Entertainment
Prime Video Has a Hidden Gem Horror With Dracula, Werewolves and Mummies That Is Better Than Ever
Some movies don’t just lodge themselves in your memory — they sprawl out and build a little annex, like the oddball friend at a slumber party insisting everyone watch something weird he smuggled from the back shelf of the video store. The breakthrough 1953 film, House of Wax, starring legendary horror star Vincent Price, is one of those films. It sits right beside Tourist Trap, Phantom of the Wax Museum, and even a few stray Night Gallery segments that stuck to your ribs. Those were stories with some weight on them, a little tragedy in the corners, the kind that made you feel like you were stepping into someone else’s private obsession.
But where House of Wax plays like the ballroom version of the genre — velvet curtains, operatic dread, all that tragic grandeur — Waxwork from 1988 kicks the side door open, wearing mismatched shoes and quoting every horror movie it’s ever rented. It’s the punk nephew crashing the fancy family reunion, bringing the spirit of Creepshow, the playful chaos of The Monster Squad, and the anything-goes attitude that fueled late-night Tales from the Darkside reruns. Waxwork doesn’t just riff on its predecessors; it ransacks the attic of horror history and pulls out everything — Dracula, zombies, werewolves, sadistic aristocrats — with the gleeful confidence of a movie that knows exactly what kind of midnight audience it was born to entertain. It’s cinematic mischief, but mischief made with love.
A Museum Where the Exhibits Don’t Just Come to Life, They Swallow You Whole
If you’ve never seen Waxwork, the elevator pitch tells you exactly what kind of ride you’re in for: a group of college kids wanders into a mysterious wax museum that popped up in town like a weed after a rainstorm. The curator — David Warner, doing that sly, half-charmed, half-menacing thing he could do without breaking a sweat — sizes them up with a look that isn’t quite welcoming and definitely not safe. The whole place feels tilted, like someone staged it five minutes before they walked in.
Then the first student steps too close to an exhibit, and the floor drops out. Literally and figuratively. Waxwork’s big trick — and it’s such a good one you can’t even be mad at how bonkers it is — is that each display is a portal. Get too close to Dracula’s dinner table, and suddenly you’re at Dracula’s dinner table for real, with blood on the menu. Wander toward the zombie setup, and suddenly you’re knee-deep in this grimy, George Romero-tinged wasteland that looks like somebody kicked on a fog machine they found in a high-school auditorium closet. Werewolves, mummies, the Marquis de Sade — it’s all crammed in there. This isn’t a museum; it’s a rowdy horror sampler that grabs whoever’s closest.
It’s a concept that shouldn’t feel this fun, but director Anthony Hickox leans hard into the pulpy chaos. He doesn’t tidy the edges or even try to. Waxwork is more mixtape than movie — a heap of genre detours glued together with a wink, a scream, and a bucket of fake blood that probably never quite came out of the carpeting. And somehow, that chaos makes it feel more affectionate than parody.
Where House of Wax Mourns Beauty, Waxwork Throws a Party in Its Ruins
Vincent Price’s House of Wax aches with its own grandeur. It wants you to feel the tragedy behind every glossy sculpture, each one a monument to obsession and heartbreak. You can almost trace the fingerprints in the wax, the way Price plays his madness, like he’s tuning sorrow into a melody. Waxwork, on the other hand, doesn’t mourn anything. It celebrates the carnage. Where House of Wax is cinematic opera, Waxwork is a punk band rattling a garage door. Instead of tragedy, Hickox gives us pure invention — the thrill of letting every monster loose at once and telling the audience, “You’ll keep up, don’t worry.” It’s not elevating horror; it’s reveling in it.
This Forgotten Vincent Price Horror is One of the Few Films Set in This Famously Haunted Landmark
There isn’t much cinematic blood spilled in the Bloody Tower.
