分类: entertainment

  • EU pulls $2.4 million from Venice Biennale over Russia’s return

    EU pulls $2.4 million from Venice Biennale over Russia’s return

    BRUSSELS/MILAN – The European Commission has followed through on its earlier threat to slash a €2 million ($2.4 million) grant to the Venice Biennale, one of the world’s most prestigious and long-running contemporary art events, after organizers confirmed Russia would participate in the 61st edition opening to the public on May 9. The funding cut was formally announced Thursday, with commission officials confirming the Biennale foundation has been officially notified of the decision and given 30 days to submit a formal defense of its choice to readmit Russian participation, the first since Moscow’s full-scale 2022 invasion of Ukraine.

    European Commission spokesperson Thomas Regnier reiterated the bloc’s firm opposition to the move in comments to reporters Thursday. “We are strongly condemning the fact that the Fondazione di Biennale has allowed for the Russian Pavilion to open again,” Regnier said.

    This return of Russian representation marks a sharp break from recent editions of the exhibition. Russian artists voluntarily withdrew from the 2022 Biennale, and Russia opted not to mount an exhibition in its permanent Giardini pavilion for the 2024 iteration, instead loaning the space to Bolivia. Russia’s last official participation in the International Art Exhibition before this year came in 2019.

    In an official statement responding to the EU’s funding cut, Biennale organizers pushed back against the bloc’s pressure, arguing they lack the legal and institutional authority to bar a recognized nation from participating. Under the event’s long-standing rules, any country that holds formal diplomatic recognition from the Italian Republic is eligible to request a spot at the exhibition. Compounding this, the Russian government has held full ownership of its purpose-built pavilion in the historic Giardini park since the structure was completed in 1914, meaning organizers were only required to acknowledge Russia’s formal notice of participation, rather than approve or deny the request.

    Sticking to its long-held principles of cultural openness, the Biennale emphasized its commitment to keeping art and culture free from exclusion and political censorship. “La Biennale di Venezia rejects any form of exclusion or censorship of culture and art. The Biennale, like the city of Venice, continues to be a place of dialogue, openness and artistic freedom, encouraging connections between peoples and cultures, with the constant hope for an end to conflicts and suffering,” the statement read.

    Founded in 1895, the Venice Biennale is widely regarded as the most influential contemporary art event on the global calendar. The exhibition’s structure pairs a large-scale central curated show with independent national pavilions, each organized and funded by the participating countries. For the 2025 61st edition, a total of 99 countries will mount national exhibitions, with 29 hosted in purpose-built pavilions in the Giardini, and the remainder spread across the historic Arsenale shipyard and other venues throughout Venice. This is not the first time the Biennale has rejected international pressure to exclude a participating nation; organizers have previously refused calls to bar both Iran and Israel from taking part amid geopolitical controversy.

  • ‘Storage Wars’ star Darrell Sheets dies age 67 – reports

    ‘Storage Wars’ star Darrell Sheets dies age 67 – reports

    Beloved reality television personality Darrell Sheets, widely recognized for his decades-long run on the hit A&E series *Storage Wars*, has passed away at the age of 67, law enforcement officials have confirmed.

    The Lake Havasu City Police Department in Arizona confirmed that officers responded to a 911 call at a local residence at 2 a.m. local time on April 22, discovering a body that was later formally identified as Sheets. In an official statement released Wednesday, and obtained by entertainment industry outlet Variety, police reported that Sheets appeared to have died from a self-inflicted gunshot wound to the head.

    Nicknamed “the Gambler” for his willingness to place big bets on unseen storage units, Sheets was a core cast member of *Storage Wars* from the show’s debut in 2010 through his exit in 2023. The popular reality series follows a group of professional buyers who bid on abandoned self-storage units at auction, without being allowed to inspect the contents inside before placing their offers. Sheets often appeared on the series alongside his son Brandon, with the pair building a fan-favorite dynamic over the show’s run.

