NEW YORK, July 13 — A Jay-Z concert at Yankee Stadium in New York was delayed for more than four hours yesterday night after hundreds of ticketless fans tried to get in, organisers said.

"Hundreds of individuals in large groups -- who did not have tickets to tonight's performance -- stormed over peaceful ticket holders, and in some cases, breached security," a Live Nation representative told AFP.

"Gates at all entrances of the Stadium were closed for an extended period of time" before they were "reopened cautiously and carefully to ensure the safety of those inside and outside."

The concert was scheduled to start at 8pm (8am Malaysian time), but hundreds of people remained outside the stadium, despite having valid tickets, an AFP reporter observed.

Ticket holders were eventually let in in small groups, and Jay-Z finally took the stage at around 12.15am.

The American rapper briefly explained what had happened to the more than 40,000 people gathered in the stadium before launching into the show.

The concert was the last in a series of three shows by the 56-year-old artist, who had not played a major solo concert since 2017. — AFP

PARIS, July 13 — A colossal budget, a stellar cast and based on one of the greatest stories in Western literature: Christopher Nolan’s latest film The Odyssey should be one of this year’s biggest blockbusters.

Over two hours and 52 minutes, the Oscar-winning maker of Oppenheimer adapts Homer’s epic Greek poem of the same name, recounting the action-packed return of mythical character Odysseus to his island home Ithaca.

It stars Matt Damon in the lead role, alongside a who’s who of Hollywood stars, including Anne Hathaway, Tom Holland, Zendaya, Charlize Theron and Robert Pattinson, who delivers a memorable performance as the villainous Antinous.

At a cost of a reported 250 million dollars (RM1.02 billion), it features the epic battle of Troy as well as encounters with the one-eyed monster Cyclops and sorceress Circe, all shot at various locations around the Mediterranean on the highest-resolution IMAX camera.

“It was a difficult film. It should be difficult: it’s the Odyssey, it should be hard, and that’s fine,” Nolan told a select group of film journalists last week including AFP ahead of the world premiere in Paris.

Reviews 

Full reviews for the film are currently embargoed ahead of the worldwide release from Wednesday, but early reactions on social media from critics who were invited to private screenings or the premieres have been broadly positive.

Los Angeles Times film editor Joshua Rothkopf called it “a return home to the robustly entertaining action movies that cinema was invented to tell.”

IndieWire editor-at-large Anne Thompson predicted that the film would be a strong contender for best picture at the Oscars next year, adding that Matt Damon “could win best actor”.

“My high expectations were met,” she wrote on social media.

Damon depicts a fragile, confused and ultimately regretful Odysseus returning from his heroics in the victorious siege of Troy.

“He’s definitely complicated, and he definitely makes decisions that aren’t always the right ones, which makes him very flawed and very human,” Damon told AFP at the premiere.

The story, one of the foundational texts of Western literature, is “about homecoming and family and war and death and all of these things that are kind of universal themes in living a life,” Damon added.

Nolan sees a parallel between Odysseus and Robert Oppenheimer, one of the leaders of the Manhattan Project to develop the atomic bomb, who was depicted in his 2023 best picture winner.

“The parallel I found that I thought was interesting was the idea of a person who carries the guilt of shifting the world on its axis … somebody who has changed the world, and not for the better,” Nolan told journalists.

‘Gaps in the canon’ 

Given the complicated plot and the epic scale of the story, previous attempts to tell The Odyssey in film are limited.

The 1955 Mario Camerini movie Ulysses starring Kirk Douglas attempted to portray the full narrative arc, while the low-profile 2024 The Return with Ralph Fiennes and Juliette Binoche focused on only the final act once Odysseus lands back in Ithaca.

“As a filmmaker looking for opportunities, you look for gaps in the cinematic canon,” Nolan, 55, explained, saying the lack of Odyssey movies presented a “great opportunity.”

“They did not have the technology to embrace the fantasy elements that have to be there,” he explained.

Nolan made the latest film technology a key part of the production process, shooting the entire film on huge and noisy IMAX cameras that use large-format 70 mm film to offer the highest possible resolution.

“Working with the IMAX cameras for the first time is an experience,” Holland, who plays Odysseus’ son Telemachus, told Variety. “It is unlike anything I have ever seen before.” — AFP

SEOUL, July 13 — All 13 members of K‑pop group Seventeen have renewed their contracts with Pledis Entertainment, the agency announced today, marking an unusually rare second full‑group extension in an industry where seven‑year contract cycles often lead to lineup changes or disbandment.

Pledis said the members had “reached a mutual agreement” to continue with the company, with those currently serving in the military set to finalise paperwork according to their service schedules. 

The group said in a statement that they were committed to moving forward together, citing their belief that “there is nothing we cannot achieve together.”

Seventeen, which debuted in 2015, previously renewed its contracts in 2021 ahead of the expiry of its initial seven‑year term. 

Their decision to remain as a full unit for a second time underscores the group’s cohesion and long‑term stability — a rarity in K‑pop, where members often pursue solo careers after the first contract period.

Pledis said it will continue supporting the group’s activities, including unit and solo projects, while helping expand Seventeen’s global reach.

SYDNEY, July 13 — Jurassic Park star Sam Neill died in Australia on Monday aged 78, his family said in a statement that described the beloved actor’s death as “sudden and unexpected”.

The New Zealander had in recent years undergone treatment for lymphoma but declared this year that he was cancer free.

“It is with immense sadness that the whanau of Sam Neill share the news of his passing on Monday 13 July, in Sydney Australia,” the statement read, using the New Zealand Maori word for family.

“The loss was sudden and unexpected but blessed by the fact that Sam remained cancer free.”

The statement did not elaborate on the cause of Neill’s death, but said he had been undergoing treatment at St Vincent’s Private Hospital in Sydney.

“Sam was surrounded by family and passed with the dignity that has characterised his whole life,” the statement said.

New Zealand Prime Minister Christopher Luxon said Neill was “one of the greats”.

“For more than fifty years he took New Zealand stories to the world and his talents helped make our film industry into what it is today — one of our greatest cultural exports,” Luxon said in a statement.

“His work will be watched and loved long after all of us.”

Australian Prime Minister Anthony Albanese said Neill held a “special place in Australian hearts”.

“Wry and dry, thoughtful and laconic, Sam fought illness with the same dignity, humour and conviction that gave strength to his every performance,” Albanese said.

“He will be much mourned and long remembered.”

‘Great enthusiasm’ 

Neill was born in Northern Ireland in 1947 but moved to the rugged South Island of New Zealand as a child.

He was christened “Nigel John Dermot” but ditched the name in favour of “Sam” because he feared it was too “effete” for New Zealand.

“I encouraged the nickname because I thought I’d be slightly less likely to be victimised,” he told New Zealand’s Otago Daily Times.

“I clung on to ‘Sam’ with great enthusiasm.”

Neill started acting in New Zealand films in the early 1970s before moving into larger roles in Australia.

His breakthrough as a leading man came in 1993 when he played Dr Alan Grant in Steven Spielberg’s Hollywood blockbuster Jurassic Park.

In a career spanning dozens of roles across TV and film, he also starred in Peaky Blinders, The Hunt for Red October and two more instalments of the Jurassic Park franchise.

Neill greatly endeared himself to New Zealanders by lending his star power to local productions as well.

His performance in Jane Campion’s The Piano drew wide acclaim, as did his role in Taika Waititi’s Hunt for the Wilderpeople.

Neill revealed in a 2023 memoir he was “possibly dying” with stage-three non-Hodgkin lymphoma.

In the opening chapter, written while undergoing chemotherapy, Neill said: “The thing is, I’m crook. Possibly dying. I may have to speed this up.”

But he revealed this year that he was cancer-free, thanks to a genetic therapy that modified his immune system.

“I was at a loss and it looked like I was on the way out, which wasn’t ideal, obviously,” he told Australia’s Channel Seven News.

“I’ve just had a scan just now, and there is no cancer in my body — that’s an extraordinary thing,” Neill said.

When he was not acting, Neill also ran vineyards in the picturesque Central Otago region of New Zealand’s South Island. — AFP 

KUALA LUMPUR, July 13 — A stretch of road on Penang island briefly turned into a film set on July 11 when American actor Mark Wahlberg arrived to shoot scenes for The Big Fix, a forthcoming Netflix crime thriller.

Passers-by recorded the activity as Wahlberg stepped out of a vehicle and entered a shop, prompting a wave of posts across Facebook, TikTok and X.

The clips showed a sizeable crew at work, with lighting towers, camera rigs and a lifting platform occupying part of the cordoned-off street. Several roads were temporarily closed to facilitate the shoot, according to onlookers.

The Penang stop is understood to be one of several international locations used for the film, which is primarily based in Sydney.

The production follows an Interpol officer linked to Fifa who uncovers a global match‑fixing network — a storyline that spans multiple countries.

Penang Island City Council mayor Datuk A. Rajendran told  local media that filming began on Friday, July 10, and is expected to continue for about two weeks.

He said locations include Lorong Kulit, City Stadium, Batu Kawan Stadium, and Macallum Field, among others.

National Film Development Corporation Malaysia (Finas) chairman Datuk Hans Isaac also appeared to confirm the production’s presence in Malaysia after commenting on a post: “Was nice to have met you on set yesterday and taking that photo with our Malaysian National Film Board team.”

Wahlberg also posted an Instagram video showing him with Rev Fr Michael Raymond, parish priest of Penang’s Church of Divine Mercy.

“Happy Sunday, brother. God bless you.

“Stay prayed up, from Malaysia,” he captioned the post.

Wahlberg stars alongside British actor Riz Ahmed, with supporting roles filled by Singapore’s Chin Han, India’s Vipin Sharma and Malaysian actress Nuha Jes Izman, who is based in the United States.

The 53‑year‑old actor, known for titles such as The Departed, Transformers and Ted, has been filming selected sequences outside Australia as part of the movie’s broader narrative.

KUALA LUMPUR, July 13 — Acclaimed Malaysian producer Min Lim is set to make her feature directorial debut with Mojoku Hilang, a romantic comedy arriving in cinemas on July 23.

Lim has built a strong reputation as a producer through critically acclaimed projects such as The Bridge and the Astro Original Liar, both of which earned recognition at the Asian Academy Creative Awards.

Choosing to make her directorial debut with a romantic comedy is a bold move, particularly in a year dominated by the commercial success of action and horror films.

For Lim, however, the decision came naturally, driven by her love for heartfelt, character-driven stories centred on kindness, community, and hope.

“I’ve actually always loved rom-coms,” she said.

“Not just the big Hollywood ones, but those wonderfully quirky British films like Local Hero, Love Actually, and The Full Monty.”

Lim said that while those films are funny and uplifting on the surface, they ultimately explore themes of belonging, community, and the search for one’s place in the world.

“I also think rom-coms are often underestimated,” she said.

“People assume they’re light because they’re entertaining, but I think the really good ones are deceptively difficult to make.

“They only work if the audience genuinely falls in love with the characters.

“If you don’t care about them, the romance doesn’t work, the comedy doesn’t work, and the emotional moments certainly don’t work.”

Why Adipati Dolken was the only choice for lead

With the film’s lead character, Adi, being Indonesian, Lim said casting an Indonesian actor was always the natural choice.

However, she revealed that Adipati Dolken was the only actor she and the team ever considered for the role.

“The funny thing is, we only ever had one actor in mind.

“Looking back, that was either very brave or very foolish,” she said.

Lim recalled watching the Indonesian film Posesif, one of Dolken’s earlier projects, with producer Honey Ahmad during a location recce in Perlis.

By the end of the film, they looked at each other and immediately agreed: “That’s Adi.” 

She added that Dolken’s authenticity, commitment to learning Bahasa Malaysia, and willingness to immerse himself in the local culture made him the perfect fit for the character.

She also described working with the film’s cast—including Mimi Lana, Wan Hanafi Su, and veteran filmmaker Aziz M. Osman—as one of the most rewarding aspects of the production.

“They were incredibly generous and supportive,” she said, adding that many of them are accomplished directors themselves but fully trusted and embraced her vision throughout filming.

The cast of ‘Mojoku Hilang’ that features well-known Malaysian actors. — Picture courtesy of Double Vision

The hopes for Mojoku Hilang

As Mojoku Hilang heads to cinemas on July 23, Lim hopes audiences leave the film not only entertained but also reflecting on the importance of faith, sacrifice, community, and human connection.

“Firstly, I hope they have fun,” she said.

“It’s important to say that because somewhere along the way we’ve convinced ourselves that films with something to say have to be terribly serious.

“I don’t believe that at all.

“I hope people laugh, fall in love with the characters, and maybe leave the cinema with a slightly different perspective on what’s important.”

Lim said the film draws inspiration from the values behind Aidiladha, highlighting themes that extend beyond religion.

“At its heart, Mojo is really about the values behind Aidiladha—faith, sacrifice, and community.

“Those aren’t just religious values; they’re deeply human ones.

“We all spend so much of our lives chasing the next promotion, the next achievement, the next thing on the list that we sometimes forget to ask why we’re chasing it in the first place.

“If audiences leave the cinema smiling and maybe call someone they haven’t spoken to in a while, I think we’ve probably done our job,” she added.

KUALA LUMPUR, July 13 — Malaysian music publishers are closely monitoring whether locally produced songs have been used without permission to train generative Artificial Intelligence (AI) models.

The concern follows an investigation by The Atlantic journalist Alex Reisner, who uncovered four massive datasets containing more than 21 million songs circulating within the AI development community.

Following the investigation, The Atlantic launched The AI Watchdog, a search engine that allows users to check whether works appear in the datasets.

A check by Malay Mail found at least 1,000 songs by Malaysian artistes, ranging from mainstream stars and veteran performers to independent acts.

A screengrab from The Atlantic’s AI Watchdog search engine showing the number of songs by selected Malaysian singers found in the datasets.

National songstress Datuk Seri Siti Nurhaliza has about 106 songs listed across two datasets, including ‘Biarlah Rahsia’, ‘Percayalah’ and ‘Aku Cinta Padamu’.

The late Tan Sri P. Ramlee has about 134 songs listed in one dataset, including ‘Gelora’, ‘Mengapa Dirindu’ and ‘Getaran Jiwa’.

Malaysian R&B singer Yuna has 151 songs listed across all four datasets, while local rock band Butterfingers has 73 songs across two datasets.

