分类: entertainment

  • Foo Fighters interview: ‘We’re a different band without Taylor Hawkins’

    Foo Fighters interview: ‘We’re a different band without Taylor Hawkins’

    At 57 years old, rock legend Dave Grohl still holds tight to the rebellious 13-year-old punk kid he once was – a raw, unapologetic energy that bleeds through every chord of Foo Fighters’ 12th full-length studio album, *Your Favourite Toy*. In a new interview, Grohl opens up about the record, the band’s long healing journey following the 2022 death of iconic drummer Taylor Hawkins, and the personal upheaval that shaped one of the group’s hardest, fastest projects in a decade.

    Grohl describes *Your Favourite Toy* as a powder keg, a burning rush of diesel fuel, even a spicy, layered jambalaya – a deliberate return to the post-grunge and punk roots that launched the band in the 1990s. Cut quickly in just a matter of weeks, the album grew out of years of low-key experimentation: Grohl had demoed more than 50 tracks, often writing late at night, pulling influences from across the musical spectrum from trip-hop pioneers Massive Attack to prog-rock icons Pink Floyd and hardcore punk trailblazers Bad Brains. It was only when he stumbled across a sequence of 10 raw, high-energy demos that aligned with the music the band grew up loving that the project clicked into place.

    “This is how our band sounds,” confirmed bass guitarist Nate Mendel. “We can do other stuff too, but this feels comfortable.” For Grohl, forcing a more polished, mature sound would feel like wearing an ill-fitting suit to a formal event – a disconnect from his core identity. “It’s like when you get invited to a formal event and you try to put on something really nice and clean. I look in the mirror and I’m like, ‘That’s not me. I look like a stoner in court getting charged for some sort of misdemeanour marijuana offence!’” he joked.

    Recorded against a backdrop of profound personal upheaval, the album carries unflinching emotional weight. Its sharp, slashing guitar riffs and scorched, raw vocals capture turmoil, paranoia and uncertainty that Grohl has navigated in recent years. On the opening track *Caught In The Echo*, Grohl screams repetitive lines “Decide, decide, decide, decide / Do I? Do I? Do I? Do I?” – a whirlwind of intrusive thoughts that captures the paralysis of being stuck at a crossroads. Another standout track, *Of All People*, is a furious diatribe born from a chance encounter: Grohl ran into a drug dealer he had known in 1990s Seattle, a meeting that stirred up complicated emotions. Grohl, who has remained largely drug-free since he turned 20 (save for a 2010 caffeine overdose hospitalization), said he felt conflicted over the run-in: glad the man had survived, but angry about the harm the drug trade brought to so many people he knew. He wrote the track that night and recorded it the next morning in the small studio above his garage, capturing that raw moment of emotion exactly as it hit.

    That spontaneous, capture-the-moment approach became the album’s core creative ethos. “You write something really quickly, and the next day you record it and it’s done. That’s the photograph, that’s the one moment that you catch,” Grohl explained.

    The record also grapples with another public personal struggle: Grohl’s 2022 admission that he had fathered a child outside of his marriage, a revelation that shocked fans who had long hailed Grohl as “the nicest man in rock.” At the time, he released a public statement saying he planned to be a supportive parent to the child, and that he was committed to regaining the trust of his wife and existing children. The track *Unconditional* appears to chronicle his efforts to repair those fractured relationships. Grohl sings, “I’ll find a better way / To explain this to you… Under one condition, though / It’s unconditional,” and described the track as a mournful reflection on deep regret.

    “When you write a song like that, and you listen to it back, you kind of understand how you feel in yourself. And that makes it easier to use those words outside of the song, right?” he said, declining to share specific details of the situation, noting that some deeply personal matters remain private. “This band was born out of the pain of losing Kurt [Cobain] and Nirvana, so we’ve always relied on music to help us through difficult times – and it has certainly done that in my life in the last year and a half.”

    Beyond personal turmoil, *Your Favourite Toy* marks only the band’s second release since the sudden 2022 death of beloved drummer Taylor Hawkins, who was found unresponsive in his hotel room hours before a scheduled concert. His cause of death has never been officially confirmed, and the band is still navigating grief years later. After Hawkins’ passing, Mendel admitted he thought the band was finished, questioning if they could ever continue without Hawkins’ electric, one-of-a-kind presence. Today, the band has welcomed new drummer Ilan Rubin, but they still carry Hawkins’ legacy with them every day.

    “But one thing that I’ve come to realise – this sounds a little hokey, but it’s true – is that Taylor is with us. His wife is on the road with us right now. We’re still very close to the Hawkins family. We talk about him every day,” Mendel said.

