分类: entertainment

  • Films by Almodovar, Pawlikowski and Hamaguchi lead an auteur-heavy Cannes Film Festival lineup

    Films by Almodovar, Pawlikowski and Hamaguchi lead an auteur-heavy Cannes Film Festival lineup

    The 79th annual Cannes Film Festival, one of the most prestigious and influential film gatherings on the global cultural calendar, is set to kick off next month from May 12 to 23 on the French Riviera. Organizers officially announced the highly anticipated 2025 lineup at a Paris press conference Thursday, assembling a slate packed with award-winning international auteurs that reaffirms the festival’s reputation as a launching pad for the year’s most acclaimed cinematic works. This year’s edition, however, marks a stark shift: major Hollywood studios are largely absent, a trend festival leadership has acknowledged as reflective of larger shifts in global film production and distribution.

    The festival’s most prestigious category, the main competition for the coveted Palme d’Or, features 21 competing films from established and beloved filmmakers across the globe. Multiple previous Palme d’Or winners are returning to contest the top prize this year, adding extra prestige to the 2025 lineup. Polish filmmaker Paweł Pawlikowski, who earned international acclaim for *Ida* and *Cold War*, will premiere *Fatherland*, a Cold War-era drama starring Oscar-nominated performer Sandra Hüller. Japanese director Ryusuke Hamaguchi, whose *Drive My Car* won the Oscar for Best International Feature Film after its Cannes debut, will present *All of a Sudden* — his first French-language feature. Spanish cinematic icon Pedro Almodóvar’s *Bitter Christmas*, which has already launched in Spanish cinemas, will also make its world premiere in competition.

    Past Palme recipients returning to the lineup include Romanian director Cristian Mungiu, whose 2007 winner *4 Months, 3 Weeks and 2 Days* remains a landmark of global art house cinema. His 2025 entry *Fjord*, set in Norway, stars recently Oscar-nominated Renate Reinsve and Sebastian Stan. Japanese filmmaker Hirokazu Kore-eda, who took home the Palme in 2018 for *Shoplifters*, will debut a new sci-fi work, *Sheep in the Box*, which follows a grieving couple in the near future who welcome a humanoid android into their home as their late son. Other notable returning competitors include Russian auteur Andrey Zvyagintsev, whose previous works *Loveless* and *Leviathan* both earned Oscar nominations after Cannes premieres, with his new drama *Minotaur*. Additional competition entries come from two-time Oscar winner Asghar Farhadi with *Parallel Stories*, Lukas Dhont with *Cowboy*, and László Nemes with *Moulin*.

    American filmmakers are underrepresented in competition this year, with only a small handful of U.S. projects selected. The lone American competitive entry is Ira Sachs’ *The Man I Love*, a 1980s New York-based drama centered on the AIDS crisis, starring Rami Malek. In the festival’s Un Certain Regard sidebar, Jane Schoenbrun will premiere *Teenage Sex and Death at Camp Miasma* — their follow-up to 2024’s cult hit *I Saw the TV Glow* — a story about the production of a 1980s slasher film starring Hannah Einbinder and Gillian Anderson. Two prominent American directors will screen documentaries in special out-of-competition screenings: Steven Soderbergh’s *John Lennon: The Last Interview* and Ron Howard’s *Avedon*, a portrait of iconic fashion and fine art photographer Richard Avedon. John Travolta’s directorial debut *Propeller One-Way Night Coach* will also screen in the Cannes Premiere section.

    Independent U.S. distribution company Neon has already secured distribution rights to three of the most anticipated competition titles: *Fjord*, *Sheep in the Box*, and *All of a Sudden*. The acquisition puts Neon in a position to extend an unprecedented historic streak: the distributor has won the Palme d’Or six consecutive years, most recently with Jafar Panahi’s *It Was Just an Accident* in 2024. Neon is also backing Nicolas Winding Refn’s out-of-competition thriller *Her Private Hell*, starring Sophie Thatcher and Charles Melton, which marks Refn’s first feature film since 2016’s *The Neon Demon*.

