Global Pulse

分类： entertainment

  • Uffizi Gallery unveils new arrangement for Botticelli’s ‘Birth of Venus’ and ‘Primavera’

    Uffizi Gallery unveils new arrangement for Botticelli’s ‘Birth of Venus’ and ‘Primavera’

    FLORENCE, Italy – Two of the Italian Renaissance’s most recognizable cultural treasures, Sandro Botticelli’s *The Birth of Venus* and *Primavera*, have entered a new chapter in their centuries-long display history at Florence’s world-famous Uffizi Gallery. The repositioning, which launched to the public this Tuesday, represents the latest milestone in the museum’s ongoing transformation project, led by newly appointed director Simone Verde who stepped into the role in January 2024.

    Under the new layout, guests visiting Italy’s most visited cultural institution will first encounter *The Birth of Venus* in one dedicated gallery space. When they turn around from the painting, they will find *Primavera* installed on an opposite wall in the adjacent connecting gallery. This updated arrangement addresses longstanding viewing challenges that have plagued visitors for decades.

    In the most recent setup before this change, the two Botticelli masterpieces hung on side-by-side walls, letting guests take in both works in a single glance. Going back further in the museum’s display history, the pair were hung on opposite walls within the same single room – a configuration that created massive overcrowding, made it difficult for art lovers to move through the space, and left many guests unable to properly appreciate the details of Botticelli’s iconic work.

    Verde explained that the redesigned Botticelli galleries balance forward-thinking innovation with respect for the institution’s centuries-old legacy. The goal of the project, he noted, is to introduce guests to the Uffizi of tomorrow while remaining deeply rooted in the extraordinary history that has made the museum a global cultural landmark. The renovation project overall is designed to reshape how visitors engage with the Uffizi’s unparalleled collection of Renaissance art, making the iconic works more accessible and enjoyable for the millions of guests that travel to Florence to see them each year.

  • Monumental cave art on Paris’ oldest bridge finally opens, as the public steps and sniffs inside

    Monumental cave art on Paris’ oldest bridge finally opens, as the public steps and sniffs inside

    For weeks, an imposing black artificial mountain stood in the place of Paris’ iconic Pont Neuf, drawing curiosity from locals and tourists alike. On a Monday evening, that structure finally opened its doors to visitors, welcoming members of the public into a one-of-a-kind multisensory art experience that reimagines one of the French capital’s most historic landmarks.

    Dubbed the Pont Neuf Cavern, this large-scale installation is the work of celebrated French street artist JR, often referred to as France’s answer to Banksy. Free and open to the public 24 hours a day through June 28, the temporary work transforms the 17th-century bridge into a man-made cave that rises 59 feet above the surface of the Seine. Constructed primarily from printed fabric and inflated to hold its shape, the installation invites guests to step away from the sunlit riverbank and into a dim, atmospheric passage that reframes how visitors interact with the centuries-old crossing.

    As visitors walk along the original undulating cobblestones of the Pont Neuf, their senses are immediately engaged by the space. The walls are lined with glowing photographic prints of natural cave formations, while a low, rhythmic electronic hum hums through the structure, setting a meditative, ancient tone. The most striking element of the illusion, however, is its custom scent design, crafted to make visitors feel they have stepped into a deep, natural underground space.

    Olfactory specialist Sarah Bouasse developed two evolving scent profiles for the installation, centered on geosmin and isoborneol — the natural chemical compounds that create the signature smell of rain hitting dry earth. The aroma shifts gradually as visitors cross the bridge, starting with crisp notes of damp soil and mineral-rich stone before transitioning into warmer, smokier, faintly earthy tones that deepen the immersive illusion. For many regular visitors to the bridge, the experience is transformative. “Usually I cross here without looking up once,” shared Michel Dupré, a 67-year-old Parisian retiree, after stepping back out into daylight. “Today I felt the stones under my feet. And smelled them too. It makes you walk like a child again.” Léa Martin, a 22-year-old art student visiting from Lyon, echoed that sense of disconnection from the familiar city. “It feels like the city has disappeared,” she said. “You know the river is right outside, but for a moment you’re somewhere ancient.”

    Complementing the scent and visual design is a custom sound installation created by Thomas Bangalter, former member of legendary French electronic music duo Daft Punk. His score fills the cavern with soft rumbles, echoing vibrations and steady rhythmic pulses that amplify the feeling of being deep within a natural cave.

