Global Pulse

分类： entertainment

  • Was Harry referencing Trump in joke for Late Show sketch?

    Was Harry referencing Trump in joke for Late Show sketch?

    In a lighthearted yet pointed television appearance, Prince Harry joined Stephen Colbert on ‘The Late Show’ for a comedic sketch that blended holiday cheer with subtle political commentary. The Duke of Sussex participated in a faux audition for a Hallmark Channel-style Christmas movie, playing himself as the ‘Gingerbread Christmas Prince’ who saves the holiday in Nebraska.

    The segment took a political turn when Colbert questioned why a real prince would seek such a role. Harry remarked on Americans’ fascination with both royalty and Christmas films, adding, ‘I hear you elected a king’ – an apparent reference to recent ‘No Kings’ protests directed at the Trump administration. The joke referenced widespread demonstrations against Trump’s policies that had mobilized large crowds across major U.S. cities including New York, Washington DC, and Los Angeles.

    Harry further quipped about his determination to secure the acting role, stating he would ‘settle a baseless lawsuit with the White House’ – a clear nod to CBS’s recent legal settlement with former President Trump. Colbert retorted, ‘Hey, I didn’t do any of those things,’ prompting Harry’s comeback: ‘Maybe that’s why you’re cancelled,’ referencing the surprise announcement earlier this year that ‘The Late Show’ will conclude its 33-year run in May 2026.

    The festive segment concluded with Colbert awarding Harry the title of ‘official Late Show prince of Christmas’ to audience applause. The appearance marked Harry’s second time on the program, following his January 2023 visit to promote his memoir ‘Spare,’ which had set viewership records for the show.

    The Duchess of Sussex promoted her husband’s appearance via her Instagram account. The California-based royal couple has maintained a visible media presence since stepping back from senior royal duties in 2020 to pursue financial independence and creative projects.

  • Anoushka Shankar slams Air India for damaging her sitar

    Anoushka Shankar slams Air India for damaging her sitar

    Internationally acclaimed sitarist Anoushka Shankar has publicly criticized Air India after her valuable instrument sustained significant damage during a flight. The daughter of legendary musician Ravi Shankar and multiple Grammy nominee documented the incident through an emotional Instagram video that has since garnered widespread attention.

    In the revealing footage, Shankar demonstrates the extensive harm inflicted upon her sitar, expressing both devastation and disbelief. ‘I thought it was simply out of tune initially,’ she explained while examining the instrument. ‘After tuning it, I picked it up to play and realized the true extent of the damage.’

    The artist emphasized the particular disappointment of this incident occurring with India’s national carrier, especially given her extensive travel history. ‘This marks my first experience flying with Air India in many years,’ Shankar noted. ‘The irony that an Indian instrument couldn’t be safely transported by India’s flagship airline feels particularly distressing.’

    Shankar revealed that despite paying special handling fees and utilizing professional-grade protective cases specifically designed for instrument transport, the sitar arrived damaged. She highlighted that this represents the first such incident in her 15-17 years of international touring.

    The timing adds another layer to the story, as Shankar recently received two Grammy nominations for her musical projects. Her single ‘Daybreak’ earned a nomination for Best Global Music Performance, while her collaborative album ‘Chapter III: We Return To Light’ with Alam Khan and Sarathy Korwar received a Best Global Music Album nomination.

    The 68th Grammy Awards ceremony, where Shankar could potentially win her first Grammy after twelve previous nominations, is scheduled for February 1, 2026, at Los Angeles’ Crypto.com Arena.

  • Leonardo DiCaprio doesn’t regret choosing ‘Titanic’ over ‘Boogie Nights’

    Leonardo DiCaprio doesn’t regret choosing ‘Titanic’ over ‘Boogie Nights’

    In a revealing interview with Deadline, acclaimed Hollywood actor Leonardo DiCaprio has definitively addressed longstanding speculation about his career choices, expressing absolutely no remorse for selecting James Cameron’s Titanic over Paul Thomas Anderson’s Boogie Nights in 1997. The 51-year-old Oscar winner clarified previous comments that had been misinterpreted as regret, explaining they originated from his profound admiration for Anderson’s groundbreaking work rather than any dissatisfaction with his own path.

