Global Pulse

分类： entertainment

  • ‘I can’t see TV anymore’: Judi Dench opens up on worsening eyesight

    ‘I can’t see TV anymore’: Judi Dench opens up on worsening eyesight

    Dame Judi Dench, the revered Academy Award-winning actress celebrated for her iconic portrayal of ‘M’ in the James Bond series, has provided a poignant update on her deteriorating eyesight, revealing the condition has severely impacted her professional and personal life. In a candid interview with ITV News, the 90-year-old theatrical legend disclosed she can no longer recognize faces, read scripts, or watch television due to advanced macular degeneration.

    Speaking alongside her longtime friend and collaborator Sir Ian McKellen, Dench described the practical realities of her vision loss. When met with a light-hearted remark from McKellen, she responded with characteristic wit, noting she could only perceive his outline and recognized him by his distinctive scarf. The actress confirmed that the degenerative eye disease, which damages the central retina and causes progressive central vision distortion, has made continuing her acting career nearly impossible.

    Dench first publicly addressed her diagnosis with age-related macular degeneration (AMD) in 2012. Over the past decade, the condition has advanced significantly, prompting her to scale back her professional commitments. She revealed in previous interviews that she relies on friends to help her learn scripts due to her inability to read them herself, despite having what she describes as a ‘photographic memory.’

    With a career spanning seven remarkable decades, Dench has accumulated an extraordinary collection of honors including an Oscar, a Tony Award, two Golden Globes, and multiple BAFTA and Olivier Awards. Her most recent appearance was a 2022 cameo in the Apple TV+ holiday film ‘Spirited.’ Her openness about her vision struggles provides a sobering look at the challenges facing performers with age-related health conditions.

  • ‘Tere Ishk Mein’ review: A bewildering tale of toxic love

    ‘Tere Ishk Mein’ review: A bewildering tale of toxic love

    Aanand L. Rai’s latest cinematic offering ‘Tere Ishk Mein’ presents audiences with a challenging dichotomy: either a nuanced exploration of destructive relationships or an incoherent narrative attempting to tackle too many themes simultaneously. Starring Dhanush as Shankar, a violence-prone college student immersed in campus politics, and Kriti Sanon as Mukti, a PhD researcher studying psychological rehabilitation, the film navigates troubled romantic waters where consent becomes negotiable and obsession masquerades as devotion.

    The narrative follows Shankar’s transformation from a petrol-bomb-throwing agitator to a UPSC aspirant, motivated solely by his unrequited fixation on Mukti. Their dynamic evolves through psychologically manipulative interactions, with Mukti initially maintaining professional boundaries while studying Shankar’s violent tendencies. The film’s Delhi ecosystem—from stark class divisions to IAS elitism—provides compelling backdrop to this toxic dance.

    Technical achievements shine through AR Rahman’s evocative musical score and standout performances, particularly Dhanush’s authentic portrayal of Tamil roots and Prakash Raj’s poignant supporting role as Shankar’s father. A particularly effective scene reveals Mukti’s privileged awakening when visiting Shankar’s humble dwelling.

    However, the screenplay collapses under its own ambitious weight, abandoning narrative logic for melodramatic contrivance. Mukti’s professional credibility diminishes as she continues assessing Shankar while pregnant and emotionally compromised—a scenario defying realistic defense protocol. The film’s third act introduces baffling metaphysical explanations about salvation (mukti) and sacrifice that feel unearned, while Shankar’s redemption as a fighter pilot seems conveniently miraculous rather than psychologically earned.

    The fundamental question remains whether ‘Tere Ishk Mein’ critiques toxic masculinity or inadvertently glorifies it. While the film acknowledges its characters’ flaws more explicitly than previous Rai works like ‘Raanjhana’, it ultimately drowns in its own philosophical aspirations, leaving audiences more bewildered than enlightened about modern romance’s complexities.

  • Long-lost Rubens painting depicting crucifixion sells for $2.7M

    Long-lost Rubens painting depicting crucifixion sells for $2.7M

    A previously unknown masterpiece by Baroque legend Peter Paul Rubens, discovered after being concealed for over 400 years, achieved a remarkable €2.3 million ($2.7 million) sale at a Versailles auction this Sunday. The artwork, portraying the crucifixion of Jesus Christ, was unexpectedly located within a private Parisian townhouse.

