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  • Bryan Fuller on How He Moved from TV to Movie Director

    Bryan Fuller on How He Moved from TV to Movie Director

    Bryan Fuller made a career creating idiosyncratic series like “Pushing Daisies” and “Hannibal,” and has written for many more. Now he’s readying his feature film debut, which is set to debut at this year’s Toronto International Film Festival.

    “Dust Bunny,” which has its world premiere on Monday at TIFF as part of Midnight Madness, stars Sophie Sloan as Aurora, a young girl who is menaced by the giant, magical and bloodthirsty title beast who lives under her bed. She then hires a hitman (“Hannibal” star Mads Mikkelsen) to take care of the problem…if only he believes her.

    Fuller says the story started as one of the possible episodes of the 2020 Apple TV+ series “Amazing Stories,” based on the Steven Spielberg-created anthology show from the ’80s.

    “In some ways, it’s Spielberg, a homage to those traumatic childhood films of the ’80s, like ‘Poltergeist’ and, particularly, ‘Gremlins,’” Fuller says. “It was conceived and designed to be an ‘Amazing Story’ story. But as we were developing it for Apple, it was getting noted to death, and there were a lot of stories that we had developed that weren’t moving forward in the process at Apple. So I was like, ‘You know what, this would be a great movie.’”

    Since Fuller has been a busy TV writer, creator and showrunner since he first wrote for “Star Trek: Deep Space Nine” in 1997, he rarely thought about directing.

    “I was usually consumed with a lot of rewriting, so there wasn’t much time to direct,” he says. “I’m professional and indulgent. If I were directing with so much writing responsibilities to do, and in terms of how much rewriting I do as a showrunner, it seemed I couldn’t do both. I couldn’t be 100% dedicated to the scripts, as well as taking a month off of showrunning duties to direct, so it never really was a reality for me. Initially, I had worked with a director that I was not a big fan of, and that director was assigned to me by the head of the studio and it was a bit of a disaster. I was like, ‘This could never happen again. I need to direct.’”

    Fuller says that his favorite part of directing was bringing the film into reality alongside Sloan, his young star.

    “My favorite days were working with Sophie Sloan, who had as much experience with movies as I did — which was none,” he says. “With Sophie, we were finding it together and got to play in a way that you don’t usually get to do with an actor of a certain amount of experience. So the days with Sophie were play dates, being able to explore the performances, find the character, the cadence of the dialogue and in a way that was playful. It’s a movie that has a 10-year-old lead, so there was something about creating an environment that was going to be healthy and safe for a child and a positive experience that was a blast.”

    Although film was a different medium for Fuller, he brought along the visual flair and love of color that often permeates his projects. He says that he had a unique shared language for discussing the colors of “Dust Bunny” with his cinematographer, Nicole Hirsch Whitaker.

    “Our first conversations were in reference to my previous work,” Fuller says. “If ‘Pushing Daisies’ is very sweet and ‘Hannibal’ is very savory in terms of the color palette and lighting style, this has got to be mango chicken. It’s got to be savory and sweet and have a really dynamic flavor profile. So we talked a lot about flavors as opposed to colors.”

    Ultimately, despite a few scary scenes, Fuller thinks “Dust Bunny” is the perfect gateway horror for families to watch together, as so many ’80s babies got hooked on the genre thanks to his beloved “Gremlins.”

    Watch the “Dust Bunny” trailer below.

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  • Global burden of diseases attributed to mental and substance use disorders in reproductive-age women: an ecological analysis for the Global Burden of Disease Study 2021

    Global burden of diseases attributed to mental and substance use disorders in reproductive-age women: an ecological analysis for the Global Burden of Disease Study 2021

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  • 2025 LGS Meeting Reflections and Engagement Opportunities in Research

    2025 LGS Meeting Reflections and Engagement Opportunities in Research

    WATCH TIME: 5 minutes | Captions are auto-generated and may contain errors.

    Lennox-Gastaut syndrome (LGS) is a rare epilepsy syndrome that typically begins in childhood and is associated with frequent seizures, cognitive impairment, and long-term disability. Earlier this year, the LGS Foundation hosted its 3rd biennial LGS Research Meeting of the Minds, held July 21–22, 2025, bringing together caregivers, researchers, health care providers, scientists, advocacy representatives, and industry partners to discuss clinically relevant strategies to advance evidence-based LGS care across the lifespan.

    In collaboration with LGS Foundation, NeurologyLive® held a roundtable discussion with 2 pediatric experts who attended and participated in the meeting. Throughout the panel discussion, the duo covered topics like major gaps in LGS care, fostering connections among diverse stakeholders, and shaping strategies to guide future research. The guests featured in this panel included Scott Perry, MD, head of neurosciences at the Jane and John Justin Neurosciences Center of Cook Children’s Medical Center, and Gita Gupta, MD, MS, assistant professor of pediatrics at the Johns Hopkins University.

    In this final episode, Perry and Gupta reflected on their experiences at the 2025 LGS Research Meeting of the Minds. They highlighted the LGS Foundation’s approachability and commitment to fostering collaboration among researchers, clinicians, and families. Both experts noted the value of engaging with the Foundation for career development, particularly for early-career professionals seeking mentorship, networking, and opportunities to establish themselves in the field. They also emphasized the meaningful and impactful nature of the research supported by the Foundation, reinforced by the active involvement of families and the broader research community.