    Grohl added that continuing as a band after losing Hawkins was far from easy. The band had been closer than brothers, and even small, routine moments felt strange in the aftermath of the loss. “When you go through any sort of trauma or loss, you have to do everything all over again. So the next day, that’s the first cup of coffee since it happened. Then it’s the first song we’ve written since it happened,” he said. “But whenever we go through something really difficult, we go through it together, with our families and our kids and our wives. We really rally. And if you’re surrounded by people that you know you can really rely on, that’s the key.”

    The band got an early boost from fellow music legend Paul McCartney, who invited Grohl to join him on stage at the 2022 Glastonbury Festival – Grohl’s first public appearance since Hawkins’ death. Though Grohl almost missed the set after his flights were canceled, walking backstage just 20 minutes before showtime, the gesture meant the world to the band. Ahead of Foo Fighters’ 2025 summer show at Liverpool’s Anfield Stadium, Grohl clarified recent tabloid reports: he hasn’t formally asked McCartney to perform, only texted to let him know the band would be playing in McCartney’s hometown, to which McCartney replied with encouragement.

    Even as the band retains its raw punk energy, age has brought small changes to their pre-show rituals. Where the band once knocked back tequila shots before hitting the stage, these days they fit in naps, and pass downtime in the dressing room building elaborate Lego sets. Grohl has built the Eiffel Tower, the White House, and multiple Harry Potter castles, calling the process surprisingly meditative: “You can just turn your brain off and follow the instructions. It’s like Ikea furniture. I’ve built a lot of Ikea furniture in my time and you feel so proud.” An hour before showtime, though, the energy picks up, cocktails start flowing, and the band steps on stage with genuine, unforced joy. “There’s no faking it in this band. You get on stage and you have those few hours to do it – and you’ve got to do it for real,” Grohl said.

  • Dwayne Johnson wrestling film to be made into stage musical

    Dwayne Johnson wrestling film to be made into stage musical

    A beloved sports drama based on a groundbreaking British wrestler’s real life is stepping into a new arena: pro wrestling story *Fighting With My Family*, first released as a 2019 feature film starring Florence Pugh and Dwayne Johnson, is officially being reimagined as a full stage musical, producers have confirmed.

    The original film traces the extraordinary true journey of Saraya Knight, the UK-born pro wrestler best known by her in-ring alias Paige, as she climbs the ranks of professional wrestling to land a coveted spot in the global WWE organization. Johnson, whose own production studio is partnering on the stage project, says the underdog story feels custom-built for live theater. Looking back on his experience making the film with original director Stephen Merchant, Johnson called the collaboration a truly special project, adding that Merchant’s sharp, heartfelt work more than deserves this exciting new chapter.

    The narrative traces all the way back to a 2012 Channel 4 documentary, *The Wrestlers: Fighting with My Family*, which followed Paige, her brother, and her two parents – all third-generation professional wrestlers. In the ring, her father Patrick performs as “Rowdy” Ricky Knight, while her Julia has taken on multiple personas, most notably Sweet Saraya – the name the couple also passed down to their daughter.

    The adaptation is being led by Tilted Musicals, the production company founded by hit Girls Aloud songwriter Miranda Cooper and veteran theater producer Sam Hodges. Cooper told BBC News the creative team is building the musical to resonate far beyond wrestling fans, noting that the world of pro wrestling is inherently theatrical. “You’ve got your heroes and villains, it’s all built on storytelling, and every performer steps into a larger-than-life version of themselves in the ring,” she explained. Beyond the in-ring action, though, Cooper pointed out that the story’s core themes of family, community, and belonging make it perfect for the stage. “These are wonderfully unconventional characters, but the love that binds them is at the heart of everything,” she added.

    The idea for the musical originated with playwright Jon Brittain, who will pen the stage book, with original songs composed by Cooper and long-time collaborator Nick Coler. The pair are best known as core members of iconic songwriting collective Xenomania, which penned chart-topping hits for artists including Sugababes, Kylie Minogue, Pet Shop Boys and Girls Aloud.

    In the 2019 film, Pugh portrayed Paige as a sharp-tongued goth outsider growing up in a chaotic but deeply loving wrestling-focused working-class family in Norwich, England. Her life shifts dramatically when she earns a once-in-a-lifetime opportunity to train with WWE in the United States, leaving her family and her brother’s own wrestling dreams behind. Along the way, Paige and her brother Zak meet Johnson – who played a fictionalized version of himself in the film, offering the aspiring wrestlers career guidance. For long-time fans, the casting was particularly fitting: Johnson rose to global fame as pro wrestling icon The Rock before transitioning to his blockbuster A-list acting career.

