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A projected ocean backdrop bathed the Hollywood High School auditorium in sunset hues as Mitski opened her five‑night residency, delivering a performance of “Dead Women” from her latest album Nothing’s About to Happen to Me. The stage, arranged like a cozy living room with a writing desk, chaise lounge and warm lamps, amplified the DIY‑style intimacy the artist sought.Addressing the crowd, Mitski quipped, “It’s dark in here – no one can see you. You can cry,” a line that resonated with the mixed‑age audience, prompting genuine emotional responses.The residency coincided with an innovative attendance challenge: students who maintained perfect attendance for two weeks were entered into a raffle for tickets. School staffer Michael Reagan called it “the most effective attendance drive in the district’s recent history.”Beyond the music, Mitski’s agreement to cover the venue’s rental fee will fund caps and gowns for graduating seniors, while she pledged to donate $2 from each ticket to a local youth‑focused music‑education nonprofit.The event attracted students from across Los Angeles and beyond. One senior, Sophia Barrios, traveled by train from the Central Valley after receiving tickets for her 18th birthday, praising Mitski’s genre‑spanning sound and personal lyrics. Fellow attendees echoed the sentiment, noting how the artist’s words gave voice to feelings they struggled to articulate.Former alumna Jessica Torres Vicente, now a therapist, described the experience as “a healthier dose of memory lane,” recalling the unchanged gold‑lettered welcome sign and vintage school‑production posters that still adorn the auditorium.Mitski’s decision to perform in a high‑school setting harks back to the venue’s history of hosting notable acts, such as Morrissey in 2013, and reflects her desire to recapture the raw connection of early‑career punk and DIY shows.The concert retained the hallmarks of a Mitski show—precise, balletic movement, immersive visuals, and a sound that enveloped the crowd—while the unique setting left an indelible impression. When she sang “Two Slow Dancers,” the audience shouted back, “Yes!” in unison, underscoring the shared intimacy of the night.

Xavier Giannoli's latest film, 'Rays and Shadows,' has ignited a firestorm of controversy in France with its portrayal of Jean Luchaire, a French journalist and press baron who collaborated with the Nazis during World War II. The film, told from the perspective of Luchaire's daughter Corinne, a former actress known as 'the new Garbo,' delves into the moral compromises and betrayals of occupied France.The film's depiction of Luchaire as a disillusioned spendthrift rather than a diehard ideologue has sparked criticism from left-leaning critics, who argue that it relativizes the actions of those who willingly served the Nazi killing machine. Historian Laurent Joly also questions the film's portrayal of Luchaire, suggesting that his path to collaboration was driven by amorality and venality rather than pacifism.Despite the controversy, the film has drawn over 300,000 spectators in its opening week in France, sparking important discussions about the Vichy period and the complexities of human behavior during times of war. Giannoli's goal was to strike a balance between fascination and indignation, and to explore the traps that a human being can fall into when faced with difficult choices.

The inaugural match at Inter Miami’s brand‑new Nu Stadium ended in a 2‑2 stalemate with Austin FC, but the event was a triumph for co‑owner Sir David Beckham, whose 13‑year odyssey to secure a flagship MLS venue finally reached its destination.Speaking before kickoff, Beckham reflected on his arrival in the United States two decades ago, recalling a promise to build a club that could win championships and grow the sport. “We had no name, no fans, no stadium – today we stand in our new home,” he declared to a sold‑out crowd.The stadium, a sleek bowl with a 26,700‑seat capacity and an overhanging oval canopy, blends Miami’s vibrant aesthetic – pink, white and black seats, neon lighting – with a design that keeps the atmosphere intimate despite its size. Fans were treated to a clear view of the action, and a standing section behind one goal preserved the club’s traditional, vocal support.On the pitch, Argentine legend Lionel Messi and Uruguay’s Luis Suárez each netted equalising goals, while Austin’s Guilherme Biro etched his name in MLS history as the first scorer at the venue with a sixth‑minute header. Messi’s 90th‑minute free‑kick rattled the crossbar, and Suárez’s late volley secured a point for the home side.Beyond the match, the night highlighted the stadium’s broader significance. The $1 billion development, approved in 2022, will eventually encompass a 58‑acre public park, retail, office space and a 750‑room hotel complex. Though much of the surrounding site remains under construction, the opening demonstrated that the project met its tight deadline, even as officials chased a final occupancy certificate hours before kickoff.MLS Commissioner Don Garber praised Beckham’s perseverance, noting that the journey “didn’t end when Messi arrived; it concluded with the opening of this building.” He added that the rapid progress in the final month exceeded expectations and underscored the importance of trust in ambitious projects.The event also featured a performance of the national anthem by Marc Anthony and a rally‑towel message reading “We’re home,” encapsulating the relief and pride of supporters who have long awaited a true Miami‑based home after years of travelling to Fort Lauderdale.While the match did not deliver a win, the successful launch of Nu Stadium represents a pivotal moment for Inter Miami, its ownership group, and the broader growth of soccer in South Florida.