Other Malaysian acts found in the datasets include Carburetor Dung, Fish Leong, Alleycats, Jess Lee, Spooky Wet Dreams, Hujan, Ziana Zain and Dayang Nurfaizah.

At least one of the datasets contains links to music hosted on widely used platforms such as YouTube and Spotify, which could explain the broad range of Malaysian discographies listed.

However, The Atlantic stressed that the presence of a song in a dataset is not definitive proof that it was used to train an AI model.

It also noted that the absence of a work from the search engine does not prove that it has never been used by an AI company.

Taja Archive Sdn Bhd Malaysia director Kimmy Khir. — Picture by Sayuti Zainudin

Taja Archive Sdn Bhd Malaysia director Kimmy Khir told Malay Mail that the music publisher was aware of the AI Watchdog database and was closely monitoring developments surrounding the training datasets.

“As a music publisher, our priority is to protect the rights and interests of our songwriters and copyright owners.

“We will continue to monitor developments, understand the underlying facts, and when there is credible evidence that any works under our administration have been used without proper authorisation or in a manner that affects our rights holders, we will assess the appropriate course of action,” Kimmy said.

Taja Archive represents about 900 songwriters and administers almost 20,000 registered songs, including works by Yuna, Noh Salleh, Altimet and MimiFly.

“More broadly, we believe the industry needs greater transparency, clearer licensing practices and meaningful engagement between AI developers and rights holders so that innovation can coexist with respect for copyright,” she said.

Kimmy, who is also a council member of the Music Publishers Association of Malaysia (MPA), has been campaigning for greater understanding of AI in music and stronger regulation of the technology.

She is involved in the Malaysia Music Rights Alliance (MMRA), a task force formed by the MPA and the Recording Industry Malaysia (RIM), together with several local collective management organisations.

These include Music Authors Copyright Protection Berhad (MACP), Public Performance Malaysia Berhad (PPM) and Recording Performers Malaysia Berhad (RPM).

The MMRA recently distributed an open letter to MPs and key ministries, including the Prime Minister’s Office, the Digital Ministry and the National AI Office.

The alliance offered its expertise in developing a robust legal framework to ensure that technological innovation does not come at the expense of Malaysia’s creative economy.

KUALA LUMPUR, July 13 — More than 21 million copyrighted songs have been found across several massive datasets believed to be used for training generative Artificial Intelligence (AI) models.

The discovery was made in an investigation by The Atlantic journalist Alex Reisner, who uncovered four major music datasets currently circulating within the AI development community and widely used to train AI models.

The datasets contain millions of songs, including tracks by top global artists such as Taylor Swift, Bad Bunny and Ed Sheeran.

According to Reisner, the largest among the four datasets are LAION-DISCO, which contains more than 12 million tracks, and Sleeping-DISCO, which contains more than nine million tracks.

The other two smaller datasets each contain more than 100,000 tracks.

LAION, or Large-scale Artificial Intelligence Open Network, is a German non-profit organisation that creates large open datasets for AI research, while Sleeping-DISCO was created by Sleeping AI, a group of AI researchers that creates and publicly releases large training datasets for AI development.

How are these datasets used?

These datasets are used to train AI models, specifically music-generating AI systems designed to create completely new, fully produced audio tracks from descriptive text inputs, commonly known as prompts.

Instead of relying on human musicians or pre-made loops, these systems use deep-learning networks to analyse and replicate the underlying mathematical patterns of existing audio.

The two largest datasets, LAION and Sleeping, do not contain actual music files but instead include massive lists of web links pointing to songs on platforms such as YouTube and Spotify.

AI developers use specialised scraping tools to automatically download audio files from these links, bypassing standard security layers, user logins and advertisements.

The other two smaller datasets contain actual MP3 files sourced directly from the Free Music Archive (FMA), a popular repository for independent and royalty-free music.

Although these tracks are free to download, their Creative Commons licences prohibit commercial use. Using them to train commercial AI models would violate those terms.

Are major AI companies involved?

While the investigation does not provide definitive legal proof involving every company, Reisner named Google and Stability AI, citing public research papers where their own developers acknowledged using FMA datasets for model training.

AI companies such as Suno and Udio were also mentioned in the report. Although it is not possible to confirm whether the companies downloaded material from the four datasets, the report noted that developers from Suno and Udio operate within the same data-sharing communities and forums where the more than 21 million songs have been downloaded thousands of times.

Reisner also provided examples of tracks generated through Suno that produced almost identical versions of copyrighted songs, including Michael Jackson’s Thriller and Ed Sheeran’s Shape of You.

Meanwhile, in ongoing lawsuits filed by the Recording Industry Association of America (RIAA) against Suno, the company’s executives previously admitted in legal filings that they trained their AI model on “essentially all music files of reasonable quality” available on the open web.

The AI watchdog search engine

Following the investigation, The Atlantic launched a search tool called The AI Watchdog, allowing users to check what material is included in the datasets uncovered.

Apart from songs, the tool also includes more than 7.5 million books, 81 million research articles, 15 million YouTube videos, and writing from tens of thousands of films and television shows.

More datasets will continue to be added to the search engine.

A check by Malay Mail found that at least 1,000 songs by Malaysian artists also appeared in the revealed datasets.

The list includes legendary names such as the late Tan Sri P. Ramlee, Datuk Sudirman, as well as national songstress Datuk Seri Siti Nurhaliza.

Local indie acts and bands were also found in the datasets, including Carburetor Dung, Butterfingers, Hujan, Spooky Wet Dreams and Yuna.

However, the appearance of these names in the datasets does not confirm that their works were used to train AI models.

“The presence of a work in a dataset is not definitive proof that it was used. Companies often use multiple datasets in training, so the absence of a given work is also not proof that it hasn’t been used,” The Atlantic wrote on its AI Watchdog page.

KUALA LUMPUR, July 12 — A Malaysian romance novel that first found fans online has now made its way to television, with Yes! Captain Zul Aaryan adapted into a drama series starring Anna Jobling and Jazmy Juma.

Written by Wnfhanna, the novel began as a Wattpad hit before being published as a book in 2024, where it continued to attract readers with its enemies-to-lovers storyline between a guarded airline captain and a spirited young woman.

“Captain Zul Aaryan is a very interesting character, and I am grateful to have been given the opportunity to bring him to life on screen,” Jazmy said of taking on the role of the fictional pilot.

The actor said playing a pilot was a personal milestone, adding that the role allowed him to explore the responsibilities and challenges behind the profession.

Anna, who plays Zara Andrea, said the appeal of the story lies beyond its romance, with the characters’ relationship developing through conflicts, misunderstandings and personal growth.

“Instead, it develops through conflicts, misunderstandings, and moments that teach them about trust, sacrifice, and love,” she said.

The 30-episode series follows Captain Zul Aaryan, a disciplined pilot whose carefully controlled life changes after he crosses paths with Zara, leading the pair into an unexpected relationship.

“I hope viewers will enjoy that journey together with us,” Anna added.

Directed by Nizam Zakaria and written by Rozie Rashid, the adaptation features the aviation world as its backdrop, with filming taking place at locations including aircraft interiors, hangars and airports.

The drama premiered in TV3’s Akasia slot last Friday and also streams on iQIYI, marking another Malaysian novel making the leap from readers’ imaginations to the screen.

MYSORE, July 12 — India’s entertainment world is mourning the loss of veteran playback singer S. Janaki, whose honey-sweet voice became the soundtrack to generations of moviegoers across South India, with a career that produced more than 48,000 songs over six decades.

Janaki, touted the “Nightingale of South India” and “Janaki Amma”, died at the age of 88 in Mysore yesterday, local media reported with tributes pouring in from politicians and film superstars including Rajinikanth, Kamal Haasan and Chiranjeevi.

“The passing of Mrs S Janaki, the legendary playback singer who has won the hearts of multiple generations with her unique voice in the Indian film music world, brings immense sorrow,” Tamil Nadu Chief Minister Vijay wrote on X.

The singer’s death was an “irreplaceable loss to the Indian music world”, Vijay added, offering condolences to her family, fellow artists and fans around the world.

India’s Prime Minister Narendra Modi also paid tribute, describing her passing as “an irreparable loss to the world of music and culture”.

“Her songs in various languages were popular across generations. They gave voice to every emotion with unparalleled grace as well as versatility. Her melodies will continue to enchant listeners in the years to come,” Modi wrote on X.

Rajinikanth also paid tribute to the singer, saying: “May her soul, who delighted generations of people with her honey-sweet voice, attain peace.”

Known for her ability to sing in multiple Indian languages, Janaki reportedly recorded more than 48,000 songs across film, albums, television and radio, becoming one of India’s most prolific playback singers.

She began her playback singing journey at 19 with the 1957 Tamil film Vidhiyin Vilayattu and went on to record songs in several languages, including Tamil, Telugu, Kannada, Malayalam and Hindi, during a career that spanned more than 60 years.

Kamal Haasan remembered the singer’s lasting impact, writing: “The song will forever keep resounding. Where shall I seek that love, Mother? An inconsolable sorrow exists for many. My deepest condolences to them all”.

Born in Andhra Pradesh in 1938, Janaki discovered her passion for music early and performed on stage for the first time at just nine years old, despite never receiving formal classical music training.

Her extraordinary career earned her four National Film Awards and 33 state-level awards, cementing her place among India’s most celebrated playback singers.

She officially retired from film recordings and live performances in 2016 after a remarkable six-decade career, though she briefly returned in 2018 to record a song for the Tamil film Pannaadi.

Chiranjeevi said Janaki’s voice had brought emotions to life on screen throughout her career, writing: “Janakamma garu... your voice is immortal. Om Shanti.”

Janaki, who declined India’s Padma Bhushan award in 2013 while saying her contributions deserved the country’s highest civilian honour, the Bharat Ratna, leaves behind a legacy that continues to resonate with music lovers across generations.

LONDON, July 12 — US rapper Pitbull has set the first Guinness World Record for the largest gathering of people wearing bald caps.

A total of 22,141 fans wore the caps in London’s Hyde Park yesterday ahead of his set at the British Summer Time (BST) festival.

Many also sported other elements of the singer’s signature style — a suit, black aviator sunglasses and stick-on dark goatees.

“Record breaking, record making, history in the making,” the 45-year-old hip hop artist said before being presented with his certificate.

US rapper and singer Pitbull tries on a ‘bald cap’ after receiving a certificate from Guinness World Records for achieving the largest number of people sporting ‘bald caps’ ahead of a concert at BST Hyde Park in London, on July 10, 2026. — AFP pic

“Thank you London, thank you to the fans, thank you Hyde Park, thank you to the bald-es,” he added, as temperatures reached 31C in the British capital.

In recent years, it has become a trend for fans to dress as Pitbull while attending his performances.

“I think I put it (the bald cap) on too early,” 21-year-old student Connie McGovern told AFP.

“I can’t take it off now because my hair and my make-up’s messed up, so I’ve got to commit — it’s not coming off.”

Her sister Ella, 23, said it was “good to be a part of something”.

“We’re going to make history today,” she added.

Pitbull was the first person to attempt the feat under official adjudication, meaning there was no previous record to beat.

The Miami-born star’s hits include “Fireball”, “Timber”, “Time Of Our Lives”, and “On the Floor”. — AFP

KUALA LUMPUR, July 11 — After three sold-out shows in Malaysia, Indian singer Sid Sriram is returning to Kuala Lumpur for the fourth edition of his Heart & Soul concert series at Axiata Arena on July 18.

Organised by Woodmark Events, Heart & Soul 4.0 is supported by MyCreative Ventures and the Ministry of Communication, marking the latest edition of the concert series that has built a strong following among Malaysian audiences.

The concert will mark the latest Malaysian appearance by the Chennai-born, US-raised singer, whose blend of Carnatic classical music, R&B and contemporary soul has earned him a following across India and beyond.

Known for songs such as Ennodu Nee Irundhaal, Ennadi Mayavi Nee and Kadhaipomaa, Sriram has become one of the most recognisable voices in contemporary Indian music, recording songs for Tamil, Telugu, Malayalam and Kannada films.

Beyond streaming platforms and film soundtracks, the singer has also built a reputation for live performances that often transform familiar songs through extended improvisations, new arrangements and influences from his Carnatic music training.

His concerts are known for moving between quieter performances and powerful vocal moments, with setlists spanning themes of love, heartbreak and nostalgia.

The audience has also become a defining part of the experience, with Sriram’s previous Malaysian concerts drawing large crowds and singalongs from fans familiar with his music.

 

 

 

 

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Heart & Soul 4.0 follows three previous editions of the concert series in Malaysia, reflecting the singer’s growing connection with local audiences.

Sriram began his career as a playback singer with Adiye from the 2013 Tamil film Kadal, composed by Oscar-winning composer AR Rahman.

He has since worked with some of Indian cinema’s leading composers while building a parallel career as an independent artist influenced by Carnatic music, R&B, soul and contemporary pop.

The upcoming concert at Axiata Arena is expected to once again feature a live band and new interpretations of songs from across his career.

Heart & Soul 4.0 will take place at Axiata Arena in Kuala Lumpur on July 18, with limited tickets still available for purchase via Ticket2U.

KUALA LUMPUR, July 11 — For many filmmakers, stepping behind the camera marks the fulfilment of a lifelong dream.

Malaysian filmmaker Min Lim, that dream was fuelled by an early fascination not just with watching movies, but with understanding how they were made.

As a child, she was captivated by the creativity, technical craft, and countless decisions that transformed ideas into stories on screen.

One film that left a lasting impression was Star Wars, whose scale, imagination, and groundbreaking effects sparked a question that stayed with her.

“I was completely hooked,” she told Malay Mail.

“More than anything, I remember thinking, ‘How on earth did they do that?’ And that curiosity never really went away.”

Growing up in Malaysia during the era of pirated DVDs, Lim was one of the few who insisted on buying original copies for their bonus features.

She found the behind-the-scenes documentaries just as compelling as the films themselves.

“I was fascinated by how they built the sets, designed the visual effects and solved all the problems behind the scenes.

“Looking back, I think I was almost more interested in how films were made than the films themselves.”

That curiosity eventually led her into the industry.

She began her career as a production assistant before spending the next two decades working across television and film, taking on various roles, including producing the acclaimed drama series The Bridge and Astro originals Liar.