    Hodges shared that original film director Merchant has supported the project from its earliest days, calling his enthusiasm and generosity invaluable to the adaptation. “He’s shared cut scripts that never made it into the final film, his personal footage of meeting the Knight family, so much behind-the-scenes insight that’s making this project so much richer,” Hodges said. Merchant himself noted that he always envisioned the story as a musical even while filming the movie. “When I was making the film, I always thought of it like a musical: a young woman from the background fighting to get her big break, surrounded by theatrical, larger-than-life characters and huge sweeping emotions,” he explained. “I approached each wrestling match like it was a different dance number, building to a big show-stopping finale. Seeing the film reimagined for the stage feels like the natural next step.”

    Cooper, who says she feels both excited and challenged by the project, shared that the creative team has worked closely with the Knight family to craft a score that reflects their vibrant, one-of-a-kind personalities. “Centre stage we have Saraya, who is this mouthy, irreverent outsider, complicated, flawed, and it’s her journey of realising all those attributes are the things that make her really special,” Cooper said. “We’ve been speaking to her and she is awesome.” The creative team is leaning into the family’s signature punk energy, but plans to move beyond the generic pub-rock sound often associated with wrestling to create an eclectic, unique score. “Early writing sessions started off referencing Britpop, because they are a quintessentially British family, but the influences quickly began evolving,” Cooper explained. “We’re looking at everything from Chemical Brothers to Propellerheads, drum and bass, all iconic British sounds. We want a soundtrack that reflects all these multi-faceted characters that are unique and extraordinary.”

    The adaptation arrives at a moment of shifting momentum for professional wrestling globally: in 2023, media group Endeavor purchased WWE and installed new leadership, with plans to build a sprawling, Marvel-style franchise around the brand. At the same time, streaming giant Netflix recently secured exclusive UK broadcast rights to WWE content, bringing pro wrestling back to mainstream British television for the first time in 25 years. “It’s an interesting moment for people’s access to wrestling and their relationship with it in this country,” Hodges noted.

    While the original 2019 film has earned a loyal cult fanbase, it never achieved blockbuster box office success, so the creative team is approaching the musical as an entirely original work rather than relying on existing film fans to sell tickets. “We’re not assuming people have seen the movie, so we’re building the show’s identity from the ground up to welcome all audiences,” Hodges said.

    The musical will begin additional workshop development later this year, with the creative team targeting the first full public performances in 2027. In a final statement, Johnson shared his optimism for the project, saying he has “no doubt it will be an absolute blast for theatergoers”. He added that the story is “packed with personal emotion expressed through the dynamic world of wrestling, which has always been about storytelling and connecting with a live audience.”

  • Yale singers meet Dong folk chorus in Guizhou village

    Yale singers meet Dong folk chorus in Guizhou village

    Against the backdrop of ancient wooden stilted buildings and the quiet hum of rural life in Zhaoxing Dong Village, a one-of-a-kind cross-cultural musical exchange unfolded recently, bringing together one of the world’s most famous collegiate a cappella groups and a centuries-old Chinese ethnic folk tradition. The Whiffenpoofs of Yale University, the oldest independent collegiate a cappella ensemble in the United States, traveled deep into southwestern China’s Guizhou province to share their craft with local Dong ethnic artists, creating a memorable dialogue between two distinct a cappella musical heritages.

    When the opening notes of Broadway’s classic tune *Anything Goes* drifted across the village’s rice terraces and ancient alleyways, the ensemble performance was met with a warm, harmonious response from the Dong folk singers, who delivered a haunting rendition of the Dong Grand Song — the region’s iconic unaccompanied polyphonic folk singing that has been inscribed as a UNESCO Intangible Cultural Heritage.

    The collaborative performance moved to the village’s iconic drum tower, the centuries-old central gathering space for Dong communities, where both groups joined together to perform beloved pieces including the well-known Chinese folk song *Jasmine Flower* and the classic Irish folk ballad *Down by the Salley Gardens*. The impromptu collaboration drew hundreds of villagers and tourists, who gathered around the open-air space to experience the unusual blend of Western and Chinese musical expression.

    Unlike many musical traditions that rely on written notation and formal transmission, the Dong Grand Song has been passed down through oral tradition across generations. This practice grew out of the Dong community’s historical lack of a written language, making song the primary vessel for preserving ancestral wisdom, documenting daily life, and passing down collective cultural memory. Today, this living heritage continues to thrive, drawing visitors and cultural enthusiasts from across the globe to experience its unique polyphonic harmonies.

    For members of the Yale ensemble, the exchange offered a rare, eye-opening opportunity to connect with a living traditional culture in a deeply personal way. Lucas Oland, a choir member who has spent most of his life singing, noted that even with language barriers preventing full understanding of the lyrics in the Dong folk pieces, the emotional resonance of the music crossed all divides. “Even if I wasn’t able to understand too much of what they were saying, the language and the music really resonated with all of us. We were able to see how talented these people are, and we are so lucky to be greeted by such a great performance,” Oland said. The encounter highlighted how shared passion for music can bridge vast cultural divides and create meaningful connections between people from opposite sides of the world.