Last week, a coalition of more than 120 Christian leaders sent an open letter—published by The Guardian—to Sir Paul Marshall, the hedge‑fund manager who partly owns GB News. The letter accused the channel of spreading climate misinformation and called for full disclosure of any personal investments in fossil fuels, as well as transparency from GB News presenters and guests. Instead of addressing those transparency demands, Sir Paul replied in a Guardian letter, asserting that the “net‑zero consensus is crumbling.” This claim runs counter to multiple public‑opinion surveys that show a robust majority of Britons still favour decarbonisation efforts. What has shifted, analysts note, is that two of the United Kingdom’s major political parties now oppose a legally binding net‑zero target. Their stance does not appear to reflect public sentiment, prompting observers to question the motives behind the growing anti‑net‑zero rhetoric. Critics warn that as the nation’s reliance on expensive and volatile fossil fuels persists, the country edges closer to dangerous climate tipping points while households grapple with soaring energy costs. Rev Dr Darrell Hannah, chair of Operation Noah, described the situation as “curious and disheartening,” suggesting that GB News is intent on preserving an unsustainable status quo. London‑based commentator Judith Russenberger added that Sir Paul and his outlet ignore a wealth of scientific and economic evidence. She emphasized that the planet is heating faster than ever, not merely undergoing a “gradual warming phase,” and that the UK’s high electricity prices stem from a pricing system that ties power costs to the price of gas, rather than the cost of wind or solar generation. These challenges highlight a broader clash between media narratives, political positioning, and the public’s clear appetite for decisive climate action.

Brighton pulled off a major upset in the Women's FA Cup quarterfinals, defeating Arsenal 2-0 at Borehamwood. The win extended Arsenal's wait for their first Women's FA Cup title in over a decade. Fran Kirby, a former Chelsea forward, played a crucial role in the victory, providing two assists.Madison Haley opened the scoring shortly after halftime with a superb finish into the top corner, and Caitlin Hayes sealed the win with a header from a deep Kirby corner. Arsenal, who had recently knocked out Chelsea in the Champions League, looked disjointed and below their best.In another match, Liverpool secured a semifinal spot with a scrappy 115th-minute goal from substitute Zara Shaw against Charlton Athletic. Shaw's goal came after a scramble in the box, marking her return to competitive action after a 12-month knee injury.Liverpool manager Gareth Taylor praised Shaw's determination, saying, 'What a story, Zara Shaw, eh? The way people speak about her at the club, it couldn’t have happened to a better person.'Charlton's head coach, Karen Hills, expressed pride in her team's performance, stating, 'I’m so proud of the group. The way they performed today, they were outstanding.'

NASA has unveiled a series of photographs documenting the Orion spacecraft as it reaches the four‑day mark of the Artemis II mission.The images, released by the agency, capture key phases of the flight, offering a visual update on the vehicle’s trajectory and system performance as it continues its historic test flight around the Moon.While the photo set provides a rare glimpse into the mission’s progress, NASA has not disclosed additional technical details beyond the visual record at this stage.