    Beyond its immersive design, the installation carries intentional artistic and historical context. Despite its name meaning “New Bridge”, Pont Neuf, completed in 1607, is the oldest standing bridge in Paris, with a history stretching back decades before the French Revolution. JR’s work also pays homage to the iconic late artist duo Christo and Jeanne-Claude, who wrapped the entire bridge in shimmering pale golden fabric for a landmark 1985 installation that drew an estimated 3 million visitors. Where Christo and Jeanne-Claude bathed the bridge in light, JR has chosen to envelop it in darkness, leaning into the metaphor of the cave. The artist draws direct links between his work and Plato’s famous Allegory of the Cave, in which trapped prisoners mistake shadows cast on a cave wall for real reality. JR argues that in the modern era, the “cave walls” that shape our perception are the digital screens and algorithmic feeds that frame most people’s daily experiences.

    For visitors who want a digital layer to their experience, JR has partnered with tech company Snap to add an optional augmented reality component: guests can activate the feature with their smartphones to see digital light-trailing bats, ghostly afterimages of passing visitors and a materializing digital dancer within the cave space. Even without the AR add-on, however, visitors say the installation has a powerful effect. Nadia Benali, a 34-year-old visitor, noted that Paris is often defined by its constant rush, making the installation a much-needed pause. “It’s completely strange,” she said, smiling beside the artificial cliff walls. “Paris needs things that make people stop.”

    When the installation closes on June 28, all of its fabric components will be reused or recycled, aligning with sustainable temporary art practices. The artificial mountain will be disassembled, regular traffic will return to the bridge, and the centuries-old Pont Neuf will once again stand fully exposed to the Paris light — leaving behind a new shared memory of a familiar landmark seen through entirely new senses.

  • ‘Obsession’ is a sensation. Everyone, including Curry Barker, is trying to figure out what it means

    ‘Obsession’ is a sensation. Everyone, including Curry Barker, is trying to figure out what it means

    Hollywood is reeling from an unexpected box office earthquake that upends long-held industry norms: a $750,000 microbudget horror film from a 26-year-old YouTube creator has grown into one of the most profitable motion pictures in modern cinema.

    When first-time feature director Curry Barker struck a friendly wager with his team ahead of “Obsession’s” theatrical debut, the stakes were modest: if the film opened above $20 million, everyone would get matching tattoos. The opening weekend haul came in just under the mark at $17 million, but that was no disappointment for the team behind the scrappy indie. What no one predicted was the film’s unprecedented staying power: it crossed the $20 million threshold in its second weekend, then repeated the feat two more times, defying the typical box office trend of steep weekly drops for new releases. With a current global gross of $286 million and still counting, Barker has already upped the ante to a new bet: tattoos for all once “Obsession” crosses $300 million, a milestone industry insiders say is well within reach.

    Barker, who built a loyal fan base creating comedy sketches and short horror films for YouTube and TikTok, has emerged as the face of a new generation of filmmakers cutting their teeth online before stepping into the multiplex. The Alabama native moved to Los Angeles at 18, and dropped out of film school after one year to pursue independent digital content alongside collaborator Cooper Tomlinson. After his self-funded $800 found-footage horror “Milk & Serial” went viral on YouTube when he uploaded it directly following a failed search for distribution, Barker landed his first industry representation and caught the eye of major production players.

    Loosely inspired by a *Simpsons* Halloween episode, “Obsession” reimagines the classic Monkey Paw fable: a teenage boy makes a wish for his crush to fall in love with him on an antique charm, and the spell unfolds in chilling, unforeseen ways. The film premiered to critical buzz at the 2023 Toronto International Film Festival, sparking a bidding war that ended with Focus Features acquiring the title for $15 million. To date, it is the highest-grossing release in the distributor’s 24-year history, beating out major studio tentpoles including *Star Wars: The Mandalorian and Grogu* at the North American box office, and even held the number two spot behind Steven Spielberg’s *Disclosure Day* in its fifth weekend of release. The runaway success has forced Focus to postpone its planned video-on-demand release to capitalize on ongoing theatrical demand.

