分类: entertainment

  • BTS pulls out of Grammys after Asian pop category introduction

    BTS pulls out of Grammys after Asian pop category introduction

    One of the world’s most influential musical acts, global K-pop supergroup BTS, has announced it will not submit any of its work for consideration at the upcoming Grammy Awards, a decision that comes immediately after the Recording Academy introduced a new standalone award category: Best Asian Pop Music Performance.

    The announcement, made Wednesday via synchronized posts across each member’s individual Instagram accounts, has sent ripples through the global music industry, reigniting long-simmering debates about racial categorization and inclusion in mainstream Western award shows.

    Prior to this announcement, the South Korean seven-piece band was widely considered a top contender for multiple Grammy general field categories, most notably Album of the Year, for its latest comeback record *ARIRANG*. Released following the group’s hiatus for mandatory South Korean military service, the album — titled for a iconic Korean folk song — has become one of the highest-selling releases of 2024, blending extensive English lyrics with explorations of modern Korean identity.

    In their official statement, BTS outlined the core reasoning behind their choice to skip the 2025 awards cycle. “We have decided not to enter the Grammys this year,” the group wrote. “We hope that music is heard and loved for what it is, rather than being defined by region or language.”

    Industry observers note that *ARIRANG* would not have even qualified for the new Best Asian Pop Music Performance category anyway. Among five new award categories announced by the Recording Academy last month, the new Asian pop prize requires entries to make “meaningful use” of at least one Asian language — a threshold the predominantly English-language *ARIRANG* does not meet.

    The Recording Academy has defended the new category, framing it as a step toward greater inclusion, saying the award was created to honor “artistic excellence in Asian pop music performances originating from or widely recognized within Asian markets, including but not limited to K-pop, J-pop and C-pop.”

    However, the announcement of the new category immediately drew divided reactions from music fans and industry commentators alike. Critics have argued that segregating Asian pop artists into a dedicated separate category ghettoizes their work, rather than allowing them to compete on equal footing with Western and other global artists for the awards’ most prestigious general field honors.

    This is not BTS’s first interaction with the Grammys: the group made history as the first all-South Korean act to top Billboard’s U.S. Hot 100 singles chart with their 2020 all-English track “Dynamite,” and has since performed at the Grammy ceremony multiple times and earned several nominations, including a nod for Best Music Video. Despite their unprecedented global commercial success, the group has never taken home a Grammy win.

    BTS’s boycott adds significant weight to growing calls for the Recording Academy to re-evaluate its approach to categorizing non-Western artists, with many industry analysts expecting the conversation around racial and genre segregation in major award shows to intensify in the coming months ahead of the 2025 Grammy ceremony.

  • Kavinsky, French DJ and composer of ‘Nightcall’, dies at 50

    Kavinsky, French DJ and composer of ‘Nightcall’, dies at 50

    PARIS – The global music community is mourning the loss of one of France’s most distinctive electronic music talents, Kavinsky, the electro-pop composer behind the iconic mood-setting track “Nightcall” featured in the hit 2011 film *Drive* starring Ryan Gosling. The influential artist was 50 years old at the time of his passing.

    Officials with the Paris prosecutor’s office confirmed Wednesday that the composer, born Vincent Belorgey, was found unresponsive at his private residence on Tuesday evening. An official investigation into the exact circumstances and cause of his death has been launched, but first responders have stated that there are no suspicious circumstances surrounding the passing.

    Kavinsky’s career reached a new high point just months ago, when he took the stage at the 2024 Paris Summer Olympics closing ceremony, delivering one of his final public performances. There, he teamed up with Belgian pop star Angèle to perform his signature hit “Nightcall” for a global audience of millions watching from the Stade de France and around the world.

    Since news of his death broke, tributes have flooded in from across France’s cultural and political spheres. Catherine Pégard, France’s Culture Minister, honored the artist in a post on the social platform X, calling him one of France’s “most singular voices.” Pégard noted that Kavinsky’s work, which blends infectious danceable rhythms with layered nostalgic undertones, will continue to resonate with listeners across multiple generations and international borders for years to come.