Mexico’s art world is in uproar after an agreement with Banco Santander to export a landmark segment of the Gelman collection to Spain. The collection, hailed as one of the most significant assemblages of 20th‑century Mexican art, features masterpieces by Frida Kahlo, Diego Rivera, Rufino Tamayo, José Clemente Orozco, María Izquierdo and David Alfaro Siqueiros. Approximately 400 cultural professionals have signed an open letter demanding clarity from the Mexican government about the fate of the works, especially those by Kahlo that the state has designated as an "artistic monument". Historian Francisco Berzunza warned that Kahlo is "the most important artist in the history of our country" and that her works should remain accessible in Mexico. The disputed batch comprises 160 paintings, sketches and photographs originally owned by collectors Jacques and Natasha Gelman and purchased by the Zambrano family in 2023. Under the Santander deal, the pieces—currently on public display in Mexico for the first time in two decades—are slated to travel to Spain this summer to become a centerpiece of the new Faro Santander cultural centre. Santander’s announcement promised to handle "conservation, research and exhibition" of the collection, yet it omitted the duration of the Spanish stay. The bank’s director, Daniel Vega Pérez de Arlucea, later told El País that the legislation governing the works is "flexible" and that the collection would enjoy a "permanent presence" at the centre, intensifying concerns. Mexican officials have attempted to reassure the public. President Claudia Sheinbaum stated, "Our desire is for the collection to remain in Mexico," while Culture Minister Claudia Curiel de Icaza emphasized that the export is only temporary and that the artworks are expected to return by 2028. Santander also issued a statement insisting the deal does not constitute a sale or permanent removal. Nevertheless, critics argue the contract is ambiguous. The agreement, viewed by the Guardian, allows Faro Santander to retain control of the collection at any point between June 2026 and 30 September 2030, with the possibility of extensions by mutual consent. Such language fuels fears that the pieces could become effectively permanent fixtures abroad. Legal experts note that Mexican law protects works declared national artistic monuments, mandating that they may leave the country only temporarily and that the National Institute of Fine Arts and Literature (Inbal) is responsible for their repatriation. With Inbal owning just four of Kahlo’s roughly 150 pieces, many fear the deal undermines the protective framework. Berzunza summed up the stakes: "If the works were not to return, a fundamental part of this artist’s body of work – and her history – would be lost. These pieces are essential to telling her story and to understanding our identity as Mexicans."

When Kayleigh Davies, a seasoned valuer at the auction platform Auctionet, examined the base of a vase marketed as a genuine Lalique piece, she immediately recognised the deception. The word “Lalique” had been crudely engraved onto the bottom, a trick the seller hoped would inflate the price.Davies rejected the item, noting that without the fraudulent engraving it would have been a saleable piece. Her experience underscores a growing problem: traditional antique scams are being amplified by the reach of internet marketplaces.Typical red flagsFraudsters often disguise flaws—such as restored cracks or repainted toy cars—while claiming pristine condition. Even high‑value items like original‑packaged Star Wars figures can be misrepresented by placing cheap replicas in authentic‑looking boxes.Other warning signs include unexplained scuffs on glassware, suspiciously perfect finishes on aged objects, and a lack of clear provenance for autographs. Davies advises buyers to ask probing questions; a dishonest seller is likely to become evasive or refuse further details.Electrical collectibles, such as vintage lamps, pose additional hazards, as faulty wiring can lead to fire risks.Consumer safeguardsPlatforms like eBay enforce strict policies against counterfeit goods and offer a “money‑back guarantee” that protects purchasers when items do not match their listings.In the UK, Citizens Advice confirms that buyers have a legal right to a refund for fake products. If a seller refuses, shoppers can:Initiate a chargeback through their bank if they paid by debit card or used a credit card for purchases under £100.File a Section 75 claim for credit‑card purchases over £100, shifting liability to the card issuer.Suspected fraud can also be reported to the national Report Fraud centre, and to local Trading Standards via Citizens Advice.By staying vigilant, demanding documentation, and leveraging consumer‑rights mechanisms, buyers can reduce the risk of falling victim to counterfeit antiques and collectibles.

UK Prime Minister Keir Starmer has voiced his concern over Kanye West's upcoming performance at Wireless festival, citing the rapper's history of antisemitic remarks and admiration for Adolf Hitler.West, also known as Ye, has drawn widespread condemnation for his comments, including voicing admiration for Hitler and releasing a song called 'Heil Hitler'. He has also faced criticism for advertising a swastika T-shirt on his website.Starmer emphasized that antisemitism in any form is abhorrent and must be confronted clearly and firmly. He added that everyone has a responsibility to ensure Britain is a place where Jewish people feel safe and secure.The Jewish Leadership Council has condemned Wireless festival for booking West, calling the organisers' conduct 'deeply irresponsible'. Ed Davey, the Liberal Democrat leader, has called on the government to ban West from entering the UK, saying 'We need to get tougher on antisemitism.'West apologised in January for his antisemitic remarks in a letter published as a full-page advert in the Wall Street Journal, citing his bipolar disorder as a factor in his behaviour.