    Festival leadership used the press conference to reaffirm the core mission of Cannes in a turbulent global era. “In this moment, bringing together films and artists from around the world is not a luxury, it’s a necessity,” festival president Iris Knobloch said. “Because when the world darkens, we lose our bearings. Showcasing films from all horizons is not a trivial act. It is defending what is most precious to humanity, its ability to dream and think freely.” Artistic director Thierry Frémaux added that 2,541 feature films were submitted for consideration this year, and that Thursday’s announcement covered roughly 95% of the official selection, with a small number of additional entries to be revealed in the coming weeks. He addressed the absence of major Hollywood studios, noting that while American filmmakers are still present, reduced studio participation reflects a broader retreat from the type of prestige theatrical cinema that once defined major studio output. Large studio blockbusters that made splashy Cannes debuts in recent years, such as *Top Gun: Maverick* and *Mission: Impossible — The Final Reckoning*, will not be on the 2025 lineup.

    True to longstanding festival rules, all competition entries require a theatrical release in French cinemas, a stipulation that has excluded streaming platforms such as Netflix from the competitive lineup since 2017, aligned with France’s strict theatrical window protection laws. The festival will open with the 1920s French drama *The Electric Kiss*, screening out of competition, which will meet the requirement of opening day-and-date in French theaters this May.

    This year’s Palme d’Or will be decided by a nine-member jury led by iconic Korean filmmaker Park Chan-wook. The festival will also bestow honorary Palme d’Or awards to two entertainment legends: singer, actor and filmmaker Barbra Streisand, and New Zealand director Peter Jackson, the visionary behind *The Lord of the Rings* trilogy. Coming off a 2024 edition that launched multiple Oscar contenders, including two Best Picture nominees Joachim Trier’s *Sentimental Value* and Kleber Mendonça Filho’s *The Secret Agent*, the 2025 Cannes Film Festival is positioned to uphold its status as the global premier stage for ambitious cinematic storytelling.

  • Best-selling The Housemaid author Freida McFadden reveals true identity

    Best-selling The Housemaid author Freida McFadden reveals true identity

    One of the publishing world’s most talked-about open secrets has finally been laid to rest: globally adored psychological thriller writer Freida McFadden has stepped forward to reveal her real name is Sara Cohen, ending years of public speculation about her private identity.

    For years, McFadden never hid that her famous pen name was a pseudonym, nor that she balanced a writing career with work as a full-time medical doctor. But she had guarded her birth name closely, turning away repeated requests to unmask her public persona to protect both her professional work and personal privacy.

    In an exclusive interview with USA Today, Cohen explained she had reached a point in her career where keeping her identity secret no longer made sense. “I’m tired of this being a secret,” she said. “I’m tired of people debating if I’m a real person or if I’m three men. I am a real person and I have a real identity and I don’t have anything to hide.”

    Cohen’s rise to literary stardom has been one of the most remarkable success stories of modern publishing. In 2025 alone, she claimed the title of the second highest-selling author in the United Kingdom, moving 2.6 million copies, and sold an additional 6 million print books in her native United States. Only beloved children’s author Julia Donaldson, creator of *The Gruffalo*, outranked her in UK sales that year.

    Her commercial breakthrough came with the 2022 psychological thriller *The Housemaid*, a viral hit that spawned multiple sequels and was adapted into a major motion picture in 2024 starring A-list actors Sydney Sweeney and Amanda Seyfried. To date, the prolific author has published 29 novels, and three of her titles — *The Housemaid*, *Want to Know a Secret?*, and *Dear Debbie* — have already topped bestseller charts in 2026.

    The origin of her pen name traces back to her early medical career, when she first self-published her debut book, *The Devil Wears Scrubs*, a fictionalized account of her experience as a medical resident, in 2013. The name “Freida” comes from a longstanding inside medical reference: the Fellowship and Residency Electronic Interactive Database, a common training registry used by hospitals across the United States, universally shortened to FREIDA.