And the cast knows exactly what kind of sandbox they’re in. David Warner plays the curator like a man who’s read every villain’s speech in existence and decided none of them were good enough. It’s camp as performance art. Then there’s Zach Galligan — earnest, a little wide-eyed, almost apologetically sincere — grounding the chaos. He ends up being the one steady presence in the room, the guy awkwardly holding the metaphorical flashlight while everything else whirls and snaps around him.
But Hickox’s real trick is threading that sincerity through all the genre mayhem. He’s not mocking the tropes, he’s creating a hodgepodge of them, similar to how a kid would dump all their toys into a huge pile to see what he could create from various combinations. Each world in the wax scenes reveals warmth, even the goofier ones. You never feel like the movie is punching down at horror. It’s clapping along with it.
A Love Letter Written in Blood, Rubber Masks, and VHS Static
For anyone who grew up watching late-night horror blocks or spent uncomfortable amounts of time in video stores clutching a tape with a monster on the cover — Waxwork hits like nostalgia with teeth. It carries the DNA of Creepshow, Fright Night, Monster Squad, and every scrappy anthology film that haunted the 2 a.m. schedule of stations too broke to buy better programming.
But it carves its own spot. It’s knowingly silly, but not a spoof. The film respects the styles it barrels through. You can feel the filmmakers winking, sure, but they’re also sweating. Waxwork is handmade horror — scrappy, clever, slightly lopsided, but full of actual pulse. That’s the thing with camp: it’s not laziness. It’s commitment… just with a smirk. And Waxwork commits. Even though it’s one of those films where you can see the seams on the monsters, you don’t mind. They’re unapologetic, and that adds to the charm because you can feel the love from the hand crafters who probably stayed up into the wee hours of the night to get them just right.
Why It Deserves a Spot Beside the Classics
Waxwork earns its cult status, not by being a flawless film, but because it’s not afraid to venture into the bizarre. It’s like that crazy uncle that makes the family cringe when he shows up at family gatherings with dad jokes and a cooler full of mystery sodas, but earns respect from the youngsters with a tattered copy of Famous Monsters of Filmland magazine under his arm. You don’t ask it to behave. You ask it to liven up the night.
If House of Wax is your thing — the sweep, the style, the controlled unraveling — save a night for its unruly relative. Dim the room, let the nostalgia buzz a little, and slip into something stranger, bloodier, and way less predictable than anything Vincent Price ever polished for the screen. Sometimes horror works better when it doesn’t try to comb its hair. Sometimes messy is the point. And Waxwork? It’s alive and well.
Waxwork is available to stream on Prime Video and Tubi in the U.S.
- Release Date
-
June 17, 1988
- Runtime
-
95 minutes
- Director
-
Anthony Hickox
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Move over, wide-leg pants! Cigarette jeans are the trendiest bottoms in town, and they’re taking over city streets and runways alike. A-listers like Amanda Seyfried, Jennifer Aniston and Dakota Johnson have adopted the style trend, so you know it’s more than a one-off situation. The look is here to stay, and we found 13 elastic-waist versions that nail the aesthetic (without squeezing the tummy).
Striking a balance between straight-leg and skinny silhouettes, cigarette jeans deliver a one-of-a-kind flair. The relaxed style has a semi-fitted design, giving it a more refined and tailored look than the two aforementioned pants. It’s why you’ll look effortlessly sleek and polished but still feel comfortable while sitting at work or playing with your kids. These comfy pants from Amazon, Nordstrom, Quince and beyond are your ticket to owning the look, so let’s jump in!
13 Comfy, Elastic-Waist Cigarette Jeans to Shop Now
1. Our Favorite: Lightweight cotton and stretchy spandex come together to make these jeans both structured and relaxed. No stiffness, here!
2. Light Wash: Create the illusion of an hourglass figure with these flattering high-waisted jeans that shape without squeezing. We adore the retro blue hue.
3. Tummy Control: Jeans that hug all the right places are hard to find, but these tummy-control pants deliver. You just might think you’re wearing sweats!
4. Lands’ End: Love name brands? These classic jeans take the effort out of getting ready, thanks to the pull-on design and versatile style.