    French President Emmanuel Macron also shared his condolences in a public post on Facebook, writing simply: “Kavinsky, forever a source of French pride.”

  • Oscar-winning Irish singer-songwriter Glen Hansard dies in Dublin motorcycle crash

    Oscar-winning Irish singer-songwriter Glen Hansard dies in Dublin motorcycle crash

    Tributes are pouring in across Ireland and the global music community after celebrated Oscar-winning Irish singer-songwriter and actor Glen Hansard died at 56 in a single-vehicle motorcycle crash on the outskirts of Dublin, his management confirmed Wednesday. The tragedy unfolded shortly before 4:30 a.m. in Lucan, a suburban area west of the Irish capital. Ireland’s national police service confirmed that a man in his 50s, who was not publicly identified by law enforcement, received emergency medical care at the crash site but was pronounced dead a short time after the incident.

    ATC Management, Hansard’s representation team, told Irish public broadcaster RTE that the artist’s close family is left “deeply shocked and heartbroken” by the sudden, unexpected loss.

    A defining figure in Irish contemporary culture, Hansard built a decades-long career that seamlessly blended acting and original music. He first earned widespread recognition in 1991 with a role in the hit Irish film *The Commitments*, where he portrayed a member of a working-class Dublin soul band. His most iconic career milestone came in 2008, when he and collaborator Markéta Irglová took home the Academy Award for Best Original Song for *Falling Slowly* — the breakout track from the independent romantic drama *Once*, which starred the pair in the lead roles. The correction clarifies an earlier erroneous reporting that placed the Oscar win in 2007.

    Beyond his film and solo work, Hansard was a foundational force in Irish rock: he served for decades as the frontman of beloved Irish rock group The Frames, formed the acclaimed folk-rock duo The Swell Season alongside Irglová, and launched a successful solo career. His 2015 solo release *Didn’t He Ramble* earned a Grammy Award nomination for Best Folk Album the following year, in 2016.

    Hansard was also deeply committed to charitable work in his home city. For many years, he organized and led the iconic Christmas Eve charity busk outside Dublin’s Gaiety Theatre, an annual event that draws crowds of locals and visitors alike. The open-air performance brings together well-known Irish musicians to raise funds for the Dublin Simon Community, an organization that supports people experiencing homelessness in the capital. Most recently, Hansard made headlines in 2023 for a moving, crowd-pleasing performance at the funeral of The Pogues’ legendary frontman Shane MacGowan, where he performed the band’s classic hit *Fairytale of New York* alongside Irish folk singer Lisa O’Neill — a moment that spontaneously prompted mourners to dance in the church aisles.

    Irish Taoiseach Micheál Martin joined the many public figures honoring Hansard’s legacy Wednesday, saying he was “deeply saddened to learn of the passing of Glen Hansard.” In a post to the social platform X, Martin called the artist “a talented musician and actor who made a significant contribution to Ireland’s cultural landscape over many years.”

  • Oscar-winning songwriter Glen Hansard killed in crash

    Oscar-winning songwriter Glen Hansard killed in crash

    The global music and film community is in mourning after news broke that Glen Hansard, the Oscar-winning Irish songwriter and beloved frontman of iconic rock band The Frames, has died in a tragic single-vehicle motorbike crash in his hometown of Dublin. He was 56 years old.

    Hansard, one of Ireland’s most celebrated creative talents, built an extraordinary career that stretched from street performance to the Hollywood red carpet. Born in Dublin in 1970, he cut his teeth as a young artist busking on Dublin’s city centre streets in his teens, honing the raw, heartfelt sound that would define his work for decades. His first major break in film came in 1991, when he was cast as Outspan Foster in the beloved Irish musical comedy *The Commitments*, introducing him to a global audience for the first time.

    It would be another 16 years before Hansard earned his most prestigious career honour, when he took home the Academy Award for Best Original Song for his work on the 2007 low-budget romantic musical Once. The film, which starred Hansard alongside co-writer Markéta Irglová, became a cultural phenomenon, turning its breakout track “Falling Slowly” into a modern classic and cementing Hansard’s legacy as a world-class songwriter.