  • Madonna offers reward for return of missing Coachella costume

    Madonna offers reward for return of missing Coachella costume

    One of the most iconic figures in pop music, Madonna, is publicly appealing for the return of irreplaceable vintage stage garments that went missing following her surprise appearance at this year’s Coachella Valley Music and Arts Festival, and has offered an undisclosed reward for their safe recovery.

    The pop legend made an unannounced guest spot during headliner Sabrina Carpenter’s Friday evening set, where the pair delivered show-stopping duets of Madonna’s classic hits *Vogue* and *Like A Prayer*. During the appearance, Madonna also treated the crowd to an early preview of a new track from her upcoming album *Confessions II* — the highly anticipated sequel to her 2005 hit record *Confessions On A Dancefloor*, scheduled for a full release this coming July.

    In a heartfelt post shared to her official Instagram account, Madonna explained that the lost pieces are far more than ordinary performance clothing. The missing items include the purple jacket, corset, and dress she wore on stage during her Coachella set, alongside other archival garments dating to the same era. What makes these pieces particularly meaningful is that Madonna originally wore the matching boots, corset, and jacket during her Coachella performance two decades prior, turning this year’s appearance into a poignant full-circle moment for the singer. As she told the crowd mid-set, with an admiring Carpenter by her side, the callback appearance held deep personal significance for her.

    “These aren’t just clothes, they are part of my history,” Madonna wrote in her Instagram post. “I’m hoping and praying that some kind soul will find these items and reach out to my team. I’m offering a reward for their safe return.”

    Local law enforcement has confirmed the details of the missing items’ last sighting. The Indio Police Department told entertainment outlet TMZ that the bags holding the garments were last spotted on a golf cart on the festival grounds at 1:30 a.m. local time on Saturday. A department spokesperson added that there is currently no evidence indicating the bags were intentionally stolen; investigators believe it is far more likely that the items fell off the cart while they were being transported to a waiting tour bus. The BBC has reached out to the Indio Police Department for additional comment on the ongoing search.

  • South Korean police seek to arrest K-pop mogul behind BTS

    South Korean police seek to arrest K-pop mogul behind BTS

    In a major development that has sent shockwaves through the global K-pop industry, South Korean law enforcement announced Tuesday it is moving to arrest Bang Si-Hyuk, the legendary music mogul and chairman of HYBE, the entertainment agency behind global supergroup BTS. The push for arrest comes as investigators expand a probe into claims that Bang unlawfully amassed more than $100 million through a fraudulent investor scheme.

    The Seoul Metropolitan Police Agency has formally confirmed it has asked prosecutors to seek a court-issued arrest warrant for Bang. As of Tuesday afternoon, representatives for HYBE had not issued any immediate response to media requests for comment on the case.

    Bang has been the subject of an ongoing investigation since last November, centered on allegations dating back to 2019. Prosecutors and police claim Bang intentionally misled early investors in HYBE, falsely telling stakeholders the company had no intention of launching an initial public offering (IPO). This misrepresentation allegedly induced investors to sell their stakes to a private equity firm at a discounted rate, just months before HYBE went public in one of the biggest stock debuts in South Korea’s history.

    Investigators believe the private equity fund struck an undisclosed side deal with Bang, granting him an estimated 200 billion won (equal to roughly $136 million) in exchange for the manipulated share transfer. The agreement also reportedly guaranteed Bang 30% of all profits generated from post-IPO stock sales by the fund.

    Beyond his connection to BTS, Bang holds unparalleled influence across the K-pop ecosystem. He founded HYBE in 2005 under its original name Big Hit Entertainment, building the label from a small startup into a global entertainment giant that manages some of the industry’s biggest modern acts, including Seventeen, Le Sserafim, and newcomer Katseye. He is widely credited with driving K-pop’s mainstream global breakthrough over the past decade, thanks largely to BTS’s unprecedented international success.

    The legal controversy comes at a critical juncture for HYBE and BTS, creating a significant public relations challenge for the company. BTS, which went on a nearly four-year hiatus to allow all members to complete South Korea’s mandatory military service, just launched a highly anticipated global comeback tour. Last month, the group drew tens of thousands of fans from across the world to a free opening comeback concert in Seoul, followed by sold-out shows in Goyang, South Korea and Tokyo, Japan. The tour is set to expand to North America later this month, kicking off with a scheduled performance in Tampa, Florida.