5. Smoothing Find: These popular Lee jeans have a fitted yet stretchy design that prevents a sloppy appearance . . . yes, despite the pull-up waistband. By the way, over 4,700 fashionistas gave them a five-star rating, so you know they’re worth checking out.
6. Lift and Tuck: Look like a model from every angle in these relaxed-fitting jeans that feature a smoothing waistband, intricate stitching and the cutest ankle length.
7. Like Loungewear: Made with organic cotton, Tencel Lyocell and spandex, these Quince pants are smoothing, sweat-wicking and extremely soft.
8. Cropped Pick: Spring is just around the corner, and these cropped jeans will be part of your uniform. They style nicely with sneakers and sandals alike.
9. Tied Up: Tie-waist pants channel Hamptons and Nantucket vibes at the same time. These burgundy wonders are the secret to looking East Coast-rich.
10. Boutique Vibes: Not only are these cigarette jeans stretchy, but they’re also slimming. The pants masterfully slim the thighs, thanks to their clean lines and sleek, tailored-looking silhouette.
11. Gloria Vanderbilt: Right now, you can snag these bestselling ankle-length jeans for just $28 — but hurry! They’re selling out in real time. Psst, the pants even come in petite sizes.
12. In-Office Fridays: Calling all corporate queens! With the rich blue color, pocketless style and loose fit, these pants make you look put together at the office and beyond.
13. Luxe and Lightweight: Shoppers rave about these mid-rise jeans, highlighting the lightweight feel, stretchy waistband and easy pull-on design. Sold!
Bye, oversized totes! There’s a new rich mom bag style in town, and it’s taking over the streets of New York City, Madrid and beyond. It’s even trickled into royal wardrobes, including outfits sported by Kate Middleton. If you guessed mini bags, you’re on the right track! This winter, we’ve spotted A-listers like Middleton, Penélope […]
Entertainment
Friends of James Van Der Beek share update on fundraiser for his family, say his 'spirit continues to bring people together'
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Money raised will go to the “Dawson’s Creek” star’s wife Kimberly and their six children.
Jerry Jones
I Owe My Gold Jacket To Irvin
& His Winner’s Mentality
Published
TMZSports.com
Jerry Jones is the most powerful owner in the NFL … but he tells TMZ Sports things could ended up much differently for him if Michael Irvin never played for the Dallas Cowboys.
We caught up with the Hall of Fame owner at the Fanatics party during Super Bowl week … and he spoke highly of his former superstar receiver — not only for his athletic abilities, but also the mindset he brought to the whole franchise.
The praise came up when we asked if Irvin should bring his signature “belt to ass” celebrations to the Cowboys … after it became a bit of a phenomenon for his Miami Hurricanes this past season.
His answer?? Irvin earned the right to do whatever the heck he wants.
“Let me say this, what I’m for is for whatever Michael Irvin is for,” Jones said. “I have a gold jacket. I wouldn’t have the gold jacket had Michael Irvin not played for the Cowboys, in a manner of speaking.” Jones said.
Michael Irvin with another BTA celebration 🤣🤣 pic.twitter.com/grNDikkT8P
— Nick Harris (@NickHarrisFWST) January 1, 2026
@NickHarrisFWST
“To be involved and be around the winning mentality or that winning physicality — when Michael says it, I listen.”
Irvin — a HOFer himself — was a three-time Super Bowl champion over the course of his career … playing each season with America’s Team.
He had nearly 12,000 yards and earned 65 touchdowns over the course of his career … and has a spot in the Cowboys Ring of Honor.
As for the current state of the team, Jones understands the fans are frustrated with the 30-year Super Bowl drought, explaining the NFL is highly competitive, and he’s doing everything in his power to bring back the ’90s-era ‘Boys.
A key focus, he adds, is redefining the defense — a top priority on his list.
“I understand how it’s done,” Jones said, “I understand how it’s not done.”