    Transcript edited for clarity. Click here to view more content of the LGS Foundation.

    Isabella Ciccone, MPH: Do you have any closing remarks on your experience from this year’s meeting as a whole? Is there anything you would like to say to those who may be interested in attending this meeting in the future, what they can get out of it?

    Scott Perry, MD: From my perspective, for people who are interested and want to get involved, I definitely encourage them to look for the next one in 2 years. We have the meeting of the minds every two years to inform the research direction for the following 2 years. One thing about the LGS Foundation is, number one, they’re super approachable, and they’re super eager to work with people. We very much appreciate anyone who has an interest in our condition that we’re focused on, and we welcome people to join the team. This is a great opportunity, especially for young people who are really trying to find maybe a direction or a niche in their career. There are a lot of great opportunities here to connect, build up teams, and really establish yourself as a leader in this area. So, I would definitely encourage people to look for that.

    Gita Gupta, MS, MS: I guess I can echo what Dr. Perry said. The LGS Foundation has been such a welcoming group. I always leave the meeting with such a sense of purpose, renewal, and excitement about my projects. They’ve funded some of my research, and one thing that excites me about the research that the LGS Foundation does is that it’s meaningful and impactful. It’s meaningful because the families are right there, the foundation is right there, and all your colleagues are there, endorsing that this is important work to do. You don’t want to waste your time doing work that’s not important. I’ve found it to be a wonderful organization to be part of.

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  • Cisco Advances Open Data Ecosystems with Splunk Federated Search for Snowflake

    Cisco Advances Open Data Ecosystems with Splunk Federated Search for Snowflake

    SPLUNK .CONF, BOSTON, Mass., September 8, 2025 – Cisco today unveiled Splunk Federated Search for Snowflake, a new Splunk Platform integration that empowers organizations to seamlessly connect, query, and combine operational and business data across Splunk and Snowflake environments. By establishing this integration with Snowflake, the AI Data Cloud company, Cisco is underscoring its commitment to foster an open data ecosystem and help organizations gain faster, richer insights from their data.

    In the agentic AI era, organizations face an unprecedented surge in data volumes and sources, with critical information scattered across multiple platforms. Unified visibility across diverse data sources is essential to meet security, observability, and operational objectives. Splunk Federated Search for Snowflake directly addresses this challenge by enabling teams to query Snowflake data from within the familiar Splunk interface, enrich it with Splunk data, and drive new levels of analytics and insights.

    “Splunk Federated Search for Snowflake makes it simple for customers to access and act on their data, uniting business and operational insights in one view,” said Kamal Hathi, SVP and GM, Splunk, a Cisco company. “Together with the Snowflake integration, we’re creating a more open ecosystem to help organizations use data to make faster decisions, accelerate innovation, and deliver more trusted customer experiences.”

    “Our integration with Splunk extends Snowflake as a trusted platform for unifying and simplifying data access at scale,” said Carl Perry, Head of Analytics, Snowflake. “Through the integration, Snowflake and Splunk will be able to more effectively connect data and break down silos for our joint customers. This makes it easier for organizations to harness business and operational data, enabling insights to flow to where they are needed most to power data insights and AI innovation at scale. This integration will give enterprises the power to drive faster data-driven decisions and will help them stay ahead in the AI era where data is paramount.”

    Splunk Federated Search for Snowflake: Unified Data, Unmatched Flexibility

    With Splunk Federated Search for Snowflake, users will use the Splunk interface to perform queries on Snowflake data and seamlessly join it with data already in Splunk. This enables teams to set business context for critical ITOps, SecOps, and engineering use cases, eliminating data silos and accelerating issue detection, triage, and resolution.

    Key capabilities include:

    • Easy onboarding: Seamlessly add Snowflake as a data source in Splunk.

    • Federated query experience: Write SPL-like queries to search Snowflake data directly from Splunk.

    • Powerful data joins: Use next generation Splunk Federation capabilities to combine Snowflake and Splunk datasets for deeper business context and insight.

    • Efficient querying: Leverage Snowflake analytics for partial query and perform final data joins in Splunk.

    Live Demo at Splunk .conf25

    See Splunk Federated Search for Snowflake in action at Splunk .conf25, where Splunk and Snowflake will showcase a live demonstration of how the integration bridges operational and business data using both AWS S3 and Snowflake as federated data sources. This demo highlights how organizations can break down data silos, accelerate triage, and make more informed decisions while maintaining the unique strengths of both platforms.

    Availability

    For Splunk Cloud AWS commercial customers, Splunk Federated Search for Snowflake will become generally available globally in July 2026. For more details on all of Splunk’s .conf25 announcements, please visit our newsroom. Availability dates and regions are subject to change.