  • ‘The Devil Wears Prada 2’ stars reunite for glamorous premiere

    ‘The Devil Wears Prada 2’ stars reunite for glamorous premiere

    Twenty years after the original *The Devil Wears Prada* cemented its status as a beloved modern cultural classic, the film’s iconic original cast gathered under the bright lights of Manhattan’s red carpet Monday night for the global premiere of the long-anticipated sequel, *The Devil Wears Prada 2*.

    Oscar-winning leading lady Meryl Streep, who reprises her career-defining role as the sharp-tongued, intimidating Runway Magazine editor-in-chief Miranda Priestly, was joined by her original co-stars: Anne Hathaway, who returns as grown-up former assistant Andy Sachs; Emily Blunt, who reprises the iconic role of Miranda’s quick-witted former assistant Emily Charlton; and Stanley Tucci, who is back as art director Nigel Kipling.

    When quizzed about the 20-year gap between the first installment and the sequel, Streep questioned the delay in an on-camera interview with Disney Plus, the streamer behind the project. Co-star Tucci echoed her sentiment, comparing stepping back into his familiar role to riding a bicycle — a skill that never truly fades with time.

    The new film picks up years after the original story’s conclusion: a now professionally established Andy Sachs has returned to the iconic fashion publication Runway, where Miranda Priestly is grappling with the rapid decline of print media in the digital age. The veteran editor finds herself in a high-stakes professional showdown with her former assistant Emily, who has climbed the ranks to become a powerful media executive controlling the advertising budget Miranda desperately needs to keep her magazine afloat. The sequel also adds several notable new cast members, including Kenneth Branagh as Miranda’s latest husband, plus rising star Simone Ashley and veteran actor Lucy Liu in undisclosed roles.

    True to the franchise’s fashion-focused roots, high-end couture took center stage at the premiere. Three-time Academy Award winner Streep turned heads in a bold red custom Givenchy ensemble, while Hathaway wore a design from Louis Vuitton and Blunt donned a creation from Schiaparelli. In a surprising philanthropic twist, Streep announced that every garment, piece of jewelry, handbag and shoe featured in the sequel will be auctioned off following the film’s release, with 100% of proceeds going to the Committee to Protect Journalists.

    Hathaway and Blunt both emphasized that the sequel would never have come to fruition without the enduring love of fans, who have kept the original film a staple of pop culture for two decades. “We’re literally here because of you, because you took us into your hearts and kept us there for 20 years and said ‘we want more.’ That’s why this whole dream has continued for us,” Hathaway told reporters.

    Other notable A-listers in attendance on the red carpet included Anna Wintour, the former longtime editor-in-chief of *Vogue*, who has long been cited as the real-life inspiration for Streep’s iconic Miranda Priestly character.

    *The Devil Wears Prada 2* is set to hit theaters worldwide on May 1. The 2006 original is widely regarded as one of the sharpest satires of the American fashion industry ever committed to film, celebrated for its nuanced exploration of power, ambition and the allure of high fashion that still resonates with audiences two decades later.

  • Black beauty queen who represented South Africa at Miss World during apartheid dies aged 76

    Black beauty queen who represented South Africa at Miss World during apartheid dies aged 76

    South African entertainment and cultural pioneer Cynthia Shange, who made history as the first Black woman to represent South Africa at the global Miss World pageant during the apartheid era, has passed away at the age of 76. Her daughter, prominent media personality Nonhle Thema, announced the news of her mother’s death in a heartfelt social media post shared Monday, asking the public for privacy and prayers for her family as they grieve.

    According to local South African media reports, Shange died early Monday morning at a local hospital following a prolonged illness. Alongside the announcement, Thema shared a celebration of life graphic featuring a warm, smiling portrait of Shange, paying tribute to her mother’s gentle character and enduring legacy. “A graceful and compassionate soul whose presence brought warmth, dignity, and kindness to all those who knew her,” the tribute read. “We honour her journey, her strength, and the love she shared so generously.” Funeral arrangements are still being finalized and will be released to the public at a later date.

    Born Cynthia Philisiwe Shange on July 27, 1949, Shange rose to national and international prominence in the early 1970s, when she broke through racial barriers to compete on the world stage. Under the brutal segregationist system of apartheid, Black women were barred from competing in the official, state-sanctioned Miss South Africa pageant, so independent Black organizers created parallel competitions including Miss Africa South. Shange claimed the Miss Africa South title in 1972, earning the right to compete alongside the official white South African representative at that year’s Miss World competition held in London. She finished in fifth place, marking a historic milestone as the first Black woman to represent South Africa at the global contest. While Pearl Gladys Jansen had competed as Miss Africa South two years prior in 1970, Jansen was classified as “coloured” (mixed racial descent) under apartheid’s strict racial hierarchy, making Shange the first Black woman to claim the spot.