    For more than a decade, Cohen maintained strict separation between her two lives, working full-time as a brain disorder specialist in Boston, Massachusetts while writing thrillers in her spare time. She told *The New York Times* in 2024 that she chose to keep her identities separate out of professional concern: she worried her patients would feel uncomfortable being treated by a best-selling crime writer, and feared they would assume plot points in her medically themed stories were based on her actual patients, a misperception she saw as unethical.

    Beyond professional boundaries, Cohen also cited social anxiety and a preference for privacy as core reasons for staying anonymous. “I don’t like to be the centre of attention,” she told *The Washington Post* that same year. “I love that people are reading my books, but the spotlight on me specifically is hard. It’s not just about privacy but also about social anxiety. I had this fear that I may not be that amazing person that everyone expects you to be.”

    That dynamic shifted in 2023, when Cohen’s massive book sales allowed her to cut back to part-time medical work. She has since scaled back her clinical hours even further, now only working one or two shifts per month, creating the space for her to step forward publicly. “My whole goal was to keep it a secret until I was ready to step back from my doctor job, so it wouldn’t be like everyone I work with suddenly knew and it compromised my ability to do my job,” she explained to USA Today. “But I have stepped away from my job. I just realised I was completely overwhelmed from trying to do both.”

    The push to reveal her identity also came after her cover was accidentally blown by a colleague earlier this year. She told *The New York Times* in January 2026: “One of my colleagues at the hospital recently recognised me in a Freida photo, and told everyone, so the cat is out of the bag. But they’ve been really respectful about not posting anything about me on social media, and I tried to repay them with a book signing at work.”

    Addressing one more lingering fan rumor, Cohen clarified that the wig she has worn during all public appearances as Freida McFadden is not an attempt to further hide her identity — it is simply because she has no idea how to style her own hair.

    Even as she reveals her real name, Cohen says she expects her loyal fanbase, who call themselves “McFans” and “Freida Readahs,” to continue connecting with her work under the pen name they know and love. “Even though I haven’t told my real name until now, I feel like I have shared the real me all along and everything I’ve told them has been the truth,” she said. “Even though the name will be a surprise, nothing else will. I’ve always been genuine with my readers.”

  • Thousands of fans gather as BTS launches world tour in South Korea

    Thousands of fans gather as BTS launches world tour in South Korea

    SEOUL, South Korea – Thousands of dedicated BTS fans defied pouring rain Thursday to fill a Seoul-area stadium and witness the K-pop global supergroup officially open their first world tour in nearly four years, marking the band’s full return after all members completed South Korea’s mandatory military service requirements.

    The seven-member ensemble – RM, Jin, Suga, j-hope, Jimin, V and Jung Kook – has prepared a career-spanning performance setlist that pulls from their years of hit records alongside their brand-new fifth studio album *ARIRANG*, the group’s first full release since every member finished their compulsory service. Six of the seven members completed active military duty, while Suga fulfilled his requirement as a social service agent due to a pre-existing shoulder injury; he was the final member to be discharged in June 2025.

    This opening show marks BTS’ first headlining tour stop since their 2021–2022 *Permission to Dance on Stage* tour. Even with steady downpour, the 40,000-capacity venue reached full occupancy, a testament to the unwavering loyalty of the group’s global fanbase, known officially as ARMY. The Seoul tour run is scheduled to continue through April 12, kicking off a global itinerary that includes dozens of shows across the United States, Europe, Asia, North America, South America and Australia. Industry analysts project the tour could generate hundreds of millions of dollars in quarterly revenue, a staggering figure that underscores the band’s enduring commercial power years after their last group performances.

    The stadium launch comes less than one month after BTS first celebrated their full group comeback with a free open-air concert at Seoul’s iconic Gwanghwamun Square, drawing hundreds of thousands of fans from across the globe to the city center. Their new album *ARIRANG*, named for the centuries-old Korean folk song widely considered the unofficial anthem of the Korean peninsula, has already claimed the number one spot on the Billboard 200 album chart, while the record’s lead single “Swim” has also topped the Billboard Hot 100 singles chart.