    About Cisco

    Cisco (NASDAQ: CSCO) is the worldwide technology leader that is revolutionizing the way organizations connect and protect in the AI era. For more than 40 years, Cisco has securely connected the world. With its industry leading AI-powered solutions and services, Cisco enables its customers, partners and communities to unlock innovation, enhance productivity and strengthen digital resilience. With purpose at its core, Cisco remains committed to creating a more connected and inclusive future for all. Discover more on The Newsroom and follow us on X at @Cisco

    Cisco and the Cisco logo are trademarks or registered trademarks of Cisco and/or its affiliates in the U.S. and other countries. A listing of Cisco’s trademarks can be found at http://www.cisco.com/go/trademarks. Third-party trademarks mentioned are the property of their respective owners. The use of the word ‘partner’ does not imply a partnership relationship between Cisco and any other company.

    About Splunk LLC

    Splunk, a Cisco company, helps build a safer and more resilient digital world. Organizations trust Splunk to prevent security, infrastructure and application issues from becoming major incidents, absorb shocks from digital disruptions, and accelerate digital transformation.

    Splunk and the Splunk> logo are trademarks or registered trademarks of Cisco and/or its affiliates in the U.S. and other countries. A listing of Cisco’s trademarks can be found at http://www.cisco.com/go/trademarks. Third-party trademarks mentioned are the property of their respective owners. The use of the word “‘partner”’ does not imply a partnership relationship between Cisco or its affiliates and any other company.

    Futures Disclaimer: Many of the products and features mentioned are still in development and will be made available as they are finalized, subject to ongoing evolution in development and innovation. The timeline for their release is subject to change.

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  • Mads Mikkelsen and Nikolaj Lie Kaas on ‘The Last Viking’

    Mads Mikkelsen and Nikolaj Lie Kaas on ‘The Last Viking’

    The Last Viking, the latest collaboration between Danish writer-director Anders Thomas Jensen and his longtime muses Mads Mikkelsen and Nikolaj Lie Kaas, is a wild, darkly comic fable about brotherhood, identity and the limits of sanity.

    The frankly bonkers plot follows two brothers. Kaas plays Anker, a bank robber whose loot is entrusted to his traumatized younger brother Manfred (Mikkelsen). But by the time Kaas is released from prison, Manfred — a former Viking obsessive — has been diagnosed with dissociative identity disorder. He now believes he’s John Lennon. To jog his memory as to where he stored the cash, Kaas decides to find a collection of similarly afflicted patients — ones that think they’re George, Ringo and Paul — and bring the Fab Four back together.

    For Mikkelsen and Lie Kaas, who have previously pushed Jensen’s brand of lunatic sincerity in films like Men & Chicken and Riders of Justice, The Last Viking was another chance to dive headfirst into the madness while keeping hold of something real. “The brother story was, I thought, really beautiful,” Mikkelsen notes. “That way we could be allowed to do all the insanity, but we needed these anchors, these moments where they saw each other for who they were.”

    The Hollywood Reporter sat down with Mikkelsen and Lie Kaas to talk about why they keep returning to Jensen’s universe, how they found the reality inside these extreme characters, and whether they’re team Beatles or team Abba.

    What made you decide to come on to this absolutely nuts movie? What about the story pulled you in?

    NIKOLAJ LIE KAAS For me, it was basically the question about identity and how we have to accept that we are different people. We’re in the same community, and we have to coexist with all our differences. I think it’s a great question to raise, and that was the main reason I saw this as a great project. We also talked about the brothers and how they have to accept each other because they have this huge difference from the start.

    MADS MIKKELSEN I was attracted to these guys, and because it’s Anders Thomas. This theme of being yourself, as well, but the brother story was, I thought, really beautiful. We enhanced it, made sure it was the heart of the film. That way, we could be allowed to do all the insanity, but we needed these anchors, these moments where [the two brothers] saw each other for who they were.

    KAAS Because Anders’ universe is so crazy, full of all these wild personalities, we knew we had to focus on the bond. What is their profound connection? That was where we kept our attention.

    You’ve both pushed the limits with Anders Thomas before, in films like Men & Chicken and Riders of Justice.

    MIKKELSEN We’ve both gone to the edge of what’s possible with Anders. We might even have crossed it a few times. But it’s a nice place to be — in Anders’ universe, with friends who know how far to go. You feel comfortable reaching for that limit because you know they’ll pull you back if it’s too much. I don’t think I’d do that with any other director.

    How did you approach Manfred — a grown man who thinks he’s John Lennon?

    MIKKELSEN I approached him as a child — a kid seven, eight, nine years old — with the same impulses, the same narcissism, and the same sense of poetry and beauty in places no one else sees. That also makes him very difficult to live with. That informed everything I did, how he moves, how he talks, how he reacts to things. He’s a guy who tends to throw himself out of windows when things don’t go his way.

    Mads Mikkelsen and Nikolaj Lie Kaas in The Last Viking.

    Courtesy of TrustNordisk

    The film touches on identity and even identity politics. How does that discussion play out in Denmark, and how does it connect to the film?

    MIKKELSEN Everything that comes to Denmark comes five years later, and with a smaller wave. So yes, the discussion is there too. But it hasn’t influenced my life in a big way. It was very important for the media to deal with it constantly for a period. I don’t know if that’s why Anders made the film but, for me, it’s not the main theme. It’s more the “hat” the film is wearing. If you make films about politics — and you just called it “identity politics” — it’s boring. Everything is boring when it’s about politics. It has to be about human beings and their behavior. That’s the heart of a film. Then you can put a political hat on top. But it can’t be the core.