    Initially dismissed as a workshop production and valued below €10,000, the painting’s fortunes changed dramatically when auctioneer Jean-Pierre Osenat pursued authentication. His persistence led to formal recognition by the Rubenianum, the official Rubens advisory committee in Antwerp.

    Art historian Nils Büttner highlighted the work’s exceptional nature, noting that while Rubens frequently depicted crucifixions, this particular representation uniquely shows “the crucified Christ as a dead body on the cross.” Büttner emphasized its singular status as “the one and only painting showing blood and water coming out of the side wound of Christ” in Rubens’ entire oeuvre.

    The auction house Osenat confirmed the painting’s authenticity through rigorous scientific examination. Microscopic analysis revealed complex pigment layers including white, black, red, plus distinctive blue and green pigments characteristic of Rubens’ skin tone techniques.

    Art specialist Eric Turquin revealed to a captivated audience that the work had virtually vanished from historical records in the early 17th century. Its provenance traces back to 19th-century French classical painter William Bouguereau, remaining within his familial lineage until its recent rediscovery.

  • UAE National Day 2025: Indian musician AR Rahman composes special song for Eid Al Etihad

    UAE National Day 2025: Indian musician AR Rahman composes special song for Eid Al Etihad

    Academy Award-winning composer AR Rahman has crafted a special musical tribute titled ‘Jamal Al Etihad’ (Beauty of the Union) in honor of the UAE’s 54th National Day celebrations. The exclusive English-language composition represents a departure from the Indian maestro’s typical cinematic work, conceived as what Rahman describes as “a therapy of smile” for the nation.

    The project originated in 2023 when Dr. Shamsheer Vayalil, Chairman of Burjeel Holdings, approached Rahman with the vision of creating a musical gift for the UAE. Despite beginning work two years ago, global circumstances prompted the team to delay the release until this year’s celebrations.

    In an exclusive interview with Khaleej Times, Rahman revealed his creative process involved developing multiple concepts before finalizing the current version. “It’s a simple, joyful tribute to the UAE and the values that bring the country together,” the composer explained. “The idea was to bring together the people who make this country what it is — workers, entrepreneurs, royalty, expats. Everyone is working towards something big for the UAE.”

    Describing the track as a “UAE-born creation,” Rahman emphasized its universal appeal. “It’s a vibe. Something you can enjoy in the car, in the desert, anywhere you feel like. It’s about being together, working together for greatness, and giving joy to each other.”

    The composition marks a rare English-language project for Rahman, who noted that creating music for a nation differs fundamentally from film scoring. “This is for hope,” he stated, capturing what he identifies as the UAE’s essential emotional quality: “If the UAE were a melody, it would be happiness.”

    The official unveiling occurred on November 29th at 9:30 PM at the Layali Al Wathba Theatre during the Sheikh Zayed Festival in Abu Dhabi. The event, presented by Burjeel Holdings, featured free admission for all festival ticket holders, with doors opening at 7:00 PM. The musical presentation culminated in a three-minute fireworks display at 10:00 PM, creating one of the evening’s highlight moments.

    As the UAE approaches its 54th National Day, ‘Jamal Al Etihad’ serves as a musical embodiment of unity, generosity, and the joyful spirit characterizing the nation’s identity.

  • Dubai’s Global Village extends operating hours for UAE National Day

    Dubai’s Global Village extends operating hours for UAE National Day

    Dubai’s premier cultural entertainment destination, Global Village, has unveiled special operational adjustments in honor of the UAE’s 54th National Day celebrations. The expansive theme park will extend its operating hours throughout the festive period from November 27th to December 3rd, adopting the unifying theme ‘United’ to commemorate the nation’s historic milestone.

    The extended schedule features enhanced visitor accessibility with operations running from 4:00 PM to 1:00 AM from November 27th through December 1st. Subsequently, on December 2nd and 3rd, the park will maintain extended hours from 4:00 PM until midnight, providing ample opportunity for residents and tourists to immerse themselves in the celebrations.