If it’s sci-fi and was directed by Christopher Nolan, it’s bound to be a hit. The celebrated director has become the go-to for highly theoretical sci-fi expeditions, with hits like Inception, Tenet, and Oppenheimer. One of his most celebrated films in this genre is the 2014 megahit Interstellar, which has grossed over $773 million worldwide. It is regarded as one of the best sci-fi films of all time thanks to its complex concept and top-tier performances. As Nolan prepares for his next film, The Odyssey, viewers are still revisiting the hit that introduced Timothée Chalamet to the world of blockbusters.
Data from FlixPatrol shows a massive global interest in Interstellar. It is among the top ten movies on many local and international streaming services, including HBO Max, iTunes, and OSN. In the U.S., Interstellar is ranked fifth on Pluto at the time of writing. The movie’s success on streaming is a continuation of its winning streak. Despite receiving mixed reviews from critics, Interstellar‘s ambitious storytelling connected with moviegoers, especially internationally. Produced with an estimated budget of $165 million, it grossed over $680 million during its original theatrical run and over $20 million during the tenth-anniversary re-release.
Interstellar had a recent screening in Los Angeles, and Chalamet was present alongside Nolan. The megastar revealed that the film was his all-time favorite. “Though my role is not enormous in Interstellar, I think I was number 12 on the call sheet, this film came to me at a time in life, in my career, where things were certainly not set yet,” the actor said. He played Tom, the teenage son of the main character Cooper (Matthew McConaughey). 12 years later, things are certainly set in Chalamet’s career after subsequent critical and box-office hits. His latest movie, Marty Supreme, has broken records for A24, becoming the studio’s highest-grossing film to date.
Christopher Nolan’s Next Film Comes Out This Year
The Odyssey is a departure from Nolan’s expected genre. The film is based on Homer’s story of Odysseus, the king of Ithaca, trying to return home after the Trojan War. It is an ambitious endeavor by the director, but he has the experience and cast to pull it off. The fantasy epic has a star-studded cast that includes Matt Damon, Anne Hathaway, Zendaya, Tom Holland, Lupita Ny’ongo, Robert Pattinson, Jon Bernthal, Mia Goth, Elliot Page, and more. The Odyssey premieres in theaters on July 17, 2026.
Watch Interstellar on Pluto TV in the U.S., and stay with us for more updates.
- Release Date
-
November 7, 2014
- Runtime
-
169 Minutes
Margot Robbie
Good Genes or
Good Docs?!
Published
Margot Robbie‘s looks over the years have soared to new Heights!
Here is a 23-year-old version of the blonde starlet at “The Wolf Of Wall Street” premiere in NYC back in 2013 (left). This was her breakout role, playing “Naomi” alongside Leonardo DiCaprio.
And, 16 years later, Margot wowed the crowd in a custom Dilara Findikoglu sheer corseted gown at last week’s “Wuthering Heights” premiere in London (right).
We know she nailed her role as “Barbie,” but the question here is: Good Genes or Good Docs?!
“Come on, Barbie, let’s go party!”
Entertainment
Emerald Fennell’s ‘Wuthering Heights’ Removes a Critical Piece of the Original Novel That Hurts the Movie
Editor’s note: The following contains spoilers for ‘Wuthering Heights.’An adaptation has no obligation to honor its source material, but it does need to ensure that any changes made to the original text are justified. Emerald Fennell crafted a jarring new version of Emily Brontë’s beloved classic Wuthering Heights that only depicts half of the story in the novel. The romance between Catherine Earnshaw (Margot Robbie) and Heathcliff (Jacob Elordi) that Fennell focuses on only constitutes the first half of the book, with the second part centered on their respective children. While previous versions of Wuthering Heights have also ignored the second half of the novel, Fennell’s willingness to brush over the younger characters removes the haunting depiction of generational trauma that makes the material so haunting. Without seeing how the unrequited love between Catherine and Heathcliff manifests, Fennell’s Wuthering Heights is a standard period romance that lacks bite.