    KAAS I think the film raises a big question mark about the idea of identity. It doesn’t make a statement. It asks: Can we accept our differences? That is so important. We have to coexist. That’s the main plan for everyone — to find a way, because we all have to be here.

    MIKKELSEN Exactly. And Anders also shows how quickly we build walls, because somebody says, “They’re the problem.”

    Which Beatle do you self-identify as?

    MIKKELSEN Which one is alive? Ringo. I’d be Ringo.

    KAAS I’d say the same. He’s a really nice guy; everybody talks about how nice he is. He seems to have the best time.

    MIKKELSEN And he’s got no gray hair.

    KAAS Exactly. I’d choose Ringo as well.

    A major conflict in the film is between Abba and Beatles fans. Are you team Abba or team Beatles?

    KAAS You can’t put them up against each other.

    MIKKELSEN Exactly — why does there have to be a conflict? They’re great for different things. We grew up with Abba and were proud of our neighbors making music that went global. But in terms of the music itself, that’s really up to a musician to answer.

    KAAS I love both worlds. You can’t say one is better than the other.

    What was the most fun moment on set?

    MIKKELSEN The funny thing is, if you play the “straight guy,” as Nikolaj does, then you’re standing next to complete insanity. That’s a hard job, because you’re not part of it. Being in that insanity is easier — you rarely crack up because you’re in that bubble. But being the one looking at it can be absurd.

    KAAS Definitely. But honestly, we held it together better on this one. On Men & Chicken, that was tougher. You have to remind yourself that these characters don’t see their world as absurd or comedic. This is reality to them. That’s the most important thing in Anders’ films — to keep it real, even in the midst of insanity.

    What makes Anders Thomas Jensen’s films so different?

    KAAS I don’t think he has a choice, that’s how his mind works. In Denmark, a lot of directors envy the fact that he’s that bold. His storytelling has something of the fable about it. He creates his own realm every time.

    MIKKELSEN It’s there even in his first film, Flickering Lights, that poetry was there. He didn’t really get the credit for it — people called it a “boys’ film.” But he’s always been dealing with big subjects: Family, death, life, God, Satan. Enormous things. For him, the only way to tell those stories without being pretentious is to wrap them in insanity. But inside there’s big honesty and big poetry. That’s what makes him unique.

    Many of Anders Thomas’ films have been adapted into English. Do you think his work translates well internationally?

    KAAS That’s a good question. I’ve seen some of his films received in the U.S., and the approach is completely different. His films tend to be received very differently in different countries. Even Canada receives them differently from the U.S.. And I honestly don’t know how Sweden will take this one.

    MIKKELSEN I once accepted an award on his behalf for The Green Butchers. For Best Drama. Now, that film is obviously not a drama. But that’s how they travel sometimes. Anders is also very wordy, and subtitles can only capture maybe 30 percent of it. Those words are very important to his universe. If people still like the film despite missing that layer, then they’re getting something else out of it. But it’s hard to say what.

    KAAS That’s why I’m always curious to see what happens abroad. And yes, maybe even a little worried.

    MIKKELSEN Especially with Sweden. They’re so close to us, yet sometimes the establishment there interprets things very differently. But I hope they’ll love it.

    Speaking of adaptations — Mads, one of your most acclaimed films, Another Round, is being remade in the U.S. What are your thoughts on that?

    MIKKELSEN I’m fine with people doing it — as long as I don’t have to. (Laughs.) I don’t know how it works, honestly. Another Round had a very specific Danish approach: It looks at heavy drinking not by condemning it, but by finding comedy in it. Finding comedy in the drama without making it into a comedy. That tonality is hard to replicate. My fear is they’ll turn it into a straight comedy or a finger-wagging “don’t drink” story. But if they can’t find the same balance Thomas did, then why do it? Maybe they’ll change it completely. But then it becomes a different story.

    You both work internationally but keep returning to Denmark. What brings you back?

    MIKKELSEN My language, my friends, and this kind of storytelling. Anders Thomas’ films are unlike anything else. It’s just nice to come home. I love being abroad, but I love being home too. So far, I’m lucky enough to do both.

    KAAS For me, it’s specifically Anders Thomas. You don’t find his kind of storytelling anywhere else. That’s a big reason to keep working with him in Denmark.

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  • World has thrown challenges, Prince Harry says on return to UK – Reuters

    1. World has thrown challenges, Prince Harry says on return to UK  Reuters
    2. Prince Harry back in the UK and attends charity awards  BBC
    3. Prince Harry receives gifts for Archie and Lilibet at London ceremony  Geo.tv
    4. Duke of Sussex speaks about ‘challenging’ relationships at Wellchild awards  Stowmarket Mercury
    5. Prince Harry wins hearts with balloon sword fight at WellChild Awards in UK  Hindustan Times

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  • How Oasis Turned L.A. Into Glorious Britannia for a Weekend

    How Oasis Turned L.A. Into Glorious Britannia for a Weekend

    Los Angeles would go to almost any limit to express its love for Oasis, it would seem. But in a pair of reunion tour appearances at Pasadena’s Rose Bowl Stadium this weekend, the band bumped into the sole limitation that L.A. put on its adoration of the Gallagher brothers. And that bridge too far was being asked to learn and properly execute the Poznan, Manchester’s favorite dance.