    Beyond extended access, Global Village has curated an elaborate program of cultural festivities and technological spectacles. The celebration lineup includes sophisticated drone displays scheduled for 9:00 PM on December 1st and 2nd, complemented by pyrotechnic presentations from December 1st through 3rd. The entertainment roster features a special performance by renowned Khaleeji artist Khaled Mohammed on the main stage on December 1st.

    This strategic extension forms part of Dubai’s broader cultural initiatives to honor Emirati heritage and national identity. The extended operational framework allows visitors to experience the park’s diverse cultural pavilions, traditional performances, and culinary offerings during the celebratory period, enhancing the overall National Day experience for both domestic and international guests.

  • The Wiggles issue statement after appearing in Ecstasy music video

    The Wiggles issue statement after appearing in Ecstasy music video

    Australian children’s entertainment institution The Wiggles has found itself embroiled in controversy after two of its performers appeared in an unauthorized music video that appears to reference recreational drug use. The incident involves founding member Anthony Field (the Blue Wiggle) and his nephew Dominic Field (portraying the Tree of Wisdom), who were captured dancing in the background of musician Keli Holiday’s since-deleted ‘Ecstasy’ music video.

    The children’s group moved swiftly to address growing concerns among parents and educators, issuing an official statement clarifying their position. ‘The Wiggles do not support or condone the use of drugs in any form,’ declared a spokesperson. ‘The content being shared was not created or approved by us, and we have asked for it to be removed.’

    According to Australian media reports, the controversial TikTok video had amassed over 92,000 views before being taken down. The footage originated from this month’s TikTok Awards ceremony, where Wiggles members had participated in a family-friendly stage performance with Holiday (real name Adam Hyde) during his song ‘Dancing2.’

    The situation developed when Holiday independently edited and repurposed this footage to promote his new single ‘Ecstasy’—a track whose chorus contains the lyrics: ‘Hey girl, come on dance with me. You and your pocket full of ecstasy.’ His TikTok post carried the caption ‘The Wiggles get it,’ suggesting an endorsement that the children’s group vehemently denies.

    Despite acknowledging Holiday as a friend of the organization, The Wiggles emphasized that the video was ‘edited together separately and without our awareness.’ The group, which began as a university project in 1991 and has since evolved into a global preschool phenomenon, maintains stringent standards regarding its family-friendly image. Anthony Field remains the only original member still performing with the ensemble.

    Keli Holiday represents the solo endeavor of Hyde, who previously gained recognition as one-half of the electronic dance act Peking Duk. The BBC has reached out to Holiday’s management team for additional commentary on the situation.

  • Playwright Sir Tom Stoppard dies at 88

    Playwright Sir Tom Stoppard dies at 88

    The world of theatre and literature mourns the passing of Sir Tom Stoppard, the celebrated British playwright, who died peacefully at his Dorset residence surrounded by family at the age of 88. His representatives at United Agents confirmed the news, celebrating a life that profoundly shaped contemporary drama across seven decades.

    Sir Tom’s extraordinary career earned him global recognition, most notably an Academy Award and Golden Globe for his ingenious screenplay of ‘Shakespeare in Love.’ His theatrical masterpieces, including ‘The Real Thing’ and the groundbreaking ‘Rosencrantz and Guildenstern Are Dead,’ established him as one of Britain’s most intellectually vibrant and linguistically gifted dramatists.

    Beyond his theatrical achievements, Stoppard demonstrated remarkable versatility by writing for film, television, and radio. His adaptations included a critically acclaimed version of Tolstoy’s ‘Anna Karenina’ (2012), while his semi-autobiographical play ‘Leopoldstadt’ – exploring Jewish identity in early 20th century Vienna – recently garnered both Olivier and Tony awards.

    Born Tomas Straussler in Czechoslovakia, Stoppard’s life contained profound personal tragedy. He fled the Nazi occupation as a child, later discovering that all four of his Jewish grandparents perished in concentration camps. This heritage informed much of his later work, particularly ‘Leopoldstadt,’ which examined the very identity he had escaped confronting until adulthood.

    Before his dramatic career blossomed, Stoppard worked as a journalist in Bristol during the 1950s, though he humorously recounted his inadequacies in the profession. His true calling emerged with the 1966 premiere of ‘Rosencrantz and Guildenstern Are Dead’ at the Edinburgh Fringe Festival, which subsequently transferred to the National Theatre and Broadway, winning four Tony Awards in 1968.