Fennell’s Wuthering Heights immediately announces its disregard for the source material because the character of Hindley Earnshaw, Catherine’s brother, is removed entirely. Hindley is not only a bully who subjects Heathcliff to physical and emotional torment, but the target of vengeance. It’s by treating Hindley’s son, Hareton, as an uneducated servant that Heathcliff subjects the descendant of the Earnshaw family to the same misery that he experienced. Fennell’s film instead uses Cathy’s father, Mr. Earnshaw (Martin Clunes), to fulfill the role of Heathcliff’s tormenter, but he isn’t a major factor in the film once she is wedded to Edgar Linton (Shazad Latif). While these decisions may have been for the sake of simplifying the text, character motivations become more confusing once their motivations are made more foggy.
Emerald Fennell Only Told Half of ‘Wuthering Heights’
Wuthering Heights is an epic tragedy because Heathcliff and Catherine are never allowed to be intimate with one another, as they each become locked in unexpected marriages. The importance of Catherine’s marriage to Edgar and Heathcliff’s wedding with Isabella (Alison Oliver) is to show how they are locked away from each other by societal rules; despite seemingly being given fulfilling relationships with considerable wealth, Catherine and Heathcliff are miserable because they have loved one another since childhood. Taking out the second generation of characters means that Wuthering Heights doesn’t show the ramifications of the separation. Instead, Fennell seems to stage the drama as a series of love triangles. Cathy only marries Edgar because of Heathcliff’s departure, which is prompted by a deception on the part of her maid, Nelly Dean (Hong Chau). Likewise, Heathcliff marries Isabella as an opportunity to torment Cathy. However, Fennell’s film doesn’t actually create any suspense because Catherine and Heathcliff are intimate, meaning that their respective marriages didn’t suppress their affections for one another.
The inclusion of the second generation of characters is necessary in creating dramatic irony because the novel shows how each of the children comes to suffer as a result of their parents’ sins. Heathcliff’s son, Linton, does not have any of his father’s strength and thus never gets to enjoy the pleasures of his father’s fortune; Catherine’s daughter, Catherine Linton, is born when her mother dies in childbirth, and is denied knowledge of her heritage by her father, Edgar. The eventual tragic love story that emerges between Linton and Cathy is meant to be a dark mirror to that of their parents, as it is Linton who dies of sickness, and Cathy who is left to marry another. Even the other versions of Wuthering Heights that only adapted half the book, such as the 1939 masterpiece directed by the great William Wyler, were able to show the loneliness Heathcliff feels when he’s haunted by the ghosts of the past. Fennell’s version, despite being much longer, doesn’t even include the flashes forward to the future, as it instead ends with a montage of a younger Catherine (Charlotte Mellington) and Heathcliff (Owen Cooper).
‘Wuthering Heights’ Doesn’t Have a Clear Motivation for Heathcliff
That Hindley, and by extension, Hareton, are not included means that there’s not a significant reason why Heathcliff returns to seek revenge after acquiring a fortune. Heathcliff’s treatment of Hareton, whom he values less than his own son, would have mirrored how he himself was treated by Mr. Earnshaw in comparison to Hindley. To see Heathcliff’s failures as a parent is important because he is simultaneously unable to protect his own child and faces the ultimate humiliation when Catherine’s daughter falls in love with Hareton, whom he despises. As a result, Elordi’s version of Heathcliff is simply a petty, petulant spurned lover whose separation with Catherine all comes down to a misinterpretation. It not only denies agency to both Catherine and Heathcliff, but also makes the Lintons into less interesting characters; Fennell only sees Edgar as a villain, and depicts Isabella as being vapid and childish.
Although Fennell has proven to be a polarizing figure because of her provocative stylistic choices, Wuthering Heights isn’t all that shocking because it distills a complex story of psychosexual, incestuous desire into a standard weepie. There was an opportunity to make a new version of Wuthering Heights that became the definitive adaptation, as it had the chance to include the knottier themes of the second half of the book that weren’t seen in the cinematic versions in 1939, 1970, 1992, and 2011. That so much of Brontë’s prose was ignored doesn’t just make Wuthering Heights an unfaithful adaptation, but turns it into a shallow, incomplete film in its own right. Unlike the way the romance should have been depicted, Fennell’s Wuthering Heights only skims the surface.