    The fatal collision occurred on Lower Road in Lucan, a town located west of Dublin city. Emergency services received the first report of the crash shortly before 4:30 a.m. local time on Saturday. Ireland’s national police force has launched an appeal for any members of the public who witnessed the incident to come forward with information to assist their investigation.

    This is a developing breaking news story, and additional details are expected to be released in the coming hours as official information becomes available. Audiences can receive real-time updates on this story via the BBC News mobile app, or by following the official @BBCBreaking account on X for the latest alerts.

  • French DJ ​and electropop ‌musician Kavinsky dies aged 50

    French DJ ​and electropop ‌musician Kavinsky dies aged 50

    The global music community is in mourning following the news that celebrated French electro-house and synthwave pioneer Kavinsky, whose legal name was Vincent Belorgey, has been found dead at his Paris residence at the age of 50.

    A self-taught pianist born just outside Paris in Seine-Saint-Denis, Belorgey launched his music career in the early 2000s, cutting his teeth as an opening act for legendary French electronic duo Daft Punk. He would later rise to cult fame under his artistic persona: Kavinsky, a red-eyed zombie DJ that became one of the most recognizable alter egos in modern electronic music. As part of the second wave of France’s world-famous “French Touch” electronic movement, he stood alongside influential peers including Justice and Sebastian, carving out a unique niche that blended retro 1980s-inspired synth soundscapes with modern dance production.

    His signature 2010 track *Nightcall* remains his most iconic work. First earning a slow-building cult following after it was selected to score the opening credits of the acclaimed Ryan Gosling-starring neo-noir crime film *Drive*, the track saw a massive resurgence in global popularity earlier this year. After Kavinsky performed a special updated version of the hit during the 2024 Paris Olympic Games closing ceremony—with guest vocals from Belgian singer Angèle and a joint performance with French band Phoenix—the track broke records, becoming the most single-day Shazamed song in the history of the popular music identification app. *Nightcall* was originally co-produced with Daft Punk’s Guy-Manuel de Homem-Christo, mixed by Sebastian, and featured lead vocals from Brazilian artist Lovefoxxx on its original recording.

    Following the news of his passing, top French officials have led an outpouring of tributes to the beloved musician. French President Emmanuel Macron honored Kavinsky in a Facebook post, calling him “a source of French pride forever.” France’s Culture Minister Catherine Pégard also shared her condolences on the social platform X, writing that “with the sudden passing of Kavinsky, France has lost one of its most unique voices.” She added, “From the film *Drive* to the Paris Olympics, the whole world was moved by *Nightcall*. Both danceable and nostalgic, his music will continue to transcend generations and borders.”

    As of Tuesday, official investigations into the exact cause of Belorgey’s death are ongoing. Multiple French media outlets, including leading newspaper Le Figaro, and global newswire Reuters have confirmed that the Paris prosecutor’s office has confirmed he was found dead at his Paris home. First responders reported no suspicious circumstances at the scene, but prosecutors have opened a formal investigation to confirm the cause of death. Le Figaro also reported that Belorgey had complained of persistent headaches for several days before his death, leading authorities to preliminary suspect a stroke as a potential cause. The BBC has confirmed it has reached out to Kavinsky’s representatives for additional comment and confirmation.

  • Japan’s horror master Kurosawa’s first samurai film arrives at US theaters

    Japan’s horror master Kurosawa’s first samurai film arrives at US theaters

    Acclaimed Japanese filmmaker Kiyoshi Kurosawa, long celebrated by audiences and critics as “the master of horror,” entered an untested creative space for his latest project: his very first samurai period drama. Once nervous about how viewers would respond to his genre departure, the award-winning director has found his risk paying off in spades.