For Lim, each role became part of the journey that ultimately prepared her to direct.

How television prepared her to direct a film 

Before making her feature directorial debut, Lim first moved into television directing, describing it as an invaluable training ground.

“You’re working with tighter budgets, tighter schedules and you very quickly learn that things almost never go according to plan.

“You learn to think on your feet, trust your instincts and, perhaps most importantly, keep calm when everything around you is on fire.

“That’s a surprisingly useful skill for directing films too.”

Those experiences laid the foundation for her first feature, Mojoku Hilang, written by Honey Ahmad and Chi-Ren Choong, and produced by Astro Shaw, Double Vision Pictures, and Mocha Chai Laboratories.

While Malaysian cinema has enjoyed growing recognition at home and abroad in recent years, Lim said the industry’s momentum was never the reason she decided now was the right time to step into the director’s chair.

Instead, it was finding a story she felt compelled to tell.

“I don’t think that influenced my decision to direct, but it certainly gave me confidence that there was room for a film like Mojo,” she said.

Min Lim is known for her work with Double Vision, which produced acclaimed projects including ‘The Bridge’ and Astro Originals ‘Liar’. — Picture courtesy of Double Vision

Telling a story authentically

Mojoku Hilang is a romantic Malay language comedy, but her intention was never simply to make a Malay-language film.

Instead, she was drawn to a story that naturally belonged within a Malay-speaking community, believing that authenticity comes from understanding and respecting the world a story is set in.

“I don’t think I chose a Malay film so much as I chose a story.

“The story happened to belong in a Malay-speaking world, and I think films are always at their strongest when they feel truthful to the people who inhabit them,” she said.

Rather than focusing on whether a filmmaker comes from a particular background, Lim believes the priority should be whether they can understand the story they are telling and represent it with sincerity.

“Our responsibility wasn’t to tick boxes.

“It was to make the film as authentic as we possibly could,” she said.

However, that authenticity was not achieved by one person alone.

Lim said it came from the collective effort of everyone involved in bringing the film to life.

She credited the film’s writers, with Chi-Ren Choong bringing strong storytelling instincts, Honey Ahmad providing a deep understanding of the community and world portrayed in the film, and Amsalan Doraisingam helping shape the villagers’ characters.

She also praised the contributions of creative consultant Zahir Omar, the dialogue coach who helped refine the Perlis dialect, the local crew who shared cultural insights, and the actors who infused their performances with their own experiences.

The result, Lim said, came from different perspectives working together towards a shared goal — serving the story in the most honest way possible.

The deeper meaning behind Mojoku Hilang and the story it hopes to tell 

Mojoku Hilang stars Indonesian actor Adipati Dolken as Adi, Mimi Lana as Ayu, and veteran Malaysian actor Wan Hanafi Su, alongside an ensemble cast.

“On the surface, it’s about a missing cow,” Lim said.

“Which, admittedly, is not where most people expect a film to begin!

“But Mojo is really just the excuse to bring all these characters together.

“Before long, you realise the film isn’t really about the cow at all,” she describes the story.

The film follows Adi, a young man whose search for the missing cow leads him on a personal journey of reflection and discovery.

Inspired by the values associated with Aidiladha, Mojoku Hilang explores themes of faith, sacrifice, community, and finding meaning in life, using the search as a catalyst that brings different characters together.

‘Mojoku Hilang’, Min Lim’s first feature film as a director, stars Indonesian actor Adipati Dolken. — Picture courtesy of Double Vision

The pressure of delivering another successful Malaysian film

Mojoku Hilang is set to hit cinemas on July 23.

Lim acknowledged the expectations surrounding Malaysian films following the recent box office success of local productions such as Tarung: Unforgiven, Polong, and Khadam.

However, she sees that pressure as part of the responsibility that comes with filmmaking.

“Of course, there’s pressure.

“Every filmmaker who says there isn’t is lying! But I’ve also learnt that pressure isn’t necessarily a bad thing.

“It usually means people care.”

She said the team focused on creating the best film possible while recognising that certain factors — including competing releases, weather conditions, and social media trends — were beyond their control.

Ultimately, she hopes audiences will connect with the story and recognise the value of supporting local cinema.

“But what does encourage me is seeing audiences supporting Malaysian films again.

“That tells me people aren’t simply looking for Hollywood anymore.

“They’re looking for good stories.

“Hopefully Mojo can be one of them,” she concluded.

KUALA LUMPUR, July 11 — Animated chaos has returned to the big screen as Minions & Monsters storms to the top of the Malaysian box office, proving the yellow mischief-makers are as popular as ever.

The latest instalment — the third standalone Minions film and the seventh overall entry in the Despicable Me franchise — has dethroned China's sleeper hit Dear You, ending the drama's impressive run at No. 1.

The race at the cinemas remains competitive, with Obsession leading this week's Hollywood offerings in third place, while Toy Story 5 and Supergirl continue to attract audiences.

Streaming platforms are seeing a similar battle for viewers, with Korean dramas once again dominating the charts from Agent Kim Reactivated topping Netflix's series rankings, and Reborn Rookie holds onto the No. 1 spot on Viu.

Doctor on the Edge remains the most-watched titles on Disney+.

Whether you're planning a trip to the cinema, looking for your next binge-watch, or searching for fresh music and new books to dive into, plenty is happening across the entertainment world this week.

Malay Mail brings you a roundup of the biggest entertainment stories making headlines this week. 

Top 10 films in local cinemas (Domestic & International) (July 2 to July 5)

Minions & Monsters

Dear You

Obsession

Toy Story 5

Supergirl

Gatta Kusthi 2

Badut Gendong

Khadam

The Bay

Colony

Top 10 streaming (June 29 to July 5)

Netflix (Top 10 TV)

TV Series

Agent Kim Reactivated: Limited Series

Teach You a Lesson: Limited Series

Avatar: The Last Airbender: Season 2

I Will Find You

Good Boys Go to Heaven: Season 1

Avatar: The Last Airbender: Season 1

Notes from the Last Row: Limited Series

My Royal Nemesis: Limited Series

Mercy For None: Limited Series

Salish & Jordan Matter: Season 2

Viu (Top 10 shows)

Reborn Rookie

Bidadari Tanpa Syurga

Running Man (2026)

The Season

Ate Kome, I Love You

GBRB: Farm Operation - Go Go Farm

Undercover High School

Taxi Driver 3

Study Group

Love Has Fireworks

Disney+ (Top 10 shows)

Doctor on the Edge

X-Men ’97: Season 2

King & Prince: Our Meet-Up in LA

Criminal Minds: Evolution: Season 19

The Husband: Season 1

Not Suitable for Work: Season 1

King & Prince: Our Meet-Up in LA: Season 1

Get Real: Season 1

The Flowers of Evil: Season 1

Welcome to Wrexham: Season 5

Top 10 songs of the week (Spotify) (July 1 to July 8)

Ariana Grande - hate that I made you love me

Katy Perry - The One That Got Away

Raim Laode - Iqro'

Bruno Mars - Risk It All

Piche Kota - Bahagia Lagi

Justin Bieber - Beauty And A Beat (w/ Nicki Minaj)

Ifan Seventeen - Jangan Paksa Rindu - Beda

Sal Priadi - Ada titik-titik di ujung doa

Olivia Rodrigo - drop dead

Nadhif Basalamah - kota ini tak sama tanpamu

Top 10 Malay songs of the week (Spotify) (July 1 to July 8)

Adira Suhaimi - Sayang Orang Sama

Aufahanie - Butterfly

Alpha - P Ramlee Saloma

Dato' Sri Siti Nurhaliza, Ade Govinda - Menamakanmu Cinta

Zynakal, Zamir Harith, Mojack Hafiz, Bel Janni - Dalam Diam

Hael Husaini, Nadeera - Peluk

Mojo - Romancinta

Nadhif Basalamah, Aziz Harun, Aisha Retno - Kota ini tak sama tanpamu

Reedzwann - Suarasi Sering Salah

Aziz Harun - Telepati

Top 10 books of the week (June 19 to June 25)

Fiction

Strange Buildings by Uketsu (Pushkin Vertigo)

Strange Pictures by Uketsu (HarperVia)

As Long as the Lemon Trees Grow by Zoulfa Katouh (Little, Brown Books for Young Readers)

Strange Houses by Uketsu (HarperVia)

Project Hail Mary by Andy Weir (HarperCollins)

A Little Life by Hanya Yanagihara (Doubleday)

The Correspondent by Virginia Evans (Crown Publishing)

Meet Me at the Convenience Store by the Sea by Sonoko Machida (G.P. Putnam's Sons)

Katabasis by R.F. Kuang (Harper Voyager)

Loved One by Aisha Muharrar (Viking)

Non-Fiction

Rethinking Ourselves by Anwar Ibrahim (Penguin South East Asia)

The Let Them Theory by Mel Robbins & Sawyer Robbins (Hay House LLC)

The Malay Dilemma (Reissue Edition) by Mahathir Mohamad (Marshall Cavendish)

Atomic Habits by James Clear (Avery)

Dark Psychology and Manipulation by William Cooper (AcePremier)

When I Was a Kid 3 by Cheeming Boey (Cheeming Boey)

Once Upon a Miao 3 (Remastered) by Jian Goh (Space Voyager Log PLT)

Once Upon a Miao (Remastered): I Love My Hometown by Jian Goh (Space Voyager Log PLT)

The Mountain Is You by Brianna Wiest (Thought Catalog Books)

It's Okay Not to Get Along with Everyone by Dancing Snail (Blink Publishing)

Mutiara Minda (Malay Novels)

Empayar 4: Hikayat Pemburu Naga by Teme Abdullah (Buku IMAN)

Rubah Putih by Ramlee Awang Murshid (Buku Prima)

Yes! Captain Zul Aaryan by Wnfhanna (Idea Kreatif)

Haqq by Effalee (Manes Wordworks)

Syurga Itu Bernama Ibu by Osman Deen (Iman Publication)

Sebuah Toko Ajaib Buat Penjual Mimpi by Tey Marzuki (Iman Publication)

Nasib Cikgu Sam Masuk Kampung by Aidil Ghazali (Iman Publication)

Sisakan Aku Cinta by Sofia Roses (Semesta Publication)

Cold Case by Azmeer Shah (Buku Prima)

Her Silent Protector by Mia Azwari (Rinsya Chasiani Publication)

NEW YORK, July 11 — Taylor Swift paid US$160,000 (RM651,205) for a New York City permit to hold her blockbuster wedding with NFL star Travis Kelce at Madison Square Garden this month, Mayor Zohran Mamdani said yesterday.

Mamdani told reporters that the billionaire pop singer covered the bill for this month’s star-studded extravaganza, when asked if Swift would pay back the city for police overtime related to the ceremony.

“Taylor Swift has paid already the cost of the permit that was lodged, which was over US$160,000 for that event and for the response to that event,” Mamdani said.

Swift’s wedding, which took place over two days in Manhattan, drew hundreds of celebrities and involved a large deployment of police officers who shut down streets surrounding the huge indoor arena.

The total cost of the event is unknown, but Forbes magazine estimated that it exceeded US$20 million. The couple also donated US$26 million to several charities before tying the knot. — AFP

GEORGE TOWN, July 11 — Portraying legendary Malay warrior Hang Tuah in the action film The Keris, now showing in cinemas nationwide, has been the biggest challenge of Syazlie Syazz’s career after spending nearly a decade better known as a stunt performer.

Admitting that the responsibility was no easy task, Syazlie, whose real name is Mohamad Syazlie Shah Ninam Shah, said he was determined not to waste the confidence placed in him, especially as it marks his first opportunity to lead a feature film after 10 years in the industry.

To convincingly bring Hang Tuah to life, the 28-year-old actor spent more than a month studying the history of the legendary Malay warrior, learning classical Malay and undergoing intensive physical training before filming began.

“I have no experience as a film’s leading man. Throughout my career, I have mainly worked as a stunt performer, doing stunt impacts for action films involving fight scenes, explosions, car and motorcycle stunts, as well as fight choreography.

“When producer Dr N. Matheyalagan offered me the lead role, I initially felt it was a huge responsibility because I had no acting experience as a lead and was more accustomed to stunt work,” he said in an exclusive interview with Bernama recently.

According to Syazlie, he was cast after Matheyalagan and director Viknes Perrabu searched for an actor capable of performing complex action sequences without relying heavily on stunt doubles or rigging systems, allowing the fight scenes to appear more realistic.

To do justice to the role of Hang Tuah, Syazlie, who hails from Kota Tinggi, Johor revisited the history of the legendary warrior through earlier films, including those starring the late Tan Sri P. Ramlee.

Besides understanding the storyline, he also studied the speech patterns, dialogue delivery and use of classical Malay appropriate to the film’s historical setting, while undergoing physical training to achieve the commanding appearance envisioned by the director.

“I also had to portray three different voices — Hang Tuah’s voice, Daeng’s voice (the hero’s character), and another voice after the character undergoes a certain transformation in the film. I carried out almost all the dangerous action scenes myself, including jumping through fire,” he said.

Sharing the challenges encountered during filming, Syazlie said the climactic fight sequence was among the most demanding, requiring three consecutive nights of shooting that continued until the early hours of the morning.

However, he said he was grateful that veteran actor Datuk Jalaluddin Hassan provided guidance and encouragement throughout the filming, giving him greater confidence in carrying the role.

Meanwhile, A. Devadas, 50, better known as MJ Deva, said creating fight choreography that met the director’s expectations was no easy feat, as it required blending traditional Malay martial arts with modern, internationally styled action.

The production manager and action specialist for The Keris said the action team spent nearly two weeks before filming planning and rehearsing every fight sequence, including the actors’ movements, attack angles and safety measures.

‘The Keris’ production manager and action specialist A. Devadas, better known as MJ Deva, choreographed fight scenes combining traditional Malay martial arts with modern international-standard action in George Town.

With more than three decades of experience in martial arts, including taekwondo, and action choreography, Deva said the climactic battle scene was among the most challenging, involving aerial kicks, jumps, acrobatics and weapon combat.

“As a stunt performer, Syazlie Syazz understands the techniques and is able to execute them well. That is one of his greatest strengths, enabling us to produce action scenes without relying heavily on stunt doubles or safety wires,” he said.