    Liam Gallagher did not do a great deal of talking during Saturday’s show, but when he did finally speak at length, it was to tell an apocryphal story leading into “Cigarettes and Alcohol,” the song in which this dance was to take place. “As I was swimming this morning in Santa Monica in the sea, this fucking shark jumps out,” the singer recalled. “’Mr. Gallagher…’ I said, ‘It’s Liam.’ He said, ‘Good luck trying to get that lot to do the Poznan. You know what L.A. crowds are like; they’re all stoned out of their heads, in the sun all day…’” The shark explained to Gallagher that the best he could expect was “more of a Grateful Dead kind of dance,” a swaying which the singer mockingly demonstrated. But he had faith in us. “You got it in you?” Gallagher challenged the crowd, describing the shark itself doing the Poznan as he last sighted it about two miles out to sea.

    (Mind you, Gallagher does a shifting version of this story every night on tour, one that does not usually involve a shark… one that the singer identified as “Mack,” by the way, presumably in honor of “Mack the Knife.”)

    Did Los Angeles pass the test? No … we failed miserably, as some hardcore Brits grumbled on social media the next day. It was not for lack of pure enthusiasm: Virtually the entire crowd seemed to be jumping up and down in unison during the following number, having some kind of grasp on what the Poznan might be supposed to look like, if not the fundamentals. But Angelenos might have mistaken it for basic pogo-ing. Simply put, the Poznan — first popularized by Polish football team Lech Poznan in the ‘60s, and picked broadly adopted by Manchester City fans a decade and a half ago — consists of audience members wrapping arms around one another’s shoulders and jumping in place with their backs to the central action. Faced with this nuance, California was largely clueless.

    To be fair to L.A., though, all laziness or dance learning disabilities aside… After spending nearly two decades thinking Oasis was over and done with for good, now that they deigned to come back, would it really feel right to turn your back on them… even for the length of a song?

    It would be hard to overstate just how much emotion a majority of the capacity crowd had invested in this resurrection. Thinking back on some of the other acts who have headlined the Rose Bowl over the years, it was as if the Rolling Stones, ‘N Sync and Billy Graham somehow all joined forces and came back to lead an ecstatically cultish mass-scale rock ‘n’ roll ceremony, reaffirming for the elders in the audience that they are not nearly dead, and initiating the younger enthusiasts in a kind of Britpop bar-or-bat mitzvah. Near the end of their two-hour performance, Noel Gallagher had the visuals team train a camera on a young woman in the front whom he said had been weeping throughout the whole show, and indeed, she looked like she’d been directly transported from the Ed Sullivan Theatre in 1964 to this spot. If this stuff tended to get written off back in the ‘90s as phony Beatlemania, it certainly hasn’t bitten the dust.

    Liam Gallagher, Noel Gallagher of Oasis perform onstage at the Oasis Live ’25 World Tour held at the Rose Bowl on September 07, 2025 in Pasadena, California.
    Rich Polk for Variety

    The audience demographics at these two SoCal shows was certainly interesting… a mixture of aspirational and actual Englishness, united in a tempory new world order marked by seemingly compulsory bucket hats.

    When it comes to the true Brits, the very short U.S. leg of the band’s reunion tour seems like the inverse of Taylor Swift’s Eras Tour, when it moved through Europe last summer. Just as Swift’s shows overseas seemed to attract audiences that were as much as one-third American, so did Oasis’ Pasadena shows appear to draw a crowd that was about 30% European, if eavesdropping on accents could offer any indication. (Usage of the word “mate” seemed to have increased by about one-billion percent in L.A. County over the course of a weekend.)

    I walked the concourse at the Rose Bowl between acts, trying to see how easy it was to distinguish the Welshmen from the wanna-bes, and so on. I went up to one middle-aged guy who just felt like he had foreignness wafting off him and asked if he had come from overseas. He turned out to be an Australian, and informed me he’d given up his left testicle to get over here, along with his eye tooth. Then he gave me a big grin that revealed, yes, a big gap where a tooth should be, and I felt grateful he did not offer to demonstate whether the other was true.

    The Australian took off without further giving me the time of day about his trip to America, but I did soon come across a more chatty, less drunken quartet of young British men who were catching Oasis dates around the world.                   

    “Seeing the best band in the world, traveling overseas with your best mates, it’s an atraction in itself,” said a guy who identified himself only as Kieran, from Wolverhampton, England, waiting in a beer line with his fellow travelers. He’d already caught Oasis closer to home in Cardiff, then come over to catch a Toronto date before this. “It’s crazy — we’ve seen people that live down the road from us and we are seeing people that live 5000 miles away. We were at the Whisky-a-Go-Go last night to see a tribute act [the Canadian-based band Supersonic], and it was, I’d say, 70% English. We were talking to people from Coventry, Birmingham, London, Cornwall, Glasgow — everyone we spoke to seemed to be British.”