    Following news of Sheets’s death, his long-time *Storage Wars* co-star and on-screen competitor Rene Nezhoda shared an emotional public tribute to the late actor on social media platform X. Nezhoda pushed back on the common fan assumption that the two men harbored real-life animosity from their on-screen competitions, noting “Deep down me and Darrell were friends, we talked every now and then.” He also praised Sheets’s relentless work ethic and deep devotion to his family, calling him one of the most family-focused people he had ever met.

    In his tribute, Nezhoda also revealed that Sheets had been the target of persistent online harassment in the weeks leading up to his death. “He had a guy really, really, tormenting him lately on cyberbullying,” Nezhoda said, addressing viewers who forget that reality TV stars are private people with real emotional vulnerabilities. “Just because you watch us on television doesn’t mean you know us. It doesn’t mean you know what we’re about. Also, it doesn’t entitle you to bully somebody … you shouldn’t cyberbully at all.” Nezhoda has called on law enforcement to investigate the alleged harassment as part of the ongoing probe into Sheets’s death.

    As of Wednesday, police confirmed that Sheets’s next of kin have been notified of his passing, and the death remains under active investigation. For anyone experiencing thoughts of self-harm or emotional distress, support services are available through global and regional mental health organizations. The BBC Action Line maintains a public directory of support resources for those in crisis.

  • ‘The Devil Wears Prada 2′ puts a spotlight on Italy’s fashion capital

    ‘The Devil Wears Prada 2′ puts a spotlight on Italy’s fashion capital

    MILAN (AP) — As ‘The Devil Wears Prada 2’ prepares for its Italian premiere in the country’s iconic fashion capital on Thursday, the luxury Italian brand Prada takes pride of place in the film’s title, while the global fashion industry steps into the broader spotlight and Milan itself claims a key supporting role. Though the motion picture draws its name from the legendary fashion house that has become inseparable from Milan’s identity, the story does not center on the century-old brand itself. To pay homage to the franchise’s deep ties to the label, both lead star Meryl Streep and Vogue editor-in-chief Anna Wintour donned Prada designs for a recent Vogue cover celebrating the new film, which follows the story of a notoriously demanding high-fashion editor.

  • ‘Dancing in their hands’: Japan wig masters set stage alive

    ‘Dancing in their hands’: Japan wig masters set stage alive

    Beneath the bright lights of Tokyo’s iconic Kabuki-za Theatre, before a packed audience leans in to watch centuries of traditional drama unfold, one quiet craftsperson lays the final foundation for a performer’s transformation. For kabuki, the iconic Japanese performing art famed for its dramatic stylized makeup, lavish period costumes and expressive storytelling, the wig is not just an accessory—it is the critical bridge between an actor and their character.

    Sixty-year-old Tadashi Kamoji, a fourth-generation master kabuki wig artisan known as a tokoyama, knows this weight of responsibility better than most. Ahead of a recent performance, he carefully positioned a handcrafted topknot wig on 33-year-old rising performer Nakamura Tanenosuke, who stars in a new production centering on a 19th-century noble family feud. “A kabuki actor cannot step onto stage as his ordinary self,” Kamoji explained in an interview with AFP. “It is only when the wig is in place that he truly becomes the character he is meant to play. That is why we carry such a heavy responsibility for our work, and why we hold such pride in what we do.”

    For decades, these skilled artisans have worked largely out of public view, tucked away in backstage ateliers far from audience applause. But the unsung craft of kabuki wig making has recently stepped into the international spotlight after the hit Japanese drama *Kokuho* earned an Oscar nomination for Best Makeup and Hairstyling. The film, which follows the lives of two onnagata—male actors who specialize in playing female kabuki roles—has brought long-overdue attention to the hidden craft that underpins every kabuki performance.

    Kabuki itself dates back to 17th-century Japan, blending dynamic dance, emotional drama and traditional music into a performance form that remains a cultural cornerstone of the country. Every element of a kabuki production is intentional: from the archaic dialect actors use to the elaborate hand-painted sets, each detail works together to transport audiences to another era. Nowhere is this intentionality more clear than in the wigs.