Wuthering Heights is now playing in theaters.
- Release Date
-
February 13, 2026
- Runtime
-
136 Minutes
- Director
-
Emerald Fennell
- Writers
-
Emerald Fennell, Emily Brontë
- Producers
-
Margot Robbie, Tom Ackerley, Emerald Fennell, Josey McNamara
Entertainment
Michelle Yeoh shuts down question about U.S. politics after accepting major film festival award
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“Best not to talk about something I don’t know about,” the “Wicked” actress said at the Berlin International Film Festival.
Police procedurals have always captivated audiences. From the early days of the genre with shows like Dragnet — which was one of the first of its kind to take the fascination with law enforcement off the pages of quick-to-read novels and onto the screen — the titles have performed well with viewers across multiple age groups. These days, every major network has their own primetime procedural that rakes in the viewership numbers hand over foot. On ABC there’s High Potential and 9-1-1; while NBC has long been the home of the long-running and beloved drama, Law & Order; with CBS finding a sprawling fandom with its three-season running title, Tracker.
On the big screen, police-centered entertainment often swings even harder as the feature-length format allows directors to dig into the drama of it all and drive their stories home. Movies like Antoine Fuqua’s Training Day, Martin Scorsese’s The Departed, and Michael Mann’s Heat have all not only grown a devoted following but also gained acclaim on the awards circuit. With over-the-top characters, high stakes, and a shorter time frame to put it all out there, these movies can be as thrilling as they are emotionally involved, which has helped them stand out as instant classics.
In 2012, David Ayer tried his hand at crafting a gritty police drama with the help of Jake Gyllenhaal and Michael Peña in his film, End of Watch. Centered in South Central Los Angeles, the movie follows two LAPD officers, Brian (Gyllenhaal) and Mike (Peña), who are not only partners but close friends. Together, they patrol the streets, searching for gang members to bust all while staying alive to see their families at the end of the night. Unfortunately for HBO Max subscribers, time is running out to stream the pulse-pounding thriller as it’s set to leave the streamer on February 23.
Who Else Stars in ‘End of Watch’?
In addition to Gyllenhaal and Peña leading the police team, End of Watch also features performances from a standout ensemble that includes David Harbour (Stranger Things), Anna Kendrick (A Simple Favor), Frank Grillo (Tulsa King), America Ferrera (Ugly Betty), Natalie Martinez (Bad Monkey), Kristy Wu (Buffy the Vampire Slayer), Maurice Compte (Dominique), and more.
Known for his work behind a multitude of high-octane features, Ayer is no stranger to police dramas as he worked alongside Fuqua as Training Day’s screenwriter. He also penned the 2003 film, S.W.A.T., and continued to pursue work in the same vein as a director through vehicles such as Harsh Times, Street Kings, Sabotage, and Bright.
Head over to HBO Max before February 23 to stream End of Watch.
- Release Date
-
September 21, 2012
- Runtime
-
109 minutes
Entertainment
Beats Studio Pro headphones are half off at Amazon's Presidents Day sale — plus, you can score Apple AirPods for $99
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Sony and Bose headphones have deep discounts, too.
Megan Thee Stallion
‘Savage’ Hot Shots To Kick Off Her 31st!!!
Published
It’s Megan Thee Stallion‘s birthday — consider this your official heat warning!
The “Hot Girl” coach never misses when it comes to serving looks, and these bikini snaps prove exactly why she stays winning … confidence isn’t just part of her brand — it is the brand.
From jaw-dropping curves to headline-stealing poses, Megan knows how to shut it down from every angle — and she’s never been shy about giving fans exactly what they came for.
Another year older, still running the game — Happy Birthday, Meg!