    DiCaprio characterized Boogie Nights as a cultural milestone for his generation, describing it as the arrival of a new cinematic titan whose storytelling resonated deeply with contemporary audiences. He emphatically stated that Mark Wahlberg’s performance as Eddie Adams/Dirk Diggler couldn’t have been improved upon, acknowledging Wahlberg’s perfect embodiment of the role originally offered to him.

    The actor reflected on the fortunate position he found himself in during that pivotal career moment, expressing gratitude for having been part of Titanic’s monumental success while maintaining creative autonomy throughout his subsequent career choices. DiCaprio emphasized the impossibility of undertaking both projects simultaneously given scheduling constraints, but noted the poetic symmetry of eventually collaborating with Anderson decades later on new projects.

    This retrospective analysis provides valuable insight into Hollywood decision-making processes at the highest level, demonstrating how career-defining choices can shape an actor’s trajectory while maintaining professional relationships that may eventually come full circle through later collaborations.

  • George Clooney is curious about Travis Kelce’s post-retirement plans

    George Clooney is curious about Travis Kelce’s post-retirement plans

    In a revealing episode of the New Heights podcast, NFL superstar Travis Kelce engaged in a dynamic conversation with Academy Award-winning actor George Clooney about his burgeoning acting career and potential post-retirement plans. The 36-year-old Kansas City Chiefs tight end provided insights into his recent role in Netflix’s Happy Gilmore 2 sequel, where he portrayed a hotel waiter in the golf comedy that premiered last July.

    During the candid exchange, Clooney expressed curiosity about Kelce’s potential transition to acting following his football career. “So wait. Is this gonna be—I know you’re not gonna retire—when you retire, is this are you gonna go into some show business? Are you gonna act more?” Clooney inquired, showcasing genuine interest in the athlete’s Hollywood prospects.

    Kelce responded with characteristic humility and enthusiasm, stating, “As long as I’m getting asked by guys like Adam Sandler, you know, my heroes growing up, man, I’m gonna be there in a heartbeat. I don’t know how much skill I have, but I’ll be the best teammate on set and have some fun with you.”

    The conversation took a humorous turn when Kelce suggested the film might have been “10 times better” had Clooney played the waiter role instead. The veteran actor quipped back, “Dude, I play a great waiter. You have no idea,” while revealing he hadn’t been approached for the project.

    Both speakers praised Adam Sandler’s collaborative spirit, with Clooney noting their thirty-year basketball friendship and describing the comedian as “such a good egg” and “fun to work with.” Kelce’s acting portfolio continues to expand beyond Happy Gilmore 2, including his role as Ed Laclan in FX’s Grotesquerie and appearances on Amazon’s Are You Smarter Than a Celebrity? game show.

  • Look: Syrian-French artist debuts his first solo exhibition in UAE

    Look: Syrian-French artist debuts his first solo exhibition in UAE

    Dubai’s Jameel Arts Centre is currently hosting Syrian-French artist Bady Dalloul’s first institutional solo exhibition in the UAE, titled “Self-portrait with a cat I don’t have.” This immersive installation, running through February 22, 2026, represents a significant milestone for the artist whose work navigates the complex intersections of migration, identity, and the blending of factual and fictional narratives.

    The exhibition transforms the gallery space into a recreation of Dalloul’s Dubai apartment, creating an intimate environment where viewers encounter meticulously crafted miniature dioramas, intricate drawings, repurposed everyday objects, and vintage game cases. Each piece serves as a meditation on displacement, cultural inheritance, and belonging, reflecting Dalloul’s personal experiences as someone born in Paris to Syrian parents, educated in Tokyo, and now based in Dubai.