    After master craftsmen construct each wig from raw human hair, tokoyama like Kamoji take over to shape, style and customize the piece to fit both the actor and their character. This work goes far beyond simple hairdressing, Kamoji explains. “To create a wig that feels true, you have to first understand the core of the character,” he said. Kamoji joined the family trade when he was just 18, following in the footsteps of multiple generations of artisans, and he still learns new techniques from his 85-year-old father today.

    Whether the role calls for a righteous middle-aged samurai, a high-ranking Edo-era courtesan or a professional sumo wrestler like Tanenosuke’s recent part, each wig is designed to communicate specific details about the character’s age, social standing, occupation and personality to the audience before the actor even speaks a line. For Tanenosuke’s sumo role, Kamoji spent two hours in his atelier shaping the wig into the traditional curved mage topknot, a hairstyle that fell out of common use in Japan more than a century ago. Working kneeling on a traditional tatami mat, he sectioned the hair with hand-carved wooden combs, smoothed strands with heated steaming irons, and pulled tight securing knots with his teeth—a technique that has been passed down through generations of tokoyama.

    For performers like Tanenosuke, who has worked with wig masters since he began training in kabuki at age five, these artisans are entirely irreplaceable. “There is almost no traditional kabuki performance that does not rely on handcrafted wigs,” he said. “The wig is the final touch that completes the transformation into character. Every step of getting into costume and makeup is a switch that prepares you, but it is not until the wig is set that you fully step into the role. The audience’s enjoyment of kabuki depends on the skill of the actors, yes, but also on the beauty of the costumes, sets and wigs—our work would not be complete without the masters.”

    The scale and diversity of the craft is staggering: there are roughly 400 distinct wig styles for female roles alone, and more than 1,000 unique variations for male parts. Every wig is custom made from scratch for each production and tailored to fit the individual actor who will wear it, with simple pieces taking only a few hours to complete and complex, one-of-a-kind designs requiring up to a month of meticulous work.

    Even after 42 years in the profession, Kamoji says he is still honing his craft. “To this day, I still learn new things from my father,” he said. “This is a craft of endless improvement. When I watch the most senior masters work, it looks like the hair is dancing in their hands. I have not reached that level yet; I think I will only truly master that control when I am my father’s age.”

    Still, all the long hours of meticulous work feel worthwhile to Kamoji when the curtain rises and the audience erupts in applause for the performer on stage. “When the audience cheers that the actor looks brilliant, I feel a part of that success,” he said. “To know that the wig we created helped bring the character to life, that suited the actor perfectly—that brings me a huge sense of joy.”

  • A hanfu encounter in Heze’s peony fields

    A hanfu encounter in Heze’s peony fields

    As spring unfolds across northern China, Heze, a city in eastern Shandong Province renowned as the country’s peony capital, enters its most visually stunning season of the year. Millions of peony plants burst into full bloom across the city’s sprawling cultivation fields, painting rolling landscapes in vivid hues of crimson, blush pink, ivory white, golden yellow and soft lavender, turning the entire region into an endless, breathing sea of color that draws visitors from across the globe every April.

    Against this postcard-perfect backdrop, a unique cultural encounter has unfolded that blends traditional Chinese aesthetics with cross-cultural exchange. Samar Kerkeni, an international expert working with China Daily Website, stepped into this dreamlike spring setting to experience two of Heze’s most iconic cultural treasures: its world-famous peonies and China’s centuries-old traditional hanfu attire.

    Draped in an elegantly tailored hanfu, a traditional Han Chinese garment defined by its flowing silhouettes, delicate embroidery and soft, breathable fabrics, Kerkeni wandered slowly through the rows of blooming peonies. The gentle spring breeze lifted the hem of her garment as she moved, blending the graceful lines of the traditional outfit seamlessly with the vibrant natural scenery around her, creating a scene that feels pulled straight from a classical Chinese landscape painting. The experience offers a gentle, vivid example of how traditional Chinese culture can be shared and enjoyed by visitors from around the world, bridging cultural gaps through shared appreciation for beauty and heritage.