    For context, South Korea’s mandatory conscription system requires all able-bodied men between the ages of 18 and 28 to complete up to 21 months of military service, a policy designed to maintain national defense readiness amid ongoing tensions with North Korea. The requirement had forced BTS to pause group activities starting in 2022, as members entered service one by one over the following years.

    First debuting in June 2013 under South Korea’s Big Hit Music, BTS – short for Bangtan Sonyeondan, translated as “Bulletproof Boy Scouts” – built their global following gradually. The group launched with the hip-hop focused single album *2 Cool 4 Skool*, released three full-length projects, and earned their first major career momentum with the 2016 album *Wings*. Their global breakthrough arrived in 2017, when their hit single “DNA” became the first track by a Korean boy band to enter the Billboard Hot 100 chart. A subsequent performance at the American Music Awards cemented their international popularity, turning their fanbase ARMY into one of the most engaged and widespread fan communities in the world.

    Following the conclusion of the South Korea shows, BTS will next travel to Tokyo for the next leg of the tour, before continuing on to stops across North America, Europe, South America, and the rest of Asia. The tour is scheduled to wrap in Manila next March, after a run of Australian shows scheduled for early 2027.

  • Young HK musicians link cultures on US tour

    Young HK musicians link cultures on US tour

    A dynamic ensemble of emerging young musicians from Hong Kong has embarked on a landmark West Coast tour of the United States, leveraging the universal language of music to build cross-community connections and deepen mutual cultural understanding between East and West.

    Organized by the Hong Kong Academy for Performing Arts (HKAPA), the HKAPA Nexus Ensemble brings together a select group of the institution’s most outstanding current music students and accomplished alumni. This multi-faceted U.S. tour blends formal public performances with immersive educational exchanges at leading higher education institutions, including the University of San Francisco and Los Angeles’ prestigious Colburn School.

    Composer Karry Li, part of the touring group, explained the dual mission driving the project: “We hope to bring our music to both American and Chinese-American audiences across the West Coast, while also giving our young musicians the opportunity to visit leading conservatories and universities for interactive learning and peer-to-peer exchange.”

    Beyond formal recitals, collaborative rehearsals, skill-building workshops and informal personal interactions have allowed young musicians from Hong Kong and the U.S. to discover shared passions and common ground that extends far beyond the concert stage. Claire Wong, a violist performing with the ensemble, noted that the time spent co-rehearsing with American music students evolved into a transformative cultural exchange experience.

    “During those collaborative moments, we shared our diverse perspectives on music education, cultural traditions and everyday life. That open dialogue really helped us understand each other on a much deeper level,” Wong said.

    On Monday, the ensemble headlined the Hong Kong Cultural Evening hosted at Los Angeles’ Chinese American Museum, where they presented a carefully curated program that seamlessly wove together canonical Western classical works and original compositions rooted in Hong Kong’s unique cultural identity. Standout pieces included *Over the Harbour*, a contemporary work inspired by the iconic, ever-shifting vistas of Victoria Harbour, alongside beloved Hong Kong classic *Below the Lion Rock*.

    The tour also shone a spotlight on the longstanding, multifaceted ties between Hong Kong and the U.S. state of California. D.C. Cheung, director of the Hong Kong Economic and Trade Office in San Francisco, used the event to share updates on Hong Kong’s evolving economic outlook while emphasizing how people-to-people cultural exchange lays the groundwork for broader cooperation.

    “There is no surplus or deficit in sharing music — the more we share, the more we have,” Cheung said. “One small step in cultural exchange here in Los Angeles could lead to much larger cooperation in other fields down the line.”

    For Los Angeles’ cultural institutions, the ensemble’s visit aligns with ongoing efforts to connect younger generations across borders through shared cultural heritage and global perspectives. Gay Yuen, board chair of the Friends of the Chinese American Museum, underscored the long-term value of cross-cultural youth exchanges like this tour.

    “We are rooted in Chinese culture, and it’s important for young people to understand both their history and what is happening in the wider world,” Yuen said.