    Industry leaders say “Obsession’s” success, paired with the breakout hit *Backrooms* from 20-year-old YouTube creator Kane Parsons at A24, marks a definitive turning point for Hollywood: digital platforms like YouTube are now a legitimate breeding ground for new cinematic talent, drawing massive, young audiences hungry for original stories from fresh voices. Peter Kujawski, chairman of Focus Features, notes that Gen Z audiences—already a fast-growing segment of frequent theatergoers—are far more interested in whether a story resonates than the pedigree of the filmmaker behind it. “We have a generation that grew up online, approaches culture with enormous curiosity and playfulness, and is far less concerned with where a filmmaker comes from than whether the story connects,” Kujawski said. “They’re engaged, incredibly film-literate and eager to champion new voices and original stories.”

    Barker himself frames the shift as a reflection of his generation’s shifting mood: coming of age during the COVID-19 pandemic, he says young audiences are tired of isolating at home with their phones and hungry for shared, in-person theatrical experiences. “I get it because I think we’re a little tired of being at home. Our generation is the COVID generation,” Barker said. “We’re sick of the phones.”

    For the newly successful director, the rapid shift to A-list status has taken some getting used to. While his daily routine remains largely unchanged, public recognition has brought unexpected adjustments, including occasional feelings of discomfort when out in public. Praise from legendary filmmakers including Spielberg, Ari Aster, and Zach Cregger has even left him grappling with mild impostor syndrome: “When I watch ‘Obsession’ all I see is the problems,” he joked.

    Despite the sudden fame, Barker’s trajectory reflects the same do-it-yourself ethos that got him to Hollywood. He argues his path is not an anomaly, just a modern iteration of the same route iconic directors like Christopher Nolan, David Fincher, and Spielberg took, cutting their teeth on early short films before earning their big break. “YouTube is just a path, a platform we can use now to show the industry what we’ve got,” he said.

    Now one of the most in-demand directors in the business, Barker has already wrapped his next feature *Anything But Ghosts* for Blumhouse Productions, starring Aaron Paul and Bryce Dallas Howard, and A24 has tapped him to write and direct a reboot of *The Texas Chainsaw Massacre*, the film that first sparked his love of horror as an 11-year-old. A sequel to “Obsession” is already a given, with Barker outlining a framework for new stories centered on different characters making ill-fated wishes tied to new vices from greed to fame. But for now, new projects come before returning to the One Wish Willow world.

    For aspiring young creators, Barker offers simple, straightforward advice, honed from his own experience watching film school peers paralyze themselves with pressure to make a perfect first project. “I watched people paralyze themselves with the pressure of: I’ve told people I’m a director so now I have to direct something that has to be good. If it’s not good, everyone’s going to judge me. The result of that thinking is two years on one short film,” he said. “You can’t put too much pressure on an idea. You just got to make it.”

  • Phoenix magazine to cease publication after 43 years

    Phoenix magazine to cease publication after 43 years

    After more than four decades of holding a mirror to Irish politics, business and public life through its sharp wit and incisive commentary, one of Ireland’s most beloved independent publications is calling it a day. The Phoenix, a biweekly title widely regarded as Ireland’s answer to the long-running British satirical magazine Private Eye, will cease all operations 43 years after it first hit newsstands, according to local reports.

    Irish public service broadcaster RTÉ has confirmed that The Phoenix’s parent publishing company, Penfield, is preparing to enter voluntary liquidation, a process that will wind down the firm’s remaining business operations. The final issue of the biweekly magazine rolled off printing presses on June 5, and the publication has already stopped accepting new subscription orders from readers. A notice posted on the magazine’s official website, phoenix.ie, confirms that the outlet is currently unable to process either new print or digital subscription requests.

    Founded in 1983 by the late respected Irish journalist and publisher John Mulcahy, The Phoenix carved out a unique niche in Irish media over its decades-long run. Blending sharp satirical humor, biting commentary, and hard-nosed reporting on Irish politics and business, the magazine built a loyal, dedicated readership across the Republic of Ireland. It reached its sales peak in the early 1990s, when circulation hit its highest point in the publication’s history. For the past several years, the magazine has been helmed by editor Paddy Prendiville, continuing its biweekly publishing schedule up to its final issue.

    The end of The Phoenix marks the close of a notable chapter in Irish independent journalism, leaving a gap in the country’s media landscape for a publication that combined investigative reporting with irreverent commentary on the nation’s leading public figures.