  • Xizang’s coffee blends with traditional flavors attract global attention

    Xizang’s coffee blends with traditional flavors attract global attention

    A groundbreaking culinary movement emerging from Southwest China’s Xizang Autonomous Region is turning heads across the global coffee landscape: small-batch coffee brands weaving centuries-old Tibetan flavor traditions into unique roasts are building growing international followings, opening new doors for cultural exchange on the world stage.

    At the forefront of this movement is Nindo Coffee, an independent Xizang-based brand that recently captured widespread acclaim at the 2025 Paris Coffee Festival, held from April 11 to 13. The appearance marked the brand’s second major European showcase, following a successful debut at a London coffee exhibition in 2024. For Tsomo, Nindo Coffee’s founder, this global momentum is the product of eight years of deliberate, sustained experimentation, not a sudden break into international markets.

    Unlike many novelty fusion products that tack exotic regional elements onto existing coffee recipes, Nindo Coffee’s signature blends are rooted in a deep reimagining of Xizang’s culinary identity. Drawing on beloved local flavor profiles such as creamy salty milk tea and the hearty, textured ingredients of high-altitude Tibetan diets, the roasts redefine what specialty coffee can taste like, rather than just adding a cultural gimmick. To complement the unique flavor experience at the Paris festival, the brand brought immersive Tibetan visual culture to its booth, displaying traditional incense cloths and Tibetan opera masks to give attendees a full sensory introduction to the region behind the beans.

    The immersive offering resonated far more than casual novelty: attendees returned to the booth repeatedly, sharing their new favorite find with other guests and sparking genuine organic enthusiasm among coffee lovers. Industry experts echoed that praise, with support from the International Culture Association of the Xizang Autonomous Region helping amplify the brand’s presence on the global stage. Angie Molina, 2025 World Brewers Cup France champion, described the brand’s viral salted milk tea dirty blend as one-of-a-kind, noting it struck a perfectly balanced profile of sweet, rich depth that left a lasting impression.

    Looking ahead, Nindo Coffee has ambitious plans to embed Xizang more deeply in the global professional coffee community. The brand aims to launch the first Xizang Autonomous Region coffee festival, creating a space for domestic and international coffee roasters to collaborate and exchange ideas. It is also set to host the Lhasa regional qualifying round of the 2026 China Brewers Cup, the official selection pathway for the World Brewers Cup, bringing top-tier global coffee competition infrastructure to the region.

    Nindo Coffee’s success is part of a larger booming coffee culture across Xizang, where neighborhood street-side cafes have quickly become central hubs for social connection, remote work, and leisure. Local industry leaders note that fusion coffee creations that blend global coffee culture with Tibetan heritage — from tsampa-infused roasts to rich butter coffee — have already become beloved local staples, earning widespread recognition as distinctive cultural emblems of Xizang. For local coffee enthusiasts like Lhasa resident Tashi Dundrup, the international acclaim for Nindo Coffee marks a major milestone: it not only shares Tibetan coffee culture with the world but also creates pathways for global industry professionals to visit Xizang, build connections, and help the region’s unique coffee identity carve out a permanent place on the global coffee map.

  • ‘No ability or power’: Radio giant’s claim about bullying in Kyle & Jackie O stoush

    ‘No ability or power’: Radio giant’s claim about bullying in Kyle & Jackie O stoush

    One of Australia’s biggest radio powerhouses has fired back in a high-stakes legal battle with its former star breakfast duo, Kyle Sandilands and Jackie ‘O’ Henderson, making a bombshell legal claim that it had no ability to intervene to stop alleged on-air bullying against Henderson. Court documents filed by ARN Media’s subsidiary Commonwealth Broadcasting Corporation (CBC) have pulled back the curtain on the network’s formal defence, launched after both popular hosts launched multi-million-dollar lawsuits following their abrupt firing earlier this year.

    The sacking came in the wake of a fiery on-air blow-up between the long-time co-hosts, where Sandilands publicly lashed out at Henderson, calling her “off with the fairies”, “unfocused” and accusing her of not caring about their top-rating KIIS FM breakfast program. The explosive argument, which grew out of Sandilands’ criticism of Henderson’s well-known public interest in astrology, marked the breaking point for a working relationship that had been strained by allegations of ongoing mistreatment.