  • Home where young Bowie dreamt of ‘fame’ to open to public

    Home where young Bowie dreamt of ‘fame’ to open to public

    Tucked away in the unassuming London suburb of Bromley, an ordinary 19th-century terraced cottage holds the quiet origins of one of the 20th century’s most revolutionary music icons. Number 4 Plaistow Grove, a modest home originally built for railway workers, is where David Bowie spent 13 of his most formative early years, and it will soon open its doors to the public as an immersive heritage site celebrating the star’s early creative journey.

    A small blue plaque beside the property’s weathered grey front door is the only current marker of its legendary history, reading simply: “David Bowie Singer and Talented Musician 1955-1968”. Bowie — born David Jones — moved to the home with his family in 1955 at the age of eight, and lived here until 1968. It was within these walls that the quiet schoolboy transformed into an ambitious artist set on global stardom, says Geoff Marsh, a renowned Bowie expert tapped to curate the restoration project.

    Bowie shared the home with his father Haywood, mother Peggy, and older half-brother Terry, who would become one of his earliest and most profound creative influences. Terry introduced the young Bowie to modern jazz, Beat literature and Buddhism, but a schizophrenia diagnosis in 1966 led to frequent stays in psychiatric care, removing him from the family home. Biographers have documented a strained, often emotionally distant relationship between Bowie and his mother Peggy, while his father offered far more consistent support — even purchasing the young artist’s first saxophone, which he kept in his small back bedroom. Haywood died at the home in 1969 at age 56, and Peggy moved out a year later.

    Now, the property has been purchased by the Heritage of London Trust, a leading UK heritage organization, which plans to fully restore the home to its 1963 layout, when Bowie was 16 years old. Organizers aim to welcome the first public visitors by the end of 2027. Just as Beatles fans have traveled for decades to explore the childhood Liverpool homes of John Lennon and Paul McCartney, Bowie fans will soon be able to step directly into the environment that shaped the star’s earliest dreams.

    All modern additions to the home — including central heating, an extended modern kitchen-diner, a conservatory, and an upstairs bathroom — will be removed. In their place, the project will restore the home’s original coal fireplace, outdoor lavatory, compact original kitchen, and the small garden garage that once stood at the property’s rear. The home is located just steps from Sundridge Park railway station, which gave Bowie easy access to the music clubs and bohemian culture of London’s West End and Soho, providing an escape from the constrained expectations of 1950s suburban life.

    Marsh, who curated the groundbreaking 2013 *David Bowie Is* exhibition at London’s Victoria and Albert Museum, notes that mid-century suburban culture pressured young people to stay in their place and avoid ambition — a convention Bowie rejected outright. “Music was his way out,” Marsh explained.

    The heart of the restored experience will be the small 9-foot by 10-foot back bedroom where Bowie’s creative path began. It was here that he wrote his first songs, endured five years of industry rejection before scoring his 1969 breakout hit *Space Oddity*, and retreated to escape family tensions and nurture his artistic dreams. In later life, Bowie reflected that the space had stayed with him throughout his career, even as he constantly reinvented his persona and ran from the constraints of his suburban upbringing.

    Alongside the original saxophone gifted by his father, the bedroom will display personal mementos from Bowie’s early years, including a print of Little Richard that a 10-year-old Bowie bought from a local Woolworths and pinned to his wall — an item he kept for his entire life. Friends who visited Bowie at the home recalled a quiet, austere atmosphere in the main house, but a palpable sense of excitement and possibility inside the teen’s bedroom, where the pair would play records and explore the American popular culture that captivated the young artist.

    Local residents who grew up alongside Bowie in Bromley have also shared memories of seeing the young artist walking the neighborhood in bold, experimental outfits assembled from second-hand and surplus finds on London’s trendy Carnaby Street. Even then, neighbors sensed there was something extraordinary about Bowie, and were convinced he would go on to change music forever.

    Nicola Stacey, director of the Heritage of London Trust, says that for fans, there will be no experience more moving than standing in the small room where Bowie’s legendary career first began: “nothing more powerful” than connecting with the moment a global icon first dared to dream of fame.