    Beyond her trailblazing work in pageantry, Shange built a decades-long, respected career as a film and television actress, becoming a foundational figure in South Africa’s emerging Black film industry. One of her most notable roles came in *Udeliwe*, widely recognized as one of the first Black-led feature films produced in South Africa. She also earned widespread acclaim for her performance in the hit historical drama series *Shaka Zulu*. In recognition of her decades of contributions to South African performing arts, Shange was honored with a Lifetime Achievement Award at the 2024 KZN Simon Mabhunu Sabela Awards just months before her passing.

    Tributes have begun to pour in from across South Africa’s entertainment industry, honoring Shange not only for her professional achievements but for her role in opening doors for future generations of Black South African women in arts and public life.

  • Rebel Wilson’s claims against actress are ‘malicious concoctions’, Australian court hears

    Rebel Wilson’s claims against actress are ‘malicious concoctions’, Australian court hears

    A high-stakes defamation trial has commenced in a Sydney court, pitching Hollywood star Rebel Wilson against rising Australian actress Charlotte MacInnes, the lead of Wilson’s recently released musical comedy *The Deb*. At the center of the legal clash are a series of Instagram posts Wilson published in 2024 and 2025, which MacInnes’ legal team argues are baseless, malicious lies that have permanently damaged her professional reputation.\n\nThe events under scrutiny trace back to September 2023, when MacInnes and *The Deb* producer Amanda Ghost spent an afternoon at Sydney’s iconic Bondi Beach. After Ghost experienced a sudden allergic reaction to the cold ocean water — a condition called cold urticaria that triggered painful red welts and uncontrollable shaking — the pair retreated to Ghost’s nearby beachfront apartment. MacInnes ran a hot bath to help Ghost warm up, with both women remaining in their swimsuits while sharing the oversized tub, the court heard. Ghost’s assistant even stayed in the bathroom preparing hot drinks for part of the time, and the two never made physical contact, according to MacInnes’ senior counsel Sue Chrysanthou.\n\nWilson has claimed that MacInnes originally told her she felt sexually uncomfortable following the shared bath, filed an implicit complaint, then later retracted the claim in exchange for a plum lead theater role and a major record deal. But MacInnes’ legal team refutes every part of this narrative, arguing the actress never made any complaint of sexual harassment at all. Instead, they say Wilson twisted a passing comment about the situation being “bizarre” into a false harassment narrative to gain leverage in a separate dispute with *The Deb* producers over budget and contract terms. The defamation claims, Chrysanthou told the court, are nothing more than “completely false, fantasy, malicious concoctions.”\n\nOpening arguments on the first day of the trial included the presentation of private text exchanges between Wilson, Ghost and MacInnes, as well as email chains detailing the competing accounts of the 2023 incident. Court documents show Wilson even acknowledged in an early text to Ghost that “Charlotte says all good. She just meant ‘it was a bizarre situation’ not that she personally felt uncomfortable.” The three women even attended a Boy George concert together the same night the text was sent, the court confirmed.\n\nWilson’s legal team has pushed back against MacInnes’ claims, arguing that the young actress deliberately lied about ever making an initial complaint to win professional favor from Ghost. Since the incident, Wilson’s lawyer Dauid Sibtain noted, MacInnes has landed the lead role in a Boston production of *Gatsby* and secured a record deal, with new music expected to release imminently. “She’s suffered no harm to her reputation, indeed, her career has progressed,” Sibtain told the court, adding that MacInnes’ changed story was a calculated move to advance her career by aligning with Ghost’s version of events.\n\nFor MacInnes, a 2021 graduate of a Western Australian acting academy who rose to prominence through the stage version of *The Deb* before landing the film role, the allegations have destroyed her core reputation for honesty and integrity, and she is seeking unspecified damages in the case. *The Deb* premiered in Australian theaters earlier this month, marking Wilson’s latest project following her breakout roles in *Pitch Perfect* and *Bridesmaids*. This trial is not the only legal trouble Wilson is currently navigating: she is already involved in a separate contract dispute with *The Deb* producers in an Australian court, and faces another defamation lawsuit from the same producers in the U.S., where she has also filed a countersuit. The Sydney trial, which opened Monday, is scheduled to run for nine days as the court hears full arguments from both sides.