    Following their termination, both Sandilands and Henderson have taken legal action against the network, with vastly different claims. Henderson, through her production company Henderson Media, alleges her dismissal amounted to unlawful adverse action after she informed the network she could no longer continue working alongside Sandilands. She is seeking a staggering $82 million in compensation for the early termination of her 10-year contract, which paid Henderson Media $9.4 million annually to deliver her on-air services.

    For his part, Sandilands is pushing for immediate reinstatement to his old role. He argues that his blunt, abrasive comments to Henderson were simply in line with the on-air persona CBC actively cultivated for the show, and that his firing is unlawful because no serious misconduct or breach of contract actually occurred.

    In its formal defence lodged with the Federal Court, ARN has pushed back hard against both claims, taking a particularly controversial stance on Henderson’s bullying allegations. The network confirms it holds service contracts with the hosts’ own separate production companies – Henderson Media for Henderson, and Quasar for Sandilands – not with the personalities directly. ARN argues that under the terms of these commercial agreements, the production companies hold exclusive responsibility for controlling how program services are delivered, and for ensuring the health and safety of their talent while they are on air.

    “As a consequence, once any broadcast began, CBC had no ability or power to contemporaneously prevent Mr Sandilands from engaging in bullying or other unwanted conduct towards Ms Henderson,” the defence documents state. The network further emphasized that the $9.4 million annual deal with Henderson Media explicitly places the obligation to protect Henderson’s wellbeing on her own company.

    Henderson’s legal team has painted a far different picture of events. In a formal complaint letter sent to ARN and CBC just days after the February 20 incident, which was included in the network’s defence filing, lawyers allege that Henderson endured persistent, relentless bullying at Sandilands’ hands for a long time before the public blow-up. The letter claims that ARN had repeated opportunities to address the behaviour, but failed to take meaningful action, both legally and ethically.

    “The simple fact is that our client has been attacked and bullied on live prime time radio,” the complaint reads. “The consistent and ongoing bullying has left Ms Henderson psychologically unwell and has defamed and humiliated her in a public forum.” At the time the letter was sent, Henderson’s legal team noted she was actively considering additional defamation proceedings against the network and Sandilands.

    Both legal matters connected to the former KIIS FM stars are scheduled for a directions hearing in the Federal Court this Friday, marking the first public step in what is expected to be one of the highest-profile media legal battles in recent Australian history.

  • Material girl: Madonna offers reward for missing clothes

    Material girl: Madonna offers reward for missing clothes

    Pop icon Madonna has launched a public appeal for the return of one-of-a-kind vintage garments that disappeared following her surprise high-profile appearance at the 2024 Coachella Valley Music and Arts Festival, where she joined rising star Sabrina Carpenter on stage. The 67-year-old legendary entertainer, famous for groundbreaking hits including *Like A Virgin*, broke the news of the lost pieces via her official Instagram account, sharing a heartfelt call for assistance from fans and anyone connected to the festival’s post-show operations. In her online post, Madonna explained that the vanished items were pulled directly from her personal archive of stage wear, and included a signature jacket, corset, dress, and several other complementary garments that date back to key eras of her decades-long career. Beyond their material value, the singer emphasized that these pieces hold irreplaceable personal and professional significance, noting “These aren’t just clothes, they are part of my history.” She added that multiple other items from the same career-defining era of her work were also confirmed missing after the performance. Madonna’s surprise cameo alongside Carpenter was one of the most widely discussed viral moments from the first weekend of the annual Southern California desert festival, which draws hundreds of thousands of attendees and global media attention each year. During the unannounced set, the pair delivered electric performances of two of Madonna’s most iconic global chart-topping hits: 1990’s *Vogue* and 1989’s *Like A Prayer* — tracks that dominated international music years before Carpenter, who was born in 1999, entered the world. Closing her appeal, the pop legend expressed hope that a member of the festival crew or attendee will come forward to return the garments, saying “I’m hoping and praying that some kind soul will find these items and reach out.” She confirmed that she is offering a financial reward for the safe return of the full collection of pieces, though she did not disclose the specific amount of the award publicly.

  • 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.”