Besides Syazlie, Deva said more than 20 stunt performers played various roles in the film, with every movement involving silat reviewed by martial arts experts to ensure the techniques, body positioning and use of weapons remained faithful to the traditional martial art.

Combining thrilling action, silat, cultural heritage and the spirit of unity, The Keris, which also stars Julia Larica, Firdaus Luthuffi, Zainal Isa, Raja Azrey and Jalaluddin Hassan, has been screening in cinemas nationwide since July 2, while its Singapore release began Thursday (July 9). — Bernama

PARIS, July 10 — Indian designers are a growing presence at Paris Haute Couture Week—“overdue” representation for a country that has long played a role behind the scenes, the latest newcomer, Manish Malhotra, told AFP.

Malhotra, 59, became the fourth Indian designer after Rahul Mishra, Gaurav Gupta and Vaishali S to join the official Paris calendar this week, considered the most elite stage of the global fashion industry.

The best-known European houses from Chanel to Christian Dior have long relied on Indian embroiderers and textile makers for their spectacular one-of-a-kind creations.

But Indian designers are now harnessing home-grown artisans to challenge the Parisian tastemakers in a business that traditionally served royalty, but now caters to celebrities and other global VIPs.

“I think it was long overdue,” Malhotra told AFP, a day after presenting an intensely personal collection of highly structured dresses in Paris—all a tribute to his recently deceased mother.

“India is so culturally rich in terms of texture and textile, architecture, jewels, embroidery. It has such a heritage of kings and queens.

“You know, I think it was high time,” he added.

France’s Haute Couture and Fashion Federation (FHCM) has been actively diversifying the labels present in Paris, inviting designers from outside Europe and the West.

Malhotra admitted to feeling nervous before his first show on Wednesday, which was entitled “Maa” and reflected Malhotra’s deep bond with his mother whom he lost just three months ago.

“There’s nothing bigger than Paris Haute Couture. This is the ultimate platform,” he said.

While preparing, “I kept coming back to my mother’s story, and at one point I said, ‘you know what, Paris doesn’t know me, and if they are going to know me, they have to know what I’m feeling right now’,” he explained.

“And honestly, I’m still very affected by losing her.”

The opening outfit was a dramatic full-length coat featuring sculptures of a boy and his mother at different life stages, while another dress featured elaborate cut-outs of a mother and boy on the front who embraced as the model moved.

Born into a middle-class family in Mumbai, Malhotra started out making costumes for Bollywood before moving into couture and bridalwear.

His decision to show in Paris underlines his growing international ambitions, having launched separate jewellery and beauty lines, as well as his first overseas boutique in Dubai in 2023.

He also became a viral sensation after this year’s Met Gala having arrived wearing a jacket and cape featuring scuptural and embroidered tributes to Mumbai.

He has also dressed US superstars from Rihanna to Jennifer Lopez.

“After 35 years of working, what’s the next challenge for me?” he said.

“Maybe an atelier in Paris, maybe a store in New York?” — AFP

ROME, July 10 — Fendi presented its first haute couture show under designer Maria Grazia Chiuri on Thursday showing off a luxurious collection of black and cream looks—and a tribute to longtime couturier Karl Lagerfeld.

Held in Rome, where Fendi was established in 1925, and attended by celebrities including Monica Bellucci, Jessica Alba and Italian influencer Chiara Ferragni, the show opened with the luxury brand’s instantly recognisable black and cream stripes on sheer, diaphanous dresses and tunics.

Reworked swirls and diagonals popped up throughout Chiuri’s highly elegant collection, marked by satin and delicate sheer silk, with 1930s Art Deco elements such as silvery graphics making an appearance.

Black fringe swayed from bodices, while velvet on lace collars added an additional note of luxury. Stripes of leather piping adorned shoulders and capes were intricately embroidered, some with fur entwined in the mix.

Under the high white ceilings and marble columns of The National Gallery of Modern and Contemporary Art, guests sipped prosecco and sampled hors d’oeuvres, some fanning themselves with their newly gifted Fendi-labelled raffia fans to battle the July humidity.

With Italy’s minister of culture in attendance, the highly anticipated show proved that it wasn’t just Milan causing fashion waves.

“Rome is increasingly establishing itself on the international fashion scene as one of the major fashion capitals,” Mayor Roberto Gualtieri told AFP, calling Rome-born Chiuri an “extraordinary artist” and “top Roman.”

Fendi celebrated the first haute couture show by newly seated designer Maria Grazia Chiuri in its home city of Rome along with a homage to longtime couturier Karl Lagerfeld. — AFP pic

Museum-worthy fashion 

The event also included a homage to Lagerfeld, the German legend who for more than 50 years was creative director of the house before his death in 2019, with guests touring a reprise of his famous 1985 museum exhibition with Fendi.

“After steps through work. Fendi/Karl Lagerfeld 1985”, which opens Friday to the public and runs through October 25, highlights the myriad creative processes that make up a Fendi fur garment, from original sketches and sample boards to patterns and toiles.

In 1985, the show held at the very same art museum caused a scandal.

“It caused quite a stir. Great art critics praised it, but at the same time, there were those who could not accept fashion entering the world of art, even sparking a parliamentary debate,” Silvia Venturini Fendi, the brand’s honorary president, told Vogue magazine last year.

The practice of museums collaborating with fashion houses, tapping their archives and presenting their designs, is today widespread, and fashion as a legitimate form of art is now celebrated throughout the world.

The exhibit features a wall of Lagerfeld’s sketches from the early 1980s—some 200 sketches out of a collection of 2,000 -- done in coloured pencil and marker pen, where the designer’s penchant for volume, with wide, exaggerated shoulders and hems that flare, is on display.

Showcasing Lagerfeld’s “inexhaustible imagination”, in the words of the curators, the exhibit sometimes offers up an original sketch together with the final garment.

In one case, a suggestion of swoops drawn in pencil was seen in its final version—a black and white double-breasted pea coat adorned with dozens of pleats on the arms and collar.

Sample boards show Lagerfeld testing various techniques, colours, and stitching possibilities in fur and leather, with the material manipulated into swirls, patterns or tactile undulations.

Fendi, owned since 2001 by French conglomerate LVMH, hired Chiuri last October, bringing the Roman back to the house where she started her career in accessories under Lagerfeld.

After stints at Valentino and making history as the first woman to creatively head Dior, Chiuri said earlier this year that in returning to Fendi, she wanted to “give back” to those who had inspired her early on—the Fendi sisters behind the business, as well as her mentor Lagerfeld.

The National Gallery of Modern and Contemporary Art holds the country’s largest collection of Italian and international art from the 19th and 20th centuries, including masterpieces by Giorgio de Chirico, Amedeo Modigliani and others. — AFP

NEW YORK, July 9 — Taylor Swift fans have paid US$25 (about RM102) for pieces of trash — including cigarette butts and an ovulation test kit — collected near the US pop queen’s wedding to NFL star Travis Kelce.

A New York artist picked up the garbage last Friday from city streets around Madison Square Garden, where the couple staged a glamorous event for hundreds of celebrity guests amid a global frenzy.

All of items, sold individually, were snatched up by yesterday within 24 hours of sales starting: water bottle caps, ring pop candy, police caution tape, straws, utensils — as well as a single left AirPod.

“It’s getting a lot of Swifties who just want a tangential piece of the wedding,” said Justin Gignac, who is selling the trash on his website New York City Garbage.

Each item — described online as a “sculpture” — is sealed inside a tiny plastic cube to avoid leaking or smells.

Gignac told AFP he has made US$1,250 from selling 50 items so far, and he may put more on the market.

“I try to commemorate cultural moments in New York City, and this seemed to be a big one, so just capturing a little time capsule from that moment in time,” he said.

Gignac, who sells other city trash on his website, said he tied some of the items into knots to “hammer home the wedding theme.”

He pointed out the garbage was from outside the barriers that surrounded Madison Square Garden for Swift’s wedding, not from inside the venue.

The lavish ceremony last week was closely watched by Swift’s fans, who have followed the 14-time Grammy winner’s love life largely through songs based on her relationships.

Some followers descended on New York in hopes of catching a glimpse of their idol, with the star-studded event that some commentators dubbed a “royal wedding.” — AFP

LONDON, July 9 — Welsh singer Bonnie Tyler, best known for her powerful, haunting love song “Total Eclipse of the Heart” has died aged 75, her family announced today.

“Bonnie’s family and team are heartbroken to announce that Bonnie unexpectedly passed away last night in hospital in Portugal as a result of the illness that she was being treated for,” the family said in a statement on Facebook. — AFP

KUALA LUMPUR, July 9 — What if the next evolution of Shaolin kung fu films didn’t come from China, but from Malaysia?

That’s the vision action star and martial artist Shi Yanneng hopes to realise by combining authentic Shaolin martial arts with Malaysia’s rich multicultural identity in a bid to build a Pan-Asian action film franchise here.

Shi, who has appeared in Kung Fu Hustle and Master Z: Ip Man Legacy, said he sees Malaysia as the ideal launchpad for a new generation of action films, citing the country’s multicultural society, rich heritage and sizeable Chinese community.

“Throughout my years in the film industry, I’ve always believed that action films, especially kung fu films, are a unique genre with universal appeal.

“My hope has always been to combine the Shaolin kung fu system that I learned at the Shaolin Temple with action filmmaking and bring it to audiences around the world,” he told Malay Mail in a recent interview.

Shi said that vision inspired his latest film, Hunter Eleven: The Awaken, an action conspiracy thriller he sees as the first instalment in a continuing Pan-Asian film series.

“Initially, I came to Malaysia simply as a visitor because I wanted to get to know the country better and through a mutual friend, I was later introduced to my director Frank See.

“We immediately clicked, and he shared my vision of creating Pan-Asian action films,” he said.

Shi and See posing for a photo during an interview recently. — Picture by Yusof Mat Isa

A natural fit

Having spent more than a decade training at the Shaolin Temple, Shi said his character’s military background and combat discipline closely aligned with the martial arts foundation he had built since childhood.

“So the action and physical demands of the role felt very natural to me.

“Physically, the action sequences and stamina required weren’t the biggest challenge; the real challenge was portraying the character’s emotional journey,” he said.

In Hunter Eleven: The Awaken, Shi plays the lead character known only as SADD alongside Malaysia’s Sky Iskandar as NOAH, Indonesian silat star Yayan Ruhian as WUSHA and fellow Indonesian actress Hana Malasan as TARA.

“In this film, I play a character who is essentially a special forces soldier, but he was turned into a human experiment and abandoned in an uninhabited mangrove forest.

“He then embarks on a journey to escape and uncover the mystery behind his own identity, making him a very mysterious character,” he said.

For Shi, action is not merely about showcasing physical ability, but using combat as a form of storytelling.

“These days, I am much more interested in bringing emotion into action performances. Of course, everyone knows how to film a fight scene, but I think why the characters are fighting is far more important than how they fight.

“When a character’s emotions have built up to a certain point, even the simplest movement or punch can leave a lasting impression on the audience.

“But if you are just fighting for the sake of fighting, without any emotional motivation or purpose, then it feels more like watching a demonstration or a training exercise because it has no soul and the character loses their humanity.

“That is not the kind of action performance I want to create,” he said.

A movie still of Shi Yanneng as SADD in his upcoming film Hunter Eleven: The Awaken. — Picture courtesy of Frank See

Building a base in Malaysia

Shi said he has already established a film company in Malaysia and hopes to use it as a base to develop a Pan-Asian action franchise while staying true to the essence of Shaolin martial arts.

“See and I have discussed how we can blend the aesthetics of Shaolin martial arts from China with Malaysia’s unique cultural identity, while also incorporating action elements from Malaysia, Indonesia, Southeast Asia and other parts of Asia.

“I am very willing to put down roots here and dedicate myself to making these kinds of films,” he said.

He also revealed plans to establish a Zen and martial arts academy where people could escape the bustle of city life, improve themselves physically and pursue inner peace.

“I hope to establish a place here where children and adults can train their bodies through martial arts while also cultivating their minds through Zen philosophy — a place where martial arts and Zen become one,” he said.

Pointing to the recent box office success of China’s Dear You, which explores migration, family and the overseas Chinese experience, Shi said Malaysia’s own Chinese diaspora history offers untold stories worthy of the big screen.

“Within the framework of the Pan-Asian action films that I hope to develop, I would also like to explore these stories and materials.

“I hope to combine these historical experiences with action elements by telling stories about how these communities struggled, overcame hardships, fought for survival and eventually became influential figures or community leaders,” he said.

Shi also believes Malaysia’s diverse martial arts heritage remains an untapped source of storytelling.

“Why did these traditions develop here? Why did so many skilled martial artists come to this region?

“A lot of it was connected to the historical circumstances of different periods where certain skills and traditions could not thrive in their original environments, so they travelled and took root here,” he said.

Shi said the stories behind how martial arts took root in Malaysia remain fascinating chapters that could inspire future films. — Picture by Yusof Mat Isa

Just the beginning

With ambitions to build a Pan-Asian action franchise in Malaysia, Shi hopes audiences will embrace Hunter Eleven: The Awaken, which blends regional talent, distinctive action choreography and local cultural elements.

“To be completely honest, making an action film is never easy, and successfully completing one is an achievement in itself.

“As someone who isn’t a local action actor but has come to Malaysia as both an actor and producer, my hope is to create a Pan-Asian action film series here.

“My goal is to combine local culture and heritage with action filmmaking, so audiences can experience something fresh and different,” he said.

Beyond producing action films, Shi hopes his work can help bring Malaysian stories and talent to a wider international audience.

“From what I have seen, there still aren’t many truly Malaysian productions that have successfully reached global audiences and I believe I can help change that.

“I hope my films can serve as a platform to showcase Malaysia’s local film industry, its talented actors, its cultural elements, and the unique identity and culture of the Malaysian Chinese community.

“If I can help more people around the world discover and appreciate these stories, then I have done everything I can,” he said.

KUALA LUMPUR, July 9 — For most audiences, Shaolin kung fu is synonymous with flying kicks, lightning-fast punches and gravity-defying stunts. 

Despite the many kung fu classics that have graced the silver screen, action star and martial artist Shi Yanneng believes none has truly captured the essence of authentic Shaolin martial arts.

To Shi, a 32nd-generation disciple of Shaolin Temple, Shaolin kung fu has always represented far more than spectacular fight scenes and dazzling choreography.