    Honored with a knighthood by Queen Elizabeth II in 1997 for his services to literature, Stoppard leaves behind an unparalleled legacy. Tributes have poured in from across the arts world, with Rolling Stones frontman Sir Mick Jagger describing him as his ‘favourite playwright’ whose ‘majestic body of intellectual and amusing work’ would endure.

  • British playwright Tom Stoppard, who won Academy Award for ‘Shakespeare In Love,’ has died at 88

    British playwright Tom Stoppard, who won Academy Award for ‘Shakespeare In Love,’ has died at 88

    The global theatrical community is in mourning following the peaceful passing of Sir Tom Stoppard, the internationally acclaimed playwright and intellectual luminary, at his Dorset residence in southern England. He was 88 years old. His literary representatives at United Agents confirmed the sad news on Saturday, noting he was surrounded by family at the time of his death.

    Born Tomás Sträussler in 1937 to a Jewish family in Czechoslovakia (now Czech Republic), Stoppard’s life journey was as dramatic as his plays. Forced to flee the Nazi invasion in 1939, his family eventually settled in England where he reinvented himself, later describing how he ‘put on Englishness like a coat.’ Despite never attending university, he began his career as a journalist before revolutionizing contemporary theater.

    Stoppard’s extraordinary six-decade career produced some of the most intellectually ambitious and linguistically brilliant works in modern drama. His breakthrough came with 1966’s ‘Rosencrantz and Guildenstern Are Dead,’ which reimagined Shakespeare’s ‘Hamlet’ through the perspective of two minor characters. This established his signature style—a masterful blend of philosophical inquiry, linguistic playfulness, and profound humanism.

    His remarkable output earned him an unprecedented five Tony Awards for Best Play, recognizing ‘Rosencrantz and Guildenstern Are Dead’ (1968), ‘Travesties’ (1976), ‘The Real Thing’ (1984), ‘The Coast of Utopia’ (2007), and his final masterpiece ‘Leopoldstadt’ (2023). Beyond theater, his screenwriting achievements included an Academy Award for ‘Shakespeare in Love’ (1998) and collaborations with directors ranging from Steven Spielberg (‘Empire of the Sun’) to Terry Gilliam (‘Brazil’).

    While celebrated for his intellectual wit and verbal dexterity, Stoppard’s work increasingly revealed deeper emotional currents. His late-career masterpiece ‘Leopoldstadt’ (2020) represented a profound personal exploration of his Jewish heritage and family’s tragic history during the Holocaust—a subject he confronted only later in life after discovering that his extended family perished in concentration camps.

    Beyond his artistic achievements, Stoppard was a dedicated advocate for free speech, working with organizations including PEN and Index on Censorship. He was knighted by Queen Elizabeth II in 1997 for services to literature. The theatrical world will honor his memory with London’s West End theaters dimming their lights for two minutes on Tuesday evening. He is survived by four children, including actor Ed Stoppard, and several grandchildren.

  • Which French Alps resort is perfect for Dubai’s luxury traveller?

    Which French Alps resort is perfect for Dubai’s luxury traveller?

    For Dubai’s sophisticated winter travelers seeking premium alpine experiences, two French resorts emerge as standout destinations: Courchevel and Val d’Isère. These iconic locations present contrasting yet equally compelling visions of luxury mountain hospitality, each catering to distinct preferences while maintaining exceptional standards of service and amenities.

    Courchevel establishes itself as the epitome of refined elegance, characterized by architecturally magnificent chalets and five-star hotels featuring convenient ski-in/ski-out accessibility. This resort attracts international celebrities and elite travelers through its atmosphere of exclusive sophistication, where Michelin-starred dining establishments like Le 1947 à Cheval Blanc and designer shopping boutiques complement world-class skiing terrain. The resort’s carefully groomed slopes provide ideal conditions for intermediate enthusiasts while offering access to more challenging runs for advanced skiers.