    Central to the exhibition is Dalloul’s exploration of how personal memory intersects with collective history. “I grew up listening to the people around me,” Dalloul explains. “Their stories were shaped by subjectivity—by emotion, memory, silence. That subjectivity is where their power lies.”

    Notable works include the “Age of Empires” series—50 drawings inspired by 19th-century Japanese cosmology that examine how physical traits were historically linked to destiny and imperial rise and fall. Through these works, Dalloul challenges Western historiography’s linearity, instead creating a kaleidoscopic journey across continents and timelines.

    The exhibition’s title, derived from a surrealist painting by Egyptian artist Abdel Hadi Al Gazzar, reflects Dalloul’s experience of creating his first self-portrait while alone in Tokyo. “The cat didn’t exist, but the feeling did,” he recalls. “That imagined presence gave me comfort.”

    Despite some criticism that his approach romanticizes trauma, Dalloul maintains that fiction allows for humor, tenderness, and dialogue where documentation might only emphasize harshness. The artist’s modestly scaled works—necessitated by his apartment-studio lifestyle—become poetic strategies for storytelling, with matchboxes transforming into miniature galleries and bento boxes becoming narrative vessels.

    Visitor responses have been profoundly personal, with many reporting emotional connections to the unspoken experiences depicted. Dalloul views Dubai’s cultural landscape as particularly receptive to his work, noting that “everyone, no matter where they’re from, can flourish here.” The exhibition will travel to Lisbon following its Dubai presentation, continuing its evolution as part of Dalloul’s ongoing “Land of Dreams” series.

  • Ireland among countries boycotting Eurovision after Israel allowed to compete

    Ireland among countries boycotting Eurovision after Israel allowed to compete

    The European Broadcasting Union (EBU) faces mounting diplomatic pressure as four European nations announced their withdrawal from the 2026 Eurovision Song Contest following the decision to permit Israel’s continued participation. Ireland, Spain, the Netherlands, and Slovenia have formally declared their boycott, citing ethical concerns regarding the humanitarian situation in Gaza and allegations of compromised voting integrity.

    Ireland’s national broadcaster RTE issued a statement emphasizing that participation remains “unconscionable given the appalling loss of lives in Gaza and the ongoing humanitarian crisis.” The Dutch broadcaster Avrotros similarly stated that competing under current circumstances contradicts their essential public values.

    Spanish broadcaster RTVE revealed that its board had predetermined withdrawal should Israel participate, a decision that extends to non-broadcast of both the finals and semi-finals. RTVE had previously advocated for Israel’s exclusion and requested a secret ballot on the matter, which organizers denied—a move the broadcaster claims confirms “political pressure surrounding the festival.”

    Slovenia’s RTV maintained its unchanged position, asserting that recent rule modifications fail to address fundamental ethical concerns. The broadcaster emphasized its commitment to equal standards for all EBU members and participating nations.

    In contrast, Israeli President Isaac Herzog celebrated the EBU’s decision as “an appreciated gesture of solidarity, brotherhood, and cooperation,” characterizing it as a victory over attempts to silence Israel. He expressed hope that the competition would continue to promote cultural understanding and friendship between nations.

    The controversy emerges amidst ongoing debates about the politicization of the world’s largest music competition. While Iceland is reportedly considering similar action, no official announcement has been made. The EBU has responded by implementing new rules designed to protect the contest’s integrity, though these measures have failed to appease the boycotting nations.

  • Look: How this army doctor reinvented herself as a contemporary artist

    Look: How this army doctor reinvented herself as a contemporary artist

    Dr. Meenakshi Singhal has embarked on an extraordinary professional metamorphosis, transitioning from a distinguished career as an Indian Army radiologist to emerging as a celebrated contemporary artist within a single year. Her journey represents a profound evolution from medical science to artistic expression that has captured international attention.

    After more than three decades interpreting grayscale radiological images with precision at the Armed Forces Medical College in Pune, Dr. Singhal made the decisive shift to full-time artistry in January 2025. Her medical background continues to profoundly influence her artistic vision, with years of analyzing anatomical structures and subtle densities refining her exceptional eye for composition, depth, and underlying architectures.