  • Married at First Sight Australia allegations ‘disturbing’, says country’s watchdog

    Married at First Sight Australia allegations ‘disturbing’, says country’s watchdog

    The global hit reality dating series *Married at First Sight Australia* (MAFS Australia) is facing unprecedented regulatory and public scrutiny following a bombshell BBC News investigation that revealed explosive allegations: multiple female contestants claim they were never informed that their on-screen partners had prior convictions for violent offenses and drug-related crimes.

    Nine former cast members from the Australian iteration of the controversial social experiment have gone public with calls for sweeping overhauls to the show’s participant vetting processes, demanding that producers bar anyone with a criminal history from joining the series. The allegations have already triggered action across borders, with UK broadcaster Channel 4 — which airs MAFS Australia to large British audiences — removing all episodes of the domestic *Married at First Sight UK* franchise from its on-demand streaming platform All 4, even as the Australian version remains available to stream.

    This latest controversy comes on the heels of a separate crisis rocking the UK edition of MAFS, where a BBC Panorama investigation uncovered rape allegations made by two female contestants against male participants, all of whom have denied the claims. In response, Channel 4 has launched an independent external review into cast member welfare across all its MAFS content, with results expected to be published by the end of summer. The UK and Australian versions of the show are produced by separate independent production companies.

    Australia’s top media regulator, the Australian Communications and Media Authority (ACMA), has labeled the new claims from MAFS Australia contestants as both “serious and disturbing.” In an official statement to the BBC, ACMA noted that its regulatory authority is restricted to reviewing whether broadcast content aligns with existing industry codes of practice — and crucially, those current codes do not include binding rules governing the treatment and safety of program participants. When public concerns fall outside ACMA’s remit, the agency encourages complainants to raise issues directly with the broadcaster and relevant law enforcement or oversight bodies where applicable.

    Across in the UK, Ofcom, the country’s communications regulator, mirrored ACMA’s reaction, describing the latest allegations as “deeply concerning.” A spokesperson for Ofcom said the regulator expects Channel 4 to incorporate these new claims into its ongoing welfare review, and that Ofcom will review the final report alongside all other available evidence once it is delivered.

    For context, the MAFS format follows a high-drama social experiment premise: single contestants agree to marry a complete stranger, meeting their spouse for the first time only at the on-camera wedding ceremony. While the unions are not legally binding, the series films contestants nearly every day as they go on honeymoons, move in together, and navigate the early stages of their new relationship. The format has become a massive ratings success both in its native Australia and in international markets including the UK.

    In an official joint response to the BBC investigation, Australia’s Channel 9, which broadcasts the local MAFS, and production company Endemol Shine Australia defended their current processes, saying they take participant health, safety and wellbeing extremely seriously. The pair noted that all contestants must complete a multi-stage vetting process that includes police and criminal background checks for every country a contestant has resided in, independent psychological clinical assessments, medical screenings, formal statutory disclosure declarations, and legal and digital due diligence.

    Channel 4, for its part, has clarified that it does not participate in the production of MAFS Australia and holds no editorial control over the series. A spokesperson for the broadcaster added that Channel 4 requires all acquired content it airs to comply fully with Ofcom’s broadcasting code.

  • South African jazz icon Abdullah Ibrahim dies in Germany at age 91 after a brief illness

    South African jazz icon Abdullah Ibrahim dies in Germany at age 91 after a brief illness

    South Africa’s globally revered jazz icon Abdullah Ibrahim, who delivered a landmark performance at Nelson Mandela’s 1994 presidential inauguration, has passed away at the age of 91, his family confirmed in an official statement released Monday.

    The pianist and composer, who earlier in his career performed under the stage name Dollar Brand, died peacefully in Germany following a brief illness, with his close family members by his side, the statement said.

    Born in Cape Town, Ibrahim built a seven-decade-long career that catapulted him to international acclaim as a pioneering bandleader, composer and pianist. He crafted a one-of-a-kind sonic fusion that blended classic jazz structures with distinct traditional South African musical styles, turning his work into a global cultural bridge that resonated deeply with audiences across every continent. Beyond his artistic legacy, he was a vocal supporter of the anti-apartheid movement, using his platform to advance the cause of racial equality in his home country.

    One of the most high-profile moments of his career came in 1994, when he performed at the inauguration of Nelson Mandela, South Africa’s first democratically elected president, cementing his status as a defining cultural figure of the post-apartheid era. His last public performance in South Africa took place this past March at the Cape Town International Jazz Festival, where he once again drew widespread praise for the masterful musical skill that defined his decades-long career.