”To this day, I do not think there has been a single action film that has fully and authentically presented the real Shaolin martial arts system on screen.

”You do see glimpses of it here and there with certain techniques, movements or elements but they are very limited,” he told Malay Mail in an interview recently.

Even films such as Shaolin Temple, which starred Jet Li in his debut role, did not fully capture the authentic Shaolin fighting system, as they were based more on modern competitive wushu rather than the traditional martial arts practised at Shaolin Temple, Shi explained.

Contrary to popular belief, Shi said the Shaolin martial arts system was far more profound and mysterious.

“If it’s portrayed properly in film, it would definitely have a very unique identity,” he said.

“So what audiences often see in movies today is an exaggerated version of Shaolin martial arts which is understandable because filmmaking naturally requires exaggeration. 

“Real-life combat doesn’t always look dramatic on camera, so filmmakers rely on editing, camera angles, choreography and cinematography to make action sequences feel more exciting and visually impactful,” he added.

To chase a dream

Long before he became a movie star and martial artist, Shi said his journey to Shaolin Temple began with a simple childhood dream — to learn kung fu, make action films and become an action star.

“When I was still in primary school, before I had even finished my studies, I watched Shaolin Temple, along with classic Hong Kong martial arts films about characters like Huo Yuanjia and Chen Zhen which later inspired me to dream of becoming an action star.

In popular culture, Huo — a real historical figure — is often portrayed as a heroic martial artist who fought to uphold Chinese dignity by defeating foreign fighters during an era when China’s sovereignty was being undermined by imperialist powers.

Chen, meanwhile, is a fictional character depicted as Huo’s apprentice.

Both characters have been portrayed on screen by martial arts icons Jet Li and Bruce Lee, respectively, in film adaptations.

“After that, I completely lost interest in studying as I was always playing with sticks and pretending to practise martial arts at school,” he said.

Shi Yanneng posing for his upcoming Malaysian feature Hunter Eleven: The Awaken where Shi stars as SADD, the lead character. — Picture by Yusof Mat Isa

Having made up his mind to pursue that path, Shi said he knew of no other way to achieve his dream except for a place in China called Shaolin Temple, where he had heard people could learn extraordinary martial arts.

“With that very simple and innocent dream, I went there (as a 13-year-old).

“I ended up spending more than a decade there, where besides learning martial arts, I also received daily teachings in Zen philosophy.

“That experience had a profound impact on my way of thinking and helped shape me mentally and spiritually,” the 47-year-old said.

Since then, Shi said he has always wanted to showcase the Shaolin martial arts system through filmmaking, while using the platform to bridge different cultures and ultimately help bring Pan-Asian action cinema to audiences around the world.

“Looking back, my reason for going to Shaolin Temple was very straightforward — I simply wanted to become an action star.

“But after so many years of experience and personal growth, my ambition has become much bigger than that. I no longer want to be just an action star.

“I want to use that platform to promote Shaolin culture, the philosophy of Zen and martial arts, Chinese culture and even Malaysian culture,” he said.

Difficult to truly portray

Shi said one reason no film has successfully portrayed authentic Shaolin kung fu is that few people have both undergone extensive training in the traditional martial arts system and become movie actors.

“Yet beyond its mystery and greatness, authentic Shaolin kung fu is actually very simple and unpretentious.

“The real challenge is finding a way to use cinema to faithfully capture that simplicity while still making it visually compelling,” he said.

He further stressed that Shaolin kung fu should not be reduced to visually impressive fight sequences, as every movement carries a deeper combat system and philosophy rooted in discipline and spiritual cultivation.

“I don’t want audiences to see only punches, kicks, swords and flashy fight scenes because behind every movement in Shaolin martial arts is a sophisticated system of attack and defence.

“For example, there is a saying, ‘strike like a fierce tiger, withdraw like a coiled rooster.’

“Why should you contract your body so tightly when withdrawing, yet unleash your power like a tiger descending the mountain when attacking?

Having stepped into filmmaking, Shi therefore hopes to bring audiences a new experience by combining the authenticity of Shaolin martial arts with cinema’s storytelling power.

“It’s difficult to explain all of that in just a few words and I think it can only truly be conveyed through a long-running series of films that gradually reveals the depth of the Shaolin martial arts system,” he said.

KUALA LUMPUR, July 9 — Fresh off her Oscar-winning triumph, Tan Sri Michelle Yeoh is heading back to Chinese-language cinema — and this time she’s trading multiverses for Magic Cubes.

The Ipoh-born actress stars in It’s My Time, an uplifting drama inspired by the remarkable true story of a retired teacher who discovered an extraordinary talent later in life.

The film, directed and co-written by Bai Xue and produced by Wen Muye, premiered in China on June 30 and arrives in Malaysian cinemas on July 23.

Yeoh plays Zhao Yanhong, a woman in her seventies who refuses to settle into a quiet life at a nursing home after uncovering an unexpected gift for solving Magic Cube puzzles.

Instead, she throws herself into competitions, determined to prove that age is no obstacle to learning something new or chasing a fresh dream.

The story is inspired by Zhejiang retiree Zhao Wenying, who became the fastest person aged over 60 to solve a Magic Cube while blindfolded.

Helping Zhao along the way is Wu Youwei, played by Liu Haoran, a former Magic Cube world champion whose best days appear to be behind him as he runs a night market stall.

Despite their age gap and clashing personalities, the unlikely pair form a mentor-student bond that helps both rediscover purpose as they prepare for competitions that change their lives.

The film is Yeoh’s first leading feature role since her history-making performance as Evelyn Quan Wang in Everything Everywhere All at Once, which won her the Academy Award for Best Actress.

Yeoh said she was immediately drawn to Zhao’s optimism and refusal to stop embracing life.

“I’ve never played a character quite like Zhao Yanhong before.”

“She isn’t someone trying to change her life overnight — she simply never stops being curious and never loses the courage to begin again,” she said in a statement.

To bring the character to life, Yeoh spent time observing elderly women at local markets, studying their gestures, expressions and everyday interactions to capture Zhao’s warmth and authenticity.

Distributed in Malaysia by Brilliant Pictures, It’s My Time opens in cinemas nationwide on July 23, the same day as its Singapore release.

The cast also includes Sarina, Bai Ke, Han Tongsheng, Qi Xi and Liu Yang, with special appearances by Tian Yu, Huang Yao and Chen Halin.

ATLANTA, July 9 — Fifa has launched a probe into alleged racist insults directed at the streamer known as IShowSpeed at last week’s World Cup match between Argentina and Cape Verde.

The global football body said in a post Tuesday on X that it was “made aware of an incident involving a supporter and #IShowSpeed at Miami Stadium during the Argentina vs Cabo Verde match on 3 July 2026 and immediately initiated an investigation.”

The African-American streamer, whose real name is Darren Watkins Jr, has over 57 million subscribers on YouTube, with tens of millions more on other video platforms.

The boisterous 21-year-old has been attending and streaming live from World Cup matches under a special deal with Fifa, YouTube, and US broadcaster Fox Sports.

“Fifa strongly condemns racism, hate and discrimination in all forms. These actions have no place in football, at the Fifa World Cup, or anywhere in society,” the statement added.

IShowSpeed was also reportedly targeted by more racist abuse during Tuesday’s match between Argentina and Egypt, with an Argentine fan imitating a monkey during an encounter with the streamer. — AFP

NEW YORK, July 9 — Justin Bieber has been added to the star-packed lineup of the first-ever World Cup final halftime show as organizers confirmed Wednesday that the entire musical performance will last 11 minutes.

Canadian megastar Bieber joins Madonna, Shakira and K-pop sensation BTS for the Super Bowl-style halftime show on July 19 at MetLife Stadium in New Jersey.

Coldplay’s Chris Martin is curating the extravaganza, a first for a football World Cup final and one that has raised concerns over how long the game’s halftime break will be.

The laws of football allow a halftime interval “not exceeding 15 minutes.” Even an 11-minute musical performance could still require the break to be extended, given the time likely required to set up and disassemble the show.

But the announcement will assuage concerns raised by previous speculation that the World Cup final halftime show itself could stretch for as long as 25 minutes.

Fifa chief Gianni Infantino has said the halftime show will be “definitely the biggest stage ever,” with “a couple of billion” expected to tune in.

The show, which will also feature characters from “Sesame Street” and “The Muppets,” will support Fifa’s Global Citizen Education Fund, an initiative working to raise US$100 million for children worldwide during the World Cup.

“The Fifa World Cup brings the world together in a way nothing else can,” Bieber said in a statement.

“I’m grateful to be part of this halftime show, and even more grateful knowing it’s already helping expand access to education for children around the world,” added the “Stay” and “Love Yourself” hitmaker.

Also added to the lineup in Wednesday’s announcement were Nigerian singer-songwriter Burna Boy and Venezuelan classical conductor Gustavo Dudamel.

Coldplay will feature in a collaboration with PS22 Chorus, an acclaimed choir of students from a New York public elementary school.

“This is the single largest gathering of artists united for a cause since Live Aid, and it could well be the most-watched 11 minutes of broadcast music performance in history,” said Hugh Evans, co-founder and CEO of anti-poverty campaign group and concert organizer Global Citizen.

At 11 minutes, the World Cup final halftime show would be slightly shorter than most recent Super Bowl halftime performances, which have typically been around 13–14 minutes long.

A halftime show was trialed at last year’s Fifa Club World Cup final, also at MetLife Stadium.

It stretched the entire break to just over 24 minutes, drawing some criticism over the potential impact on players’ performance. — AFP

LOS ANGELES, July 9 — Here is a list of the nominees in key categories for the 78th Emmy Awards, which were announced in Los Angeles on Wednesday.

The Pitt topped the nominations list with 25, followed by Hacks with 24.

The September 14 gala will be hosted by Law and Order: Special Victims Unit star Mariska Hargitay. — AFP

Outstanding drama series

1. The Diplomat
2. The Gilded Age
3. A Knight of the Seven Kingdoms
4. Paradise
5. The Pitt
6. Pluribus
7. Slow Horses
8. Your Friends & Neighbors

Outstanding comedy series

1. Abbott Elementary
2. The Bear
3. Hacks
4. Margo’s Got Money Troubles
5. Nobody Wants This
6. Only Murders in the Building
7. Shrinking
8. Widow’s Bay

Outstanding limited or anthology series

1. All Her Fault
2. The Beast in Me
3. Beef
4. DTF St. Louis
5. Love Story: John F. Kennedy Jr. & Carolyn Bessette

Lead actor, drama

1. Sterling K. Brown, Paradise
2. Gary Oldman, Slow Horses
3. Mark Ruffalo, Task
4. Rufus Sewell, The Diplomat
5. Noah Wyle, The Pitt

Lead actress, drama

1. Carrie Coon, The Gilded Age
2. Chase Infiniti, The Testaments
3. Keri Russell, The Diplomat
4. Rhea Seehorn, Pluribus
5. Zendaya, Euphoria

Lead actor, comedy

1. Yahya Abdul-Mateen II, Wonder Man
2. Steve Carell, Rooster
3. Matthew Rhys, Widow’s Bay
4. Jason Segel, Shrinking
5. Martin Short, Only Murders in the Building

Lead actress, comedy

1. Quinta Brunson, Abbott Elementary
2. Ayo Edebiri, The Bear
3. Elle Fanning, Margo’s Got Money Troubles
4. Lisa Kudrow, The Comeback
5. Jean Smart, Hacks

Lead actor, limited or anthology series or movie

1. Riz Ahmed, Bait
2. Jason Bateman, Black Rabbit
3. Charlie Hunnam, Monster: The Ed Gein Story
4. Oscar Isaac, Beef
5. Matthew Rhys, The Beast in Me

Lead actress, limited or anthology series or movie

1. Claire Danes, The Beast in Me
2. Sally Field, Remarkably Bright Creatures
3. Carey Mulligan, Beef
4. Sarah Pidgeon, Love Story: John F. Kennedy Jr. & Carolyn Bessette
5. Sarah Snook, All Her Fault

Supporting actor, drama

1. Patrick Ball, The Pitt
2. Billy Crudup, The Morning Show
3. Shawn Hatosy, The Pitt
4. Gerran Howell, The Pitt
5. Jack Lowden, Slow Horses
6. Tom Pelphrey, Task
7. Carlos-Manuel Vesga, Pluribus

Supporting actress, drama

1. Taylor Dearden, The Pitt
2. Fiona Dourif, The Pitt
3. Allison Janney, The Diplomat
4. Katherine LaNasa, The Pitt
5. Sepideh Moafi, The Pitt
6. Julianne Nicholson, Paradise
7. Karolina Wydra, Pluribus

Supporting actor, comedy

1. Colman Domingo, The Four Seasons
2. Paul W. Downs, Hacks
3. Harrison Ford, Shrinking
4. Nick Offerman, Margo’s Got Money Troubles
5. Stephen Root, Widow’s Bay
6. Michael Urie, Shrinking
7. Tyler James Williams, Abbott Elementary

Supporting actress, comedy

1. Dale Dickey, Widow’s Bay
2. Hannah Einbinder, Hacks
3. Janelle James, Abbott Elementary
4. Kate O’Flynn, Widow’s Bay
5. Michelle Pfeiffer, Margo’s Got Money Troubles
6. Megan Stalter, Hacks
7. Jessica Williams, Shrinking

Supporting actor, limited or anthology series or movie

1. Jason Bateman, DTF St. Louis
2. Richard Gadd, Half Man
3. David Harbour, DTF St. Louis
4. Richard Jenkins, DTF St. Louis
5. Charles Melton, Beef
6. Nick Offerman, Death by Lightning

Supporting actress, limited or anthology series or movie

1. Linda Cardellini, DTF St. Louis
2. Dakota Fanning, All Her Fault
3. Laurie Metcalf, Monster: The Ed Gein Story
4. Joy Sunday, DTF St. Louis
5. Youn Yuh-jung, Beef
6. Constance Zimmer, Love Story: John F. Kennedy Jr. & Carolyn Bessette

Programs with most overall nominations

1. The Pitt – 25
2. Hacks – 24
3. Widow’s Bay – 19
4. Pluribus – 18
5. Beef – 16.

LOS ANGELES, July 9 — Gritty medical drama The Pitt and inter-generational comedy Hacks on Wednesday topped the nominations for the Emmys, television’s equivalent of the Oscars.

