general of the BBC urging him to keep recording the long-running Radio 4 drama in Birmingham. The appeal follows the corporation’s decision, as part of a 500-million-pound cost-cutting programme, to drop plans for a purpose-built radio drama studio at the Tea Factory in Digbeth, its new Birmingham headquarters. Production staff will still move to the new building, but the broadcaster is looking for an existing studio to record the programme. Sites in the West Midlands are being considered, though there is no guarantee the show will stay in the region, which would mean it being recorded away from the city for the first time in its 75-year history.
The letter to Matt Brittin, the BBC’s director general, compares the prospect of the programme leaving the Midlands with Coronation Street leaving the northwest of England or EastEnders leaving the southeast, arguing that the show is rooted in the place and deserves to stay at home. Moving the recordings and separating the production team from the cast, the signatories say, would have a real effect on the quality of the programme and would threaten its future. They argue that a flagship show deserves flagship facilities that would benefit both the BBC and the city for decades. Signatories include the actors Felicity Jones and Kellie Bright, along with current and former editors, scriptwriters, sound effects specialists and programme advisers, as well as the trade unions Equity and the Writers’ Guild of Great Britain.
Dench played the character Pru Forrest in a cameo appearance for the 10,000th episode of The Archers in May 1989, in which the broadcaster Terry Wogan appeared as himself. The drama takes place in Ambridge, an imaginary West Midlands village believed to have been inspired by the Worcestershire village of Inkberrow, and it celebrated its 75th anniversary earlier this year. It has been associated with Birmingham since it began in 1951, employs local writers and freelancers and is regarded by many as part of the city’s cultural fabric. However, some people familiar with the production have pointed out that actors spend only about eight days a month in the studio and that many members of the cast live in different parts of the country rather than in the city itself.
In an email to staff, a BBC executive said that after careful consideration, and as part of the wider drive to reduce costs, the corporation had decided not to build a new drama studio for the programme in Digbeth. Options were being explored to find suitable facilities, including in the West Midlands and other parts of the United Kingdom, but no decision had been reached, the executive said, adding that the priority was the most cost-effective solution that would keep the programme’s high production standards while delivering significant savings. The executive described The Archers as a jewel in the BBC’s crown and said its 75-year connection with the West Midlands remained a vital part of its future. Staff learned of the decision about the Tea Factory studio the previous week.
Speaking earlier in the week, Mr Brittin defended the move, arguing that savings had to be found but that the BBC remained committed to the programme and would explore how best to house it. He said there was other studio space around the country that could accommodate the drama, while options in the West Midlands would also be considered. The existing studio used by the programme includes a room known as the dead room, named for its extensive soundproofing. Supporters of the campaign say they stand in solidarity with their colleagues and the region and want to safeguard the programme for future generations of listeners and performers. The BBC has said that no final decision has yet been taken on where the programme will be recorded.
Dancing With the Stars drops Val Chmerkovskiy for a week over a post about a judge
The American television dance contest Dancing With the Stars has removed the professional dancer Val Chmerkovskiy from next week’s show after a social media post about the judge Carrie Ann Inaba. BBC Studios, which produces the programme, said in a statement on Saturday that the well-being of everyone working on the show was non-negotiable, that his post was inappropriate and did not reflect the values and standards expected of anyone connected with the programme, and that as a result he would not take part in the next episode. His celebrity partner, the actor and dancer Jenna Dewan, will still perform during the show’s annual Dedication Night and will instead be partnered with Alan Bersten, a professional dancer who was eliminated in the third week of the competition. Dewan will dance a Viennese waltz to Unchained Melody, dedicated to her mother.
The dispute began during the episode on 13 October, when Inaba criticised the professional dancer Jenna Johnson, who is married to Chmerkovskiy, for including a lift in her routine and read out the definition of a lift. Afterwards Chmerkovskiy posted on his TikTok story that viewers had almost seen the Fresh Prince enter the ballroom, an apparent reference to the actor Will Smith slapping the comedian Chris Rock at the 2022 Academy Awards after telling him to keep his wife’s name out of his mouth. He soon deleted the post, but the judge had already seen it and responded on her own Instagram account, thanking the media for alerting her to the remark. Chmerkovskiy, who has appeared on the show since its second season, is one of its best-known professional dancers.
On Thursday, Chmerkovskiy apologised to Inaba and to viewers in a message on Instagram, saying he was sorry from the bottom of his heart, that he had contacted the judge to apologise personally and that he wanted to apologise publicly because his words affected many people outside the show. He said he recognised that he was lucky to have a large following and that some people looked up to him, and that he needed to pause and think before posting. After the show’s decision, he posted another statement explaining that his instinct had been to defend his wife and that he had made a poor decision by referring to a meme without considering what else it could imply, which he said had never been his intention. He added that Inaba did not deserve to be caught up in his bad judgment.
Chmerkovskiy said the last thing he wanted was to become a distraction from an important week or from the hard work of his partner, and asked fans to send their support to Inaba, Dewan and the rest of the show during Dedication Night, adding that he would be watching and cheering everyone on. Dedication Night is traditionally one of the most emotional episodes of the season, with celebrities performing routines in honour of people who have been important in their lives. Among them, the actor Julia Stiles and her partner Ezra Sosa are due to perform to Frankie Valli’s Can’t Take My Eyes Off You as a tribute to the late Heath Ledger, her co-star in the 1999 film 10 Things I Hate About You, in which his character serenades hers with the song.
Stiles said this week that she had been crying during rehearsals, explaining that she had expected to feel distant from the memories because the film was made so many years ago, but that seeing clips and images and hearing both of their voices had brought back a great deal. The episode comes at a delicate moment for the programme, as Inaba has previously spoken about facing criticism and booing from audiences over her scoring. The production company’s statement referred only to next week’s show, and did not say what would happen after that. His brother, the former professional Maksim Chmerkovskiy, has also publicly criticised Inaba this week, urging her to be more consistent in her judging. The row has overshadowed the build-up to one of the most anticipated episodes of the season, in which celebrities and their partners dedicate routines to relatives, friends and colleagues who have shaped their lives.