    In a tribute to her life partner, Dr. Marina Umari highlighted that Ibrahim carried South Africa and its people with him until the end of his life. “His love for his country never wavered, no matter where in the world he found himself,” she shared.

    South African President Cyril Ramaphosa joined the global chorus of tributes, honoring Ibrahim’s contributions to the anti-apartheid struggle and his enduring cultural impact. “Today our nation mourns the passing of an international icon and global citizen whose profound creations honored the South Africa that shaped his political commitment and musical brilliance,” Ramaphosa said.

    Ibrahim’s many career honors include an Honorary Doctorate in Music from the University of the Witwatersrand (Wits) and the Order of Ikhamanga — one of South Africa’s highest civilian awards — both of which he received in 2009 from then-President Jacob Zuma.

    Alan Winde, premier of the Western Cape province, Ibrahim’s home region, celebrated the musician for weaving South Africa’s complex history and extraordinary cultural richness into every note of his work. “South Africa has lost a legend,” Winde said. “Abdullah Ibrahim represented everything that makes South Africa and the Western Cape so remarkable. His music told the story of our unique cultural diversity and past.”

    Per his family’s arrangements, Ibrahim will be laid to rest in Bavaria, Germany, where he resided in his later years. His family noted that while his life has ended, his music and legacy will continue to inspire listeners around the world for generations to come.

  • South African jazz legend Abdullah Ibrahim dies at 91

    South African jazz legend Abdullah Ibrahim dies at 91

    South Africa has lost one of its most influential cultural figures: Abdullah Ibrahim, the legendary pianist and composer who forged a distinct, beloved genre of South African jazz, has died at the age of 91. In an official statement shared by his family, Ibrahim passed away peacefully in Germany following a brief illness, surrounded by his loved ones.

    Born Adolph Johannes Brand in 1934, Ibrahim grew up in the coastal city of Cape Town, where he discovered his passion for music at an extraordinarily young age. By seven years old, he was already picking out melodies on a household piano and developing his innate gift for composition. That early spark grew into an extraordinary eight-decade career that produced dozens of landmark recordings, cementing his status as a giant of global jazz.

    His 1974 composition *Mannenberg* remains one of his most enduring works, and it became inextricably tied to the anti-apartheid movement that fought to end white-minority racist rule in South Africa. Ibrahim first performed under the stage name Dollar Brand early in his career, adopting the name Abdullah Ibrahim after converting to Islam in the late 1960s.

    As a teen performer cutting his teeth in Cape Town’s vibrant mid-20th century music scene, Ibrahim played in swing groups, led his own trio, and eventually co-founded the Jazz Epistles, a groundbreaking sextet that featured another of South Africa’s most celebrated jazz talents, Hugh Masekela. The rising group’s trajectory was cut short by the tightening grip of apartheid, the formal system of racial segregation enforced by the state starting in 1948. Under apartheid, jazz was widely viewed as a countercultural force that promoted racial integration, and it was systematically marginalized by the government. Political pressure forced the Jazz Epistles to disband, and Ibrahim made the difficult decision to relocate to Switzerland.

    It was there that American jazz legend Duke Ellington discovered Ibrahim’s talent, sponsoring his move to the United States and helping him launch his international career. As outlined in a previous profile by BBC Radio 3, Ibrahim went on to develop a one-of-a-kind sonic identity: he wove the traditional vocal and harmonic patterns of his South African roots with the rhythmic drive and spontaneous improvisation that defines core jazz tradition.

    Though he spent decades living outside his home country, Ibrahim never severed his connection to South Africa, returning frequently to perform, record, and engage with local audiences. His final public performance took place just three months before his death, at the Cape Town International Jazz Festival, where he delivered the kind of captivating, masterful set that audiences had come to expect over his lifetime.

    World leaders and loved ones have paid tribute to Ibrahim in the wake of his passing. South African President Cyril Ramaphosa honored Ibrahim, noting that his work celebrated the South Africa that shaped both his unwavering political commitment and his extraordinary musical brilliance. Ramaphosa added that Ibrahim enriched global life through his artistic gifts and his commitment to building a more just, equitable world. Dr. Marina Umari, Ibrahim’s partner, also shared a moving tribute, saying he carried South Africa and its people in his heart until the end, and his love for his country never faded no matter where he lived in the world.