The Pitt racked up 25 nominations including one for best drama, while the fifth and final season of Hacks earned 24 nominations including one for best comedy.

The one-two punch was a bright spot for HBO Max, the home of both programs.

Netflix’s Beef topped the nominations among the limited series contenders with 16.

The Pitt – a cross between ER and 24, and last year’s winner for best drama – follows the stressed-out workers in a Pittsburgh emergency room, with each episode unfolding in real time.

Tackling everything from abortion rights to immigration crackdowns to mass shootings, the show started slowly but became a word-of-mouth sensation.

Noah Wyle – who rose to fame on ER – has racked up prizes as star of The Pitt, including an Emmy, and is again a nominee for best drama actor this time around.

Another top drama contender is Pluribus – created by Vince Gilligan (Breaking Bad) – with 18 nominations.

The Apple TV show is set in a post-apocalyptic world in which most of humanity has been infected with an alien virus creating a peaceful hive mind, with only 13 outliers immune.

Pluribus star Rhea Seehorn, who won a Golden Globe and a Critics Choice Award earlier this year for the show, is an early favorite for the Emmy for best drama actress.

The other contenders for best drama include Keri Russell’s political soap opera The Diplomat, spy series Slow Horses and Game of Thrones prequel A Knight of the Seven Kingdoms.

Hacks vs Widow’s Bay 

On the comedy side, after last year’s big wins for Seth Rogen’s Hollywood satire The Studio, the competition looks set to feature an old favorite and a newcomer.

Hacks, the tale of a stand-up comedian trying to revive her career and the dysfunctional millennial assistant who helps her, leads the way with 24 nominations.

The show’s star Jean Smart has already won four Emmys for her portrayal of Deborah Vance and is nominated once again, as is co-star Hannah Einbinder, who won her first Emmy last year.

Apple TV’s new horror-comedy series Widow’s Bay has made a big splash, earning 19 nominations — the third most overall.

It stars Matthew Rhys as a wacky New England mayor who is trying to boost tourism on his island, which residents believe is haunted.

The rest of the field is nevertheless strong, with Apple TV’s Shrinking starring Jason Segel and Harrison Ford as therapists, and the final season of The Bear, a dark satire set in the Chicago restaurant world, in the mix.

The Bear has racked up 21 Emmys in past years, including two for star Jeremy Allen White, but he was left out of the proceedings this time.

Among the nominees for best limited series are social drama Beef and Love Story: John F. Kennedy Jr and Carolyn Bessette.

Love Story drummed up controversy – and viewers – with its revisiting of the A-list couple’s courtship and untimely deaths, but it only earned six nominations.

Beef, a Netflix anthology, stars Oscar Isaac and Carey Mulligan in its second iteration, which focuses on the explosive dynamic between two couples.

The September 14 gala in Los Angeles will be hosted by veteran Law and Order: SVU star Mariska Hargitay. — AFP

NEW YORK, July 8 — If anyone was wondering how Simone Biles ended up on Taylor Swift and Travis Kelce’s wedding guest list, the Olympic gymnastics superstar has a simple answer: mind your own business.

The 29-year-old hit back after an Instagram follower questioned why she and husband Jonathan Owens were invited to the couple’s star-studded July 3 wedding in New York, sparking a swift response from the gymnast.

“Remember this, I only show ya’ll what I want ya’ll to know,” Biles replied on her Instagram Stories after one Instagrammer asked: “When has Simone Biles and Taylor Swift even spoken to each other?”

Biles also shared photos from the celebration, with both she and Owens wearing coordinated maroon outfits, while she captioned the post: “The perfect love story,” before adding a playful nod to the newlyweds’ monogram: “followed by the perfect nighTT.”

Her appearance at one of the year’s biggest celebrity weddings comes just weeks after she revealed she had nearly died following an undisclosed medical emergency.

“This was one of, if not the scariest experience of my life,” Biles wrote on Instagram in June, saying she had spent days recovering in bed while husband Owens was away at NFL practice.

The decorated Olympian has yet to reveal what caused the health scare, saying only that she would explain “sooner or later,” while thanking friends and family who checked in on her during her recovery.

NEW YORK, July 8 — Taylor Swift’s wedding week just keeps getting better.

Fresh off tying the knot with NFL star Travis Kelce in New York City, the pop superstar has also emerged victorious in court after a US judge dismissed a copyright lawsuit accusing her of copying lyrics from a self-published poet.

In a ruling issued this week, US District Judge Aileen M. Cannon said “the allegedly infringed material – basic ideas, themes, metaphors, isolated words, and short phrases — is not protected expression and cannot be infringed”, entertainment news outlet E! News reported today.

Poet Kimberly Marasco had alleged lyrics from Swift’s 2019 hit The Man infringed on one of her poems, but the court found she failed to show either that Swift had access to her work or that the two were substantially similar.

The judge also dismissed the lawsuit with prejudice, meaning Marasco cannot bring the same claims against Swift again after previously filing a similar case.

Justice Cannon said that “the defects identified are not pleading defects curable by more careful drafting”, adding that the alleged similarities centred on ideas and themes that cannot be protected by copyright law.

Swift’s legal team had earlier urged the court to throw out what it described as a meritless case.

“This is plaintiff’s second frivolous and harassing lawsuit against artiste,” Swift’s lawyer Douglas Baldridge was quoted as saying a court filing, adding that the claims were “absurd and legally baseless”.

SAN FRANCISCO, July 8 — Netflix is taking another page from TikTok’s playbook.

The streaming giant is diving deeper into short-form video by signing licensing deals with some of the biggest names in US media to bring bite-sized news, lifestyle, celebrity and how-to content onto its platform.

According to entertainment outlet Variety, Netflix has struck agreements with publishers including Penske Media, BuzzFeed Studios, Condé Nast, Hearst Magazines and People Inc.

Variety, which is owned by Penske Media and is among the publishers involved in the deal, first reported the agreements.

Hearst later confirmed the partnership with Netflix to AFP, but did not provide further details.

The new content – ranging from clips of around two minutes to episodes lasting 20 minutes or longer – is expected to begin rolling out on August 3 for subscribers in the United States, Canada, the United Kingdom, Ireland, Australia and New Zealand.

The move brings familiar magazine and media brands such as Vanity Fair, Vogue, Rolling Stone, Bon Appétit, People and Variety to Netflix.

Among the featured series will be Vanity Fair’s Lie Detector, BuzzFeed’s 30 Questions and Variety’s Know Their Lines?

“Members don’t just want to watch a show or film and move on — they want to keep exploring the stories and personalities they love long after the final credits roll,” said John Derderian, Netflix’s vice president of animation series and kids and family TV.

The publisher deals come as Netflix faces growing competition from platforms that have transformed how people consume video.

Research firm Digital i, cited by TechCrunch, found YouTube overtook Netflix in average daily viewing time in 2025.

TikTok had already begun closing the gap in 2024, with US adults spending almost as much time on the app as they did on Netflix, according to eMarketer.

Netflix has already acknowledged the challenge by redesigning its app to include a TikTok-style vertical video feed.

It has also branched out into video games, podcasts and live events as it looks to keep viewers engaged.

Internal data reported by Bloomberg suggests viewers are increasingly abandoning popular shows before reaching a second season, raising questions about whether Netflix’s signature binge-watching model is losing ground to the shorter viewing habits shaped by TikTok and YouTube. — AFP

KUALA LUMPUR, July 8 — It’s been a long wait, but Khalid is finally making his way back to Kuala Lumpur.

The Grammy-nominated American singer-songwriter will perform at Idea Live Arena on December 9 as part of his It’s Always Summer Somewhere Tour, marking his first show in the city since appearing as a headliner at Urbanscape in 2018.

Fans were originally set to see him again in 2020 during his Free Spirit World Tour at Stadium Malawati, but those plans were shelved when the Covid-19 pandemic forced the concert’s cancellation.

Now, after selling out shows across 23 cities on the US leg of his latest tour, Khalid is bringing the party back to Malaysia.

Expect a night packed with his signature mix of R&B, pop and soul, alongside a playlist of fan favourites including Location, Young Dumb & Broke, Better, Talk, Love Lies and Eastside, plus songs from his latest musical era.

The multi-platinum hitmaker has become one of the defining voices of his generation, racking up billions of streams and collaborating with the likes of Billie Eilish, Halsey, Normani, Marshmello and Benny Blanco.

His latest album, After the Sun Goes Down, inspired the It’s Always Summer Somewhere Tour, which sees him embark on a fresh chapter of his career.

General ticket sales begin at 11am on July 16, with prices starting from RM358.

Fans can purchase tickets via Golive Asia and Fantopia, while more concert updates will be available through Live Nation’s social media channels.

SEOUL, July 7 — Former NewJeans member Danielle has denied claims that she signed a management contract with another agency, her legal team said yesterday.

Law firm Yoon & Yang issued a statement after a recent lawsuit hearing, rejecting reports that the singer had entered into a deal with a Chinese company. 

The clarification was posted on the X account of Team Bunnies, a NewJeans fan support group, according to Korea JoongAng Daily.

“Following Danielle’s hearing on Thursday, some media outlets published distorted reports suggesting that Danielle had signed a contract with another company or concealed such an arrangement, citing alleged Chinese agencies,” the firm said.

The statement added, “NewJeans members, including Danielle, have neither signed nor attempted to sign overlapping exclusive management contracts with any particular company.”

ADOR’s legal team alleged during the hearing that Danielle had signed with a Chinese agency, but her representatives said the claim “contains inaccuracies or distorts or exaggerates the facts.”

Yoon & Yang further accused ADOR of influencing how the case was portrayed in media reports. “We suspect that ADOR may have been involved in the way the facts of this case were distorted and disseminated, particularly in reports portraying an issue concerning all of the NewJeans members as though it were the result of Danielle acting alone,” the firm said.

The law firm said it will ask the court to take appropriate measures and expects the ruling to be based on factual evidence.

ADOR has filed a 33.1 billion won (RM88.4 million) damages lawsuit against Danielle, a member of her family and former ADOR CEO Min Hee‑jin. 

The agency seeks to hold them responsible for NewJeans’ departure and delays in the group’s return. The claim was reduced from 43.1 billion won after ADOR lowered its demand in June. 

NewJeans debuted in 2022 under ADOR, a subsidiary of HYBE, and quickly rose to global prominence with hits such as Ditto, OMG, Super Shy, Hype Boy and Attention, all of which have surpassed hundreds of millions of streams globally.

The group became one of K‑pop’s fastest‑rising acts, but internal disputes between ADOR and HYBE escalated in 2024 after the dismissal of ADOR’s CEO Min Hee‑jin. 

The fallout led to lawsuits and attempts by members to leave the label. Danielle’s departure, along with ongoing legal battles, has been a focal point in the wider dispute over management rights and the future of the group.

LONDON, July 7 — Harry Styles has been recognised with a Guinness World Record for the longest residency by a musician at Wembley Stadium during a single tour, reported PA Media/dpa.

The singer concluded his residency at the London venue after performing 12 shows there as part of his Together, Together tour.

The record was secured on Saturday when Styles completed the final show of his Wembley Stadium residency.

The former One Direction star began the residency on June 12 as part of a tour celebrating of his fourth studio album Kiss All The Time. Disco, Occasionally.

Originally announced as a six-night run, significant demand led to the addition of six more shows for the United Kongdom (UK) leg of the tour.

The 12-date residency saw Styles and his tour overtake the previous record of 10 Wembley Stadium shows, which had been set by Coldplay during their Music Of The Spheres World Tour in 2025.

Following official verification, Styles and the whole tour crew were presented with the certificate onstage at Wembley Stadium by official Guinness World Records adjudicator Will Munford.

Official certificates were also made available to members of the wider tour team to recognise their contribution.

The official Guinness World Records title reads: “The longest residency by a musician at Wembley Stadium during a single run is 12 shows and was achieved by Harry Styles (UK) at Wembley Stadium in London, UK, on July 4 2026.”

Munford said: “Wembley Stadium is one of the most iconic live music venues in the world, so to achieve the longest residency by a musician there during a single tour is an extraordinary achievement.

“Harry Styles’ record-breaking 12-date run is a testament to the scale, ambition and cultural impact of his live performances, as well as the incredible connection he has with his fans.

“It is also brilliant to see Harry and his team recognising the wider tour team with official Guinness World Records certificates, celebrating the huge amount of work that goes into delivering a record-breaking run like this.

“Record-breaking moments are rarely achieved alone, and this is a true example of what we mean when we say everyone can be part of it. We’re delighted to officially recognise this achievement and celebrate another major title for Harry.”

When the residency was first announced, it was revealed Styles was in the running to break records set by both Coldplay and his ex-girlfriend Taylor Swift.

He now also holds the record for most concerts performed by a solo artist during a single concert tour in the stadium’s history, surpassing the eight nights set by Swift in 2024.

Styles is already a Guinness World Records title holder.

He was previously recognised after his single As It Was registered 2.28 billion global subscription streams equivalent units across all digital formats in 2022, according to the International Federation of the Phonographic Industry.

As part of One Direction, the band also broke six Guinness World Records in 2016, including for being the first group to debut at number one with their first four albums in the United States (US), the most followers on Twitter for a music group, and most subscribers for a band on YouTube.

Styles kicked off his Together, Together tour in Amsterdam in May, where he played 10 dates.

He is next set to perform in Sao Paulo, Mexico City, New York City and Melbourne, with the tour set to wrap up in Sydney on December 13.

The Watermelon Sugar singer released his fourth studio album Kiss All the Time. Disco, Occasionally in March. — Bernama-PA Media/dpa

NEW YORK, July 7 — Virtual actress Tilly Norwood, who hasn’t been cast in a film since her career was launched in fall 2025, may finally be getting her breakthrough role — despite Hollywood’s disdain.

Her creators, studio Particle 6, said yesterday they will create a feature film for her to star in, a film that will be produced entirely using artificial intelligence (AI) — with a hand from human writers, human technicians and human actors.

The movie title Misaligned refers to the notion of the struggle to make AI align with human values and goals.

“AI can support premium narrative filmmaking, but only with substantial amounts of human craft, skill, judgement and time. That’s not a limitation of the technology. That’s the point,” said Particle 6 CEO and founder Eline van der Velden.