    Oasis fans from England at Rose Bowl Stadium
    Chris Willman/Variety

    Had Kieran and his buddies seen Oasis back in the day, in the band’s original run, I asked? They looked at me like I was daft. “We’re too young! They split up when I was only 8!” Anyway, besides a chance to go on holiday overseas, the international dates are allowing hardcore fans — those who were on board the first time, and those, like Kieran, who demographically just missed ‘em then — to indulge in Oasis hoarding before the possible long winter ahead. “There was no way I was not seeing Oasis multiple times. If they come again next year,” he said, “we’ll see ‘em multiple times next year. We’ve waited long enough.”

    And because the Gallagher brothers might break up again? Well, that went without saying. “There’s a high chance,” Kieran affirmed.

    Further down the concourse, I ran into another quartet of friends, but these were a mixture of L.A. and Seattle residents. Their bucket hats were unusually colorful… not store-bought, much less merch-stand-bought, but made of yarn. “My wife knitted them,” said Walt, 53, from Thousand Oaks. (This was as close as anything I found to Eras Tour-style cosplay; Oasis fandom is not much about doing crafts.)

    What did Oasis represent, I asked Walt? “Oasis reminds me of a time when I didn’t have as much to worry about. When I still had light in my eyes,” he added, as the rest of his group laughed. “How’s that for a quote? It’s one step beyond nostalgia. This is desperation for a more fun time.” (He declined to give his last name because “I don’t want to be in Variety sounding like a suicide.”)

    On the brighter side, he was looking forward to the encore numbers, which he’d already spoiled himself with online. “I’m a sucker for the finale: it’s ‘Champagne Supernova.’ Liam’s plantive yelling – it’s more than plaintive, it’s desperate – ‘Why why why why,’ over and over again… wait till that hits this place tonight.”

    Friend Jess Dolan, 43, in from Washington state, said attending the show was “super nostalgic for me. These albums came out when I was in middle school, and my daughter is in middle school right now, so it’s weird to me to be the same age she is, thinking back on music that came out when I was her age.” Jess was the rare person I talked to who had actually seen the band back in their heyday, but it was “in San Francisco, at one of those Christmas Jingle Ball-type things, ’95 or ‘96, and I was 14 then.” She marveled at the different attitude in the States toward Oasis at the end of their initial run and now. “All they had to do was break up for 16 years. They couldn’t even sell out arenas here in 2009, and now they can do this.”

    Craig Detweiler, a filmmaker and academic, was at the show with his wife and grown son, doing the passing-down-of-Oasis ritual. “I think Gen Z is interested in Liam in part as this fashion icon,” said Detweiler after the concert, “and he hasn’t had the chance to be the rock star in his 50s who has sort of stuck around and everyone’s seen enough of.” For the audience, he said, “I think it’s honestly the simplicity and solidarity of the lyrics. There’s that anthemic quality, and they’re easy to pick up on and easy to repeat and join in on, so there’s no real requirements to participate. No homework required.”

    And for him personally? “I’d say for me, the collective joy of this show was almost overwhelming. People shouting at the top of their lungs, including my son and I; there were a lot of dads and sons around us. And it was like they were at a church service — a lot of hands up, raised and joyous. Exaltation, for sure.”

    Noel Gallagher of Oasis performs on stage at the Oasis Live ’25 World Tour held at the Rose Bowl on September 07, 2025 in Pasadena, California.
    Rich Polk for Variety

    Joey Waronker, Liam Gallagher of Oasis perform onstage at the Oasis Live ’25 World Tour held at the Rose Bowl on September 07, 2025 in Pasadena, California.
    Rich Polk/Variety

    But an Oasis show doesn’t offer the attempts of, say, a Coldplay show to offer a more bounteous joy. There is a stiff-upper-lip-ness to their personal and stage personas that gives at least the appearance of an edge to the anthems. Noel Gallagher’s most memorable vintage songs in the Rose Bowl performance tended toward real emo sentiment. Yet he and his brother could only be seen breaking into a smile once or twice each, all night. Liam, the brother who clearly wanted this reunion the most, and wore the inability to re-consummate the brotherly relationship like an open wound, is still given mostly to jokes on stage more than serious statements or anything that patronizes the audience. (He dedicated one song, mysteriously, to Woody Woodpecker.) He doesn’t dance, he mostly scowls, he keeps his hands folded behind his back when he’s not shaking a tambourine or maracas, and his voice nearly sounds like a sneer — even when he’s singing a song insisting to their mum that they’re all going to live forever. Are they rude boys, or mama’s boys? Part of the accidental genius of Oasis is that they’re both, and the audience can pick its poison, or its sweet tooth. But it feeds into why men, in particular, relate to the Gallaghers: They brusquely pretend not to wear their heart on their sleeves, though we know they do.

    And in that way there is something especially stoically British that continues to resonate with American fans as well as the home country followers that flocked over here for an additional dose. On the outside, you’re having a pint with them, or four, and on the inside, you’re that weepy girl on camera in the front row. Maybe this is a paradox that will live forever, even if the band doesn’t. But for now, we had 90,000 people a night dancing with tears in their eyes. Dancing the Poznan really ineptly, mind you, but dancing nonetheless.

    Atmosphere at the Oasis Live ’25 World Tour held at the Rose Bowl on September 07, 2025 in Pasadena, California.
    Rich Polk for Variety

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  • Asia Cup: India vs Pakistan match driven by politics, profit | Cricket News

    Asia Cup: India vs Pakistan match driven by politics, profit | Cricket News

    The Asia Cup cricket tournament starts on Tuesday, but for tournament organisers, sponsors and cricket fans from India and Pakistan, it won’t be before Sunday, when the two regional superpowers face each other, that the event will spring into action.