  • Japan’s DJ Rinoka bobs to the beat as a child prodigy techno artist

    Japan’s DJ Rinoka bobs to the beat as a child prodigy techno artist

    At an age when most children are just mastering elementary school math and playground games, one young Japanese artist is already an internationally recognized techno phenomenon. Nine-year-old DJ Rinoka holds the official Guinness World Record as the planet’s youngest professional DJ — a title she claimed at just 6 years old — and has built a growing fanbase for her high-energy, bold performance style across Tokyo’s entertainment scene.

    Rinoka’s path to DJing began by chance when she was 4 years old, after scrolling YouTube and watching performances from iconic techno artists Amelie Lens and Nina Kraviz. Captivated by their cool, dynamic stage presence, she knew immediately she wanted to follow in their footsteps. For Christmas that year, she asked her family for a beginner Pioneer DDJ-200 DJ controller, kicking off her journey into electronic music. Today, she favors the fast, intense, hypnotic style of acid techno that has drawn crowds to her sets again and again. In a recent interview with the Associated Press, she summed up the joy of her craft simply: “It’s fun when people get excited at the live performances.”

    Unlike the stereotype of club-focused DJs, Rinoka’s daily life blends professional performance commitments with all the ordinary joys of childhood. She keeps her last name private, and her parents have chosen to stay anonymous to protect their only child’s ability to grow up as normally as possible. Outside of rehearsals and shows, she takes weekly hip-hop dance classes, creates handmade crafts from paper and aluminum foil, and keeps up with her elementary school assignments. She is an avid reptile lover with a pet gecko at home, and maintains a large collection of stuffed animals — her favorite toy dog Korochan travels with her everywhere, even joining her backstage at major events.

    Her performance resume already rivals that of artists many times her age: she has played sets for crowds at official events for the Yomiuri Giants, Tokyo’s beloved professional baseball team, and shared lineups with far more experienced, adult DJs at high-profile industry events. Footage of her sets shows a young artist with complete, unshakable confidence: she bobs along to the pounding beat, adjusting dials and pressing controls with easy familiarity, building a groove that gets crowds moving every time.

    Originating in American electronic music hubs like Detroit in the late 20th century, techno is defined by its driving kick drum, heavy use of electronic instruments (including the highly sought-after Roland synthesizers that remain a staple of the genre), and its ability to get listeners dancing. The genre has spread globally over the decades, evolving into countless subgenres including the high-intensity acid house that Rinoka prefers. For the 9-year-old prodigy, techno’s universal appeal transcends age and geography: when asked about the future of her favorite genre, she says simply, “The music will continue.”

    Even with her rising fame, Rinoka remains unapologetically a kid first. When asked to choose between a lifelong career as a DJ and working as a full-time gecko caretaker, she did not hesitate to answer. “The geckos,” she exclaimed, “They are so cute.”

  • US musician Oliver Tree dies in helicopter collision in Brazil

    US musician Oliver Tree dies in helicopter collision in Brazil

    A devastating mid-air collision between two helicopters over Rio de Janeiro, Brazil has claimed the lives of six people, including 32-year-old American alternative pop artist and internet personality Oliver Tree, who was in the middle of a global tour.

    The crash, which unfolded on Sunday, sent one of the stricken aircraft crashing into a car dealership’s parking lot, igniting an intense blaze that destroyed roughly 20 parked vehicles. Local Brazilian media has shared publicly obtained footage of the disaster capturing one helicopter plummeting from the sky, followed by towering plumes of black smoke and intense flames consuming the impact zone.

    Emergency response teams from the Military Fire Department of the State of Rio de Janeiro confirmed they were dispatched to the crash site at approximately 9:00 a.m. local time, which translates to 12:00 p.m. GMT. Official passenger and crew manifests have identified all fatal casualties: alongside Tree on the first helicopter were Argentine popular content creator Gaspar Prim Diaz, widely known by his online alias Gaspi, passengers Lucas Brito Chaves and Lucas Vignale, as well as pilot Alexandre Souza. The second helicopter carried only its pilot, Charles Marsillac, who also died in the collision.

    Born Oliver Tree Nickell in Santa Cruz, California in 1993, the artist first catapulted to mainstream fame in 2016 when his work went viral across major social media platforms. Recognizable by his signature iconic bowl haircut, Tree built a global fanbase through chart-topping hits including *Life Goes On*, *Miss You*, and *Alien Boy*. He kicked off his latest world tour just weeks before the crash, delivering his most recent live performance to a crowd in São Paulo, Brazil on June 6. Upcoming scheduled stops on the tour included a July 1 show in Lisbon, Portugal, and September performances in three UK cities: Glasgow, Manchester, and London.