“The filmmakers who thrive in the next decade will be the ones who bring decades of storytelling instinct to these new tools, and Misaligned is where we put that to work at feature scale.”

A Particle 6 spokesperson told AFP it is too early to discuss distribution — theatres or streaming — or a release date.

Hollywood’s unions and leading actors, including Scarlett Johansson, Cate Blanchett and others, have called for limits on the use of AI and its generative tools on copyrighted artistic work without express permission. — AFP

ROME, July 7 — US actor, director and producer George Clooney will receive a lifetime achievement award at this year’s Venice film festival, organisers said yesterday.

Clooney, 65, called the award “a tremendous honour”.

“It also probably means I’m old, but I’ll take it,” he said in a statement released by the annual festival.

This year’s edition will run between September 2 and 12 and the jury will be led by US actress Maggie Gyllenhaal.

Clooney, who is also known for his political activism and humanitarian work, is a regular at the gathering on the Venice Lido.

Clooney’s breakthrough role was in the medical drama ER. He has since starred in dozens of films, including Syriana for which he won an Oscar for best supporting actor.

Venice festival director Alberto Barbera called Clooney “a complete and charismatic artist, impassioned and original”. — AFP

KUALA LUMPUR, July 7 — Malaysian comedian Douglas Lim believes the biggest difference between today’s rising comics and his generation is simple: pressure.

While welcoming the growing number of young comedians on the local stand-up scene, Lim said many newer performers are missing the kind of high-stakes experience that helped shape comedians like himself and Harith Iskandar.

Speaking to Malay Mail in a recent Zoom interview ahead of his Vital Stats show at Istana Budaya on August 15, Lim said corporate performances early in his career taught him lessons that open mics could not.

“Earlier comedians like myself and Harith Iskandar started with corporate shows, which were very high-pressure.

“If you weren’t funny, you simply didn’t get paid.

“That built a very tough foundation.

“Today, many comedians start with open mics, which are great for learning.

“They are low-pressure and very supportive, but the jump from open mic to paid, high-stakes shows is big,” he said.

According to Lim, the real challenge comes when comedians leave the safety of open mics and perform for paying audiences with much higher expectations.

Even so, he said open mics remain an essential first step for anyone interested in stand-up comedy.

“Many people want to perform without actually understanding how comedy works.

“In Kuala Lumpur, there are places like KL Comedy Corner and KL Comedy Club where open mics happen regularly.

“Go watch a few shows first.

“Then talk to comedians or organisers.

“Most of them are friendly and willing to help,” he said.

“After that, try writing a short set, maybe three minutes, and go up on stage.

“Learn through experience,” he added.

Lim is currently touring Vital Stats, with performances across Australia, New Zealand, Sabah and Sarawak before wrapping up at Istana Budaya on August 15.

The show adds another milestone to a career that has seen him become one of Malaysia’s best-known stand-up comedians.

In 2024, he became the first stand-up comedian to stage a solo performance at Dewan Filharmonik Petronas.

Beyond comedy, Lim has also built an extensive acting career, appearing in stage productions such as P. Ramlee The Musical and Ola Bola The Musical, as well as television series including Kopitiam and films such as 1957: Hati Malaya.

Despite his packed tour schedule, Lim revealed he is also attached to a new acting project, although details remain under wraps.

KUALA LUMPUR, July 5 — South Korea’s Colony has surpassed RM30.6 million at the Malaysian box office, making it the country’s highest-grossing film of 2026 so far.

The latest box office milestone was announced yesterday by local distributor Mega Films Distribution during the Colony celebration dinner at Pavilion Hotel Kuala Lumpur, marking the continued success of director Yeon Sang-ho’s zombie thriller in cinemas nationwide.

Last month, Colony also overtook Yeon’s previous blockbuster Train to Busan to become the highest-grossing South Korean film ever released in Malaysia, surpassing the earlier film’s RM21 million record.

Colony premiered in Malaysian cinemas on May 22, with Malaysia becoming the first South-east Asian country to screen the highly anticipated film simultaneously with South Korea.

The film has enjoyed a strong reception from local audiences, with social media filled with positive reactions and many fans returning to cinemas for repeat viewings.

Since its release, Colony has steadily climbed the box office, crossing the RM10 million and RM20 million milestones before now surpassing RM30.6 million.

It has also remained at the top of the Malaysian box office for four consecutive weeks, outperforming several major releases that opened during the same period.

Beyond Malaysia, the film has also been a major hit in South Korea, where it topped the domestic box office and surpassed five million admissions.

Starring Jun Ji-hyun, Koo Kyo-hwan, Ji Chang-wook, Shin Hyun-been, Kim Shin-rock and Go Soo, Colony follows a group of survivors trapped inside a building after an unknown infection spreads rapidly.

Cut off from the outside world, they must fight to survive as the infected mutate into increasingly dangerous forms.

The film offers a fresh spin on the zombie genre, with Yeon drawing inspiration from the hive-mind behaviour of ant colonies and the concept of artificial intelligence when creating the infected.

SEOUL, July 6 — K-pop girl group aespa’s Winter revealed today in Seoul that she failed SM Entertainment auditions three times before finally joining the agency.

Winter recounted her story on JTBC’s cooking variety show Please Take Care of My Refrigerator, appearing alongside groupmate Karina, according to The Korea Times.

“I think Winter is the perfect example of the SM style,” Karina said, noting her fair complexion resembled seniors like Seo Hyun‑jin, a well‑known actress and former idol, and Taeyeon, the leader and main vocalist of Girls’ Generation.

Winter disagreed, saying, “I failed the SM audition three times. I kept auditioning until I finally got accepted, while SM sent Karina a direct message first.”

She jokingly contrasted their paths into the company, adding, “SM chose Karina, but I chose SM.”

Host Kim Sung‑joo asked whether agencies now recruit aspiring idols through direct messages on social media, and Karina replied, “It seems they do.”

SM Entertainment is widely regarded as one of the “big four” K‑pop agencies, alongside HYBE, JYP and YG, and has played a central role in shaping the industry through acts such as Girls’ Generation, EXO, Red Velvet and NCT.

SM Entertainment has long discovered talent through auditions and street casting, but in recent years agencies have increasingly used social media to contact potential trainees directly.

Aespa, formed in 2020, is known for hits such as Black Mamba, Next Level, Savage and Supernova, and recently scored international success with Lemonade. 

SEOUL, July 6 — Christopher Nolan will make his first official promotional visit to South Korea on August 3 to lead a star‑studded tour for his upcoming film The Odyssey.

Universal Pictures confirmed the trip, which will include actors Matt Damon and Charlize Theron, as part of a major push to capture the Asian box office, The Korea Times reported.

“I am deeply grateful for the support and love you’ve shown for my films,” Nolan wrote in a handwritten note to Korean audiences. 

A handwritten note from Christopher Nolan ahead of his first-ever promotional tour in Korea for ‘The Odyssey.’ — Picture of Universal Pictures

“I’m especially delighted that Odyssey will bring me to Seoul and I’ll get to celebrate the film with Korean audiences in person.”

The director restructured his global promotional schedule to ensure time in Seoul, reflecting the country’s importance to his career.

Nolan’s films, including Interstellar, Dunkirk, Tenet and Oppenheimer, have drawn more than 36 million admissions in Korea, earning the market the nickname “Nolan’s country” among local exhibitors.

The promotional tour will feature a press conference, fan events and a red‑carpet premiere ahead of the film’s domestic release on August 5.

The Odyssey adapts Homer’s epic tale, following Odysseus (played by Damon) on his perilous journey home after the fall of Troy, with Anne Hathaway as Penelope and Tom Holland as Telemachus.

The ensemble cast also includes Robert Pattinson, Zendaya and Lupita Nyong’o.

The trip marks Damon’s first return to Korea since Jason Bourne in 2016, while Theron will make her debut press visit to the country. 

SEOUL, July 6 — K-pop boy group Ateez has achieved its third No. 1 on the US Billboard 200 with its latest album Golden Hour: Part. 5.

The album topped the Billboard 200 ahead of Olivia Rodrigo’s You Seem Pretty Sad for a Girl So in Love and Drake’s Iceman, according to a chart preview released yesterday. 

“It marks the group’s third No. 1 on the chart, following The World Ep. Final: Will in 2023 and Golden Hour: Part. 2 in 2024,” the Billboard said, noting Ateez has now collected nine top‑10 albums since 2022.

The music magazine added that Golden Hour: Part. 5 earned 228,000 equivalent album units during the latest tracking period, with 223,000 coming from album sales, both figures the highest in the group’s career.

The Billboard 200 tracks the week’s most popular albums in the United States, based on equivalent units that combine physical and digital sales, streaming activity and digital track downloads.

Released on June 26, the five‑track album includes Bad, Mamacita and Toxin, and depicts Ateez embracing instinct and sensation with playful energy.

In South Korea, the album set a new first‑week sales record for the group by selling more than 1.88 million copies, according to album sales tracker Hanteo Chart.

Ateez, formed in 2018 under KQ Entertainment, has built a strong international following with energetic performances and concept‑driven releases, becoming one of the leading K‑pop acts of the 2020s. 

MUMBAI, July 6 — Bollywood actor Aamir Khan has tied the knot with longtime partner Gauri Spratt in a private ceremony held at his Mumbai residence, keeping the celebration small and family-focused, according to The Statesman.

The couple formalised their marriage in an intimate setting attended by close family and friends, with children from both sides present for the occasion.

Heavy rainfall hit Mumbai on the day of the wedding, but the weather did not disrupt the low-key celebrations, which proceeded as planned at Khan’s home.

Among those spotted arriving were former cricketer Irfan Pathan, actor-comedian Vir Das and filmmaker Ashutosh Gowariker. Vir Das has previously worked with Aamir Khan Productions, including in Delhi Belly (2011), as well as later collaborations.

Aamir’s children — Junaid Khan and Ira Khan — were present at the ceremony, along with his son Azad from his previous marriage to filmmaker Kiran Rao. 

Gauri Spratt’s son from her earlier marriage also attended, bringing both families together for the occasion.

Ahead of the wedding, Aamir had indicated that the couple planned a simple registration of marriage in the presence of close friends and family, adding that there would be no formal reception.

Reports said the day began with the couple registering their marriage under the Special Marriage Act before proceeding with the private ceremony, making the legal formalities part of the same-day proceedings.

The wedding marks Aamir’s third marriage. 

He was previously married to Reena Dutta and later to Kiran Rao, while this is Gauri Spratt’s second marriage.

The couple first met through Aamir’s cousin, Nuzhat Khan, in Bengaluru and dated for about a year before going public with their relationship shortly before his 60th birthday last year.

They have reportedly been living together at Aamir’s Bandra residence since making their relationship public.

Aamir had earlier requested fans and the media to send their blessings, describing the wedding as a small, intimate gathering at home and expressing hope for a happy new chapter together.

SEOUL, July 6 — K-pop agency ADOR has submitted new evidence alleging former CEO Min Hee-jin orchestrated efforts by girl group NewJeans to break away from the company.

In its damages lawsuit involving former member Danielle, her mother and Min, ADOR told a court Thursday that fresh material — including an audio recording — suggests coordinated planning behind the group’s dispute with the agency, The Korea Herald reported.

At the centre of the submission is a recording dated September 2, 2024, in which Min allegedly discussed plans related to NewJeans’ YouTube livestream held nine days later. 

ADOR said the recording shows Min telling the members’ parents that the livestream “must go ahead” as it could serve as evidence in a future legal move to terminate the group’s exclusive contracts.

The claims contrast with Min’s earlier position that she had discouraged the livestream and that the members acted independently.

The September 11 livestream saw all five members publicly demand that HYBE reinstate Min as ADOR’s CEO by September 25, arguing that management changes had affected the group’s identity and creative direction.

HYBE had removed Min as ADOR CEO in August 2024, saying the decision was part of a broader policy separating management and production functions. The move came amid allegations of internal conflict over control of ADOR and NewJeans’ direction.

Following ADOR’s refusal to reinstate Min, the members announced the termination of their exclusive contracts on November 28, 2024, and later promoted independently under the name NJZ.

Min Hee-jin speaks during a press conference in Seoul in this file picture dated April 25, 2024. In its damages lawsuit involving former member Danielle, her mother and Min, ADOR told a court Thursday that fresh material — including an audio recording — suggests coordinated planning behind the group’s dispute with the agency. — AFP pic

ADOR further alleged that Min continued to direct the group’s activities before and after a court injunction in March 2025, which barred the members from carrying out entertainment activities without the agency’s approval.

The agency said Min was involved in preparations for NJZ’s appearance at ComplexCon Hong Kong, including production, styling, choreography, merchandise and promotional materials.

As part of its evidence, ADOR also submitted a performance agreement citing a US$500,000 (RM2.04 million) consulting fee tied to the ComplexCon project, which it alleges was intended for Min. 

The five members were to collectively receive US$350,000 for the performance.

Another document presented in court was an “Exclusivity Agreement” between NewJeans and AAO, a Chinese-backed company founded by Bonnie Chan Woo, organiser of ComplexCon.

According to ADOR, the agreement required NewJeans to report both group activities and ADOR-related matters to AAO, and would run for nine months with automatic renewal unless terminated.

ADOR told the court that while other members later moved to end the agreement after returning to the company in November 2025, Danielle allegedly continued to conceal its existence.

The agency also claimed Min encouraged the parents of Danielle and Minji to pressure ADOR with demands it could not accept and to secretly record conversations, alleging this was intended to build grounds for contract termination rather than reconciliation.

SINGAPORE, July 6 — Mandopop singer Wang Leehom suffered a heavy fall during his concert in Chengdu, China on July 4, leaving him with injuries that required 39 stitches, according to The Straits Times.

The 50-year-old was performing on the Chengdu leg of his “The Best Place II” tour, with three shows scheduled from July 3 to 5 at Dong’an Lake Sports Park main stadium, which has a capacity of up to 40,000 spectators.

Videos circulating on social media showed Wang tripping over a safety harness as he moved from a platform onto a staircase during the opening of the July 4 show. 

He had earlier been lowered onto the stage using the same harness system.

He fell heavily onstage, with the left side of his face striking the ground.

Crew members rushed to assist him, but Wang quickly got back on his feet and continued performing, including the song Heaven And Earth Dragon (2021).

Later, in a social media post, Wang recounted the incident, saying his foot became caught in a cable, causing him to fall and hit the edge of the metal stage.