    Set to hit theaters in New York and Los Angeles on July 31 before expanding to major U.S. cities throughout August, *The Samurai and the Prisoner* earned a standing ovation and glowing critical reception when it made its world premiere at the Cannes Film Festival this past May. Early box office and audience data from Japan, where the film opened earlier this year, confirms it has already become Kurosawa’s most commercially and critically successful work in his decades-long career. That milestone carries extra weight for a director who has built one of the most respected filmographies in global cinema, including the 2020 Venice Film Festival Silver Lion winner *Wife of a Spy* and 2008’s Un Certain Regard Jury Prize-winning family drama *Tokyo Sonata*.

    In a recent online interview with The Associated Press from New York, Kurosawa reflected on his enduring approach to filmmaking, admitting that the craft still holds mysteries for him after decades of work. “Filmmaking remains a mystery for me,” he said. He explained the art form requires a delicate, often unpredictable balance between grounding fictional stories in tangible, real-world details, and letting the imaginative narrative take shape. “I don’t understand it. And that’s why I keep making films,” he added. The director says he constantly challenges himself by measuring his work against legends of cinema, asking: Why can’t I do what Yasujiro Ozu did? Why can’t I do what Alfred Hitchcock did?

    For most of his career, Kurosawa built his reputation on slow-burn horror stories that unfold in ordinary, everyday settings. His 1997 psychological thriller *Cure*, starring acclaimed Japanese actor Koji Yakusho as a detective hunting a serial killer, remains a defining example of this style: a quiet, creeping sense of dread that builds gradually against the backdrop of mundane modern life. Moving to the samurai genre, however, meant leaving that everyday normalcy behind, as the genre is rooted in a fictional, distant feudal world unlike contemporary life.

    The plot of *The Samurai and the Prisoner* follows a classic samurai narrative framework, centered on a warlord rivalry that includes the Shakespearean plot twists long associated with the genre. Kurosawa broke down the core themes that drew him to the story: “There is, first of all, power. A feudalistic society is built on a hierarchical relationship of those at the top and those at the bottom. Then there’s betrayal. People try to grab power, and in so doing get thrown into confusion. That exists in any society, historically and perhaps even today. And so this is also about what’s eternal.”

    Tackling his first samurai film came with unexpected challenges from the start. Kurosawa says he had no clear frame of reference for basic creative choices, from blocking scenes to guiding actors on line delivery, which differ drastically from his modern dramas. He also faced a common industry risk: fans who love a director for one specific style often resent when they step outside their comfort zone. Compounding that challenge, the traditional samurai genre feels alien to many modern viewers, even within Japan, making a positive reception far from guaranteed.

    To Kurosawa’s relief, the production came together seamlessly once filming got underway. The combination of detailed sets, authentic costumes, period props, and traditional hair and makeup helped transport both cast and crew to the feudal world of the story, and Kurosawa counted himself lucky to secure permission to shoot on location at historic old temples and castles in Kyoto, Japan’s ancient capital. The director also brought his signature stylistic flourishes to the project: lingering long takes and tight, almost claustrophobic dialogue scenes that build subtle tension, leaving audiences on edge waiting for an unexpected shift.

    Visually, *The Samurai and the Prisoner* adheres to the conventions of traditional Japanese samurai period drama, called jidaigeki, leaning into the genre’s long history of depicting the brutality and tragic pathos of feudal war. Wide panoramic shots of armored warriors lined up on hilltops even echo the iconic samurai epics of Akira Kurosawa — the legendary filmmaker to whom Kiyoshi Kurosawa is not related.

    After the positive experience of making his first samurai film, Kurosawa says he is eager to return to the genre, with plans for a future project that includes more dynamic, spectacular sword fights in the style of the 1960s and 1970s *Zatoichi* film series, which follows the adventures of a blind, wandering swordsman. The director also says he is eager to explore other new genres, including a possible musical, even as he promises to keep making horror films for fans who appreciate his signature slow-burn style — though he worries his deliberate pacing may feel outdated to modern audiences used to nonstop action.

    Today’s popular cinema, both in Japan and across the globe, prioritizes constant, back-to-back set pieces to keep audiences gripped, Kurosawa noted. “A scary thing generally doesn’t happen every five minutes in my films,” he said. “But if that’s OK, then I’d like to make my film.”