  • Watch: Pope Leo XIV spins basketball on his finger, with help from Harlem Globetrotters

    Watch: Pope Leo XIV spins basketball on his finger, with help from Harlem Globetrotters

    A lighthearted and memorable moment unfolded at the Vatican this week, when the world-famous American exhibition basketball team the Harlem Globetrotters welcomed a surprising new student: Pope Leo XIV. Known globally for their jaw-dropping trick shots, comedic basketball performances, and decades of entertaining audiences across every continent, the squad traveled to the Holy See for a special audience that quickly went viral for its unexpected playful twist.

    During the meeting, team members guided the pontiff through one of the Globetrotters’ most recognizable signature skills: spinning a basketball smoothly on the tip of a finger. Video footage of the interaction captured the warm, good-natured energy of the encounter, showing players leaning in to offer steady guidance as Pope Leo XIV successfully balanced the spinning ball.

    The meeting marks a rare intersection of global religious leadership and pop culture entertainment, highlighting the approachable demeanor of the new pontiff and the Harlem Globetrotters’ long history of connecting with diverse audiences across all walks of life. Fans around the world have already shared the clip widely across social media, praising the light moment that bridges different worlds in a simple, joyful display.

  • BTS to kick off world tour after landmark Seoul comeback

    BTS to kick off world tour after landmark Seoul comeback

    Global K-pop phenomenon BTS is set to launch its sprawling ‘ARIRANG’ World Tour this Thursday, marking the next historic chapter of the group’s career after a blockbuster group comeback ending a multi-year hiatus for mandatory South Korean military service.

    The seven-member ensemble, universally recognized as the most successful boy band in modern music history, released their latest full-length studio album *ARIRANG* last month before staging their first joint public performance in years at a landmark show adjacent to Seoul’s historic Gyeongbokgung Palace. According to the group’s label, the free Seoul concert drew more than 100,000 in-person fans to the city center, while streaming giant Netflix confirmed a global audience of 18.4 million viewers tuned in for the event’s live broadcast.

    The tour will open with three opening shows at Goyang Stadium in Goyang, the hometown of BTS leader RM, located roughly 10 miles northwest of Seoul. Local authorities have already transformed the city into a purple-hued celebration hub, with iconic locations including Ilsan Lake Park lit up nightly in honor of the group and their global fanbase, dubbed ARMY. The three opening shows are projected to welcome a total of 120,000 attendees, with 40,000 fans expected each night from April 9 to 12. In a message to fans ahead of the opening dates, member Jimin reminded attendees to prepare for cool, potentially wet weather, urging, “To all the ARMYs coming to watch, please make sure to dress warmly!!”

    Across the entire run, the tour will include 85 shows across 34 cities worldwide. Industry analysts project the tour will become one of the highest-grossing concert runs in history, with the potential to out-earn Taylor Swift’s record-breaking Eras Tour.

    The album and tour take their name from *Arirang*, the iconic traditional Korean folk song centered on themes of longing and separation that is widely considered South Korea’s unofficial national anthem. The project is framed as a reflection of the group’s deepening connection to their Korean identity as they mature beyond their early career. Where BTS’s early discography centered on adolescent struggle and internal conflict, the group now enters a new phase of deeper self-reflection, according to Kim Jeong-seob, author of *The Universe of BTS*. Kim described the tour as the opening of a “new chapter” for the group, noting that contemporary global challenges including armed conflict and ethnic and religious division may be woven into their work through subtle, indirect messaging.

    Long before their comeback, BTS has cemented a legacy of global social advocacy, leading UNICEF anti-violence campaigns, speaking out in support of the Black Lives Matter movement, and pushing back against rising anti-Asian racism across the globe.

    To date, *ARIRANG* has already made history as the first album by a K-pop act to top the U.S. Billboard 200 chart for two consecutive weeks, with all album tracks securing top positions on major global streaming charts including Spotify’s Top Songs Global and Top 50 Global. This early success defies a common trend in the highly competitive K-pop industry, where many groups see their career momentum fade after completing mandatory military service. Pennsylvania State University sociologist Sam Richards notes that BTS’s post-hiatus success upends this pattern, carrying major implications for South Korea’s global soft power. “This is extremely significant for the future of K-culture and the nation of Korea because it means that unprecedented growth in soft power will continue,” Richards told Agence France-Presse.