    Tributes have poured in from across the global entertainment industry from fellow creators and collaborators shocked by his sudden passing. British rapper, content creator, and *Britain’s Got Talent* judge KSI, who collaborated with Tree on the 2023 track *Voices*, shared an emotional tribute on his X (formerly Twitter) account. “Can’t believe I’m actually having to type this. You’re 32 man. You should still be here. You still had so much life to live. So much music to make. So much content to make,” KSI wrote. “You’re a legend and will always be a legend. Still doesn’t feel real. Genuinely feel sick. I love you bro.”

    Stunt performer and *Jackass* star Steve-O, whose legal name is Stephen Glover, also shared a heartfelt tribute alongside a candid photo of the two friends together online. “I was incredibly lucky to become friends with Oliver Tree,” he wrote. “He would check in on me regularly, and let me know he cared about how I was doing. Such a great person… I’m going to miss him.”

    Beyond his music career, Tree earned notable industry recognition and a place in Guinness World Records. In 2024, his hit collaboration *Miss You* with German producer Robin Schulz earned a nomination for a prestigious Brit Award. In 2020, he broke the Guinness World Record for constructing the world’s largest functional kick scooter, measuring 3.13 meters long and 0.16 meters tall.

    Brazilian authorities have launched a formal investigation to determine the root cause of the mid-air collision, with updates expected as forensic work and witness interviews progress.

  • ‘Boyfriend duties call,’ Trudeau says after skipping Canada match to watch Perry

    ‘Boyfriend duties call,’ Trudeau says after skipping Canada match to watch Perry

    What was supposed to be a celebratory moment for Canadian soccer fans during the opening round of the 2026 World Cup quickly turned into a social media firestorm after former Canadian Prime Minister Justin Trudeau missed his home nation’s first group stage match to attend the United States’ opening game alongside his partner, global pop superstar Katy Perry.

    Canada kicked off its World Cup campaign in Toronto at 3:00 PM EDT on Friday, playing out a tense 1-1 draw against Bosnia and Herzegovina. Trudeau was notably absent from the stands for the historic home fixture. Instead, just six hours later, he was spotted in the crowd at Los Angeles’ SoFi Stadium for the USA’s match against Paraguay, which the American side won 4-1. Perry had been scheduled to perform at the U.S. hosting leg of the World Cup’s opening ceremony, leading Trudeau to offer a lighthearted justification for his conflicting schedule after drawing widespread criticism.

    “Sometimes supportive boyfriend duties call. But you know who I’m rooting for to take the Cup,” Trudeau wrote on his social media channels, paired with a Canadian flag emoji to clarify his official sporting allegiance.

    Footage captured by event cameras shows Perry rushing off stage immediately after her performance to greet Trudeau with a warm kiss. Televised broadcasts of the match also repeatedly cut to the high-profile couple, who were seen relaxing in their box seats, sipping craft beers and sharing casual moments together as the game unfolded. But many Canadian social media users were far from amused by Trudeau’s choice to prioritize his partner’s performance over his home country’s opening World Cup match.

    A user based in Toronto wrote on platform X that Trudeau’s decision was “a slap in the face of this country. Distasteful doesn’t begin to cover it”. As clips of the couple in Los Angeles spread virally across social platforms, other users went even further, labeling the former prime minister a “traitor” and a “fraud” for his scheduling conflict.

    For her opening ceremony set, Perry performed *Wonder*, a relatively underrated ballad from her 2024 studio album 143. Ahead of the performance, she told People Magazine that she intentionally chose to forgo one of her decades of chart-topping hits – a catalog that includes global smashes like *California Gurls*, *Teenage Dream*, *Firework*, and *E.T.* – in favor of the newer track. “It’s very fitting for the ceremonial song that I get to sing,” she explained of her song selection.

    The high-profile relationship between Trudeau and Perry first made tabloid headlines in July 2025, and the pair officially confirmed their romance with a joint Instagram post that December. Before their relationship, Trudeau was married to Canadian television host Sophie Grégoire for 18 years; the couple announced their separation in 2023 and share three children. Perry was previously married to English comedian Russell Brand from 2010 to 2012.