    Any India vs Pakistan match is considered a marquee event, but the recent conflict between the two countries has brought extra heat to the encounter in Dubai.

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    After all, it will be their first meeting since the South Asian archrivals returned from the brink of an all-out war in May, when both countries clashed at their shared border before an internationally-brokered ceasefire.

    It has been almost 18 years since India and Pakistan last met in a Test match – the five-day version of cricket widely regarded as the pinnacle of the sport – and almost 13 years since either side crossed the border to play a bilateral series.

    But between September 14 and 21, if results go the way the organisers hope for, Pakistan and India could end up playing three times.

    A decades-old political rift between the two nuclear-armed countries is blamed for the frosty sporting ties, but the same differences are set aside when a regional or global cricket event comes around.

    Pakistan was carved out of India in 1947, resulting in a bloody division of the subcontinent by the colonial British. Over the past 78 years, the nations have fought four wars, exchanged countless skirmishes and remained at odds primarily over the disputed Kashmir region that both claim in entirety but administer parts of.

    The Asia Cup is no stranger to political influence and has faced the repercussions of strained ties between the two.

    When India hosted the tournament in 1990-91 amid an uprising in India-administered Kashmir, Pakistan pulled out. The following edition, in 1993, was called off amid heightened tensions between the two sides.

    But despite the strained relations on a political level and the current cricket impasse, which began in 2013, India and Pakistan have regularly faced each other at tournaments for the International Cricket Council (ICC) and for the Asian Cricket Council’s (ACC) Asia Cup.

    Pakistani, front, and Indian soldiers stand on their respective sides of their shared border during the flag-lowering ceremony in Wagah, Pakistan on May 4, 2025 [File: Rahat Dar/EPA]

    ‘Maximising eyeballs and revenue’

    Why, then, is it impossible for both sides to separate politics from sport for bilateral exchanges if they can agree to share a cricket field potentially three times in two weeks?

    “It’s all about maximising eyeballs and tournament revenue,” Sami Ul Hasan, former head of the ICC’s media and communication departments, told Al Jazeera.

    “When the ICC plans a global event, organisers do not consider rankings or any other factors. It’s all about making sure India and Pakistan play against each other at least once.

    “Over the last two decades, the ICC has changed the format of its tournaments multiple times in order to ensure that happens.”

    The ICC has, in the past, admitted to fixing tournament draws to ensure Pakistan and India end up in the same group.

    Post-tournament viewership figures confirm the high ratings for India-Pakistan matches.

    According to the ICC, the India vs Pakistan fixture at the ICC Champions Trophy 2025 was one of the most-watched one-day international matches in India.

    It generated over 26 billion minutes of watch time on TV, surpassing the India-Pakistan match from the ICC Cricket World Cup 2023, which had recorded 19.5 billion viewing minutes.

    Tournament organisers, such as the ICC and the ACC, typically sell broadcasting rights and sponsorships to the highest bidders.

    The ICC and ACC distribute the revenue generated at these tournaments amongst their member nations, who stand to benefit from a higher number of India-Pakistan matches as well.

    According to Hasan, the first question posed by broadcasters and sponsors is on India-Pakistan matches.

    “It’s tricky to pull off multiple India-Pakistan games at global events, but easier to achieve this outcome in smaller tournaments such as the Asia Cup,” he said.

    “Even at the Asia Cup, the most they’ve got so far is two matches per tournament. They have been trying for a third [in the final] but it hasn’t materialised yet.”

    In the tournament’s 16 iterations since its inception in 1984, India and Pakistan have never met in a final.

    A fan waves Pakistan flag at the viewing party for the ICC Men's T20 World Cup cricket match between India and Pakistan at The Oculus on Sunday, June 9, 2024, in New York. (AP Photo/Yuki Iwamura)
    Fans gather at a viewing party for the ICC Men’s T20 World Cup cricket match between India and Pakistan in New York City, the US, on June 9, 2024 [File: Yuki Iwamura/AP]

    ‘Don’t care about India vs Pakistan’

    Although India versus Pakistan is always the biggest draw at any cricket tournament, fans from other participating nations are not bothered by the lack of attention and respect shown to their teams.

    “I only care about Sri Lanka and not about what happens in an India-Pakistan match as long as Sri Lanka walks away with the cup,” Mohammad Akram, a Sri Lankan, said.

    “For us, it’s about our team and the same goes for fans of Afghanistan, Bangladesh and other countries.

    “Sri Lanka has always been sidelined. It has always been about India and Pakistan, but we don’t mind because our team has played the most finals.”

    Sri Lanka are the second most successful team in the Asia Cup and have qualified for a record 13 finals, lifting the trophy six times. Another win in the final would tie them with the reigning champions India.

    dasun shanaka sri lanka
    Sri Lanka are the second most successful team at the Asia Cup [File: Eranga Jayawardena/AP]

    Bending the rules

    The focus on this rivalry can sometimes lead to unprecedented decision-making and bending of the rules.