  • BTS say they won’t submit music to the Grammy Awards

    BTS say they won’t submit music to the Grammy Awards

    Global K-pop supergroup BTS has sent shockwaves through the international music industry with a coordinated announcement that the band will not submit any of its work for consideration at the 2027 Grammy Awards. All seven members—RM, Jimin, V, Suga, Jungkook, Jin and J-Hope—shared the identical statement to their individual Instagram accounts, marking a unified stand against the awards body’s evolving approach to non-Western music.

    The translated statement reads: “We have decided not to enter the Grammys this year. I hope that music can be heard and loved for what it is, rather than being divided by region or language.”

    The decision comes amid widespread industry and fan scrutiny of the Recording Academy’s newly introduced Best Asian Pop Music Performance prize, announced last month. Under the award’s eligibility rules, entries must include what the Academy describes as a “meaningful use” of an Asian language. More than 80% of the lyrics on BTS’s latest comeback album *Arirang*—one of the highest-selling records of 2026, widely tipped to earn a nomination for Album of the Year—are performed in English. The album’s lead single *Swim*, which claimed the top spot on the U.S. Billboard Hot 100, was also widely predicted to compete for Song of the Year, but it would have been ineligible for the new category due to its fully English lyrics.

    The creation of the Best Asian Pop Music Performance award has divided the K-pop community online since it was announced. While some celebrated the move as a long-overdue recognition of Asian pop’s global cultural impact, many fans and industry observers have criticized it as a ghettoizing tactic that segregates Asian artists rather than integrating them into the awards’ mainstream major categories. BTS’s explicit reference to regional and linguistic division in its statement directly echoes this widespread criticism.

    BTS’s relationship with the Grammys stretches back nearly a decade, but the group has never taken home a golden gramophone despite five nominations since 2020. In 2021, the band made history as the first K-pop act ever to earn a Grammy nomination, for their fully English track *Dynamite*. All seven members have held voting memberships in the Recording Academy since 2019, and the group has performed on the Grammy stage multiple times, picking up additional nominations in categories including Best Pop Duo/Group Performance and Best Music Video. BTS is not the first high-profile act to distance itself from the Grammys; it joins a growing list of major artists that have boycotted the ceremony, including The Weeknd, Frank Ocean, Morgan Wallen and Will Smith. In 2020, Drake went a step further, calling for the awards to be scrapped entirely, arguing that the institution consistently overlooks impactful Black artistry, particularly hip-hop. “I think we should stop allowing ourselves to be shocked every year by the disconnect between impactful music and these awards and just accept that what once was the highest form of recognition may no longer matter to the artists that exist now and the ones who come after,” Drake wrote at the time.

    Today, BTS closes its statement with a note of gratitude to its global fanbase, dubbed the BTS Army: “Thank you to Army and everyone who is always with us.”

    Formed in 2013, BTS has grown from a South Korean underground act to one of the best-selling pop groups in history. Their ongoing world tour is currently projected to match or even exceed the record-breaking box office revenue of Taylor Swift’s iconic Eras Tour. The Recording Academy, which organizes the annual Grammy ceremony, has not yet issued a public response to BTS’s announcement, and BBC News has confirmed it has reached out to the organization for comment.

    For years, the Recording Academy has faced mounting pressure to adapt its structures to reflect K-pop’s explosive global growth. In 2025, the Academy expanded its voting body to include a number of prominent Korean artists and producers, including Enhypen’s Jungwon, Seventeen’s Woozi and Vernon, Le Sserafim’s Huh Yunjin and all six members of Katseye. This year, the Academy added more K-pop representation, granting voting privileges to all members of Twice and Stray Kids.

    The 2026 Grammy ceremony already marked a milestone for K-pop: *Golden* from the animated film *KPop Demon Hunters* became the first K-pop track ever to win a Grammy, taking home the award for Best Song Written for Visual Media. Ironically, *Golden* would also have been ineligible for the new Best Asian Pop Music Performance prize, as its lyrics are almost entirely in English—mirroring the situation BTS faced with *Arirang* and *Swim*.