    Val d’Isère presents a contrasting appeal with its authentic alpine village ambiance that seamlessly blends rustic charm with contemporary luxury. The compact, intimate scale of this resort creates a genuinely welcoming environment, from its cozy mountain cafés to its expertly maintained slopes. Renowned for challenging pistes and exceptional off-piste opportunities, Val d’Isère particularly captivates adventure-seeking skiers while maintaining superb facilities for all ability levels.

    Both destinations offer serene alternatives for travelers seeking tranquility. Courchevel 1650 Moriond provides peaceful slopes and intimate accommodations slightly removed from the main resort buzz, while Val d’Isère’s Le Fornet village serves as a secluded haven with exclusive chalets and access to quieter skiing areas.

    Accessibility remains comparable between both resorts, with Courchevel offering a slight advantage at approximately 2 hours 15 minutes transfer time from Geneva or Lyon airports compared to Val d’Isère’s 2 hours 45 minutes average transfer duration.

    The après-ski experiences reflect each resort’s distinctive character. Courchevel’s nightlife exemplifies sophistication at venues like Le Cap Horn and Le Tremplin, where glamorous socializing prevails. Val d’Isère embraces energetic celebration through legendary establishments like Folie Douce and Cocorico, featuring live music and vibrant crowds extending festivities well into the evening.

    Non-skiing activities further distinguish these destinations. Courchevel transforms into a luxury shopping paradise with high-end boutiques and designer showrooms, while Val d’Isère emphasizes authentic alpine culture through local markets and traditional mountain activities.

    The selection between these exceptional resorts ultimately depends on personal preference: Courchevel for those prioritizing exclusive luxury and privacy, Val d’Isère for travelers seeking authentic atmosphere and adventurous spirit. Both destinations guarantee unforgettable winter experiences worthy of Dubai’s most discerning travelers.

  • ‘Neelofar’ Review: Fawad and Mahira Khan shine in gentle, honest, thoughtfully imperfect film

    ‘Neelofar’ Review: Fawad and Mahira Khan shine in gentle, honest, thoughtfully imperfect film

    In a significant departure from conventional South Asian cinema, the Pakistani film ‘Neelofar’ presents a refreshingly authentic portrayal of disability through the lens of a gentle love story. Directed with thoughtful sensitivity, the film features Fawad Khan as Mansoor Ali Khan and Mahira Khan as Neelofar, a visually impaired artist who refuses to be defined by her condition.

    The narrative unfolds as an evolving relationship between two individuals from different worlds, exploring themes of perception, dignity, and societal expectations. Rather than resorting to the clichéd tropes that often characterize disability narratives in regional cinema, ‘Neelofar’ opts for subtlety and nuance. The film’s strength lies in its quiet moments: a hesitant touch in a cinema hall, a rooftop conversation where Neelofar asks Mansoor to describe her appearance, and the tactile experience of charcoal painting.

    Mahira Khan delivers a career-defining performance, meticulously capturing the physical grammar of visual impairment. Her portrayal emphasizes auditory cues and tactile awareness, particularly in standout scenes such as an anxious moment in a car when Mansoor temporarily disappears and the carefree abandon during a dodgem car ride. Fawad Khan equally shines, bringing depth to a character that serves as both romantic lead and societal mirror, with the film subtly addressing themes of public perception and redemption that parallel the actor’s own experiences.

    Technically, the film excels in its atmospheric elements. Zeeshan Vicky Haider’s melodic score, particularly the layered renditions of ‘Tu Meri Zindagi,’ effectively mirrors the emotional journey of the characters. The cinematography presents Lahore not merely as backdrop but as a character itself, with authentic locations ranging from humble tea stalls to the majestic Badshahi Mosque providing cultural context.

    However, ‘Neelofar’ is not without its imperfections. The second half struggles with narrative consistency, raising logical questions about character decisions and resorting to predictable plot devices. The film occasionally undermines its own progressive messaging, particularly in an on-air episode that reduces Neelofar to conventional tropes and a conclusion that suggests romantic fulfillment might be contingent on restored vision.

    Despite these flaws, ‘Neelofar’ represents an important step forward for Pakistani cinema in its treatment of disability with dignity and complexity. The film challenges audience expectations and biases, offering a contemplative viewing experience that rewards patience and emotional investment. While it may not reach the groundbreaking heights of international disability narratives, it establishes a new benchmark for sensitive storytelling in South Asian cinema.