    Industry observers attribute BTS’s enduring global dominance to the unprecedented loyalty and organization of their ARMY fanbase. The group counts more than 80 million followers on Instagram alone, with over 34 million members registered in their official Weverse fan community. Billboard K-pop columnist Jeff Benjamin explains that BTS built their global following by prioritizing direct, authentic engagement with fans on social media platforms including Twitter and SoundCloud years before the wider music industry embraced this strategy. “ARMY were never made to feel like consumers, but like they were friends and participants in BTS’ story, making the group’s rise feel personal to millions of people in a way that superstardom doesn’t typically resonate,” Benjamin explained.

  • Everything you need to know about BTS’s comeback tour

    Everything you need to know about BTS’s comeback tour

    After nearly four years away from the global concert stage, the globally beloved K-pop supergroup BTS is officially making their long-awaited return with a groundbreaking comeback tour that is already being hailed as the largest tour in the history of K-pop. The opening show of this highly anticipated grand tour is scheduled to kick off this Thursday in the group’s home base of Seoul, South Korea, marking a monumental moment for both the band and their legions of dedicated fans around the world. For years, followers of the seven-member group have waited patiently for the opportunity to see BTS perform live in person again, after widespread global event shutdowns and individual career pursuits put collective touring activities on hold. This tour not only represents BTS’s official return to full-group group performances but also sets a new scale benchmark for K-pop concert tours, highlighting the group’s enduring global influence and the unwavering loyalty of their fan community, known collectively as ARMY. Industry observers note that the tour is expected to draw hundreds of thousands of attendees across its scheduled stops, generate massive economic impact for host cities, and solidify BTS’s position as one of the biggest musical acts in the world. This launch comes as global live music continues to fully rebound from the impacts of the global pandemic, with BTS’s comeback emerging as one of the most high-profile live music events of the year.

  • ‘Ketamine Queen’ jailed for 15 years over Matthew Perry drugs

    ‘Ketamine Queen’ jailed for 15 years over Matthew Perry drugs

    In a high-profile sentencing that closed one major chapter of the investigation into the 2023 death of beloved *Friends* star Matthew Perry, a British-American drug trafficker known publicly as the “Ketamine Queen” has been sentenced to 15 years in federal prison for her role in supplying the ketamine that caused the actor’s fatal overdose.

    Forty-two-year-old Jasveen Sangha, a dual U.K.-U.S. citizen, was one of five people charged in connection with Perry’s death, the 54-year-old actor who was found unresponsive in the hot tub of his luxury Los Angeles home in October 2023. Court documents detail that Sangha operated a large-scale illicit drug distribution ring out of her upscale Los Angeles apartment, intentionally targeting wealthy, high-profile clients in the heart of Hollywood’s entertainment industry.

    Prosecutors emphasized in sentencing filings that Sangha deliberately built her brand as an exclusive supplier for A-list clientele, boasting to customers of her tight-knit VIP network of celebrity buyers. In a 2020 message to one customer, she wrote, “I’m really select with people, it’s a very VIP circle of celebs.”

    The conspiracy that led to Perry’s death saw Sangha partner with middleman Erik Fleming to sell 50+ vials of ketamine to Kenneth Iwamasa, Perry’s live-in personal assistant. Court records confirm Iwamasa administered repeated injections of Sangha’s ketamine to Perry, including at least three separate doses on October 28, 2023—the same day the actor died of an overdose. Within hours of learning of Perry’s death from breaking news reports, Sangha attempted to cover up her involvement, ordering Fleming to “delete all our messages” to destroy evidence of their arrangement.