He said the impact injured his left ear, where he was wearing a hard in-ear monitor, and caused damage that led to significant bleeding.

Wang said he continued the performance using only his right ear monitor, adding that “the show must go on” despite the injury.

He later went to hospital, where medical staff treated him with 27 stitches to his ear and 12 stitches to his face. 

A CT scan reportedly showed no damage to his brain or skull.

He described the bleeding as alarming but said the injury was not as severe as it initially appeared, thanking fans for their concern and support.

His management agency later said preliminary findings suggested the accident was caused by improper handling of the wire harness system, triggering an internal review into safety procedures at the concert.

The agency added that Wang’s remaining Chengdu performance would proceed as scheduled, subject to medical clearance.

On July 4, Leehom Wang was injured after falling off the stage during the Chengdu stop of his “The Best Place 2.0” concert tour, but continued performing and completed the entire show. pic.twitter.com/LWV2JGC7q7

— Chengdu China (@Chengdu_China) July 4, 2026

SANTIAGO (Chile), July 6 — Hundreds of fans of K-pop group BTS gathered in Chile on Sunday to protest the government’s decision to halt the group’s three scheduled concerts as part of its “Arirang” world tour.

Fans, known as ARMY, demonstrated in Santiago wearing purple outfits, waving balloons and holding placards opposing the cancellation of the October shows, The Korea Herald reported.

The group had been scheduled to perform at Santiago’s Estadio Nacional from October 14 to 17, with an additional date added after the initial tickets for the later shows sold out quickly in April.

Marching towards the La Moneda presidential palace, protesters sang BTS songs and carried signs calling for the concerts to be reinstated.

Chile’s Sports Minister Natalia Duco said the decision did not amount to a permanent cancellation, but acknowledged there was currently no alternative venue in the capital or nearby cities capable of hosting such a large audience.

Authorities cited technical concerns over the planned 360-degree stage setup, which they said could impose a load of around 600 tonnes on the stadium field and risk damaging the playing surface, potentially affecting future sporting events.

The National Sports Institute, which oversees use of the venue, also raised concerns that tickets were sold before final approval for the stadium had been secured.

KUALA LUMPUR, July 6 — Hong Kong actor Michael Tao made a rare public appearance in Kuala Lumpur alongside his wife, following the revelation that the couple had secretly tied the knot in 2025, according to reports.

The 61-year-old, best known for his long-running roles in classic TVB dramas, was seen in the Malaysian capital with his spouse in what is understood to be one of his few public outings since news of the marriage emerged, according to The Straits Times. 

The appearance has drawn attention among fans familiar with his work across Hong Kong television’s golden era, when his crime and legal dramas were widely broadcast across the region, including Malaysia.

Details of the couple’s visit and the occasion of their appearance in KL have not been widely disclosed, but the sighting marks a notable moment for followers of the actor, who has largely maintained a low public profile in recent years.

KUALA LUMPUR, July 6 — After 47 years in the Malaysian music industry, Datuk M. Nasir has once again proven that the work of a true maestro stands the test of time, with his songs continuing to resonate with his fans regardless of age. 

His concert DATO’ M.N47IR CIPTA 4 at Unifi Arena, Bukit Jalil here on Saturday — coinciding with his 69th birthday — attracted nearly 13,000 people.

As the arena lights dimmed, thunderous cheers from the audience welcomed the legendary singer to the stage.

He opened the night with Ekspres Rakyat, before launching into Hati Emas, Perjuangan and Aku Dah Bosan.

A medley featuring Sentuhan Kecundang, Sekuntum Bunga Sakura di Gurun Sahara, Azura and Milik Siapakah Gadis Ini reminded the audience of M. Nasir’s versatility. 

Backed by an experienced band led by music director Aznan Alias, each song was given a fresh musical arrangement while preserving its original identity.

One of the night’s biggest highlights came when Datuk Seri Siti Nurhaliza, who was also among the concert attendees, answered the audience’s call to join M. Nasir on stage.

The pair delivered Bagaikan Sakti, sending the arena into a frenzy as fans erupted in applause.

The nostalgic atmosphere continued with the arrival of Datuk Awie, who joined M. Nasir for a rendition of Ghazal Untuk Rabiah.

The rock icon later took centre stage with a solo performance of Istana Menanti.

Adding an international touch to the celebration, Indonesian singer-songwriter Melly Goeslaw joined M. Nasir for performances of Suatu Masa and Fantasia Bulan Madu, highlighting how his music has transcended national borders.

Before the excitement had a chance to settle, M. Nasir surprised the crowd once more by inviting Ziana Zain to perform Halaman Asmara, completing a star-studded lineup of some of Malaysia’s biggest music icons who came together to honour his extraordinary journey in the music industry.

As the concert drew to a close, Unifi Arena transformed into a sea of voices, with nearly every fan on their feet singing along to classics including Kembara, Apokalips and Raikan Cinta.

For the grand finale, M. Nasir performed Mentera Semerah Padi before stepping off the stage to meet fans up close.

Shaking hands and singing alongside the audience, he reaffirmed the deep bond between a legendary artiste and his fans who love his songs. — Bernama 

KUALA LUMPUR, July 6 — Blackpink member Jennie has become the first K-pop solo artist to headline two major European music festivals on consecutive weekends after leading the line-up at Denmark’s Roskilde Festival and Poland’s Open’er Festival.

According to Yonhap News Agency, Jennie took to the stage at Roskilde on Friday and Open’er on Saturday (local time), performing songs including Mantra, ExtraL, Starlight and Like Jennie, her agency OA Entertainment said today.

Thomas Soenderby Jepsen, Roskilde Festival’s head of music, said Jennie’s appearance reflected current music trends and highlighted the festival’s forward-looking identity.

Open’er organisers described the singer as “one of the most influential female artists of this era.”

Jennie has also attracted global attention in recent months, with her collaboration Dracula with Tame Impala reaching No. 10 on the US Billboard Hot 100 chart.

She is due to perform at several other major international festivals later this year, including Spain’s Mad Cool Festival 2026, Lollapalooza Chicago in the United States and Japan’s Summer Sonic 2026. 

WASHINGTON, July 6 — The latest chapter in the lowbrow but lucrative Minions franchise debuted atop the North American box office this weekend, edging out another popular animation series in Toy Story, industry estimates showed Sunday.

Universal’s Minions & Monsters — featuring the gibberish-spouting yellow creatures who stole the show in multiple Despicable Me films — pulled in US$36.4 million (RM148 million) in the Friday-to-Sunday period, which Exhibitor Relations said was the franchise’s lowest opening.

The film, a chaotic gag-filled take on early Hollywood, raked in an additional US$98 million from international showings.

Minions displaced Toy Story 5 from the top spot, two weeks after the Disney-Pixar offering took home the year’s best opening weekend in North America, at US$160 million.

The sequel — featuring Woody the cowboy, Buzz Lightyear and their gang of toys fighting for survival against competition from screen-based tech — came in second with another US$31 million.

Debuting at third spot with US$20.8 million on this Independence Day weekend was the historical epic Young Washington, about an American founding father earning his military stripes during the French and Indian War, decades before commanding the Continental Army during the American revolution.

Released by independent Angel Studios, known as a faith-based operation that eschews traditional Hollywood approaches, the film features stars Ben Kingsley, Andy Serkis and Mary-Louise Parker and showcases William Franklyn-Mille as Washington.

Slipping two spots to fourth was Supergirl, a Warner Bros sci-fi effort starring Milly Alcock as Kara Zor-El, a cousin of Superman who also possesses superhuman strength. It earned US$9.6 million in its second weekend.

Holding on to fifth place is the Stephen Spielberg-directed sci-fi thriller Disclosure Day, which earned US$6 million for a current total of US$105 million.

With an ensemble cast led by Emily Blunt and Josh O’Connor, the action-packed Universal film follows an effort to reveal a decades-long coverup of extraterrestrial visitations.

Rounding out the top 10 were:

Obsession (US$5.3 million)

Backrooms (US$3.3 million)

Jackass: Best and Last (US$2.7 million)

Scary Movie (US$1.1 million)

The Invite (US$800,000) — AFP 

TAIPEI, July 6 — In a dimly lit red-brick house in central Taiwan, film hunter Wang Wei and his team haul out ageing film reels, salvaging the fragile remnants of a cinema boom that nearly vanished from history.

Rare Taiwanese-language films—known locally as “taiyupian”—flourished briefly from the mid-1950s to the late 1960s under the Kuomintang (KMT) government, which fled to Taiwan following its defeat by the Chinese Communist Party.

Until it lifted martial law in the late 1980s, the KMT promoted Mandarin as the official language of Taiwan and sidelined Taiwanese Hokkien, but independent and private producers still made the widely watched black-and-white movies.

Taiwan is now racing to restore the decades-old reels to preserve a chapter of its culture, with film preservers having salvaged fewer than a sixth of the estimated 1,200 films produced.

Their value lies in existing for “such a short period”, Arthur Chu, chairman of the Taiwan Film and Audiovisual Institute (TFAI) told AFP, adding that they represent “an almost-voiceless post-war generation”.

Wang said it is “meaningful” if the films can be rediscovered, a tribute to those “who worked so hard to make them and captured the images of Taiwan at that time”.

If the rare vintage reels are discarded or deteriorate, “there’s no way to bring them back”, he said as he directed a team wearing head torches to recover the reels.

“They’re gone forever.”

Beyond saving

Finding Taiwanese-language films is “extremely difficult”, said Wang, who has chased the vintage movies for 10 years and once discovered rare celluloids at an old theatre in Los Angeles.

He works with the government-funded TFAI, which has spent nearly two decades tracking down surviving reels, many of which were lost or left to deteriorate in the island’s hot and humid climate.

The ageing cellulose acetate films are at risk of developing “vinegar syndrome”, a chemical decay that can make film brittle, warped or sticky.

The films must be kept in cold storage before they can be repaired by hand, scanned and then go through digital clean-up and correction.

A technician at Preservation and Restoration Center repairs a Taiwanese-language film at the Taiwan Film and Audiovisual Institute in New Taipei City on June 23, 2026. — AFP pic

Among those helping preserve the films is 86-year-old supplier Wang Chin-ting, who began working in the movie business in 1984 and bought a film company 12 years later.

Of the hundreds of reels he collected, only a handful are Taiwanese-language ones, now stored at his ancestral home in Changhua in central Taiwan, the brick house providing naturally cool, dry storage conditions.

Wang Chin-ting lifts each reel from its flat, circular metal can and threads it through a rewinding machine, a process that helps prevent the old films from deteriorating.

At TFAI’s restoration centre in New Taipei City, film restorer Wu Long-hao painstakingly repairs damaged reels by hand using tape, a scalpel and eucalyptus oil.

“Some reels are in such poor condition that we have to assume they may only survive a single pass through the scanner,” he said.

“If they snap, they are beyond saving.”

Touching hearts 

Ranging from popular operas, thrillers, comedies and romance dramas—even Taiwanese versions of international blockbusters lsuch as James Bond and Tarzan—the films resonated with many Taiwanese who had been educated during Japan’s colonial rule and had limited Mandarin skills.

Produced quickly with limited budgets to meet booming demand, many taiyupian were “crude” or even “absurd”, the TFAI’s Chu said, but they provide a rare, visual record of everyday life in Taiwan at the time.

They also captured old Taiwanese dialogue and slang, and have become a valuable record for film researchers and linguists.

Although the last such film was made in 1981, the launch of television stations and the rise of Taiwanese and Mandarin-language TV dramas from the late 1960s triggered a sharp decline in the industry.

But the films gave the post-war generation that could neither understand nor read Mandarin Chinese “a deep sense of comfort and an emotional outlet”, Chu said.

People were willing to buy a ticket because the films spoke to them during years of repression and hardship, he said.

“The stories of joy, sorrow, love and loss touched their hearts.” — AFP

PARIS, July 5 — Disney’s reliance on its back catalogue of characters and franchises will be underlined again next week with the release of a live-action version of “Moana”, a remake of the Polynesian-themed animation hit that is only a decade old.

The original Moana from 2016 follows a young Polynesian girl who sets off on an adventure across the ocean, accompanied by the demigod Maui, to save her people and their atoll.

A sequel came out in 2024 and a third animated instalment is in the works, while the new live-action version starring Dwayne “The Rock” Johnson will hit screens worldwide from Wednesday.

It is a shot-for-shot rehash of the original, with the same songs and similar dialogue, directed by Thomas Kail of Hamilton fame.

“The way that the movie breathes is so different than animation the way that you fill a frame is quite different and I think there’s an opportunity to access emotion in a distinct way,” he told AFP.

With a budget estimated at 200-250 million dollars, the film is banking on spectacular special effects to draw in crowds at a time when animated sequels Toy Story 5 and Minions & Monsters are riding high at the box office.

Nostalgia

Remakes and franchises have become a cornerstone of modern Hollywood production, despite criticism that they are a sign of declining creativity and risk-taking by the industry’s big beasts.

Concepts and characters that are already familiar to viewers are seen as bankable profit-makers by under-pressure studios, while offering attractive merchandising, games and other spin-off possibilities.

Disney’s appetite for live-action re-makes of its animated hits was whetted by the huge success of 2010’s Alice in Wonderland by Tim Burton, which grossed more than a billion dollars worldwide.

Aladdin, Beauty and the Beast, and Lilo & Stitch have each broken the billion-dollar level at the box office since.

“Overall, they’ve done very well, especially the films based on the Disney Renaissance of the 1980s and 1990s,” said Stephane Durand, a pop culture and Disney specialist in France.

“The biggest hits are films that recreate the original almost shot for shot,” he explained. “For people interested in storytelling, it’s pretty poor. But as long as the films make a billion dollars, it will go on.”

Not all have been a hit, however.

The Little Mermaid (2023) earned a lacklustre reception, while Snow White (2025) proved a disappointment.

“Studios need to ensure that the charm of the original is retained and need to be extremely judicious with their creative license,” Caroline Reid, a journalist at Forbes magazine specialised in the film and entertainment industries, said.

But even those that don’t draw crowds to cinemas can still turn out to be commercial hits thanks to the rise of streaming.

“Many of the live-action remakes that don’t succeed at the box office are hits on streaming. The Little Mermaid is a good example of this,” Reid said. — AFP