  • Four women accuse Jared Leto of criminal sexual conduct

    Four women accuse Jared Leto of criminal sexual conduct

    A bombshell new BBC documentary titled *Jared Leto: Hollywood’s Dark Secret* has brought forward explosive new allegations of criminal sexual misconduct against Oscar-winning actor and Thirty Seconds to Mars frontman Jared Leto, with 10 women sharing accounts of abuse spanning 14 years, nine speaking publicly for the first time. All alleged encounters occurred between 2002 and 2016, when Leto was between 30 and 44 years old; the now 54-year-old star has not responded to multiple requests for comment from the BBC on the claims.

    Four of the 10 contributors have leveled accusations of criminal sexual conduct, all stating they were teenagers when the alleged offenses took place. One woman, identified only by the pseudonym Isabel, described a 2002 assault in a Las Vegas motel bathroom. Then 17, Isabel had shown Leto and his friends around the retail store where she worked, and agreed to meet him at what she described as a run-down motel expecting to join a group outing. When Leto called her into the bathroom while he showered, he assaulted her, Isabel told the documentary. She pulled away immediately and asked to leave, and Leto let her exit only after checking to see if anyone was outside the room. For decades, Isabel blamed herself for the encounter, saying she spent most of her life labeling herself as “a stupid girl” for trusting Leto. She only recently let go of this self-blame, she added.

    A second accuser, former model Alex, detailed a 2013 incident at a London hotel when she was 19. Alex told the BBC that Leto’s crew regularly solicited local modeling agencies for young female models to offer free VIP tickets and backstage access, a request that came directly from Leto, according to a former long-time crew member. Alex’s agency was invited to Leto’s O2 Arena concert that year, and she was lured to a private after-party at a nearby hotel, where she found only Leto waiting in the dark room. When she asked to borrow a charger or for cash to get home, Leto refused. When she asked if she could sleep on the room’s chaise longue, Leto repeatedly threatened her with sexual assault, saying she would “wake up with a dick in her ass.” Alex said she immediately fled the room, and only recently came to terms with her belief that the encounter was pre-planned, with Leto’s assistant aware of the plan to lure her there.

    The third criminal allegation comes from a woman named Clara, who says she had statutory sexual contact with Leto at his California home in 2006, when she was 17 and Leto was 34. California sets the age of consent at 18, meaning any sexual contact with a 17-year-old constitutes the criminal offense of statutory rape. Clara told the documentary that an associate of Leto’s approached her backstage at a Thirty Seconds to Mars concert to get her phone number on the musician’s behalf. When she visited Leto’s home, he pressured her to refer to him as “daddy” and frame her as a minor in their interactions. Clara recalled a conversation where she brought up California’s age of consent law, and Leto simply shrugged off the issue, showing no concern for the legal violation. She told the BBC she was deeply naive and vulnerable as a teenager, and only came to understand how abusive and inappropriate the interaction was as she got older. “There is no well-adjusted man in his 30s who’s going to look at a teenager and think… she would be a great partner,” Clara said.

    The fourth core accuser, Etta (also a pseudonym, now speaking publicly for the first time), alleges that Leto groomed her starting when she was 16 years old. Etta met Leto in 2014 at a Los Angeles modeling agency, where he offered to send her and her mother an invite to his Oscar party after taking an interest in her modeling ambitions. What started as professional outreach quickly shifted to inappropriate sexual communication: Etta said Leto began making repeated sexually explicit phone calls, asking her explicit questions including whether she was a virgin and what sexual kinks she had, and at one point directly suggested the pair have sex. Too young to confidently set boundaries, Etta said she felt constant anxiety and discomfort during the calls. Leto later asked for her number to pass to a friend called “Christian”, who Etta says repeatedly pressured her to shoot porn, saying it did not matter she was underage. Etta told the BBC she would not be surprised if “Christian” was actually Leto using an alias – a suspicion shared by two other women who received similar inappropriate calls. In 2016, Leto sent Etta a non-disclosure agreement to silence her about their interactions, which the BBC has obtained. Etta refused to sign the document.