    Prosecutors argued that Sangha’s actions reflected a deliberate disregard for human life, prioritizing illegal profits over the well-being of her customers. “She chose profits over people, and her actions have caused immense pain to the victims’ families and loved ones,” prosecutors wrote in their sentencing recommendation. When law enforcement raided Sangha’s home following Perry’s death, they seized a large cache of controlled substances including methamphetamine, ketamine, ecstasy, cocaine, and counterfeit Xanax, alongside drug trafficking equipment: a money counting machine, a digital scale, and electronic devices designed to detect hidden surveillance cameras and wireless bugs.

    The investigation into Perry’s death uncovered a broader network of enablers who profited off the actor’s long-public struggle with addiction, including two medical professionals who violated their oaths to traffic drugs to Perry. Dr. Salvador Plasencia, who pleaded guilty to four counts of ketamine distribution connected to the case, was sentenced to 30 months in prison last year. A second physician, Dr. Mark Chavez, received a sentence of home confinement coupled with hundreds of hours of community service. Court records show Chavez supplied ketamine to Plasencia, who then resold it to Perry at exorbitant markups. In one text message, Plasencia wrote, “I wonder how much this moron will pay,” highlighting the callous exploitation of Perry’s addiction. Prosecutors confirmed Perry paid more than $2,000 per vial of ketamine, while his suppliers paid only a small fraction of that price for the drug.

    Sangha pleaded guilty to a five-charge indictment, including one count of operating a drug-involved premises, three counts of ketamine distribution, and one count of distribution of ketamine resulting in death. Her guilty plea also acknowledged she supplied four vials of ketamine to 33-year-old Cody McLaury in August 2019; McLaury died of an overdose just hours after purchasing the drug from her.

    For decades before his death, Perry spoke openly about his decades-long battle with substance use disorder. The actor, who found global fame and fortune playing sarcastic everyman Chandler Bing on the hit 1990s-2000s sitcom *Friends*, had long struggled with addiction to painkillers and alcohol, even as his role on the show made him a household name worldwide. In 2018, he suffered a life-threatening colon rupture linked to drug use that required multiple emergency surgeries. In his 2022 memoir *Friends, Lovers and the Big Terrible Thing*, Perry documented his experience going through detox more than 60 times, writing, “I have mostly been sober since 2001, save for about sixty or seventy little mishaps.” At the time of his death, colleagues told reporters Perry appeared to be managing his addiction and making progress in his recovery. He had originally been using ketamine as part of a physician-supervised therapy program for depression, but prosecutors confirmed he developed an addiction to the drug, which is used legally as an anesthetic and depression treatment but is also commonly misused as a psychedelic party drug.

    The remaining co-defendants in the case—personal assistant Iwamasa and middleman Fleming—are scheduled to be sentenced later this month. Perry’s death triggered an outpouring of global grief from *Fans* across multiple generations who grew up watching the hit sitcom.

  • ‘Sheep-killing’ in Shanghai

    ‘Sheep-killing’ in Shanghai

    In the bustling metropolis of Shanghai, a quirky new social media trend has turned a small local matcha boutique into an unexpected magnet for international visitors, drawing crowds that wait for hours just to join the viral fun. The phenomenon, dubbed the ‘sheep-killing plan’ by netizens, centers around one signature menu item: a matcha latte topped with an adorable, sheep-shaped dollop of milk foam. Participants complete the trend by taking one deliberate bite to swallow the creamy sheep whole, a simple act that has captured the imagination of social media users across platforms.

    The trend first gained traction after expatriate bloggers based in Shanghai shared clips and photos of their own ‘sheep-killing’ attempts across major international and domestic social media channels. What started as a casual bit of online content quickly snowballed into a must-do activity for foreign tourists exploring the city, with lines stretching around the block at Matcha Wang, the small shop that created the original drink. Visitors are willing to set aside multiple hours of their sightseeing itineraries just to secure a cup and capture their own turn at the viral challenge, turning a humble beverage into one of Shanghai’s most talked-about new tourist attractions.

    The unexpected viral success of the ‘sheep-killing’ latte highlights how social media can transform small local businesses into global destinations overnight, showcasing the unique, lighthearted cultural moments that draw international travelers to explore modern China beyond major historic landmarks.