  • Hit reality show helps rev up Japan’s delinquent youth subculture

    Hit reality show helps rev up Japan’s delinquent youth subculture

    Decades after Japan’s iconic 1980s delinquent subculture faded from the streets, a surprise global hit reality dating series on Netflix has sparked a resurgence of fascination with the ‘yankii’ counterculture, drawing both new fans and enduring criticism across the country. Today, young Japanese enthusiasts like 15-year-old Reona are embracing the iconic aesthetic of the original yankii movement: towering Elvis-inspired pompadours, altered school uniforms that emphasize a rebellious silhouette, and baggy trousers designed to project an imposing, tough persona. For Reona, the allure lies in the unapologetic boldness of the 1980s generation of rebels. ‘I think their hardcore manliness on full display is so cool,’ he told reporters, drawing a sharp contrast between the original yankii movement and the shallow, online-focused delinquency that dominates modern youth culture. Born from the economic boom and social unrest of 1980s Japan, the original yankii movement was defined by hot-blooded teens who rejected rigid social conformity through reckless motorcycle rides, inter-school clashes, and large-scale street brawls. The movement’s signature ‘bosozoku’ motorcycle gangs, flamboyant custom bikes, and embroidered military-style ‘tokkofuku’ jackets became cultural symbols, alongside widely celebrated traits like loyalty to friends, chivalry, and unfiltered straightforwardness. Despite longstanding disapproval from Japan’s generally conformist mainstream society, yankii culture has remained a staple of Japanese pop fiction, spanning hit anime, manga, and feature films. Now, Netflix has broken new ground by bringing the subculture out of fiction and into unscripted reality with its series *Badly in Love*, which follows 11 young people with past delinquent ties, including former bosozoku members, as they navigate dating. To coincide with the show’s viral success, a yankii-themed exhibition is currently running in Tokyo, recreating the chaotic energy of the 1980s movement through displays of custom motorcycles and authentic tokkofuku garments. The resurgence of interest in classic yankii culture comes as many young Japanese people openly dismiss modern youth delinquency as cowardly and unprincipled. Unlike the 1980s rebels, who fought openly and faced consequences for their actions, modern delinquents are often criticized for chasing TikTok clout through petty pranks, engaging in online bullying, and running ‘black market part-time jobs’ that scam vulnerable elderly citizens. High-profile incidents like the so-called ‘sushi terrorism’ pranks, where teen customers posted viral videos of unhygienic stunts at conveyor-belt sushi restaurants, have drawn particular condemnation from classic yankii fans. ‘Getting arrested for riding around your motorcycle may have some honour, but getting arrested for those sushi pranks is plain lame,’ Reona said. Even many parents of young yankii enthusiasts draw clear lines between embracing the subculture’s aesthetic and endorsing harmful behavior. Hirotaka Sotooka, a 43-year-old Tokyo resident whose 8-year-old son has developed a fascination with gangster-style yankii fashion, says he tolerates the aesthetic and even appreciates the culture’s focus on loyalty, but sets firm boundaries. ‘I don’t want him to bully the weak, be violent toward women or do anything purely evil,’ Sotooka explained during a February visit to the Tokyo yankii exhibition, where he watched his son pose for photos in front of a vintage bosozoku-style motorcycle. ‘Otherwise it’s his life to enjoy.’ While interest in the yankii aesthetic has grown, the actual bosozoku biker gangs that defined the 1980s movement have all but disappeared. Official Japanese police data shows the total number of bosozoku members has plummeted nearly 90% from the 1982 peak, dropping to just 5,880 active members in 2024. Kenichiro Iwahashi, a former bosozoku biker who now works as a delinquency researcher, says widespread surveillance is the biggest driver of the decline. ‘Surveillance cameras are now everywhere and everyone films you on an iPhone and leaves proof of your act,’ he explained. As a result, the hardcore, unlicensed, helmet-free bosozoku gangs that dominated 1980s streets are ‘almost non-existent today.’ In mainstream Japanese society, real-world yankii culture still remains deeply stigmatized, with many critics arguing that it normalizes rule-breaking and can lead to lifelong criminal activity. Satoru Saito, a popular 33-year-old comedian who performs under a yankii persona complete with a towering quiff, shaved eyebrows, and authentic tokkofuku, says he regularly faces online harassment from people who condemn his ‘anti-social’ aesthetic. ‘For some people, this is a hard no,’ he said. ‘Most of these yankii folks are doing things like fighting or committing crimes, and the act of riding motorcycles at midnight can be extremely noisy, so I get why they are hated.’ That stigma makes *Badly in Love* a particularly audacious project that no mainstream Japanese TV network would have agreed to produce, according to veteran entertainment journalist Motohiko Tokuriki. While yankii-themed fiction like *Tokyo Revengers* and *Crows* has long been popular as escapist fantasy, airing unscripted content featuring real former delinquents would have ‘risked exposing TV stations to criticism from the public that they are endorsing the yankii culture,’ Tokuriki explained. Aware of the public backlash risk, Netflix took extra steps to avoid sensationalizing or glorifying delinquency, going far beyond basic legal compliance to contextualize cast members’ past mistakes. ‘We had extensive internal discussions… to ensure the production would not be perceived as glorifying or condoning the violence,’ said Dai Ota, the show’s executive producer. The gamble has paid off: *Badly in Love* has spent weeks on Netflix’s global top 10 most-watched list, earning large audiences across South Korea, Taiwan, Hong Kong, and other international markets, with a second season set to premiere later this year. Ota says the show’s core goal is not to celebrate delinquency, but to humanize young people who have long been marginalized as social outcasts. ‘Our hope was to show that these young people — who have often been marginalised or labelled as ‘social outcasts’ — are simply youths who worry, struggle and genuinely grow,’ he explained. For many cast members, that framing aligns with their own perspective on their pasts. Otoha, a 23-year-old Season 1 participant who has the tough, heavily tattooed exterior stereotypical of yankii culture, says she is actually an introvert who now sees her past delinquent behavior as embarrassing. ‘I’d like people not to admire us, but take us as their anti-role model,’ she told reporters.