    In addition to the four core criminal allegations, six more women shared their own accounts of inappropriate behavior. One, named Taylor, says Leto made a lewd comment about her 14-year-old body when she asked for an autograph at a 2005 music festival. Leto signed her T-shirt directly across her breasts, commented on her chest with a crude term, and ordered his security guard to take her backstage without asking if she wanted to go. When Taylor’s mother confronted Leto over the comment, he repeated it openly, showing no remorse. Taylor said the traumatic encounter changed her life completely, and stopped her from attending live concerts entirely.

    Two former long-time crew members for Thirty Seconds to Mars corroborated the pattern of behavior alleged by the women. One former staffer, identified as Brad, confirmed that Leto directly ordered him to solicit only young female models from local agencies for VIP tickets and backstage access, a request he described as uncomfortable. He added that Leto regularly invited teenage fans on stage for closing songs, then instructed crew to send them back to his dressing room after the performance. A second former staffer, Simon, said he saw an average of two young women visit Leto daily at the rental home where the band was recording one album.

    The BBC has verified multiple elements of the accusers’ accounts, confirming that many told friends or family members about the encounters immediately after they happened, and obtained physical evidence including text messages, photos, and the NDA sent to Etta that supports the women’s claims.

    Allegations of inappropriate behavior toward young women have followed Leto for decades, with the BBC counting more than 120 separate public online allegations of misconduct spanning decades. Public claims reignited last year when Los Angeles DJ Allie Teilz shared her own account of assault at age 17 on social media, prompting other women to come forward. Nine women also shared accusations of sexual impropriety with U.S. outlet Air Mail last year, which Leto denied at the time.

    Leto has been one of Hollywood’s most prominent A-list stars since the 1990s, winning the 2014 Academy Award for Best Supporting Actor for his role in *Dallas Buyers Club*, and appearing in major blockbusters including *Fight Club*, *Blade Runner 2049*, and *Suicide Squad*. His multi-platinum rock band Thirty Seconds to Mars, formed in 1998, is scheduled to tour the U.K. and mainland Europe next spring, including high-profile stops at London’s O2 Arena and Manchester’s Co-op Live arena. The BBC did not receive any comment from Leto or his representatives despite repeated outreach to address the new allegations.

  • Pop star Madison Beer and NFL player Justin Herbert announce engagement

    Pop star Madison Beer and NFL player Justin Herbert announce engagement

    One of pop music’s most followed rising stars and one of the NFL’s top young quarterbacks have made a joyful, headline-making announcement: 27-year-old Grammy-nominated singer-songwriter Madison Beer and 28-year-old Los Angeles Chargers starting quarterback Justin Herbert are officially engaged.

    The couple shared the exciting news with fans across social media platforms this Tuesday, posting candid photos from the romantic proposal that captured the intimate moment. In the shared shots, Herbert is shown dropping to one knee while holding out an open ring box, with a grinning Beer crouching in front of him, visibly overjoyed by the surprise. The couple’s joint public post was capped with a simple, affectionate caption: “meet my fiancé”.

    Romance rumors linking the two public figures first began circulating in August 2025, when they were photographed together publicly for the first time. In the months that followed, Beer became a regular presence on the sidelines at Chargers home games throughout the 2025 NFL season, and the pair were often spotted out together at Los Angeles sporting events, including frequent outings to watch the Dodgers play MLB and the Lakers compete in the NBA.

    The engagement announcement comes at a particularly notable time for Herbert, who is scheduled to report to Chargers training camp this Wednesday to kick off his seventh season with the franchise. The Pro Bowl quarterback has yet to claim a Super Bowl championship ring with the team, leading to playful social media commentary that he is now heading into camp with a very different, equally meaningful ring to mark a major life milestone.

    Both the Los Angeles Chargers organization and the official NFL account shared public congratulations to the couple shortly after their announcement. “JH+MB 4EV,” the Chargers wrote in their celebratory social media post, while the NFL’s official account posted a simple note on X reading: “Congrats to Justin Herbert and Madison Beer on their engagement.”