    “In many ways, I still read images,” Dr. Singhal reflects, “just with a completely different purpose now.” Her canvases represent a liberation from monochrome medicine into vibrant color fields, where technical precision merges seamlessly with intuitive expression. The discipline and resilience cultivated during demanding forward-area postings with the Army now manifest in artworks that explore themes of protection, grounding, and quiet strength.

    Her artistic ascent has been remarkably rapid. Following successful group exhibitions across India including ‘Raabta,’ ‘Imprints,’ and ‘Art Spectra,’ her work gained international recognition at Hanoi’s ‘Intersection’ exhibition in October 2025. The following month, her participation in Dubai’s ‘Khwab-e-Mussawiri’ event drew admiration from diverse international audiences and established regional artists, including celebrated Emirati artist Ahmed Al Awadhi Rukni who took particular interest in her artistic evolution.

    This December marks a significant milestone with her debut solo exhibition in Gurgaon, representing both a personal and professional culmination. “This show is the story of my transition,” she explains, “from a life rooted in science and service to one rooted in intuition and creation. It is a celebration of coming home to myself.”

    The emotional resonance of her work transcends cultural boundaries, with viewers from different backgrounds connecting with her pieces for varied reasons. As one international attendee observed upon learning this was only her first year as a professional artist: “Then your soul has been painting much longer.”

  • Bollywood star Shah Rukh Khan says UK statue is like having ‘life-size doll’

    Bollywood star Shah Rukh Khan says UK statue is like having ‘life-size doll’

    In a historic celebration of Indian cinema, Bollywood megastars Shah Rukh Khan and Kajol unveiled a dual statue honoring their iconic roles in Leicester Square, London, amidst torrential rainfall on Thursday. The monument commemorates the 30th anniversary of Dilwale Dulhania Le Jayenge (DDLJ), the longest-running film in Indian cinematic history.

    Khan, humorously remarking that the statue resembled a “life-size doll,” engaged in playful banter with his co-star during the ceremony. “I think I’m looking very handsome. You’re also looking very pretty,” he told Kajol, who responded with laughter: “It’s like a second thought, but thanks.”

    The installation joins Leicester Square’s prestigious Scenes in the Square trail, placing the Bollywood icons alongside cultural monuments including Harry Potter, Paddington Bear, and the recently added Bridget Jones statue. Khan emphasized the significance of the London location, noting that “England’s audience has been very responsible for Indian cinema’s takeoff globally in modern times.”

    Despite monsoon-like conditions, dedicated fans gathered to witness the unveiling, demonstrating the enduring appeal of the film often described as Bollywood’s Romeo and Juliet. DDLJ follows the cross-continental romance between Raj (Khan) and Simran (Kajol), with several key scenes filmed in London and Leicester Square itself.

    The ceremony sparked broader discussions about Bollywood’s contemporary challenges. Both actors addressed the industry’s post-pandemic struggles, with Kajol noting increased competition from streaming services and changing viewer habits. Khan countered by affirming the enduring power of communal viewing experiences: “We like to see things, enjoy things together.”

    The event also highlighted Khan’s remarkable career trajectory—from romantic lead to industry mogul. Recently joining the billionaire club, he now ranks among the world’s wealthiest actors alongside figures like Taylor Swift and Arnold Schwarzenegger. Despite his global success, Khan maintained his characteristic humility, deflecting suggestions of playing James Bond with his trademark wit: “I don’t have the accent. And I don’t like shaken martinis.”

  • Theodor Pištěk, Czech Oscar-winning costume designer, dies at 93

    Theodor Pištěk, Czech Oscar-winning costume designer, dies at 93

    Theodor Pištěk, the renowned Czech artist whose costume designs for Milos Forman’s ‘Amadeus’ earned him an Academy Award, has passed away at age 93. The town of Mukařov, his place of residence just east of Prague, announced his death on Thursday, which was subsequently confirmed by his family to the CTK news agency. He died on Wednesday, though specific details regarding the cause were not disclosed.