  • Who’s Bad? Not Michael Jackson in new big-budget biopic

    Who’s Bad? Not Michael Jackson in new big-budget biopic

    The highly anticipated big-budget Michael Jackson biopic, *Michael*, is set to hit cinemas worldwide this week, bringing the story of the King of Pop’s iconic rise to the big screen — but the tightly curated narrative has sparked intense backlash over its deliberate exclusion of the child sexual abuse allegations that shadowed the singer’s final decades.

    Produced by Graham King, the creative force behind the record-breaking Queen biopic *Bohemian Rhapsody*, the film tracks Jackson’s journey from his working-class childhood in Gary, Indiana, as part of the Jackson 5, through his evolution into a global pop phenomenon, culminating in showstopping performance footage from his legendary 1987 Bad World Tour. The $200 million production is backed by Lionsgate, which has set ambitious box office targets, hoping the film can approach the $910 million global haul of *Bohemian Rhapsody* — the current highest-grossing musical biopic of all time — and hit $700 million in worldwide ticket sales.

    In a surprising casting choice, the lead role is filled by Jaafar Jackson, Michael Jackson’s 29-year-old nephew who had never appeared on screen before taking the part. Speaking to *The Tonight Show* host Jimmy Fallon earlier this month, Jaafar described the daunting experience of stepping into his uncle’s shoes: “They threw me right in the deep end.” He added that he trained closely with Jackson’s original choreographers to master the singer’s iconic moves, calling the role “a surreal, spiritual moment.” Early reviews praise Jaafar’s convincing performance, noting that the high-energy concert sequences are crafted to delight diehard fans of Jackson’s landmark albums *Thriller* and *Bad*.

    The film’s close ties to the Jackson family have become its most contentious point. All of Jackson’s surviving siblings serve as executive producers, granting them full approval over the final cut ahead of the global release. Jackson’s sons Prince and Bigi, alongside brothers Jackie, Jermaine, and Marlon Jackson, turned out for the film’s red carpet premiere in Berlin on April 10, but one prominent family member has publicly disavowed the project: Jackson’s daughter Paris, who had no involvement in the production. Writing on Instagram last September, she argued that the narrative caters only to fans who refuse to confront the allegations against her father, saying: “The narrative is being controlled and there’s a lot of inaccuracy and there’s a lot of just full-blown lies.”

    According to entertainment industry outlet *Variety*, the omissions are not just a creative choice driven by the family. A full third of the original cut that explored the abuse allegations had to be cut and reshot after lawyers for the Jackson estate discovered a legal clause in a 1990s settlement with accuser Jordan Chandler that prohibits any mention of Chandler in the film. While Jackson was never convicted in any criminal or civil trial related to the allegations, multiple new lawsuits from alleged victims have been filed since his 2009 death from an accidental overdose at age 50, and several of those cases remain active.

    The production faced multiple delays, pushing its original 2025 release date forward by a full year to 2024. Critics of the film, including Duke University African and African American Studies professor Mark Anthony Neal, say the choice to whitewash the allegations fits a longstanding Hollywood pattern of sanitizing celebrity biographies to maximize commercial appeal. “I would love that the film would tell the most human story about Michael Jackson possible,” Neal told AFP. “But I also realise that we’re in a period of time where Hollywood does not deal with celebrities in that way.”

    Regardless of the controversy, industry analysts expect *Michael* to be a major commercial success, and it will almost certainly add to the lucrative Jackson family entertainment franchise. The Broadway production *MJ: The Musical* opened in 2022 and has since launched international tours, while Cirque du Soleil’s *Michael Jackson ONE* has been a staple Las Vegas attraction since 2013, generating steady revenue for the estate for more than a decade.