    For Beer, the engagement is the latest chapter in a career that first launched into the public eye more than a decade ago. Back in 2012, when Beer was just 13 years old, global pop superstar Justin Bieber shared a viral video of Beer singing a cover of Etta James’ iconic classic *At Last*, catapulting her to overnight fame. She released her debut official single the following year, with Bieber even making a cameo appearance in the track’s accompanying music video. Earlier this year, Herbert returned the favor in a sense, stepping in front of the camera to make a guest appearance in Beer’s music video for her single *lovergirl*. The clip showed the couple sharing soft, affectionate moments, embracing and strolling along a sunlit California beach.

  • Marlon James, Douglas Stuart and Elizabeth Strout are among Booker Prize semifinalists

    Marlon James, Douglas Stuart and Elizabeth Strout are among Booker Prize semifinalists

    LONDON — One of the English-speaking world’s most prestigious literary awards, the Booker Prize, has unveiled its 13-book longlist of semifinal contenders for 2024, a selection that mixes former Booker champions, a Pulitzer Prize winner, first-time authors, and boundary-pushing genre work that breaks with the award’s traditional mold.

    Leading the pack of recognizable names are two previous Booker recipients: Marlon James, who took home the prize in 2015 for *A Brief History of Seven Killings*, and Douglas Stuart, the 2020 winner for *Shuggie Bain*. They are joined by Elizabeth Strout, the 2009 Pulitzer Prize for Fiction winner who was a Booker finalist in 2022. James’ 2024 contender *The Disappearers* centers on a community of gay men navigating widespread hostility in 1980s Jamaica, while Stuart’s *John of John* unpacks long-buried father-son secrets on a remote Scottish island. Strout’s entry, *The Things We Never Say*, is a tender, intimate portrait of small-town New England life.

    The longlist balances established literary careers with exciting emerging voices, bringing three debut authors into the running. Twenty-eight-year-old Irish author Djamel White, the youngest contender on the list, earned a spot for *All Them Dogs*, a gritty thriller set in Dublin’s criminal underworld. Turkish-American writer Kenan Orhan was selected for *The Renovation*, an intergenerational family history story, while British author Rebecca Perry’s *May We Feed the King* spans centuries from the Medieval era to the modern day.

    The oldest candidate is 81-year-old M. John Harrison, whose post-apocalyptic dystopian work *The End of Everything* marks a rare inclusion of science fiction on the Booker longlist. The full roster of contenders also includes Chloe Aridjis’ *The Shadow of the Object*, Luke Kennard’s *Black Bag*, Missouri Williams’ *The Vivisectors*, Emma Cline’s *Switzy*, Makenna Goodman’s *Helen of Nowhere* and Gwendoline Riley’s *The Palm House*. Collectively, the 13 authors represent diverse geographic roots spanning Britain, Ireland, Jamaica, Mexico, Turkey and the United States.

    Leading the 2024 judging panel is acclaimed classicist and historian Mary Beard, who described the full list of selections as literary “dynamite” in comments to reporters. Beard, who serves alongside fellow jurors including Pulp frontman and cultural icon Jarvis Cocker and award-winning American novelist Patricia Lockwood, explained that the panel intentionally set out to move past the stereotype of a “typical Booker winner” — often framed as a slightly stuffy, preordained classic.

    Instead, the jury prioritized works that challenge readers and expand literary perspectives. “Sometimes they’re using humor, sometimes it’s pathos, sometimes there’s shock value,” Beard said of the selections. “They’re risk-takers. They are dynamite. They say ‘Come on, try seeing it a different way.’”

    First launched in 1969, the Booker Prize carries a 50,000 pound ($66,000) cash award for the winning author, and has a decades-long reputation for catapulting writers to international acclaim and transforming their careers. The award is open to any novel published in the United Kingdom and Ireland, regardless of the author’s country of origin. Last year’s honor went to Hungarian-British author David Szalay for his work *Flesh*.

    In the coming months, the judging panel will narrow the 13-book longlist down to six finalists, with the shortlist set to be announced on September 22. The overall winner of the 2024 Booker Prize will be revealed at a formal ceremony in London on November 9.