    Pištěk’s extraordinary career spanned decades, beginning with collaborations on director František Vláčil’s films in the late 1950s, including the critically acclaimed ‘Marketa Lazarová’ and ‘The Valley of the Bees.’ His most celebrated partnership, however, was with the late director Milos Forman. The two met during their compulsory military service in communist Czechoslovakia and maintained a profound professional bond despite the geopolitical upheavals of their time. While Forman emigrated to the United States after the 1968 Soviet invasion, Pištěk remained in their homeland, yet they continued their cinematic collaboration across continents.

    The pinnacle of Pištěk’s career came in 1985 when he won the Oscar for Best Costume Design for ‘Amadeus,’ a film shot in Czechoslovakia that went on to win multiple Academy Awards. Upon accepting the honor, he declared it ‘the biggest and happiest day of my film career.’ His talent was further recognized with an Academy Award nomination for Forman’s 1989 film ‘Valmont,’ for which he also received the French Cesar award. Their creative partnership extended to the 1996 film ‘The People vs. Larry Flynt.’

    Born into an artistic family in Prague on October 25, 1932, with both parents being actors, Pištěk graduated from the Academy of Fine Arts in Prague in 1958. Beyond his film work, he had a notable passion for motor racing, competing as a driver until the mid-1970s. This fascination with automobiles later became a central theme in his paintings, which were exhibited internationally, including in the United States.

    Following the 1989 Velvet Revolution that dismantled Czechoslovakia’s communist regime, Pištěk contributed to the nation’s new identity by designing the official uniforms for the guards at Prague Castle, the presidential seat. In recognition of his immense cultural contributions, the late President Václav Havel awarded him a state decoration in 2000.

  • Eurovision chiefs face thorny question of whether Israel should take part in the 2026 song contest

    Eurovision chiefs face thorny question of whether Israel should take part in the 2026 song contest

    GENEVA — The European Broadcasting Union (EBU) convened a critical general assembly Thursday to address mounting tensions over Israel’s eligibility for the 2026 Eurovision Song Contest. This annual pop music spectacle, traditionally celebrated for its unifying spirit, now faces its most significant political challenge since Russia’s 2022 exclusion following its invasion of Ukraine.

    The core dispute centers on calls from several member nations—including Iceland, Ireland, the Netherlands, Slovenia, and Spain—to exclude Israel from competition. These broadcasters cite both Israel’s conduct in the Gaza conflict and allegations of voting interference in previous contests as primary concerns. Conversely, nations including Austria and Germany have expressed support for Israel’s continued participation.

    Experts observing the Geneva proceedings noted the unlikelihood of a unified resolution. Paul Jordan, a prominent Eurovision commentator known as ‘Dr. Eurovision,’ described the situation as ‘messy and toxic,’ noting the irony that an event branded ‘United by Music’ has become profoundly divided through geopolitics.

    The EBU proposed structural reforms to safeguard contest integrity, including modified voting procedures and reinstating professional juries during semifinals. These measures aim to address claims of political manipulation in viewer voting. The union stated that a formal vote on Israel’s participation would only occur if member broadcasters deem these safeguards insufficient to protect the competition’s neutrality.

    The implications of potential boycotts extend beyond symbolism. Dean Vuletic, author of ‘Postwar Europe and the Eurovision Song Contest,’ warned that withdrawals by democratic EU members would represent an unprecedented escalation in the event’s history. Such actions could significantly impact viewership metrics and financial stability for an institution already navigating media fragmentation and budget constraints.

    With member broadcasters required to confirm 2026 participation by mid-December, the controversy threatens to overshadow the anticipated return of Bulgaria, Moldova, and Romania after absences for financial and artistic reasons. The resolution—or lack thereof—will determine whether Eurovision can reclaim its celebratory purpose or continue serving as a geopolitical battleground.