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![Heathrow has said passenger numbers were 60% lower in November than before the coronavirus pandemic and there were “high cancellations” among business travellers concerned about being trapped overseas for Christmas as Omicron spreads. The UK’s largest airport said the government’s travel restrictions had dealt a fresh blow to travel confidence and predicted it was likely to take several years for passenger numbers to return to pre-pandemic levels. This week ministers said passengers arriving in the UK would have to take a pre-departure Covid test, as well as a post-flight test, because of fears about the spread of the new variant. “[The] high level of cancellations by business travellers concerned about being trapped overseas because of pre-departure testing shows the potential harm to the economy of travel restrictions,” the airport said in an update. Heathrow said the drop in traveller confidence owing to the new travel restrictions had negated the benefit of reopening the all-important corridor to North America for business and holiday travel last month. Eleven African countries have been added to the government’s red list, requiring travellers to quarantine before reuniting with families. “By allowing Brits to isolate at home, ministers can make sure they are reunited with their loved ones this Christmas,” said John Holland-Kaye, the chief executive of Heathrow. “It would send a strong signal that restrictions on travel will be removed as soon as safely possible to give passengers the confidence to book for 2022, opening up thousands of new jobs for local people at Heathrow. Let’s reunite families for Christmas.” Heathrow said that if the government could safely signal that restrictions would be lifted soon, then employers at Heathrow would have the confidence to hire thousands of staff in anticipation of a boost in business next summer. The airport is expecting a slow start to 2022, finishing next year with about 45 million passengers – just over half of pre-pandemic levels. This week Tui, Europe’s largest package holiday operator, said it expected bookings for next summer to bounce back to 2019 levels. However, Heathrow said on Friday not to expect the aviation industry to recover for several years. “We do not expect that international travel will recover to 2019 levels until at least all travel restrictions (including testing) are removed from all the markets that we serve, at both ends of the route, and there is no risk of new restrictions, such as quarantine, being imposed,” the airport said.](https://wordupnews.com/wp-content/uploads/2026/02/shutterstock_1100012546-scaled-400x240.jpg)
![Heathrow has said passenger numbers were 60% lower in November than before the coronavirus pandemic and there were “high cancellations” among business travellers concerned about being trapped overseas for Christmas as Omicron spreads. The UK’s largest airport said the government’s travel restrictions had dealt a fresh blow to travel confidence and predicted it was likely to take several years for passenger numbers to return to pre-pandemic levels. This week ministers said passengers arriving in the UK would have to take a pre-departure Covid test, as well as a post-flight test, because of fears about the spread of the new variant. “[The] high level of cancellations by business travellers concerned about being trapped overseas because of pre-departure testing shows the potential harm to the economy of travel restrictions,” the airport said in an update. Heathrow said the drop in traveller confidence owing to the new travel restrictions had negated the benefit of reopening the all-important corridor to North America for business and holiday travel last month. Eleven African countries have been added to the government’s red list, requiring travellers to quarantine before reuniting with families. “By allowing Brits to isolate at home, ministers can make sure they are reunited with their loved ones this Christmas,” said John Holland-Kaye, the chief executive of Heathrow. “It would send a strong signal that restrictions on travel will be removed as soon as safely possible to give passengers the confidence to book for 2022, opening up thousands of new jobs for local people at Heathrow. Let’s reunite families for Christmas.” Heathrow said that if the government could safely signal that restrictions would be lifted soon, then employers at Heathrow would have the confidence to hire thousands of staff in anticipation of a boost in business next summer. The airport is expecting a slow start to 2022, finishing next year with about 45 million passengers – just over half of pre-pandemic levels. This week Tui, Europe’s largest package holiday operator, said it expected bookings for next summer to bounce back to 2019 levels. However, Heathrow said on Friday not to expect the aviation industry to recover for several years. “We do not expect that international travel will recover to 2019 levels until at least all travel restrictions (including testing) are removed from all the markets that we serve, at both ends of the route, and there is no risk of new restrictions, such as quarantine, being imposed,” the airport said.](https://wordupnews.com/wp-content/uploads/2026/02/shutterstock_1100012546-scaled-80x80.jpg)
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Kirk Cousins Officially Enters the Vikings’ Offseason Puzzle
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