    At the last Asia Cup held in Sri Lanka two years ago, the India-Pakistan group-stage game was abandoned due to rain. As both teams reached the next round, and with more rain expected, organisers set aside a reserve day to their Super Four fixture, the only match in that round to benefit from the allocation.

    That decision was taken in the middle of the tournament, raising eyebrows and attracting criticism from cricket experts and fans of other participating countries.

    “Rules must not be bent for anyone. What happened then did not set a good example for the game,” Hasan said. “Playing conditions and rules are signed off prior to the tournament and are not tinkered with.

    “Changing them to accommodate certain fixtures gives out a message that everything is about money and commercialisation of that single fixture.”

    COLOMBO, SRI LANKA - SEPTEMBER 10: Shadab Khan of Pakistan (R) , Virat Kohli of India (2R) , Imam ul Haq of Pakistan (C) and Jasprit Bumrah of India (L) during the Asia Cup Super Four match between India and Pakistan at R. Premadasa Stadium on September 10, 2023 in Colombo, Sri Lanka. (Photo by Surjeet Yadav/Getty Images)
    India and Pakistan faced each other twice in the Asia Cup 2023, but their first match was abandoned due to bad weather [File: Surjeet Yadav/Getty Images]

    India’s sporting ambitions

    Despite the ongoing political rift between India and Pakistan, both sets of cricket boards and governments have given these fixtures a green light.

    In August, India announced a new sports policy whereby its teams and athletes will not be allowed to engage in bilateral sports events with Pakistan, but can face them in international tournaments.

    It also prohibited Indian athletes from travelling to Pakistan and refused to host teams and individuals from Pakistan.

    The move, according to former ICC official Hasan, is to ensure that India’s ambitions of bidding for the 2036 Olympics and the 2030 Commonwealth Games are not affected.

    “For India to say it doesn’t want to play against Pakistan due to political reasons would weaken its case as a potential global sporting hub,” he said.

    ahmedabad crowd
    Cricket is the most popular sport in India, the world’s most populous nation [Amit Dave/Reuters]

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  • Actors, entertainers pledge to boycott Israeli film institutions over Gaza – Reuters

    1. Actors, entertainers pledge to boycott Israeli film institutions over Gaza  Reuters
    2. Hundreds of artists pledge boycott of Israeli film institutions over Gaza  Al Jazeera
    3. Yorgos Lanthimos, Olivia Colman, Ayo Edebiri and Josh O’Connor Among 1,200 Industry Names Pledging Not to Work With Israeli Film Institutions ‘Complicit in War Crimes’  Variety
    4. Actors and directors pledge not to work with Israeli film groups ‘implicated in genocide’  The Guardian
    5. 1,300 film industry members pledge not to work with Israeli film institutions complicit in genocide  Images Dawn

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  • 6 Israelis killed in east Jerusalem attack

    6 Israelis killed in east Jerusalem attack


    JERUSALEM:

    Palestinian gunmen opened fire at a bus stop in east Jerusalem on Monday, killing six people and wounding others, according to Israel’s foreign minister, in one of the deadliest attacks on Israel since the start of the Gaza war.
    “Palestinian terrorists murdered six Israelis,” Foreign Minister Gideon Saar said, adding that one of the dead was a recent immigrant from Spain.
    Israeli emergency service Magen David Adom (MDA) had earlier reported 15 people wounded in the late morning attack at the Ramot Junction in Israeli-annexed east Jerusalem, with seven in serious condition. Police said the two gunmen were also killed.
    Four of the dead were ultra-Orthodox Israeli men, according to local media.
    At the scene of the attack, Prime Minister Benjamin Netanyahu said: “Let it be clear: these murders strengthen our determination to fight terrorism.”
    “We are now engaged in pursuit and are cordoning off the villages from which the murderers came. We will apprehend whoever aided and dispatched them, and we will take even stronger steps.”
    Israeli army chief Eyal Zamir later said in a statement that he “ordered a full closure of the area from which the terrorists came”.
    “We will continue with a determined and ongoing operational and intelligence effort, we will pursue terror cells everywhere, and we will thwart terrorist infrastructure and its organizers,” he added.
    The Israeli military had earlier said troops were “encircling several areas on the outskirts of Ramallah” in the Israeli-occupied West Bank in response to the attack.
    Hamas said it was carried out by two Palestinians. “We affirm that this operation is a natural response to the crimes of the occupation and the genocide it is waging against our people,” Hamas said in a statement.
    Israeli soldiers
    Palestinian killed four Israeli soldiers on Monday after lobbing an explosive device into their tank, the Israeli military said.
    “Around 6:00 in the morning (0300 GMT), a squad of three terrorists arrived at the IDF (Israeli military) post near Sheikh Radwan in northern Gaza,” it said in a statement.
    “The terrorists threw an explosive device into an IDF tank — the device detonated, killing the four IDF soldiers who were in the tank at the time.”
    Another soldier was moderately injured in the exchange of fire that ensued, the military said, adding that “hits were identified” on two of the three militants who carried out the assault.
    Only three of the dead soldiers were named, while the name of the fourth has not yet been cleared for publication.
    According to an AFP toll based on data from the Israeli military, 468 soldiers have been killed since the start of the military’s ground offensive in Gaza on October 27, 2023.

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